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钱玄同与刘半农在1918年合演的“双簧戏”是五四文学革命的标志性事件之一。实际上,《新青年》发行量在“双簧戏”后并未立即明显增长;从《新青年》“通信”栏的读者反应来看,“双簧戏”的社会反响偏于负面,钱玄同与刘半农本人亦似有“悔意”。此外,《新青年》同人追忆“五四”时对“双簧戏”未予较高评价;很多“五四”时期的亲历者忆起文学革命时,亦不大说起此事。以学术史的角度言之,文学史家对“双簧戏”的过分推崇本质上是造了一个“神话”。由此可为反思五四文学革命的新基础,亦可对现代文学史的书写进行反思。
Qian Xuantong and Liu Bannong co-starred in 1918, “Shuang Spring Drama” is one of the iconic events during the May 4th literary revolution. In fact, the circulation of “New Youth” did not immediately increase immediately after “Double-Reed-Play”. From the readers reaction in the column of “New Youth” and “Communication”, the social repercussions of “ In the negative, Qian Xuan Tong and Liu Bannong himself may also have ”remorse“. In addition, when ”New Youth“ recalled ”May 4th Movement,“ they did not give a high rating to ”Shuang Spring Opera.“ Many of the witnesses of the May Fourth Movement did not talk much about the literary revolution This matter. From the perspective of academic history, literary historians have essentially created a ”myth “ in their exaggeration of ”Shuang Spring ". This can be a new basis for retrospect of the May 4th literary revolution, and a reflection on the writing of modern literary history.