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红色骑兵军的读后感10篇

2018-02-13 20:44:02 来源:文章吧 阅读:载入中…

红色骑兵军的读后感10篇

  《红色骑兵军》是一本由[俄] 伊萨克·巴别尔著作,浙江文艺出版社出版的精装图书,本书定价:24.00元,页数:213,文章吧小编精心整理的一些读者的读后感,希望对大家能有帮助

  《红色骑兵军》读后感(一):太阳月亮

  你叫巴别尔。

  当我还被包裹在陀思妥耶夫斯基寒冷而阴郁的灵魂中时,你灼烧了我。

  你试图给俄罗斯文学注入太阳般的光热,光热的源泉在于其生命力生命力的源泉在于那流淌的鲜血,无关宗教,无关主义,鲜血的赤红与太阳同一种颜色

  所以你喜欢描写太阳。《骑兵军》开篇《泅渡兹勃鲁契河》:橙黄色的太阳浮游天际,活像一颗被砍下的头颅,云峰中闪耀着柔和的夕晖,落霞好似一面面军旗,在我们头顶猎猎飘拂。

  太阳象征着你的理想。理想中本来洋溢着美感诗意,但却惨遭践踏与蹂躏,随之而来残酷悲伤。残酷渗入了傍晚的丝丝红霞中,而你的悲伤化作露水暴露在夜晚清冷的月光下。

  于是你也喜欢描写月亮。《波兰士兵像》用文字勾勒道:无家可归的月亮在城里徘徊。我陪着它走,藉以温暖我心中难以实现的理想和不合时宜的歌曲

  月亮象征着你的自我。看,无家可归,四处徘徊。

  月亮靠太阳才能发光。本是月亮,却深深爱着太阳,并且渴望自己变成太阳。你的深爱让你充满力量投入战斗。每到夜晚,来源于深层自我的恐惧折磨着你——你想要变成太阳吗,是不是在害怕过会被那野蛮原始的光与热烧成灰烬。最终你死在了你崇拜而又畏惧的太阳的杀戮之下。

  哥萨克折磨你的灵魂,俄罗斯抹杀你的肉体

  每一个俄罗斯作家都无法逃离那追求自由主义的灵魂,你也不例外

  反对国家组织,英勇地追求绝对自由真理,这就是纯粹的俄罗斯灵魂。你像害怕污秽一般害怕着政权,你在日记中说:人和灵魂都被杀了。之后血流了一地,赤红中的杀戮随着时间慢慢被蒸发而消失不见,只有那亘古不变的民族忧伤凝固成了淡淡的诗意。

  所以《盐》像诗一样美:我要承认,我把这个女公民扔下了飞驰的列车,可她却像铁打的一样,坐了一会儿,拍了拍裙子,又去走她那条卑劣的路。我看到这个女人居然平安无事,看到她四周满目疮痍的俄罗斯、颗粒无收的农田和遭到凌辱的姑娘,看到那么多的同志杀奔前线,生还的却寥寥无几,我想跳下车去或者自杀,或者把她杀死。可哥萨克们舍不得我,劝我说:给她一枪。于是我从壁上拿下那把忠心耿耿的枪,从劳动者的土地上,从共和国的面容上洗去了这个耻辱。为此,我们二排全体战士,向您,亲爱的主编同志,向你们,编辑部全体同志,鞠躬致意,你们对待一切叛徒绝不可心慈手软,因为他们要把我们推入泥潭,使河水倒流,使俄罗斯死尸枕藉,荒草遍野。

  你看看哥萨克们,他们把你抬高到了共和国劳动人民母亲地位——你一定在为哥萨克战士们的美好品质感动。可你,他们却没有碰一下,尽管你是个坏心肠的女人,操了你也活该。再看看俄罗斯,遍体鳞伤——那一刻没有暴力、血腥和性,所以最后笼罩全篇的也只剩下与之相称的永远也无法释怀的忧伤。那个女人说,亲爱的哥萨克弟兄们,原谅我,骗人的不是我,骗人的是我遭的灾难——没错,其根源是俄罗斯在被战争所摧残,这是你心中最隐秘的疼痛

  所以你怀着这份疼痛去进行自我探索,但又不断在痛苦矛盾挣扎,然后你的人格慢慢分裂。

  这种人格分裂暴露于《我的第一只鹅》。

  当你目睹哥萨克双手沾满犹太人的鲜血时,你就想冲破自我的桎梏,变成另一个哥萨克。

  你已经洞悉激情暴力比理智节制更接近于生命的本质,虽然这些生命最后也只能化为幽灵游荡在顿河边上。你并不迷恋于俄罗斯的朝露、静夜、大雾、暗路,你第一次让大家窥探到了太阳。你在祈求自颅的己能平静地杀人,直面那像一颗被砍落的头的太阳。

