鲁迅的功利主义的启蒙文学观与传统的小说叙事艺术之间存在巨大反差甚至尖锐对立。《呐喊》《彷徨》的叙事实践主要是有针对性地改造中国旧小说的虚假的全知全能外视角和“大团圆”的故事中心结构:前者运用的是限制叙事原则,并以各有侧重的悲剧第一人称形式和喜剧第三人称形式构成小说叙事的“亲历性”和内视角;后者主要是以人物的性格、性情和命运为中心,围绕这个中心所展开的心理瞬间、生活断面的定格放大和极有层次性的断面组接或起承转合,构成“人性化”小说情节的基本结构形式。 There is a huge contrast or even sharp opposition between Lu Xun’s utilitarian enlightenment literature and traditional narrative art. The narrative practice of “shout” and “imitation” mainly aims to transform the false all-seeing and all-around external perspective of Chinese old novels and the center structure of the story of “happy reunion”: the former uses the principle of restricting narration and focuses on the tragedies The first person form and the third person form of comedy constitute the “experience” and internal perspective of the narrative of the novel. The latter mainly focuses on the character’s character, the temperament and the fate of the character. Very hierarchical cross-sectional group or articulation, constitute the “human” novels, the basic structure of the plot.