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在鲁迅的文学创作中,历史小说集《故事新编》无疑占据着重要地位。但长期以来,学术界对《故事新编》的艺术特征的认识并不一致。其焦点集中在对《故事新编》中所谓“油滑”之处的认识和评价。我们认为《故事新编》中的“油滑”之处,是作者运用现代美学范畴中“怪诞”的艺术表现方法的结果,具体地说就是在历史小说中出现古今重叠的人或事。这种漫画般的夸张、变形,甚至有些幻想化了古代人物在小说中表现出某种畸形、混乱和荒唐,恰恰是现代生活中某些人物的本质特征,因而它是可以体现艺术美的。
In the literary creation of Lu Xun, historical novels, “a new series of stories” undoubtedly occupy an important position. For a long time, however, there has been no consensus among academics about the artistic features of the “new story.” Its focus is on understanding and evaluating the so-called “slippery” part of the “new story.” In our opinion, the “slippery” part of the “new story” is the result of the author’s application of the “grotesque” artistic expression in the category of modern aesthetics, specifically the emergence of ancient or modern people or things in historical novels. This comic exaggeration, distortion, and even some fantasize the ancient characters in the novel to show some kind of deformity, chaos and absurdity, it is precisely the essential characteristics of some characters in modern life, so it can reflect the artistic beauty.