  你笔下的哥萨克是一群血淋淋的“有纪律的野兽”。他们无法无天胡作非为——抢劫民宅、捣毁教堂、折磨逃兵、滥杀俘虏、把女人当成泄欲的工具,但个个浑身是胆、永不服输、视死如归一诺千金,对战马有深情,对战友有大爱。所以你深爱他们,你作为一个知识分子也融入了那半人半兽的狂野哥萨克之中。

  你为你同类的命运悲伤,但却悄悄向往成为他们的天敌,你以此来探寻你的俄罗斯灵魂。

  你一边探寻一边簌簌发抖,你为哥萨克在经过千百次厮杀与牺牲之后对人类感情都变得默然迟钝而簌簌发抖。所以你只是白描,不解释不评判不弄懂。

  《家书》里,做白军的爹把大儿子费奥多尔一刀一刀给割了,当红军的小儿子谢苗抓到他爹,然后再给她妈妈的信中写到:爹,落到我手里好受吗?不好受,爹说,我要遭罪了。于是谢苗问他,那么费奥多尔呢,他落到您手里,叫您一刀刀宰割,他好受吗?不好受,爹说,费奥多尔遭殃了。于是谢苗问他,爹,您想过没有,您也会遭殃的?没有,爹说,我没想到我会遭殃。于是谢苗转过身子对着大家,说,可我想到,要是我落到爹手里,您决不会饶我。现在,爹,我们就来结果您的性命

  你自己不评论,难道就安心了吗。你也是站在平民百姓历史神话中间不可逾越的高墙前无法行进。所以你才借你笔下的人物说道,波兰人也开枪,因为它们是反革命,你们开枪因为你们是革命。然后革命是要让天下快活,既然要让天下人快活,就不该让家里有孤儿寡母。好人是办好事的,革命应该是好人办的好事。然而好人是不杀人的,可见闹革命的是恶人。波兰人也是恶人,谁又能告诉我革命和反革命的区别何在?我们有学问的人都扑倒在地,高呼我们在遭难,让我们过上好日子的革命在哪里。你甚至为蜜蜂伤心欲泪,它们毁于敌我双方军队,在沃伦地区蜜蜂绝迹了。美好的生活被埋葬了,战争换回了什么呢。

  你怀疑遥远的革命的理想,却依然为它鞠躬尽瘁。你希望你自栖于日或月,但终究你只能站在苍茫的俄罗斯大地上眺望太阳与月亮,坚守着那永远深处煎熬的俄罗斯灵魂。

  ————————————

  这是被老师逼出来的作业【捶地】

  《红色骑兵军》读后感(二):他娓娓道来,读者锥心泣血

  这是第一次读巴别尔的小说。是前所未有阅读体验

  第一篇的结尾,那一句“你们到哪儿去找像我爹这样的父亲”极为震撼!犹太女人眼见自己的父亲无端丧命,这是她绝望愤怒的“天问”。但是,我觉得这不仅是在亲人死於非命时的哀嚎,所有失去亲人的人都会有此一问!

  巴别尔总是用冷静缓慢不动声色的语调去讲述一个残酷的故事,他娓娓道来,读者锥心泣血!让我想起早期的余华。

  他写景的功力让我叹服,意象选取像个诗人角度想象力与众不同。一向不喜欢读景物描写,认为太矫情。但是巴别尔不同,读不够

  《红色骑兵军》读后感(三):Beauty in Contradictions

  Many people cannot answer the question with a certain name: who is your favorite author, but I have one, which is Jorge Luis Borges. He once remarked the < Salt > saying that ‘it enjoys a glory seemingly reserved for poems, and rarely attained by prose: many people know it by heart.’ That was the first time I got to know Isaac Babel and this remarkable piece of work.

  Isaac Babel was a great Russian writer in the Silver Era (Серебряный век), but different from some other well-known Russian authors like Анна Андреевна Ахматова and Сергей Александрович Есенин, he remained unknown until 1970s, almost half a century after he had written masterworks.

