刈间文俊 日本东京大学
Karima, Fumitoshi, The University of Tokyo
原文Original
无力的叫喊——如何定位巴金的《随想录》
巴金晚年的代表作《随想录》似乎早已在当代文学上拥有恰当的地位，是学术界公认的一部了不起的作品。它体现了反思和忏悔意识，1986年全部写完并结集在中国出版后，影响逐渐扩大至今。《随想录》的写作，自1978年12月起，历经8年，共有150篇。《随想录》始于为一部日本电影《望乡》的辩护，然后许多论者指出的那样，巴金写作有所变化，如访问巴黎前后、“生病”停笔等为契机，内容逐渐深刻，最后倡导建立文革博物馆为止。巴金也承认：“写作中不断探索，而逐渐沉重”。其实，巴金是位当年最老练的作家，饱尝了长年政治风波和文坛颠簸的辛酸苦痛。这样的作家不会容易变，而他的所谓变化是多亏与当年的环境所导致的结果。
本论文注意《随想录》的第一篇文章《总序》，着重分析《总序》的内容和结构，探讨老作家执笔《随想录》时所设计的意图。虽然巴金说过：“写《总序》的时候，我并不觉得笔沉重，我也没有想到用‘随想’做武器进行战斗”。《总序》里，巴金提出“六不”；他否定了“四平八稳，无病呻吟，不痛不痒，人云亦云，说了等于不说的话，写了等于不写的文章”。这就令人容易想起大约彼此早60年的另一篇文章。胡适，在他的《文学改良刍议》里，列为八事，强调要文学改良需从八事入手。其实，他是拿“八事”来否定旧文学，提倡新文学的。这“八事”就是“八不”。
本论文尝试对“六不”和“八不”进行对比和分析，来探讨巴金为《随想录》的“序”题为“总序”的意图，对《随想录》如何在文学史上定位的问题，略表拙见。
译文Translation
A Powerless Call: How to Evaluate Ba Jin’s Suixianglu
Ba Jin’s representative work in his later years, Suixianglu (Random Thoughts), seems to have established a solid position in contemporary Chinese literature, and has widely been recognized as a great book. It contains the author’s reflections and confessions, finished in 1986 and published in mainland China, gradually becoming more and more influential. Ba Jin started writing Suixianglu since December 1978, and eight years later, he compiled 150 essays for this book. It begins with an apology for a Japanese film Sandakan Hachibanshokan Bohkyo. As many critics have mentioned, Ba Jin’s writing has had many changes in this book. For instance, he uses what happened before and after his visit to Paris, his sickness, etc. to turn the content of his writing deeper and deeper until he made a suggestion to establish a museum for the Cultural Revolution at the end of the essay. Ba Jin himself also admitted that he “keeps exploring his soul in his writing and gradually he becomes heavier and heavier in thinking.” In fact, Ba Jin is the most sophisticated writer of his time, and he has suffered and survived years of political chaos, and conflicts in the circle of literature. It was not easy for Ba Jin to change his writing style, and therefore, the changes in his later writings might be results of his political environment.
This essay pays attention to the first article in this book, “The General Preface”. With a focus on the structure and content of this “General Preface”, the author tries to explore the original intention of Ba Jin as he was writing this book. Ba Jin said in the “General Preface” that “I did not feel the heaviness of my pen when I was writing the preface. Nor did I think of using ‘random thoughts’ as a weapon to fight.” In this “General Preface”, he suggested that the writing of literature should negate “Six kinds of writing style” (Six NOs): not to pursue a safe way of writing, not to whine or to be melancholy, not to be superficial, not to follow what others have said, not to say empty words that mean nothing, and not to write articles that are meaningless. Such sayings remind us of another article in China written sixty years earlier than this one. In a similar way, Hu Shi, in his “A Preliminary Discussion of Literature Reform”, provided “eight guidelines” and called for the reform of Chinese literature. Hu Shi tried to negate the old style of literature through these “eight guidelines”, and they were presented as “Eight NOs”.
This essay tries to compare Ba Jin’s “Six NOs” and Hu Shi’s “Eight NOs” in order to explore the original intention of Ba Jin, who wrote a single piece of “preface” but used it as a “General Preface” for this book. The author also offers some ideas concerning the literary position of Suixianglu in the history of Chinese literature.