魯迅「鐵屋子」之思想反映了中國近代的民族特質和國族處境，但同時「鐵屋子」的敘事結構：作家於小說中所設置的「凌遲」和「救贖」，更讓小說人物身歷其境，擺盪在救贖和失落之間。而本文關注長期以來，魯迅研究中被忽略的聲音敘事，以及隱身於字詞背後的意象。爬梳魯迅小說中所布置的諸多聲響，那些聲音彷彿為作家靈活使用的道具／刑具，擁有嫁接作品內部天堂和地獄之功能。這些聲響：有的尖聲嘶吼，有的細細碎語；有些宛如揮之不去的魔音，有些仿若謐靜大地中沉默嘆息，影響故事人物、情節發展、氛圍節奏。本文將經由文本細讀，逐步挖掘「聲音」如何在小說中發揮效果，甚至執行作家意志，於平面文字中彰顯作家、人物間的詮釋歷程。

Lu Xun’s thought in “Iron House” reflected the national characteristics and situation of modern China, and in the narrative structure of “Iron House”, the “body dismembering” and “redemption” set by the writer in this novel made the characters personally experience the situation and swing between redemption and loss. This article focuses on the long-neglected sound
narratives in the research on Lu Xun, and the images behind the words. In the study of the various sounds arranged in Lu Xun's novels, these sounds are like props/instruments of torture used flexibly by the writer, with the function of connecting heaven and hell in the work. Among these sounds, some are screams, some are squeaky words, some are like lingering magical sounds, and some resemble sighs of silence from the quiet earth that affect the characters, plots, atmosphere and tempo. Through text reading in detail, this article will gradually explore how the “sounds” exert their effects in the novel and even execute the will of the writer, and demonstrate the mental path between the writer and the character in the plane text.