  To understand his works, we must know what did Babel experienced and why he wrote. He lived in an era when historical pressure and struggle burst out, and in a country that suffered from the pain of losing direction. The first feature of Babel is his dual identity being both a Jewish and a Russian. Babel was an intersection of wealthy, civilized and European West and the poor, violent and Slavic Russia, so he was puzzled over self-recognition. This dual identity and confusion largely influenced his works. Another feature of Babel was his special experience in his early years. He had an encounter with Gorky, and he told Babel to ‘go to the earth.’ And it worked. Babel went to army as a journalist with the Russian cavalry, and took part in the last big bloody cavalry battle in human history. It sparkled Babel, and stimulate the inter inspirations. Come back from the battlefield after seven years, he started to write the < Red Cavalry >. He observed the tears and smiles, trophies and losses, cruelty and humanity in Poland, and he knew more about Cossacks than anyone did. Also, the vivid observation and mixed understanding of Cossacks and wars appeared in his works. The third feature I want to mention is his writing style. Hemingway who is regarded as the symbol of Minimalism praised Babel for his even more concise wording than himself. This acclaim shows that Babel deliberately chose every word, and tries to use the least word to tell a comprehensive story. This style does not only demonstrate Babel’s excellent writing skills, but also manages to leave the space for readers to think and digest the content and theme of the writing, which gives readers more flexibility and creativity. Simplicity does not equal to coarseness, on the contrary, Babel is able to construct every single character and plot perfectly.

  lt; Salt > is told as a report, which a soldier of the cavalry Balmashov wrote to his comrade editor. Using a partial exposure strategy, Babel can better illustrate his opinions. Generally, a God perspective is more subjective and the first narrative is more objective, and in this story, an objective tongue made Balmashov more complex. Babel chose such a form to hide one side of the story, because we cannot know what the woman thought and what were her concerns, but only listen to the story from Balmashov. However, different from other first perspective articles, because this one was written as a report, what Balmashov said was completely true, and he did think and act that way. Thus this perspective makes the story sarcastic, and Babel insisted using the way of listing the facts and leaving the space to the readers to think and judge to write.

  almashov at first wanted to help the woman, because she carried a baby with her, more importantly, Balmashov knew that the reason why those women were so miserable was because of the war and the lack of men at home. When he saw the women with a baby, he arose empathy and decided to help her. That’s why Balmashov even told other soldiers not to harass her and made his effort to protect her as much as possible. Balmashov now had humanity, for he understood the cause of the problem and he would choose to correct the fault using his own power. And he to some extent put himself with the same position with the woman as they both were involved in the war and suffered from the war. But then after he realized that he was cheated by the woman, he turned out to be an evil. He was extremely irateted, and didn’t listen to the woman. He loathed the woman for utilizing his goodness, but more importantly, he thought their position was opposite down. Cossacks, when they went for the war, they bear the responsibility of saving the nation, therefore in the deep of their hearts, they had higher social status than normal people. Balmashov, and perhaps all the Cossacks, could not tolerant the fact that they were fooled or used by a woman, by an ‘ordinary citizen’. Balmashov finally shot the woman without any guilty, because he saw this as a protection of revolution and justice.

  From the change of Balmashov, we can see that cavalry as revolutionist had double features. They were brave and enthusiastic about the war and the revolution. Also, they were disciplined as soldiers and passionate as fighters. That was the reason why they could not tolerant any mistakes and accidents, and why they deadly wanted to execute the woman. Actually, Babel and Borges thought highly of this characteristic, for they lived in the age of lacking such touching and warm characteristic in society, and they regarded cavalry soldiers as devastators of the old and outworn social order. But on the other hand, soldiers only had limited knowledge of revolution and even politics, and they didn’t believe in Communism or Marxism. They joined the war, simply because they loved their nation, so they were easily used by politicians as political tools. They were cool-blooded, crazy and aberrant in the battlefield, and they believed that killing and cruelty were necessary parts of war, and killing and cruelty are revolution itself. Here we have to mention Cossacks, this special group in Babel’s articles. They were the nomads in Siberia, and in a long time, they were almost ignored or looked down upon by the government. But due to the lifestyle and history, they were preposterous and bellicose, and patriotic. This feature added to the result that Cossacks just fought without asking reasons.

  ow let see the character of the woman. From the action that she decided to carry a bag of salt to sell in order to feed her family when her husband left home, and to lie to the soldiers at the risk of being beaten or killed we can see that this woman was very independent and bold. She didn’t want to bend herself to the reality, but she preferred to fight. Thus she was not terrified when her lie was discovered by Balmashov, and she explained for herself but not just begging for forgiveness. She had complaints but had nowhere to release; she had miseries, but had no one to turn to. The country didn’t provide any chances for women like her to pursue a better life and even survival. So when we observed the bravery and independence of the woman, we could also see the mercilessness of the war and inaction of the government. She didn’t choose to be like this, or naturally became like this, instead, she was forced by the life. However, it was not the end of their tragedy, they were even harmed by the hope-givers-----the soldiers. They were raped and killed, just because they had lower status, they didn’t have capacity to fight against, and their lives were worthless.

