James Poy Wong 黃培正

评「芦苇」的作品

芦苇君以鲁迅的尖刻，矛盾的清楚， 巴金的热情织成他的作品。 这作品充满着讥讽， 冷笑， 毒辣， 刻薄， 诅咒， 呻吟， 苦恼，无聊，孤零， 空虚， 绝望， 失望， 忧郁， 消沈， 堕落， 幻灭， 灰色 。 。 。 。 但是骨子里却强烈地反射着光明的追求， 幸福的努力， 快乐的渴望， 和自由的道路。

作者受了社会环境的涵养， 以其清醒的头脑， 尖锐的眼光， 而以一般青年特有的热情流出了他的作品。 这些针对社会的作品是值得我们重读而引作借镜。 时时刻刻警告着自己所走的路的。

固然， 在文学的艺术上， 作者只在两方面做工夫，而忽视了美的要素。 无疑的， 目前的社会是在严重的改革时代， 是文化的雷雨降临中。 但是也不应把“美” 看小了。 “美” 不是把人类的思想带上放荡沈沦的路， 而是使人更易与真理接触。 所以就在这个急需真的认识和善的介绍的大时代中， 也不可把美暂行放开。 这是芦苇君的弱点。

社会形成写实文学的需要， 可是说教式的作品不会获得良果的。 作者似乎很明白这一点。故此他把社会暴露在我们的面前， 把人类的渣泽写清楚。 好让读者自动地找出一条出路。 这条出路是不会引回到万恶的黑暗中。

从「六叔」到 「放弃」， 每个主题都很明显正确， 我无需特别指出。 先两篇是人物的描写 （「六叔」与 「严老哥」）后两篇却着重于事的叙述和思想的发挥 （「青年」 和 「放弃」）。 作者不曾离开过现实社会半步。 这是值得我们奖励的。 所描写出来的 「六叔」和 「严老哥」）虽然不是典型的独一人物， 但也是典型中的一个。 以这样短的短篇小说限制来说， 典型描写的成功已过半了。 「青年」的大部和 「放弃」的半部， 是典型的青年人的想法， 尤其是针对那些在两重环境长成的人。 这些思想一方面驱使着青年们由放弃而至沈沦。 一方面又驱使着另一些青年由煽动而疯狂。 所走的路虽然不同， 但是方向和目的地总是一样。

从芦苇君的作品中，我们可以看到人生的一面。 可以明了许多伪君子的名流人物。 可以认识所谓有为的青年， 像一只有力的手撕开恶人的和善假面具，像明镜一样反照出青年的憔悴面目。

我希望读者重读这些作品， 细心研究一下。 从这极黑暗的一面找出那存在的光明。 在这死的尸骸中看出新生的萌芽。 站在社会制度的废墟上努力建筑那新的楼台。

A Critique of Works by Lu Wei

Brother Lu Wei interlaced his works with Lu Xun's acuteness, Mao Dun’s clarity, and Ba Jin's enthusiasm. This work is full of sarcasm, sneer, viciousness, meanness, curses, groans, distress, world-weariness, loneliness, emptiness, despair, disappointment, melancholy, depression, depravation, disillusionment, and grayness . . . . But deep down, it strongly reflects the pursuit of light, the endeavor for happiness, the desire for joy, and the road to freedom.

Cultivated by the social environment, the author expressed and manifested his works with a clear mind, acute vision, and the unique enthusiasm of ordinary young people. These works targeting society are worthy of our rereading and use as reference. We should always warn ourselves of the path we are taking.

As a matter of course, in the art of literature, the author only works on two aspects and ignores the element of aesthetics. Undoubtedly, the current society is in an era of serious reform and amid the arrival of a cultural thunderstorm.

But "aesthetics" should not be underestimated. "Aesthetics" does not lead human thoughts to the path of debauchery and decadence, but makes it easier for people to connect to the truth. Therefore, in an era in which true understanding and instigation of kindness are urgently needed, aesthetics cannot be temporarily dismissed. This is Brother Lu Wei's weakness.

From "Sixth Uncle" to "Giving Up", every theme is lucid and corrective so I don't need to indicate anything in particular. The first two chapters are descriptions of characters ("Sixth Uncle" and "Old Brother Yan"), and the last two chapters focus on the narration of events and the development of thoughts ("Youth" and "Giving Up"). The author was never detached from social reality. This deserves our commendation. Although what "Sixth Uncle" and "Old Brother Yan" described are not typically unique characters, they are indeed one of the representative characters. Considering the limitations of such a short short story, the typical description is more than half successful. The majority of "Youth" and half of "Giving Up" are representative thoughts of young people, especially from those who grew up in two-sided environments. On the one hand, these thoughts drive young people from giving up to sinking; on the one hand, it drives other young people to become mad through incitement. Although the paths taken are different, the direction and destination are always the same.

From Brother Lu Wei’s works, we can see one side of life. You can understand and recognize many hypocritical celebrities. You can get to know the so-called promising young people, like a strong hand tearing off the evil person's mask of kindness and reflecting the haggard face of the youth like a bright mirror.

I hope readers will reread these works and study them meticulously to find and discover the light of existence from the darkest side. They will see the sprouts of new life in the dead corpses, and they will strive to build a new platform on the ruins of the social institution.