徘徊与摆荡论鲁迅作品中的宗教向度

徘徊與擺盪—論魯迅作品中的宗教向度— 楊靜欣Wandering and Vacillating─The Religious Dimension of Lu Xun’s Works─

摘要

本論文主要以探討魯迅的作品為主，著重在對文本的分析及詮釋上，藉耙梳魯迅作品中的人觀及神觀後，進而探討魯迅作品中所呈顯的宗教向度。魯迅作品中直接提及宗教核心問題的，實屬少見，但就作品本身所呈現出的宗教意涵，亦即作品中所表達神人關係的思想，卻是很值得關注的。

從魯迅的作品中，可窺見人性黑暗的一面，其作品中充滿對人性悲觀態度所延伸出來的，是反映造成苦難緣由的評斷，即苦難是由於自己的愚昧所造成的，甚至連造物主在這樣的情況之下，也是無能為力，躲藏起來的，因為造物主本身也是怯弱無能的，這種說法本身，便開始進入形而上學層次的探究，最明顯地是在《野草》中的一篇文章〈淡淡的血痕中〉。

眾所皆知的，魯迅一生之中，都在找尋一條出路，或者寄託在孩子身上，或感到自身的絕望。就大的格局而言，是整個國家民族的出路；而就個人而言，則是自我個體精神的解放。在他的作品當中，常常出現犧牲者、戰士之類的腳色，且總將那零星的希望，寄予孩子身上，黑暗與苦難及悲鬱，是作品中跳脫不出的色彩。不僅充分展現人的有限性及矛盾性，要「知其不可為而為之」，甚至到底有沒有希望，都不知道!其掙扎可想而知。而作品的氛圍總是逃離不了巨大的桎梏，一種人生極窄極險困境的呈現，表現最淋漓盡致的是在〈祝福〉這篇小說。這樣的困境，在宗教上常被視為一種契機，得以認識宗教、進入信仰層次的氛圍，即「人的盡頭，才是上帝的開始」，魯迅的作品將人的盡頭說盡了，卻還是沒有走向上帝，這正是作品最精采之處。

換言之，作品中所呈顯的宗教思想，不是死的、教條的，乃是變動的，魯迅不

要迷信式的宗教信仰，他要打倒假神，破除迷信，因此，就連在人生最困頓，思想最陰鬱的時候，他還是沒有為自己找一個宗教來安身立命，而是以批判質疑的方式不斷地在找尋當中，一生尋求出路，至死方休。

因此筆者發現魯迅作品中呈顯出兩種情況，一是在希望與絕望之間擺盪，二是在有神與無神之間徘徊。擺盪意指著左右為難，用以形容在希望與絕望之中的掙扎狀態；徘徊則是意指原地兜圈，形容在有神與無神之間遊走不定，作為本論文之研究成果。

Abstract

The thesis is devoted to analyzing and interpreting Lu Xun’s texts. Based on a close examination of Lu Xun’s ideas on human beings and deity in his works, a further exploration of the religious dimension of the corpus is conducted. Seldom do Lu Xun’s writing directly touch central religious issues, however, the religious implications displayed in the works themselves, that is, the divine-human relationship implicitly expressed therein, are worth consideration.

In Lu Xun’s works we are allowed to have a glimpse of the dark side of humanity. They are filled with the judgment that suffering resulted from human folly, which is premised upon a pessimistic attitude to humanity. Even the Creator, out of his own cowardice and impotence, hides himself too facing this reality. This idea then is carried further into metaphysical investigations in Lu’s writings, most evidently in “In the Pale Traces of Blood” in the book Wild Grass.

As it is widely-known, Lu Xun devotes his whole life to searching for a “way out”, which either ends in his hope for his progeny, or in despair about himself. In a grand scale, this “way out” refers to a way for the whole nation/race; in the personal dimension, the “way out” means the spiritual liberation of the individual. In his works, scapegoat or warrior figures often emerge, and a faint hope is always rested upon children; darkness, suffering, and mournful dejection constitute the inevitable mood of the works. The texts not only fully exhibit human limitation and self-contradiction, in which humans “strive anyway with the knowledge of futility,” and even the existence of hope is viewed as a question without answer. Thus we can understand the human struggle presented in the works. Moreover, the general atmosphere therein is a sense of an inescapable, huge bondage, as a representation of the extreme predicament of life, which is expressed most fully in the short story “Blessing.” This predicament

is usually viewed as a decisive moment, a pre-stage to the understanding of religion and entering faith, as suggested by the saying “The end of human is the beginning of God.” However, the most fascinating characteristic of Lu’s works lies in that while human hopelessness has been fully uttered, there is still no walking toward the divine.

Therefore, the religious thinking presented in the texts is not rigid and dogmatic, but ever-changing. Lu Xun does not desire a superstitious faith: he intends to overthrow false gods and break superstition. Therefore, ever in the most impoverished and melancholic period of his life, he still does not comfort himself through any religion, but endlessly search for a way out in a critical and questioning spirit. And this quest never ceases until death.

Therefore, the author discovers that there are two situations presented in Lu Xun’s works: one is vacillating between hope and despair, the other is wandering between theistic and atheistic beliefs. Vacillating, a state of hesitating, is a description of the struggle between hope and despair. Wandering is a description of walking to and fro between theism and atheism. This is the main conclusion of the thesis.

目錄

中文摘要 (i)

英文摘要 (iii)

誌謝辭 (v)

目錄................................................................................ (vii)

第一章、緒論 (1)

第一節、研究動機與研究方法 (5)

一、研究動機 (5)

（一）魯迅研究的重要性 (5)

（二）魯迅作品中宗教向度研究的重要性 (7)

二、研究方法 (9)

第二節、魯迅的生平與其宗教向度 (11)

一、紹興背景的影響――早期宗教性人格的形塑 (12)

二、求學階段的信仰――前期宗教性狂熱的反撲 (18)

三、大量著作的出版――後期宗教性思想的深化 (23)

第二章、魯迅作品中的人觀 (31)

第一節、人之惡性的挖掘 (32)

一、麻木不仁 (33)

二、精神勝利法 (36)

三、愚昧無知 (39)

四、倨上傲下 (41)

第二節、人之惡性的溯源 (43)

一、階級制度 (45)

二、知識貧乏 (48)

三、吃人禮教 (51)

第三節、人之惡性的出路 (58)

一、對封建社會的反抗 (60)

二、對生存價值的追求 (63)

第三章、魯迅作品中的神觀 (68)

第一節、神之存在的不定性 (70)

一、無神論的一體兩面 (71)

二、新舊「神」的相繼消長 (72)

三、「自然」論的無限倒退 (74)

第二節、神之態度的冷漠性 (76)

一、造人動機不明 (77)

二、造人過程草率 (82)

三、與人無法溝通 (84)

第三節、神之本性的怯弱性 (86)

一、隱藏幕後者 (90)

二、歪曲不義者 (91)

第四章、魯迅作品中的宗教向度 (94)

第一節、「神」人關係的必然斷裂 (95)

第二節、苦難發生的全然絕望 (98)

第三節、戰士出現的一絲希望 (102)

第五章、結論 (112)

參考文獻 (115)