  Why Babel wrote them and how come could be write so well? Firstly, Babel read a lot, experienced a lot, knew a lot, he deeply understood and even watched the war in person. Those elegant writers didn’t undergo wars, but those weathered warriors didn’t start to write. Only Babel knew the complicity of wars and Cossacks, knew what the country was facing, and knew what were the tangible harms of wars. He wrote this story aiming to express his stance of anti-war. He wrote for the soldiers, as they didn’t know what they were fighting for, for they didn’t get the essence of revolution. They were conducting shortsighted revolutions that were doomed to harm everyone. He wrote for women who represented those influenced and traumatized by wars, as they were innocent and powerless, but they had to suffer. He also wrote for the nation, as he questioned the justification of wars and revolution, and doubted the means adopted by the leadership. Wars were neither not soldiers’ fault, nor any other individual’s, but the time’s. The history mixed humanity and beastliness together, and Babel exhibited them on the papers. Babel inserted himself in his writings but hid himself well. He managed to convey what he saw to his readers during the lines, but he didn’t want to manipulate people’s ideas.

  econdly, he wrote in this way on the grounds of his dual identity. His works were full of contrasts, contradictions, conflicts, and paradoxes, because he swung from recognition and differentiation, acceptance and rejection, yearning and escape. Babel liked to write on themes that were contradictory, such as the struggle of violence and humanity, civilization and cruelty, and set plots that involve both darkness and brightness. For instance, his partially appreciation of Cossacks, but also strong criticism of them reflected his lost of Jewish identity. It was also due to his real engagement of the frontier. This kind of writing is able to evoke reader’s interests and motivate readers to think, because we cannot simply accept such an ‘awkward’ article, to understand it we need to ponder.

  abel’s ending was tragic, and just because of his political stance, he was cleansed by the Russian authority. His last request was to finish his works. He was not so famous for a long time for everyone-knows reasons, but we will not miss him. When we read him, he is alive.

  Reference:

  《天数使然,可遇而不可求——读《骑兵军》随感》,韩少功

  《徘徊在血性与人性之间——析巴别尔《骑兵军》中哥萨克的形象与情结》,程顺溪

  《伊萨克巴别尔的悔恨》,曾圆

  《多声部的狂欢——关于巴别尔的对话》,李庆西,王天兵

  《红色骑兵军》读后感(四):巴别尔的闪电风格

  在世界文学史上,仅凭一两部短篇小说集便跻身叙事大师的小说家很少,前有墨西哥的胡安•鲁尔福、美国的雷蒙德•卡佛、阿根廷的博尔赫斯,后有俄罗斯的伊萨克•巴别尔;在20世纪短篇小说领域里,用语简练的小说家很多,但是海明威似乎是无法逾越的巅峰,而唯有伊萨克•巴别尔能与之比肩。

  巴别尔的风格是如此与众不同。我们知道20世纪俄罗斯文学人才辈出,但是90%以上的小说家都看重宏大叙事,情节铺陈令人眼花缭乱。以陀思妥耶夫斯基、托尔斯泰、帕斯捷尔纳克为代表的严肃文学作品很好地说明了这一点。拿托尔斯泰的《战争与和平》与《安娜•卡列尼娜》来说,老先生写得确实不错,但是冗长处令人不胜其烦哪。巴别尔的这本《红色骑兵军》脱离了俄罗斯以往文学的传统,它的文字章法简练到的极致,描写技巧快如闪电别具一格。例如:

  “我们四周的田野里,盛开着紫红色的罂粟花,下午的熏风拂弄着日见黄熟的黑麦,而荞麦则宛若处子,伫立天陲,像是远方修道院的粉墙。静静的沃伦逶迤西行,离开我们,朝白桦林珍珠般亮闪闪的雾霭而去,随后又爬上野花似锦的山冈,将困乏的双手胡乱地伸进啤酒草的草丛。橙黄色的太阳浮游天际,活像一颗被砍下的头颅,云缝中闪耀着柔和的夕晖,落霞好似一面面军旗,在我们头顶猎猎飘拂。在傍晚的凉意中,昨天血战的腥味和死马的尸臭滴滴答答地落下来。《泅渡兹勃鲁契河》

