Проблемы литератур Дальнего Востока. Часть 2

Литературы стран Дальнего Востока и ЮВА: прошлое и настоящее Issues of Far Eastern Literatures. Vol. 1. 2018 277 traditional forms. In this context the case of Lu Xun (1881–1936) in Chinese litera- ture and Muktibodh (1917–1964) in Hindi literature is a point to be discussed here. The most acclaimed short stories of Lu Xun are those that deal with non-real . In everyday usage, reality refers to the universe that exists independent of our thoughts. Dreams or delusions, which we experience when we are asleep or are otherwise not in full possession of our senses, are examples of the non-real 2 . The first entry of Lu Xun’s A Madman’s diary goes like this: “Tonight the moon is very bright. I have not seen it for over thirty years, so today when I saw it I felt in unusually high spirits. I begin to realize that during the past thirty-odd years I have been in the dark; but now I must be extremely careful. Otherwise why should the Zhaos’ dog have looked at me twice? I have reason for my fear” 3 . And the reason it elaborates in the rest of the diary is all non-real , i. e. a fear of being eaten: I too am a man, and they want to eat me! 4 It is a repetitive utterance throughout the diary. The fiction writer’s technique here is not simple: in portraying non-real in a real way or put it differently, real in non-real way — he puts the reader to oscillate in between and be suspicious about the reality perceived by the madman and the commentary of the narrator. Taking this diary from madman’s elder brother, narrator comments: I took the diary away, read it through, and found that he had suffered from a form of persecution complex 5 . The true story of Ah Q elaborates this point further — remember the final scene of the execution of Ah Q: “Help, help!” But Ah Q never uttered these words. All had turned black before his eyes, there was a buzzing in his ears , and he felt as if his whole body were being scattered like so much light dust 6 . Jeremy Tambling comments: “The text has required the narrator to say something that he cannot know (he can not know that Ah Q tried to say ‘Help’) and that impossibility sorts with another, that the reader is asked to enter the experience of a man who dies and is dead, becoming a body in pieces ( corps morcele ), the fantasy that the psychoanalyst Jacques Lacan (1900–1981) discusses, of being fragmented, perhaps torn to pieces. It is as though there can be an experience of being dead. Ah Q,whose attitude to his own body is not necessarily to see it as one thing, as unity has thought throughout his story of people being decapitated (the practice of Qing Dynasty),but being shot by a firing squad in even more effective as a way of a way of morcellating the body. In the description, it is as if the text is playing with the experience of bodily