摘要
鲁迅在文学创作中对“西”方位灌注了独特的构思。《弟兄》里写皓月“西升”,透露出沛君的迷信心理。《白光》借助“西高峰”“万流湖”等与“西”紧密相关的物象,通过让月亮、白光与陈士成三者一致性的“西移”,揭示出风水迷信和天人感应思想对民众的荼毒。《药》里的夏瑜被埋在路的“西边”,是因人们的方位等级观念所致。《长明灯》有意强调疯子被关在庙门“西边”的“西厢房”,是借助“西—白”的五行对应关系,既暗示了猜谜诗的深层谜底,也赋予反抗者以“白”的颜色标识,从而建构起其与守庙者“老黑”为代表的迷信庸众之间“黑白对立”的人物关系。《过客》一语概括即“走向西方”。《药》《长明灯》《过客》将觉醒者、反抗者与“西”方位紧密关联的构思来源有三点:一是由于传统的“时空一致性”观念,二是基于鲁迅的阅读经验,三是来自《周易》卦象内涵的启发。
Lu Xun infused unique ideas into the"west"direction in literary creation.In Brothers,he describes the bright moon rising in the west,revealing Pei Jun's superstitious psychology.In White Light,Lu Xun employs objects closely associated with"west"such as West Peak and Wanliu Lakeand depicts the moon,white light,and Chen Shicheng moving westward in unison,exposing the poisoning effects of feng shui superstition.In Medicine,Xia Yu is buried on the west side of the road due to prevailing concepts of orientation and hierarchy.In Changming Lantern,the intentional confinement of the madman in the"west wing"of the temple gate invokes the"west-white"correspondence,implicating deeper mysteries in the riddle poem and designating the rebel with the color"white."This constructs a black-white antagonistic relationship between the rebel and the superstitious masses represented by the temple keeper(Black).The Passerbycan be summarized as"Moving Westward."Three sources inspire Lu Xun's association of the awakened rebels with"west"inMedicine,Changming Lantern,and the Passerby:first,traditional concepts of spatiotemporal unity;second,Lu Xun's reading experiences;third,symbolic interpretations of Zhou Yi(Book of Changes)hexagrams.
作者
张钧钧
程亚丽
Zhang Junjun;Cheng Yali
出处
《河南大学学报(社会科学版)》
北大核心
2025年第4期83-93,154,155,共13页
Journal of Henan University(Social Sciences)
基金
国家社会科学基金重点项目“鲁迅原创词汇综合研究与词典编纂”(20AZW021)阶段性成果。