  “那畜生将它一只又大又黑的暴眼球忧伤地盯着他,不由得将他红彤彤的手掌上的一道无形的命令咽下了肚去。这匹浑身乏力的马顿时感觉到了由这个灰白唇髭、神采飞扬、英姿勃勃的罗密欧身上传来的神力。”《战马后备处主任》

  “潘•阿波廖克美不胜收、充满智慧的生活,好似陈年佳酿令我醉倒。在诺沃格拉德-沃伦斯克,在这座仓促攻陷的城市内东倒西歪的断垣残壁间,命运将一部遁世的福音书扔到了我脚下,我发誓要以潘•阿波廖克为楷模,把像蜜一样甜的想像中的仇恨,对于像猪狗一样的人的痛心的蔑视,默默的、快慰的复仇之火,奉献给我新的誓愿。”《潘•阿波廖克》

  “此时,成了一片焦土的城市——断柱像凶悍的老虔婆抠到地里的小手指——我觉得正在向天上升去,显得那么舒适、飘逸,好似在梦境之中。月色如洗,以其无穷无尽的力量,向城市注泻。废墟上长了一层湿漉漉的霉菌,煞像剧院长椅的大理石椅面。我渴盼着罗密欧,那光滑如缎子的罗密欧,歌唱着爱情,从云朵后面出来,但愿此刻在侧幕后面,无精打采的灯光师已把手指按到月亮的开关上了。”《意大利的太阳》

  “哥萨克们像相互尊重的庄户人那样斯斯文文地吃着晚饭,我用砂子擦净马刀,走到大门外,又回到院场里,心里十分痛苦。月亮像个廉价的耳环,挂在院场的上空。”《我的第一只鹅》

  “言归正传,我就这样当上了牛倌儿,母牛从四面八方把我团团围住,将我劈头盖脑地浸在牛奶里,我浑身上下就像切开了的奶子,一股奶腥味,闹得那些个小公牛,灰毛的小公牛,成天围着我打转,想干那事儿。我四周是自由自在的旷野,风把草吹得飕飕地响,头顶上的天空远远地伸展开去,活像是拉了开来的多键盘的手风琴,弟兄们,斯塔夫罗波尔省的天空可蓝着哩。”《马特韦•罗季奥内奇•巴甫利钦柯传略》

  《红色骑兵军》是20世纪短篇小说中的高峰和典范,它的风格化强烈到几乎不可被模仿和借鉴的程度。它涉及到的主题,小到苏联革命时期的战争动荡和内部纷争,中到文化、宗教和种族冲突,大到对人类的基本价值的怀疑和确认、对生命和死亡的意义以及宗教的探询等等,有着多重的主题。而这多重的主题在一个薄薄的集子中就完美地体现了出来,实在是前无古人,至于有没有后来者,现在都很难说。

  伊萨克•巴别尔形成了如此独特的风格,肯定和他在战争生活中的磨砺有关,是战场见闻和记者的身份,使他逐渐确立了自己的写作风格。他认为,自己作品的语言应该“像战况公报或者银行支票一样准确无误”,于是,就形成了他简洁、洗练、迅速、省略、空白和闪电般干脆的叙述风格。他往往只需要用几个词,就描绘出别人用一整页才可以说清楚的东西,用几页,就写出了别的作家可能要用一本书才可以完成的东西。在这里,我把普鲁斯特拿来和他做一个对比。在普鲁斯特的笔下,回忆那些过往的生活细节,可以像连绵流淌的河流那样无穷无尽,是一卷长河;在伊萨克•巴别尔的笔下,则是快速的素描。一个是善于留白的精巧的卓越匠人,而另外一个,则是精心镌刻花边艺术的大师。

  这部小说是在特殊的历史情境中产生的。它的特殊性就在于,残酷的战争既泯灭了人性,又使人性不断迸发出强烈的光辉。就是这些复杂的、两难的、极端的、正和反的人性表现,使得小说具有了相当的深度和表现力度。小说的容量极大,巴别尔通过《红色骑兵军》,描绘了革命的艰难程度、人性的复杂程度和战斗的残酷程度都是最深刻的。几乎在书中的每一页,战争的残酷和死亡、血和尸体都出现了,但是,与此同时,你也可以在每一页中看到优美的景色、淳朴的战士、人性的光辉和勇敢的行动。这些反差强烈的对比性,在本书中比比皆是,因此,造就了这部小说的奇特效果,它如同味道浓郁的一个大餐盘,或者是一个色彩艳丽的画家的调色盘,在同一个时空里,将所有能够震动你的东西全部呈现在你的眼前,构造了一个绚丽的小说世界。

