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作为首篇创作谈,《呐喊·自序》几乎包含着鲁迅所有创作的密码。著名的“幻灯片”事件“、铁屋子”寓言更是被反复挖掘,乃至过度阐释。也许正因为如此,鲁迅经由“回忆”与“忘却”所构建的辩证法及其重塑鲁迅文学的启蒙意义反而不大为人注意。经历十年寂寞,不是时间改变了做梦的人,而是忘却的辩证法在时间之流中重塑了人的梦。“偏苦于不能全忘却”所建构的一种复杂而矛盾的辩证关系与思想空间,重塑了鲁迅的启蒙之梦,也重塑了鲁迅的文艺观与启蒙观。鲁迅对文艺的认知,由“摩罗诗力说”转变为一种“苦闷的象征”;对启蒙的反思,则实现了一种精神优越性的超克。所谓“中国现代小说在鲁迅手中开始,又在鲁迅手中成熟”的经典史论,就此可以获得更充分的理解。
As the first creation talk, “Cry · Preface” contains almost all the creation of Lu Xun password. The famous “slide ” event “, iron house ” parable is repeatedly mining, and even over-interpretation. Perhaps because of this, Lu Xun’s dialectic constructed by “Memory ” and “Forgotten ” and its enlightening significance of reshaping Lu Xun’s literature are less noticeable. After ten years of loneliness, it is not the time who has changed the dream, but the forgotten dialectics remodeling people’s dreams in the stream of time. The complex and contradictory dialectical relationship and ideological space constructed by “partial suffering can not be forgotten” reshaped Lu Xun ’s dream of enlightenment, and also reshaped Lu Xun’ s concept of literature and art and the concept of enlightenment. Lu Xun’s cognition of literature and art changed from “Moro Shi Li Shu” to “a symbol of depression”; and the reflection on Enlightenment realized a super-gram of spiritual superiority. The so-called classic history of Chinese modern novels started in the hands of Lu Xun and matured in the hand of Lu Xun can be more fully understood.