油滑”其实不油滑.doc

　　“油滑”其实不油滑 　　　---浅谈鲁迅《故事新编》“油滑” 目 录 摘要···························································1 Abstract·······················································1 前言···························································2 正文···························································2 一、“油滑”表现············································2 1、战斗的“油滑”········································2 2、赞美的“油滑”········································3 3、悲凉的“油滑”········································4 二、“油滑”的渊源··········································4 1、远渊·················································4 2、近渊·················································5 三、“油滑”的审美价值······································6 1、幽默的快乐 2、笑中含泪，喜中藏悲的情感激荡 Abstract luxuns new stories for full flattering and is a major concern. In fact, flattering is a surface phenomenon, investigate its essence, flattering embodies the author deep thoughts and gimmicky. As an artistic technique, flattering both the influence of traditional culture, also inspired by related work abroad, but mainly by the subject creative psychology, literary style consciousness, combination of literature and art thoughts. This flattering art has its unique aesthetic value. Keywords: flattering thought profundity random transition, origin of aesthetic value  前 言 鲁迅的第三部小说集《故事新编》一经问世便备受关注，当今学界也兴起了一股研究热潮。其主要原因首先在于“油滑”在作品中的大量运用。为什么鲁迅先生会一反其在《呐喊》、《彷徨》中一贯的严肃，深沉，阴冷，稳实的风格而“油滑”起来了呢？这种“油滑”的手法在作品中是怎样表现出来的，这种手法的产生有什么渊源，其审美价值又如何呢？ 一、“油滑”表现 “油滑”作用于我们的直觉的是，它混合着插科打诨、嬉皮幽默、滑稽怪诞、刻意自嘲、揶揄戏弄、做作扭曲、时空交错、乱点鸳鸯等多个意思。但是，这只是现象，透过现象看本质，诚如茅盾所言：“用历史事实为题材的作品，自五四以来，有了新的发展。鲁迅先生是这一方面的伟大的开拓者和成功者。在《故事新编》中，鲁迅先生以他特有的锐利的观察，战斗的热情，和创作的艺术，非但‘没有将古人写得更死’，而且将古人和现代错综交融，成为一而二，二而一。”可见，“油滑”其实不油滑，而是包含着丰富的思想内容，也是一种圆熟巧妙的艺术手法。 1、战斗的“油滑” 有人称《故事新编》中的“油滑”为“鲁迅风骨”，就是因为它证明了鲁迅在险恶的历史条件下，依然一如既往地保持了自己“纠缠如毒蛇，执着如怨鬼”的韧战、实战精神。在与无边黑暗的抗争中，传统的、严肃的肉搏反而显得滑稽，而这种“油滑”，可使战斗者保持一种心理优势，利于调整与黑暗世界的距离。 “油滑”的开端，便是斗争的需要。鲁迅在《故事新编·序言》中说：“第一篇《补天》，原先题作《不周山》，还是1922年冬天写成的。开始是很认真的……不幸正看见了谁