  《红色骑兵军》读后感(五):那些铭刻在记忆中的片段——读《红色骑兵军》有感

  《红色骑兵军》,作者伊萨克•巴别尔,写于二十世纪初,以士兵柳科夫的视角,拼凑出了一幅幅推测为苏波战争时期的或残酷或有乐的画面。借助主角柳科夫的目光和思想,我们看到了残酷战争中的战士、指挥者的姿容,领略到了那遥远年代的风景,感受到了在战争的夹缝中凄惨麻木的鲜活生命。作者用极富联想力的情景描绘,准确的语言,将笔下的场景、人物衬托的纤毫毕现,在字里行间熠熠发光。这就是写于遥远时代的本书之所以在这个时代依然闪光,被无数名人推荐的原因吧。我想,每个仔细读过本书的朋友,都能在阅读的过程中,忘掉目下的一切,完全沉浸在那个遥远的年代,和柳科夫一起,经历那些血肉横飞的片段,凝望那个年代真实存在过的风景。

  我并没有说谎和夸大。作者的高明之处在于,用充满想象力和精妙的文字制作出了一只看不见的气球,牵着读者的眼睛飞到了柳科夫的身边,看到了柳科夫看到的一切。柳科夫的眼睛就成了读者的眼睛,柳科夫的感受就道出了读者的心。作者不吝笔墨的大篇幅铺陈,让笔下的柳科夫看得到月夜的美丽,听得到他人的悲鸣,感受得到发生着的苦难。同柳科夫一道,读者也看到了冰冷的湖面与月光,晒干的带着香的松软干草垛,被战争拨弄来拨弄去的人们,以及那些可以预见到的死亡或风雨飘摇的未来。

  好的作品,一定是语言精妙的同时让人时刻共鸣。很多不错的作品,或是语言描绘的精彩妙绝,或是命运跌宕的牵动人心。但一部作品能够成为经典,除语言、情节之外,更重要的是读者对书本人物的感同身受。我想,空有语言描绘和故事设计,不足以成为经典。经典,尤其是西方文学作品中的经典,很多都是作者借书中人物的口和心,大篇幅的,道出了让读者无比认同的感受。本书,作为一部仅有三百页的片段式的短篇小说集,能经久不衰并助推作者一跃成为大师,正是因为作者除熟练使用语言之外,还大篇幅的道出了柳科夫的感受,让读者那尽情流淌的感受与之一道,奔涌着汇入了灵魂的大河。

  “生与死、残忍与善良、月亮与人头就这样平静地共处着,没有夸张,没有煽情,连一点惊异都没有。”我想,能够偶尔这样抽离出来,也是不错吧。

  《红色骑兵军》读后感(六):他拥有无与伦比的美丽的句子

  一开始,我把它和《不灭的月亮的故事》弄混了。它们同是来自俄罗斯,同是20年代人,《不灭的月亮的故事》有狂欢式的激情,可是这本书拥有花纹繁复的装帧,白色的腰封在下方形成了精美的平衡,“他的小说像盐一样平凡而珍贵”,我又为什么不买呢?

  伊萨克·巴别尔有着完美的名字,他的语言更让我惊骇。我从未见过那么美的句子,平静又悠然,却能让人在读完后弹跳起来,就好像手上捧着的是一团火,一颗淬火的宝石。这怎么可能是一个俄罗斯大兵写出来的东西?他果然还是一个诗人吧,正如他书里那个戴着眼镜、没有学会杀人的“我”。博尔赫斯珍爱它,博尔赫斯的句子在篇末燃起火焰,巴别尔则在写景时爆出火花。他用优雅又摇曳的节奏,出人意料的形容词,组成精准又抽象的句子。真是美得要死。他果然死了,为了他那些美得过分的句子,被一颗子弹贯穿了脑门。形容已经词穷,摘抄没有意义。是的,当热雨降落,死亡与音乐并置,星星蹒跚地在黑潭中前行,他拥有无与伦比的美丽的句子。

