虛無成為一種主義：以俄國小說《灰色馬》在中國的傳播與接受（1920-1950s）為例

Nihilism as an Ideology : The Dissemination and Reception of the Russian Novel The Pale Horse in China (1920-50s)

本文首先通過回顧《灰色馬》在中國的傳播與接受，分析其如何上承過去對俄國虛無黨與虛無主義的認識，下接早期左翼文人的革命論述；其次，以曹聚仁針對《灰色馬》的分析為線索，比較其不同時期的「虛無」書寫，梳理出一條難以被左派或右派所界定的關於革命與虛無主義的思想脈絡。本文認為，即使在左翼陣營內部，對於虛無主義也不全然是鐵板一塊的解讀，瞿秋白和茅盾試圖用革命史或民族思想史來詮釋主人公佐治，鄭振鐸則選擇從精神分析的角度去理解。而曹聚仁在不同階段對於虛無主義的界定也不盡相同，從一開始具有強烈批判意識的烏鴉主義，到後來漸趨不可言說的哲思妙趣，再到《酒店》這本受《灰色馬》影響頗深的小說對於二十世紀中國政治鬥爭與殖民地香港之畸形繁榮的描摹與暴露，折射出知識份子與革命歷史之間複雜而多重的互動關係。

This essay begins by revisiting the dissemination and reception of The Pale Horse in China, analyzing how it builds upon past understandings of Russian nihilism and nihilistic tendencies, while also connecting with early leftist intellectuals’revolutionary discourse. Subsequently, using Cao Ju-Ren’s analysis of The Pale Horse as a guide, it compares the different periods of“nihilistic”writings, unraveling a nuanced ideological context regarding revolution and nihilism that defies categorization by either the left or right. Within the leftist camp itself, interpretations of nihilism aren’t universally agreed upon. Qu Qiu-Bai and Mao Dun attempted to interpret the protagonist George through revolutionary or national historical lenses, while Zheng Zhen-Duo chose a psychoanalytic approach. Similarly, Cao Ju-Ren’s definition of nihilism evolved over time, from the initially critical“Crowism”to later, more ineffable philosophical musings, culminating in Jiu Dian, a novel heavily influenced by The Pale Horse, which exposes and depicts the twisted prosperity of 20th-century China’s political struggles and colonial Hong Kong. This reflects the intricate and multifaceted interplay between intellectuals and revolutionary history.