京派的出走者——蕭乾小說創作歷程研究

To Run Away from Jing-Pai——The Research on Xiao- Qian’s Novel Creating Courses

彭珮貞(Pei-Chen Peng)

指導教授 ： 呂正惠

淡江大學/文學院/中國文學系碩士班/碩士(2007年)

https://doi.org/10.6846/TKU.2007.00794

摘要

本論文以時代風潮為經，蕭乾的世界觀、性格及才性為緯，以此為據，從文本出發，梳理作家文學思想與文學創作的改變歷程。
本文將蕭乾的小說創作歷程分為三個階段；第一階段的小說創作，以《籬下集》中的作品為主。由作品中可看出，悲苦的童年經驗，以及京派文人——尤其是沈從文的創作觀，對於作家此時的小說創作影響甚深。童年的悲苦經驗讓他不能不正視現實人生的殘忍，京派文人的審美情調又使得他此時的文風，保持著一種含蓄內斂的風格，並且讚揚著下層人民的鄉野性格。正是這種以含蓄的口吻敘述殘酷現實的美學風格，達到了蕭乾小說的最高成就。
蕭乾第二階段小說的創作，則以《栗子》集中的作品為主。此時因為大時代的風潮以及巴金對他的影響，使得他開始轉向政治社會小說的創作。在此時，無論他創作的反基督教小說，或是以描寫學生運動為主的愛國小說，都可看出除了作家欲表現的戰鬥決心外，更饒富意味的，是他因為成長過程中，對於基督教的「怨毒」，以及對有錢人的反感。此階段的小說創作，實際上是一種個人恩怨與家國情仇的混合體。
蕭乾第三階段的小說創作，則是他對於抒情風格的歸返。作家在創作了一連串愛國政治小說之後，他的幾篇自傳性強烈的小說，特別引人注目。〈矮簷〉與〈落日〉的題材雖然看似與《籬下集》中的作品相近，但情感已不再含蓄，而是持續著「栗子」中憤怒急躁的情緒，對仇人進行報復性的書寫，二元對立意識較為強烈。《夢之谷》雖然因其濃濃詩意素來為論者稱道，但同時暴露了作家強烈的自我中心意識。
蕭乾似乎很難避免過於陷溺個人世界的悲劇，也因此，他才決定放下小說創作，投入戰場寫下一篇篇的報導，大膽宣揚口號的報導，似乎更適合單純的蕭乾。

關鍵字

蕭乾 ； 京派 ； 創作歷程

並列摘要

This article attempts to, basing on the historical backgrounds of the times, Xiao Qian’s worldview, personality, and brilliance of writing, analyze the shifts in his literary thinking and creation.
The author divides Xiao Qian’s creation courses into three stages. Through the reading of the novel Under the Eaves, a representative work of his first stage, the author finds that Xiao Qian was affected deeply by his miserable childhood experience, and Jing-Pai bookmen’s creating viewpoint, especially Shen Cong-wen. At this stage, the miserable childhood experiences made him face the ruthless of life, but, on the same time, Jing-Pai bookmen’s aesthetics made him keep an implied writing style and glorify the roughscuffs’ bucolic spirit as well. He described the cruel reality in an implied strain, and reached his novel’s highest achievements.
Chestnuts is the representative work of Xiao Qian’s second stage. At this stage, with the influence of historical backgrounds and Ba Jin, he turned to write novels about politics and society. Through the reading of his antichristian novels and the patriotic novels, describing the student movements mainly, the author finds his hate to Christianity and resentment to the rich, which originated from his growing-up process. At this stage, Xiao Qian’s works was actually a mixture of personal feeling of gratitude or resentment and national sentiments and enmities.
At the third stage, he backed to the sentimental writing style. After a series works of the patriotic and political novels, Xiao Qian’s several autobiographic novel drew lots of attractions. The subject matter in The Low Eaves and Setting of the Sun seems like similar to the one in Under the Eaves, but the emotions expressed in those works are not implied anymore. Instead, Xiao Qian kept his blistering and precipitous mood which were shown in Chestnuts in the works during the third stage, toke an avenging writing stile, and disclosed his conscious of dichotomy of good and evil. While The Valley of Dream is highly appreciated by the scholars for its rich poetry, it exposed Xiao Qian’s self-centered consciousness.
It seemed to be very hard for Xiao Qian to avoid the tragedy to get himself into his own world, accordingly he decided to end up his novel-writing career and to devote himself to the write news reports regarding battlefield affair, which audaciously preach slogans and seemed to suit Xiao Qian’s innocent.

並列關鍵字

Xiao- Qian ； Jing-Pai ； Creating Courses

參考文獻

楊昌年〈悲憫寫實為生民--析評蕭乾其人其文〉，《歷史月刊》，1992：10

傅光明編，《解讀蕭乾》，北京：大眾文藝，2001

傅光明〈蕭乾與沈從文的師生情〉，《歷史月刊》，2000：08。

楊義，〈京派和海派的文化因緣及審美型態〉，《海南師範學院學報》（人文社會科學版），1996：01

Milan Kundera，《小說的藝術》，尉遲秀，台北：皇冠，2004