日神还是酒神?——朱光潜与鲁迅对尼采艺术形上学的理解歧路  

Apollo or Dionysus?-Zhu Guangqian and Lu Xun s Diverse Understanding ofNietzsche s Art Metaphysics LIU Hui-shu

作　　者：冯学勤[1] FENG Xue-qin(The Master Hongyi and Feng Zikai Research Institute,Hangzhou Normal University,Hangzhou 311121,China)

机构地区：[1]杭州师范大学弘一大师·丰子恺研究中心,浙江杭州311121

出　　处：《美育学刊》2023年第6期1-11,共11页Journal of Aesthetic Education

基　　金：浙江省社科领军人才培育专项课题“中国当代艺术形上学话语体系建构研究”的阶段性成果。

摘　　要：20世纪30年代,朱光潜以具有形上学意味、援引尼采日神精神的“静穆”说,新释钱起“曲中人不见,江上数峰青”一句,并将之视为诗意之极境;对此鲁迅作文加以批评,认为朱氏犯“摘句”之病,未能做到知人论世,且曲解希腊艺术精神;朱氏则站位艺术审美论,拒绝鲁迅的文化批评立场,并认为鲁迅正因此立场而未能在创作上有更大成就。这段公案,正牵出对尼采艺术形上学思想理解的本土差异:一度宣称自己为“尼采信徒”的朱光潜,恰恰以日神对酒神的吸收,颠覆了尼采艺术形上学最核心的论断;而以无畏精神锤击旧偶像、以生命激情讴歌自由的鲁迅,恰是尼采艺术形上学所召唤的东方的“屠龙之士”。In the 1930s,Zhu Guangqian used the metaphysical concept of“stillness”and quoted the spirit of Nietzsche s Apollo to reinterpret the following lines“When the melody ends,the hero is no longer visible.Several green mountains still stand on the river”composed by Qian Qi and regarded it as the ultimate poetic realm.However,Lu Xun criticized it,believing that Zhu committed the practice of“excerpting sentences”,which fails to understand people and discuss the world,and distorts the spirit of Greek art.Zhu,on the other hand,took a stance on artistic aesthetics and rejected Lu Xun s cultural criticism stance,believing that Lu Xun could not achieve greater success in his creation due to this stance.This case involves a local difference in the understanding of Nietzsche s artistic metaphysics.Zhu Guangqian,who once claimed to be a“Nietzsche follower”,precisely subverted the core assertion of Nietzsche s artistic metaphysics through the absorption of Dionysus by Apollo;while Lu Xun,who hammered old idols with fearless spirit and praised freedom with passion for life,was precisely the“dragon slayer”of the East summoned by Nietzsche s art metaphysics.

关 键 词：艺术形上学 尼采 酒神 日神 迷醉 

分 类 号：J0[艺术—艺术理论]