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陈天华、朱执信的二篇小说在我们缅怀辛亥革命先烈时,发现一个有趣的事实:他们,无论是革命活动家、理论家抑或军事家,几乎没有不与文艺攀上因缘的。他们在用头颅撞醒国民沉酣大梦的同时,也在文艺作品中滴进血和泪,借以唤醒国魂。清末资产阶级改良文学运动举起了“诗界革命”、“小说界革命”的旗帜,促使小说的社会地位大大提高。文学被视为一种通俗有效的宣传工具。从宣传出发,一些先烈,在写诗填词之外,也大胆尝试写小说。如陈天华的《狮子吼》和朱执信的《超儿》,就是明显的例证。
When we recall the revolutionary martyrs in 1911, Chen Tianhua and Zhu Zhixin’s two novels found an interesting fact: They, regardless of whether they are revolutionary activists, theorists or military strategists, hardly have any connection with literature and art. While they awakened their heads to awake the great people’s dreams, they dripped blood and tears into the works of literature and art so as to awaken the soul of the country. In the late Qing Dynasty, the bourgeois literary movement raised the banner of “revolution in poetry” and “revolution in fictional world”, which promoted the social status of the novel greatly enhanced. Literature is regarded as a popular and effective propaganda tool. Starting from the propaganda, some martyrs, in writing poetry lyrics, but also bold attempt to write novels. Such as Chen Tianhua’s “Lion Roar” and Zhu Zhixin’s “super-child” is an obvious example.