旧体诗写作道路上的鲁迅——从《自题小像》到《惯于长夜过春时》  

Lu Xun’s Writing of Classical Chinese Poetry:From Inscription on My Photograph to Long Nights

作　　者：李林荣[1] LI Linrong

机构地区：[1]北京第二外国语学院文化与传播学院,北京100024

出　　处：《济南大学学报（社会科学版）》2023年第2期34-42,F0002,163,共11页Journal of University of Jinan:Social Science Edition

基　　金：国家社会科学基金一般项目“鲁迅著译实践编年研究”(项目编号:17BZW148)之阶段性研究成果。

摘　　要：在作为中国近现代文学史的侧翼或偏流的旧体诗文写作道路上,鲁迅留下了虽不连续但是无法被他的白话诗文写作所替代的独特足迹。其中,留日初期所写的七言绝句《自题小像》和1931年2月所写的七言律诗《无题·惯于长夜过春时》,都具有鲜明标志鲁迅思想情态和人格取向的急剧变化和深刻转折的复杂意味。而要准确如实地理解这一点,必须对这两首诗的生成过程和相关背景进行细致恰切的梳理和解析。In the writing of classical Chinese poetry as a non-mainstream form in the history of modern Chinese literature,Lu Xun left a discontinuous but unique footprint which could not be replaced by his writing of poetry in vernacular Chinese.Among such poems,the seven-character quatrain Inscription on My Photograph written in the early days of his studying in Japan and the seven-character poem Long Nights written in February 1931 both marked clearly the dramatic changes and profound turning points of Lu Xun's character and ideological pursuit.To understand this accurately and truthfully,we must carefully sort out and analyze the process and background of the writing of these two poems.

关 键 词：鲁迅 旧体诗 《自题小像》 《无题·惯于长夜过春时》 

分 类 号：I210.96[文学—中国文学]