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鲁迅的《铸剑》和莫言的《月光斩》都是令人百看不厌的绝妙之作,它们堪称中国现代短篇小说的雌雄双剑。鲁迅所发现的陶渊明的精神境界与智慧,特别是对世事的清醒和不屈的战斗精神,通过鲁迅的阐释和他的《铸剑》等作品传承了下来,又富有创造性和时代性地转换、传递在莫言的《月光斩》等作品中。《铸剑》里王的脑袋被割下,最终在沸鼎中与眉间尺、黑衣人的头骨相混。这暗示出王与普通人之间没有什么天生的贵贱之别;《月光斩》最后是对整个故事的真实性的颠覆、置疑,暗示的是对现实中揭露与惩治腐败之可能性的忧虑。《月光斩》的战斗精神更显出现实的苍凉。
Both Lu Xun’s Sword and Mo Yan’s Moonlight Cut are all remarkable works that make them famous both for men and women in modern Chinese short stories. The spiritual realm and wisdom Tao Yuanming discovered by Lu Xun, especially the sober and unyielding fighting spirit of the world, have been inherited through the interpretation of Lu Xun and his works such as “Casting Swords”, and have also been transformed and transmitted creatively and with the times In Mo Yan’s “moonlight cut” and other works. “Sword” in the king’s head was cut off, and finally in the boiling Ding and eyebrow foot, black people’s skull mixed. This implies that there is no inherent distinction between the king and the common people. The “moonshine cut” ends with the subversion and doubtfulness of the authenticity of the whole story, implying concerns about the possibility of exposing and punishing corruption in reality. “Moonlight cut” the fighting spirit even more shows the real desolation.