《巴黎圣母院》狂欢节游戏与人物形象的三重结构

An analysis of the three-fold structure of the games and character images at the carnival of Notre Dame de Paris

在《巴黎圣母院》的狂欢节中,雨果描写了五花八门的、多层次的民间游戏:卡西姆多参加的“怪笑比赛”和“广场游行”,形式粗俗、怪诞;爱斯梅拉达的“广场卖艺”和“山羊识字戏法”, 充满幻想和象征;克罗德的密室炼金术却弥漫着神秘阴森之气。这些游戏成为人物不可分割的组成部分,具有各自不同的特质和内涵,造就了人物各异的特性、不同的价值取向和审美意义,由此形成了卡西姆多、爱斯梅拉达及克罗德人物形象的“三重结构”。这正是雨果对中世纪和文艺复兴时期狂欢理论的继承和创新。

Victor Hugo described a variety of popular games at the carnival of Notre Dame de Paris ： Quasimodo＇ s “laugh competition” and “parade”, which are vulgar and fantastic ; La Esmeralda＇ s “acrobatic performance” and “spelling trick of a goat” are full of illusion and symbolic ; Claude＇ s alchemy room is mysterious and gloomy. These games are inseparable from the characters, i. e. , they are different in nature and have particular connotations, thus forming the different features, values and aesthetic perspectives of the characters and constituting “the three-fold structure” of the images of Quasimodo, La Esmerada and Claude. All this had resulted from Hugo＇s succession of and innovation to medieval and renaissance carnivalesque tradition.