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本文通过简要考察张辛欣、韩少功、刘恒在1980年代发表的三篇小说,来分析评判鲁迅在《故事新编》里将神话隐喻引入小说创作的前途与危机。在《故事新编》中,鲁迅的实验远比他的批评者们所认识的更为激进。油滑往往比偏见更加富于游戏性,特别是当油滑源自他对时间倒错这个口碑极差的文学策略的自由使用。鲁迅在小说中对于象征和寓言有非常复杂的应用。神话为关心文化认同问题的作家们提供了进一步的参考,但同时,鲁迅所认识到的神话创作危机依然困扰着当代作家。神话创作实际上会抑制而非激发创造力。
By briefly examining the three novels published by Zhang Xinxin, Han Shaogong and Liu Heng in the 1980s, this essay analyzes and comments on the future and crisis of the introduction of mythological metaphor by Lu Xun in “A New Story”. In his “New Story,” Lu Xun’s experiment is far more radical than his critics knew. Slick is often more game-based than prejudice, especially when slick originated from his liberal use of literary tactics that are time poorly booked. Lu Xun’s application of symbolism and parable in the novel is very complicated. Myths provide further reference to writers who care about cultural identity. However, at the same time, the crisis of mythology recognized by Lu Xun still bothers contemporary writers. Myth creation actually suppresses rather than stimulates creativity.