孙 郁 中国人民大学
Sun, Yu, Renmin University of China
原文Original
木山英雄的鲁迅研究
木山英雄的鲁迅研究在日本影响较大，其著作只有《文学复古与文学革命》、《北京苦住庵记》译成了中文。他的文本与一般日本人不同的地方在于，愿意从悖论的人生经验中考察中日文学的内在紧张度，而他颇富有玄学之力的内省，无论在日本，还是中国，都是少有的存在。
在许多文章里，木山出语不凡，颠覆常识。比如他说在政治理念与审美意识间，鲁迅保持良好的抽象概念与野性思维。这是把握了核心的诊断，也解决了鲁迅认识中理性力量与审判力量并重的问题。中国的一般作家一旦嗜上理论，则损害了文艺。鲁迅却兼而得之。他的文本常常是在是而不是，不是而是中展开自己的主题，诸多苦难在其笔下纷纷崩解。如此深地捕捉鲁迅挫折感里的坚毅的东西，大概与木山的日本经验有关。二战之后，日本知识界意识到自己的前人的失败，就在于过于自信自己的确然性，以为掌握了真理。鲁迅的敢于承担失败又超越失败的选择，昭示了一种精神自塑的可能性。
使木山英雄念念不忘并为之激动的是鲁迅的《野草》。他知道那是个超逻辑的世界，自己也无法以什么理论体系来说明其原貌。木山英雄在此看到了鲁迅思想里本然的存在，自己是虚无的，却又不安于虚无。活着不是为了亲人，而是为了让敌人感到不适，让其知道世界的有限，虽然自己也希望速朽。鲁迅世界纠缠的是无法理喻的存在。五四文人提出的民主与科学的思想，都是闪着光彩的存在，胡适，陈独秀也是以新人的面目出现在文坛上的。而鲁迅独自在暗影里，与旧的存在是千丝万缕的联系。他越憎恶过去，越觉得自己是一个旧的存在，必然要消失在时光中。于是自觉地去肩着黑暗的闸门，解放那些囚禁在牢笼里的人。有趣的是被放到光明处的人，却在诅咒、杀戮开启闸门的殉道者。木山英雄感到了鲁迅在保守与进化间的非凡的目光。旧物未去，新物亦污。女娲以伟岸之美却造出了萎缩的人类，《颓败线的颤动》的老母以残破之躯养育了家人，未料遭到了子女的道德戕害。木山英雄意识到，鲁迅的认知哲学除了尼采式的决然外，拥有自己特有的东西。自我与他人都被罪感所缠绕，于是只能陷于苦难的大泽。解放的路应从心灵里开启，可是彼此隔膜的世界哪里是通道呢？他对鲁迅的回旋式语言的发现是在六十年代，那时候的中国学者尚无深思于此者。八十年代后中国学者的兴奋点，有的就是从木山那里获得启示的。
作为逆俗的研究者，木山英雄续写了东亚“被近代化”的困顿，中国文学经由他的笔，获得了超越国界的思想隐含。在某种意义上说，借他人而照到自我，某些不明晰的存在终于获得了新奇的透视。只有在“他人的自我”里，才可能相逢到真的“自我”。跨国文学研究的魅力，大约与此有关。
译文Translation
Hideo Kiyama’s Studies on Lu Xun
Hideo Kiyama’s studies on Lu Xun are very influential in Japan, but only two of his books have been translated into Chinese: The “Literary Renaissance” and the “Literary Revolution”, and Notes at Beijing Ku Zhu An. Kiyama’s writings are different from other Japanese writers in the following regards: he likes to investigate interior tension in Japanese literature which comes from the perspective of paradoxical life experience, and he is good at reflecting upon himself from a metaphysical perspective. Such characteristics are quite unusual in both Japan and China.
In many articles, Kiyama appears to be astonishing or stunning, and his ideas are quite subversive. For instance, he comments that when dealing with political ideas and aesthetic consciousness, Lu Xun has kept a good balance between abstract concepts and wild thinking. Such an understanding has actually grasped the core of Lu Xun’s thinking and also solved an argument over Lu Xun’s balance between reason and judgment.
Generally speaking, when a Chinese writer became fascinated with literary theories, this would ruin his/her talents in creative writing. But Lu Xun was able to do both. Lu Xun liked to explore and display his themes on a gray background, presenting events in an ambiguous way so that one cannot judge with a simple “Yes” or “No”. Thus, Lu Xun is able to expose various kinds of sufferings as well as the reasons underneath the sufferings. Kiyama could sharply capture the persevering spirit in Lu Xun’s suffering and frustration, which might be due to Kiyama’s own experience as a Japanese writer. After the Second World War, Japanese intellectuals realized that the failure of their ancestors lay in their excessive confidence in certainties, which led them to blindly believe that they had truth in their hands. Lu Xun served as a model for them in this regard. Lu Xun dared to bear his failures and also rise above them, presenting his spiritual power even in the darkness. Such a spirit has stimulated the Japanese scholars.
What made an impression on Kiyama’s heart and excited him most was Lu Xun’s Ye Cao (Wild Grass). Kiyama understood that the world in this book is beyond logic and he was not able to use any theoretical system to explain it. But Kiyama saw the natural existence of Lu Xun’s thoughts in this book, that is, the idea that he himself is in a void, but is not satisfied with the void. He lives not for his relatives but to make his enemies uncomfortable. He wants to tell others that the world has limits, yet he himself wants to disappear as soon as possible. Existence in Lu Xun’s world is unreasonable.
The May Fourth scholars like Hu Shi and Chen Duxiu appeared as new shining stars of the literary circles, highlighting new trends such as science and democracy. But Lu Xun stayed in the shadows alone, having countless ties with the past. The more he hated the past, the more he felt that he was an old-fashioned being who would disappear as time went by. Therefore, he actively tried to break the heavy gates of darkness to liberate those in cages and prisons. But interestingly, those who stood in the sunshine were cursing and murdering the martyr who opened the gate. Kiyama evokes the extraordinary vision of Lu Xun lingering between the conservatives and progressives. The old world is not destroyed yet, but the new world has already been polluted. Therefore, in Lu Xun’s writings, he exposes a paradoxical and unreasonable world: The creator Nvwa (Chinese goddess) was beautiful and compassionate, but the human beings she created were cruel and cold-hearted. The mother became a prostitute in order to raise her two children but was abandoned and morally criticized by her children when she was old. Kiyama realized that Lu Xun’s philosophy has his own unique features besides Nietzschean decisiveness. Both Self and the Other are tangled in a sense of guilt, and they all are confined to a lake of sufferings. The road to liberation should start from one’s heart. However, in an indifferent and isolated world, where is the channel for communicating with each other?
In the 1960s, Kiyama discovered that Lu Xun liked to use cyclical language, at a time when Chinese scholars paid no attention to this. In the 1980s, some Chinese scholars became excited about this language because of Kiyama’s earlier inspirations.
As a researcher who likes to go against the flow, Kiyama has commented on the distress of “modernized” East Asia. It is through Kiyama’s pen that Chinese literature could go beyond national boundaries. To a certain extent, by reflecting upon ourselves through others, we can discover some new insights. Only when we see “the Self in the eyes of the other”, can we encounter the genuine “Self”. The charm of cross-cultural literary studies might be related to this idea as well.