在鲁迅的“自由谈”杂文中，引语写作构成一种引人注目的现象，共时性的社会文本被大量摘引、甚至成为文章主体。通过对这一现象的探究，本文旨在论证鲁迅“自由谈”杂文的引语写作并非单纯的修辞手段，而是特定政治文化环境下的文艺战术。在“自由谈”杂文中，鲁迅先后采用了蒙太奇、寓言等多种手段，将引语写作发展为一种富含政治能量的文学实践。结合1930年代历史语境、并以德国批评家瓦尔特·本雅明（Walter Benjamin）的文艺生产论为参照，本文认为，鲁迅“自由谈”杂文的引语写作最终指向一种“生产者”的文学实践，这也进一步诠释出鲁迅杂文“文学性”的独特意涵。此外，通过生产者式的杂文创作，鲁迅更在教条之外重新拓展了中国革命的多重潜能，在诗学层面为革命何以落地指出一条可行的路径。

In Lu Xun's "Free Talk" essays, writing in quotations constitutes a striking phenomenon, in which a large number of synchronic social texts are quoted and even becoming the main body of the essays. By investigating this phenomenon, this paper aims to demonstrate that Quotation Writing in Lu Xun's "Free Talk" essays is not a mere rhetorical device, but a literary tactic in a specific political as well as cultural environment. In "Free Talk" essays, Lu Xun successively adopted various means, such as montage and allegory, to develop Quotation Writing into a literary practice rich in political energy. Taking the historical context of the 1930s and the Art Production Theory of German critic Walter Benjamin as reference, this paper argues that Quotation Writing in Lu Xun's "Free Talk" essays ultimately points to a literary practice of the "producer", which also further explains the unique meaning of the literary nature of Lu Xun's essays. In addition, through his producer-like essay writing, Lu Xun re-expanded the multiple potentials of the Chinese revolution beyond dogma, which also pointed out a feasible path for the revolution to land on the poetical level.