  《红色骑兵军》读后感(七):读伊萨克•巴别尔《红色骑兵军》

  严格来说,巴别尔的《红色骑兵军》并非一部短篇小说集,而是叙事散文集。在这里,有头有尾的故事仅占半数,简洁紧凑的叙述往往用于表现场景和行动,如同一系列速写,寥寥几笔勾勒出战争背景下的生活和人性,其形象之生动独特、笔触之冷峻老辣、内容之恣肆酷烈,均令人过目难忘……

  全书共三十六篇,是个可以分割独立的松散整体,它以苏联入侵波兰的战争过程为基本线索,通过灵活多变的小说形式,描写一系列非常独特的经历与见闻,为文学长廊增添了不可忽视的画卷。

  叙述者置身于战争中,他的言行思想始终保持着军旅状态,因此,当我们打开书籍,进入正文时,既找不到背景介绍,也看不到情节铺垫,只有一个个小作品即兴展开,犹如随军记录般,人物、地名、战事报告纷至沓来,甚至连叙述者是谁、这场战争是怎么回事,都没有预先交代。

  这给理解作品带来了一定的困难。特别是在对巴别尔及其作品一无所知的情况下,我们会感到这些篇章过于凝练和直接,虽然那些场景与行动令人如同亲睹,但却总嫌其贴得太近,让人既看不清背景,也弄不懂涵义,只隐隐约约体会到某些酷烈、狂放、挟杂着战争的野蛮与残忍、有点疯疯癫癫的奇异感觉。

  不过,千万不要就此止步,或者选读几篇敷衍了事。巴别尔值得你付出更多的脑力。即便没有那些花哨的腰封和广告语,没有插图全译本的噱头,你也完全应该相信,自己拿着的是一本不可多得的小说集,一部堪称伟大的叙事作品。

  应该把《红色骑兵军》看作一幅色彩斑斓、内容繁杂的壁画。它没有连贯的情节,没有确凿的主旨,尽管其基调、风格与故事背景是统一的,但各个篇章均自有旨趣,它们或是纪事,或是写人,或是描摹风情世态,或是转述异事奇闻,各以其独立的内涵,镶嵌于整体格局之中,展现着战争生活的各个侧面。

  因此,若想仅凭其中某些特出拔萃的篇章,来断言巴别尔创作意图之所在,就必定会导致对作品整体的生硬概括和明显曲解。这是个开放式的、速写式的、尚有不少留白的作品集,只要巴别尔愿意,他还能往里头添加篇章……

  这些短小的作品,个性鲜明,手法多变,语气冷静干脆,对话栩栩如生,叙述结构精心设计。你只要读过一遍,就不会再把它们与别人的作品等同视之。你会忍不住读第二遍、第三遍,为的是反复感受那专属于巴别尔的调子。他的调子美极了,既冷峻又优美,有时突然迸发出异样的华彩,有时又平静透明得如同玻璃,有时色调浓艳,形象诡谲,情感勃荡,如同散文诗,有时又通篇白描,洗练、客观、纯粹记事,如同战地写生……

  让我尝试着来谈谈这些作品吧。

  我把这些作品分成两大类:叙事类和非叙事类。前者接近于传统的短篇小说,情节明确,有开头、发展和结尾,较为完整地表现一段生活和一个事件的始末,这类作品较容易得到读者的喜欢;后者,即非叙事类,则多是纪实写生,以战事进展为依托,或是写风土见闻,或是作人物肖像,或是记录一系列场景,虽然内容连贯,但没有情节性,因此这类作品容易让读者感到困惑。

  叙事类共有十九篇,这十九篇可谓多姿多彩,按其叙述手法又可分为四小类:

  第一类是“经典叙述”,即叙述者摆脱自身视角的限制,通过想象和追述,从全知全能的角度来表现故事内容。它们是《潘•阿波廖克》、《萨什卡•基督》、《普里绍帕》、《一匹马的故事》、《两个叫伊凡的人》、《寡妇》等六篇。在这些作品里,叙述者只在开头或结尾处短暂出现,点明一下他是怎么知道这些事情的,其余部分则完全用来表现故事本身,有介绍,有评论,有刻画,有渲染,角色还有自己的视角和感受,最接近于十九世纪经典小说的样式。

