1919年初《新青年》雜誌上刊載了一篇俄國作家Sologub（梭羅古勃）的散文詩〈蠟燭〉，這篇幾乎是《域外小說集》中文言譯本〈燭〉的白話譯文版。從種種線索來推敲，周作人極有可能是這篇〈蠟燭〉的譯者。此後不久，魯迅寫了他的第四篇白話小說〈明天〉（1919.10），這篇小說不論在內容思想或組織構思上都與梭羅古勃這篇〈蠟燭〉十分雷同，兩者之間存在著很深的淵源。從許多跡象顯示，我認為幾乎可以斷定魯迅借鑑了這篇散文詩，創作出了〈明天〉這篇動人的小說。我想從〈蠟燭〉到〈明天〉這一轉化的過程是值得深入探討的。藉此我們一方面可以看出魯迅高超的文學領悟力和創造能力，如何吸收消化外國文學之後不著痕跡地轉化為充滿中國本土色彩的文學，另一方面也可以看到周作人的翻譯與魯迅的小說如何巧妙的結合起來。這是周氏兄弟在翻譯與創作上攜手合作的一個重要例證。

In the famous translated short-story collection, Wilde and Other Authors: Foreign Famous Stories, there is a prose poem "Candle Light" by prominent Russian writer Fedor Sologub (1863-1927) translated in classic Chinese by Zhou Cuo Ren. In February 1919 on the journal La Jeunesse, there is another translated version of this Sologub's work in vernacular Chinese, and in many ways it could be proved to be the translation by the same translator, Zhou Cuo Ren. Besides, later on, Lu Xun, Zhou Cuo Ren's elder brother, wrote a short story “Tomorrow” (1919), and the story is so similar to “Candle Light” in several aspects that I think Lu Xun is inspired by this Sologub's work. By the example of the interliterary aspects between “Tomorrow” and “Candle Light”, I would like to explain how the Zhou Cuo Ren's translated foreign literary work has a great impact on Lu Xun's work.