鲁迅作为20世纪中国最为重要的文学家、思想家、革命家之一，曾被毛泽东誉为“中国文化革命的主将”。鲁迅与左翼文化运动之间的关系在他生前身后被反复阐释，形成了“革命鲁迅”的研究范式。本文提出“革命的中间人”这一概念，用以概括鲁迅在1930年代中国革命中的政治位置。“革命的中间人”不仅强调鲁迅和左翼文化革命之间的关系，而且还将鲁迅视为1930年代政治文化中的媒介者。在先行研究的基础上，这一概念旨在进一步打开“革命鲁迅”的复杂性和多义性，以凸显鲁迅及其身后的20世纪中国革命所具有的开放性。随着“大革命”失败后的新一轮政治分化，鲁迅的位置也随之发生了改变。这不仅是鲁迅个人的文学、政治的选择，同时是1930年代中国社会、政党持续变迁的结果。1928年以来，鲁迅卷入了多场文学论争、政治谣言也如影随形，而论争和谣言的背后都有复杂的历史经纬。首先，由于城市革命的受挫，中共对“小资产阶级”和“文化工作”的认识在发生了转变。与政策的调整相对应的，是中共对鲁迅认识的变化，由此前的“灰色的智识阶级”而为“战士”。在此期间，鲁迅对中共的态度也发生了改变，从婉拒外围组织“互济会”，转而加入“左联”。在“左联”中，鲁迅以“横站”姿态激活了左翼文化运动的能动性，使中国共产党领导的左翼文化运动成为开放性的空间。其次，在“文艺自由论辩”中，鲁迅通过对苏俄文论的译介，揭穿胡秋原“自由的马克思主义”背后的政治企图；在与“第三种人”的论辩中，鲁迅警惕着文学专业化所形成的壁垒，通过对“无名作家”的提携，推动他们走上革命道路，构筑起革命的“中间带”；在“两个口号”论争中，鲁迅时刻警惕着革命阵营内部的松动。最后，1930年代鲁迅杂文和《故事新编》文学新形式的创造，与鲁迅在1930年代独特的政治位置相关联：从杂感到杂文，文体名目的变化隐含着鲁迅阶级意识的凸显。1934—1935年，鲁迅以儒道墨为题材重拾《故事新编》的创作。与此前厦门、广州时期《奔月》《铸剑》中的古史书写不同，《故事新编》后四篇的创作隐含了鲁迅对1930年代革命复杂性和艰巨性的理解。论文以上述三部分作为讨论基点，通过对历史个案的分析与文本细读相互结合的研究方法，意在考察和揭示1930年代鲁迅身处的复杂历史语境，以此来论证鲁迅“革命的中间人”的独特政治位置。
Lu Xun, as one of the most important literary figures, intellectuals, and revolutionaries in 20th-century China, was once hailed by Mao Zedong as the "commander-in-chief of the Chinese cultural revolution." The relationship between Lu Xun and the leftist cultural movement has been repeatedly interpreted before and after his lifetime, forming a research paradigm of "Revolutionary Lu Xun."（革命鲁迅）This article proposes the concept of the "The Revolutionary Mediator"（革命的中间人） to summarize Lu Xun‘s political position in the Chinese revolution of the 1930s."The Revolutionary Mediator" not only emphasizes the relationship between Lu Xun and the leftist cultural revolution but also regards Lu Xun as a mediator in the political culture of the 1930s. Building upon previous research on "Revolutionary Lu Xun," this concept further explores the complexity and ambiguity of "Revolutionary Lu Xun" to highlight the openness of Lu Xun and the 20th-century Chinese revolution that followed him.With the failure of the "Great Revolution"（大革命） leading to a new round of political polarization, Lu Xun‘s political position also accordingly changed.This change was not only a personal choice regarding his literary and political stance but also a result of the continuous changes in Chinese society and political parties during the 1930s.Since 1928, Lu Xun has been involved in numerous literary debates, and political rumors have followed him closely. Behind these debates and rumors lie complex historical contexts. Firstly, due to the setbacks in urban revolution, the Chinese Communist Party‘s understanding of the "petty bourgeoisie" and "cultural work" underwent a transformation. Corresponding to the policy adjustments, there was a change in the Chinese Communist Party‘s perception of Lu Xun, shifting from seeing him as part of the "gray intellectual class" to regarding him as a "soldier." During this period, Lu Xun‘s attitude towards the Chinese Communist Party also changed. He went from politely declining peripheral organizations like the "Mutual Aid Society" to joining the "Chinese League of Left-Wing Writer"（中国左翼作家联盟）Within the "League," Lu Xun‘s ‘double-critical ’（横站）stance revitalized the proactive nature of the leftist cultural movement, making it an open space under the leadership of the Chinese Communist Party. Secondly, in the "Debate on Literary Freedom"（文艺自由论辩）, Lu Xun exposed the political intentions behind Hu Qiu Yuan‘s（胡秋原） "liberal Marxism" through his translation of Soviet literary theories. In his debates with the "Third type of person,"（第三种人） Lu Xun warned against the barriers formed by literary professionalism and, by supporting the anonymous writers, encouraged them to embark on the revolutionary path, thereby establishing a revolutionary "middle ground." In the "Debate on the Two Slogans,"（两个口号论争） Lu Xun remained vigilant of any internal weaknesses within the revolutionary camp. Finally, Lu Xun‘s creation of Zawen（杂文） and the new literary form in "Old Tales Retold" （故事新编）in the 1930s were also linked to his unique political position during that period: the shift from Zagan（杂感） thoughts to Zawen（杂文） and the change in literary genres implied the manifestation of Lu Xun‘s class consciousness. In 1934-1935, Lu Xun returned to writing "Old Tales Retold" using Confucianism, Taoism, and Mohism as themes, different from his earlier historical writings "Running to the Moon" （奔月）and "Casting the Sword"（铸剑） during his time in Xiamen and Guangzhou. The creation of the last four pieces of "Old Tales Retold" implied Lu Xun‘s understanding of the complexity and arduousness of the revolution in the 1930s.This paper, based on the above three parts as the discussion points, aims to examine and reveal the complex historical context in which Lu Xun found himself in the 1930s through the combined research method of analyzing historical cases and close textual reading. The goal is to demonstrate Lu Xun‘s unique political position as the "Revolutionary Mediator."
