【正文】 可想而 知。 其次，女性應(yīng)在婚戀中適度重視經(jīng)濟(jì)基礎(chǔ)。因?yàn)楫?dāng)女性能意識(shí)到 自己如果可以像男人一樣生產(chǎn)、勞動(dòng)、就業(yè)才有可能和男人一起為愛(ài)情和婚姻提供堅(jiān)實(shí)的基礎(chǔ)時(shí)，才會(huì)走出家庭，走向職場(chǎng)，和男性一起為承擔(dān)家庭的責(zé)任，減少子君式的婚戀悲劇的發(fā)生幾率，并由此獲得女性在社會(huì)上的各種權(quán)利。因?yàn)榕栽诮?jīng)濟(jì)上沒(méi)有獨(dú)立，女性根本就沒(méi)有地位，而是作為男性的附屬品。而對(duì)男性的依附，除了導(dǎo)致女性的被動(dòng)地位，導(dǎo)致女性在婚戀中自主權(quán)的喪失和自我意識(shí)的淪落。特別是通過(guò)對(duì)其悲劇產(chǎn)生根源的探討中，“人格獨(dú)立”“經(jīng)濟(jì)獨(dú)立”等，漸漸被當(dāng)代女性所接受，并成為當(dāng)下女性自我約束和追求解放的前提 條件。固然這場(chǎng)悲劇的產(chǎn) 生與封建禮教和子君和涓生他們各自的性格缺陷密切相關(guān)，但封建禮教和性格缺陷只是外因。這正好驗(yàn)證了魯迅在《娜拉走后怎樣》一文中寫(xiě)的那樣：“所以為了生計(jì)，娜拉，高雅地說(shuō)罷，錢，就是經(jīng)濟(jì)，是最要緊了?；蛟S我們會(huì)哀嘆老天對(duì)他們的不公。魯迅曾經(jīng)說(shuō)過(guò)“人類有個(gè)大缺點(diǎn)，就是經(jīng)常會(huì)饑餓”。因此在家庭陷入困境時(shí)，她從沒(méi)想過(guò)在走出家門(mén)之后，可以憑借自己的智慧和才能與愛(ài)人一起支撐整個(gè)家庭。 而子君，首先她是一個(gè)愛(ài)情至上主義者，她把愛(ài)情看成是人生的終極目標(biāo)，她天真地以為成功的“同居”就獲得了一切。他錯(cuò)誤地把墜入困境的責(zé)任，全部歸咎于子君。愛(ài)情是一種責(zé)任，也是一種奉獻(xiàn)。而叛逆是“鐵屋子”的“ 倫理規(guī)范”和“仁義道德”所無(wú)法容忍的。在“鐵屋子”里，住著那些帶著道德的眼鏡的“德高望重”的封建衛(wèi)道士們，他們永遠(yuǎn)維護(hù)著諸如節(jié)烈、孝道等禮教精神。而對(duì)他們的悲劇緣由則有著太多的異議和爭(zhēng)辯。 通過(guò)再次認(rèn)識(shí)和審視《傷逝》中子君的愛(ài)情悲劇的原因，并以此為切入點(diǎn)，完成其現(xiàn)代視角下的悲劇解讀，并結(jié)合當(dāng)代女性婚戀觀和婦女解放這兩個(gè)命題進(jìn)行反思，對(duì)引發(fā) 當(dāng)代青年樹(shù)立正確婚戀觀以及引發(fā)其探索能夠走出婚戀困境的出路具有重要作用。該小說(shuō)是魯迅先生在跨越了痛心于“婚姻不自由”而抨擊封建主義的階段，勇敢地面對(duì)新的現(xiàn)實(shí)和人生，進(jìn)行新的題材選擇和創(chuàng)作構(gòu)思階段的成功之作?？梢?jiàn)，人格獨(dú)立 對(duì)當(dāng)代女性樹(shù)立正確婚戀觀以及引發(fā)其探索能夠走出婚戀困境的出路具有重要意義。但在婚戀已高度自由的背景下，越來(lái)越多的女性卻深陷另一個(gè)困境 —— 即側(cè)重經(jīng)濟(jì)因素的婚戀觀束縛女性婚戀并使之畸形發(fā)展。 1 從悲劇到悲劇 — 由《傷逝》子君的悲劇 反思當(dāng)代女性婚戀觀 中文摘要 女性的婚戀觀一直是我國(guó)社會(huì)普遍關(guān)注的問(wèn)題。從當(dāng)代社會(huì)看，當(dāng)代女性很少再受封建禮教的壓制，社會(huì)和經(jīng)濟(jì)地位也相應(yīng)提高，理應(yīng)會(huì)擺脫子君的愛(ài)情悲劇而得到幸福。 子君的悲劇和當(dāng)代女性的婚戀困境產(chǎn)生的實(shí)因都是 人格不獨(dú)立。 [關(guān)鍵詞 ]《傷逝》；愛(ài)情悲劇；經(jīng)濟(jì)因素；當(dāng)代女性婚戀觀；人格獨(dú)立 2 From Tragedy to Tragedythe Introspection of Contemporary Female Marriage by the Tragedy of Zijun in Gone Love Abstract The female marriage has always been the issue that appealed much concern of the society. It has bee the eternal issue of literature and, also the breach of women’ s liberation and the vegetative point of literature development. Works concerning the women’ s marriage arise ceaselessly, including some far— reaching productions such as The Gone Love by Lu Xun. Contemporary women rarely suppress by feudal ethical code in modern society as their social and economic status have been raised relatively. That means they ought to get rid of love tragedy to gain the happiness they deserve. Nowadays though under the condition of marriage highly freedom, more and more women up to the chin the other dilemmaview on love and marriage which particular empress on the economic factors fetter contemporary female marriage and go to deformed development. Seemingly, it has nothing concern about the tragedy of Zi jun, empress on economic factors actually turn out to be externalization of contemporary women who lack of dependency. Both two kinds of marriages share the same reason, which we can say they both tragedy. The reason to the tragedy of Zijun and the marriage dilemma of contemporary women are lack of dependency on their own characters. Thus it is clear that, character independency is very important for contemporary women building their proper view of marriage and triggering the way out from the marriage predicament. Independency is base of contemporary happy marriage and also the real outlet for women. While women who want to realize independent personality, she not only needs the selfconsciousness awakening, but also the concerns of the whole society. Key words: the Gone Love, love tragedy, economic factors, contemporary women’ s view of love and marriage, personality independence 3 前 言 《傷逝》是魯迅先生唯一一部以青年戀愛(ài)和婚姻為題材的作品。據(jù)此，《傷逝》成為學(xué)術(shù)界探討婚戀觀相關(guān)問(wèn)題的重要切入點(diǎn)。他們這一由浪漫