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好一场心灵的大雪

——鲁迅的《雪》赏析

刘德福

    1924——1925年,鲁迅在创作散文诗集《野草》的同时,开始翻译日本厨川白村的文艺论文集《苦闷的象征》,在引言中,鲁迅写道:“非有天马行空的大精神,即无大艺术的产生。”在《雪》中,鲁迅为我们呈现了大精神产生的过程。

    文章一开始,写了“暖国的雨”的特征,“向来没有变过冰冷的坚硬的灿烂的雪花,博识的人们觉得他单调,他自己也以为不幸否耶?”。对雨,鲁迅的态度并不是一概否定的,但,雨的确是与雪不同的事物,具有不同的特征。“江南的雪,可是滋润美艳之至了:那是还在隐约着的青春的消息,是极壮健的处子的皮肤。”正是“青春的、壮健的”江南雪,引来了孩子们的热闹,可它也有一个特点:粘连、易变。“晴天又来消释他的皮肤,寒夜又使他结一层冰,化作不透明的水晶模样;连续的晴天又使他成为不知道算什么,而嘴上的胭脂也褪尽了。”但是,“朔方的雪花”就大不相同了,他们“在纷飞之后,却永远如粉,如沙,他们决不粘连,撒在屋上,地上,枯草上,就是这样”。而且,“在晴天之下,旋风忽来,便蓬勃地奋飞,在日光中灿灿地生光,如包藏火焰的大雾,旋转而且升腾。弥漫太空,使太空旋转而且升腾地闪烁”。因此,作者在结尾深情的喊道:“是的,那是孤独的雪,是死掉的雨,是雨的精魂。”——雨是雪的初始阶段,雪是雨的升华。

    王国维说:“一切景语皆情语。”鲁迅笔下的雪,是“天马行空的大精神”的写照,从“暖国的雨”到“江南的雪”再到“朔方的雪花”,这是一个“天马行空的大精神”的形成过程。我们可能联想到:一个人,从“天真烂漫的少年”到“健壮蓬勃的青年”再到“大气磅礴的壮年”;一个灵魂,从“温柔单纯的留学生”到“慷慨激昂的文人”再到“笔意如刀天马行空的战士”。在这个变化中,“孤独”起到了决定作用。雪从“目光灼灼地嘴唇通红地坐在雪地里”到“终于独自坐着了, 连续的晴天又使他成为不知道算什么,而嘴上的胭脂也褪尽了”,最后变成“在无边旷野上,在凛冽的天宇下,闪闪地旋转升腾着的是雨的精魂┅┅”啊,好一场心灵的大雪呀!

    难能可贵的是,文笔犀利老辣、解剖自己如解剖别人的鲁迅,在这篇散文诗中却表现了少有的宽容和温情。他没有让“暖国的雨”、“江南的雪”和“朔方的雪花”,形成截然不同的对照,在突出“朔方的雪花”是“大精神”的同时 ,又在“暖国的雨”和“江南的雪”中寄寓了自己的理想。他不仅歌颂那“旋转升腾着的是雨的精魂——孤独的雪”,而且用回忆、向往中的江南美景和富于情趣的童事,与丑恶的现实世界作对比,表达了追求一个美好的理想的世界的愿望。

请你认真阅读这篇文章,并和《<雪>四人谈》相比较,想一想作者的看法与他们有哪些相同点,又有哪些不同点?

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