北京，現代黑暗之心——由魯迅與瞿秋白再探五四世代

Peking, the modern heart of darkness ——a research about Lu Xun and Qu Qiu-bai

本文藉由五四前夕客居在北京城中的魯迅以及瞿秋白，重新探究五四新文學的根本意義。魯迅與瞿秋白乃是五四世代的代表人物，而他們兩人的文學生涯相通之處頗多，正可以成為我們探究新文學從五四到二○、三○年代轉折的最好典範。通過他們在五四前夕北京生活的探究，可以發現：當俄國革命和第一次世界大戰之後，彼時的中國「新文學」的「新」之想像，已經與晚清如「新小說」之「新」，出現了很大的變異。而此「新」不但參考了世界革命的藍圖，更特別是在「新」的展望之際，卻總是伴隨著昔日故鄉潰散的記憶與陰影，而只剩下漂泊孤獨的個人，不得不「走異路，逃異地」。故五四以來對「個人」與「社會」的探討，可以說是中國自從十九世紀以來，社會底層家族瓦解之「無家」、「無鄉」到「無國」狀態的重新整合。故本文又借用「第三空間」（thirdspace）的概念，說明北京S會館如何成為一個夾雜在「光明」與「黑暗」、「白日」與「夜晚」、「上」與「下」之間的曖昧地帶，一個既不屬於昔日的故鄉、亦不屬於當下北京城市，而透過「真實」物理世界和「想像」的心理空間，所重組、延伸和創造出來的「第三空間」。它同時結合了「紹興」（或江蘇常州）與「北京」、「故鄉」與「國家」的雙重想像，而透過這個空間，「離鄉」的作家重新找到了與「鄉」的連結之點。故如此一來，五四世代「走異路、逃異地」的離鄉旅行，其實並不是朝向未知的蠻荒世界去探險，而是相反的，這是一趟朝向「黑暗之心」的逆向旅行，他們要重回的是自己理想中的「故鄉」，並且把業已一「無」所有的「家」／「國」重新打造。

The topic of this paper is discovering of the symbolic meanings of May-forth Literature through the early living in Beijing of Lu Xun and Qu Qiu-bai. They are both the representatives in the May-forth generations therefore they could be the best examples if we want to unveil the turning form the May-forth to Revolutionary Literature during 1920’s. Through the research of their living in Peking before 1918, we found the imaginations about “New” during May-forth are very different from the late Chin Dynasty because the influences of theⅠWorld War and the Russian Social Revolution. The other characteristic of the imagination about “New” is which the hope always goes with the disappointment and the light is always accompanied with the shadow. Lu Xun and Qu Qiu-bai both lost their farthers in childhood and were suffering a lot because of poverty. These homeless individuals have nowhere to go besides a strange land or city like Peking. Therefore they try to rebuild the connection between individual and the society also to reunite the broken home, hometown and even the country. This paper also tries to illustrate how Beijing is turned to be a thirdspace which location is between light and darkness, day and night, up and down. Peking in Lu Xun and Qu Qiu-bai’s writings is created by real material space and the imagined psychical space both then it is not just “Beijing” anymore. Through Peking, a combination of hometown and nation in May-forth Literature, these homeless writers finally found a new way to back “home”. This “home ” is an ideal one but not a real or an original one. It also became a model of which a modern nation of China should be during 1920’s.