《狂人日记》作为现代白话小说的奠基之作,自刊载之日起,介绍、批评和阐释的文字不计其数。但这并不意味着作品的意义已经穷尽。本文试图从修辞角度再度诠释《狂人日记》。首先在宏观修辞层面来看其以“癫狂”的语言揭示中国传统历史与文化的“吃人”的真实本质。这主要表现在三个方面:一是语境误置和语体混用;二是以“讲述”的方式“展示”狂人的心理内涵;三是打乱作品中的叙事时间。其次,从微观修辞层面——“结构性反讽”来探讨其独特魅力。也表现在三个方面:对比性构成因素并不是静止的,而是动态的;其隐形反讽的意味需要“反思”;具有更大的覆盖性。为此我们才更可以深切的感受到鲁迅作为小说家、文体家所表现出来的独特性和创造性。 As the foundation stone of modern vernacular novel, “Madman’s Diary” has countless introductions, criticisms and interpretations since its publication. But this does not mean that the meaning of the work has been exhausted. This article attempts to reinterpret The Madman’s Diary from a rhetorical perspective. First of all, at the macroscopic rhetorical level, it reveals the true nature of “eating and drinking” of traditional Chinese history and culture in a “mad” language. This is mainly manifested in three aspects: one is the misunderstanding of the context and the mixture of the genres; the other is the “narration” approach to “show” the psychological connotation of the madman; the third is to disrupt the narrative time in the work. Secondly, from the micro rhetorical level - “structural irony” to explore its unique charm. It is also manifested in three aspects: the comparative constitutional factor is not static, but dynamic; its invisible irony means “reflection” and greater coverage. For this reason, we can deeply feel the uniqueness and creativity that Lu Xun demonstrated as a novelist and stylist.