DOI: 10.15986/j.1008-7192.2019.01.012
在长篇小说《秦腔》中,贾平凹把对秦腔艺术、对乡村传统文化的眷恋与惋惜之情都寄托在了张引生、夏天智、白雪、牡丹这四个人物形象身上。无论是张引生的疯癫、夏天智的绝症,还是白雪的病态婚姻、牡丹先天畸形的身体,这些众生病相的喻意与蕴言五味杂陈,令人深思。作家通过对清风街上众生病相的叙写,显示了其对乡村传统文化处境及生路的焦虑与担忧。由身体疾病到精神病相,再到乡村传统文化的衰微,艺术地展现了在社会转型期,乡村人的精神困境和传统文化传承的艰难情状。
In the novel Qin Qiang, Jia Pingwa attaches his nostalgia and regret over the art of Shaanxi opera and the rural traditional culture on four characters, Zhang Yinsheng, Xia Tianzhi, Bai Xue, and Mu Dan. The madness of Zhang Yinsheng, the fatal illness of Xia Tianzhi, or the morbid marriage of Bai Xue and the congenital malformation of Mu Dan all metaphorize the pathology of the masses, which arouses mixed emotions and deep thought. Depicting the pathological people in the Qingfeng Street, the writer expresses his anxiety and concern about the current situation and the future of the rural traditional culture. From the physical illness to the mental disease and then to the decline of rural traditional culture, the novel reveals artistically the spiritual dilemmas of rural people and the difficult situation of traditional culture inheritance during the period of social transformation.