  第二类是“主观叙述”,即故事叙述者直接与作者等同为一,人物复杂的内心活动从叙述语气和辞句中表露出来,读者要将自己“代入”到那个叙述着的“我”中去,才能领会他所讲的一切。这类作品有《我的第一只鹅》、《多尔古绍夫之死》、《骑兵连长特隆诺夫》、《战斗之后》、《千里马》、《吻》等六篇。由于它们都触及到了叙述者的内心世界,间接表现出“我”那人性未泯、饱受折磨、渴望友善和爱情、尊重生命的禀质,所以最容易被读者视为揭露全书主旨的关键作品。但是我觉得,巴别尔或许是把自身的某些特点给了安德烈•柳托夫这位“彼得堡大学法学副博士”,可他并没有把自己限定在一个“参军的知识分子”的角色上,其他作品足以证明这一点。柳托夫只不过是他的一个侧面,一个最接近于他素养和气质的侧面而已。

  第三类是“角色叙述”,即故事中人自己来讲述事件。这类作品有《家书》、《盐》、《叛变》、《马特韦•罗季奥内奇•巴甫利钦柯传略》、《政委康金》等五篇。其中前三篇是书信的形式,后两篇是口语的形式,它们揭示的是故事中人独特的经历见闻和精神感受,非常有冲击力,均属本书的精品。

  第四类较难介定,我勉强把它称为“主观纪实叙述”,即叙述者在场,严格按照自己的视角去表现内容,但同时又不涉及自身的存在,无论态度还是情感都付之阙如,纯粹为了讲个别人的故事而已。这类作品只有两篇:《阿弗尼卡•比达》和《契斯尼村》。

  这些作品,与非叙事类作品一起,共享着一个极其突出的特点:没有任何心理分析!人物的意识是封闭的,它只通过话语、态度和行动有限地表露出来。巴别尔选择从外部而不是从内部去塑造人物。他对心理分析和意识描写的摒弃做得非常彻底,完全是激进的姿态。

  因此在其笔下,人物性格好象特别外向、率性和暴烈,他们总是立刻去做他们想做的事情,总是立刻表现他们应该表现的态度,而在他们感到恐怖、痛苦、曲辱、愤怒、激动的时候,作者的笔触也不加停顿,或是故意留白,或是点到即止,或是干脆假借角色之口,用一通激烈的、语焉不详的感慨来代替。总之,他费尽心思避开“心理活动”这个容易导致行文冗长和疲沓的陷阱。他做得非常成功,堪称典范。

  由于取消了心理描写,刻画人物性格的重担,就落在了言谈对话上。巴别尔吸收了很多粗俗、形象、带有人物习性特征的语言,对话处理得简练利落,一句话就能带出环境氛围和人物个性,很有生活感,令人印象深刻。

  为使叙述更紧凑、简洁,巴别尔尽可能多地用“人物活动”来表现一切,不给抒情与议论留有余地,而且这“活动”也是只交代、不刻画。读者被放在局外人的位置,他要么得知人物已完成了一系列的行动,要么就是远远看着人物做完自己要做的事,他根本没机会去理解那个过程,更不必说参与到其中了。这就与传统的、经典的小说叙述拉开了距离,那种传统手法通常是要不断地吸引读者参与其中的。

  正因为很好地摒弃了心理描写、强化了言谈对白、抓住了“人物活动”,所以,巴别尔能使作品保持一种永远比读者反应要快的节奏。内容一个片段一个片段地飞速呈现,劈头盖脸,不加解释,你被它们拖着向前,这里头没有丰富细腻的感受,没有真切详实的场景,文风质朴瘦硬,犹如一大片浇筑好的水泥地,根本不容你在任何一个自然段上躺下休息,等你一直被拖到叙述终点后,这才有机会喘一口气, 然后说声:“哇,我得再来一遍!”

  有趣的是,在写景状物上,巴别尔却一反冷峻质朴的风格,大肆渲染,设色泼辣,譬喻奇谲,其特点有二:一是把静态的景物写成动态,二是喜欢把事物拟人化(或拟动物化)。就我个人感觉而言,似乎随着创作的发展,巴别尔在努力减少这类刻画,尽量让它们融入到全篇之中,而不是显眼地横亘在读者面前……

  至于非叙事类作品,共有十七篇,包括了见闻、纪事、人物肖像,它们并无特殊用意,仅是以艺术手法记录与刻画那些场景及人物而已,至于其中所蕴涵的意义,则自然由其所记述的内容可见。对犹太人的杀害,对教堂的破坏,被战火蹂躏过的城市,战争生活背后的休憩场景,以及值得关注的特殊人物,都是巴别尔想要用艺术加以捕捉的对象。

  这些非叙事类作品的艺术特点,与上述所言的叙事类作品是相同的,唯一的区别在于缺少情节和中心,仅以纪录与抒怀为主。

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