摘要
本文论述了狄更斯童年的“灵魂痛苦”与日后创作的内在关系。狄更斯有段不为外人所道的童年时期在鞋油工厂工作的痛苦经验,只偶然对其好友兼传记者佛斯特提起。他的家人对他的“灵魂的苦痛”讳莫如深。据他的传记记载,他一方面极不愿说起这段悲伤受难的往事,且似乎终身受这伤痕的回忆折磨着;一方面却在作品中以另一种形式公开佛斯特所记录的“灵魂的苦痛”。最近学者发现,狄更斯早期写有一组所谓的“鞋油工厂诗”。这些诗和小说中的种种描述显示,童年时期的创痛经验成就了作家的创作,令狄更斯的作品具有的强大的感染力。
Referring to his painful experience of working in a blacking factory in his childhood, Dickens confided in his close friend and autobiographer, John Forster, how he and his family had been silent about what he called "the secret agony of my soul. " On the one hand, it seemed that he grudged telling the tragic episode and bitter memories of suffering that had been haunting him throughout his life ; on the other, he was quite open about it. The "secret agony of soul" recorded in Forster' s biography also found its way into his fictions. The disturbing trauma was transformed into an important subject matter, and became a source of his creativity and a stimulus to powerful expression. Through such creative involvement, Dickens was no longer a bewildered and dispossessed adult, living apart from his trauma at a suitable distance, but a creator able to articulate his feelings with renewed clarity however dismaying that might be. The paper investigates how Dickens shapes a form of art that remedies his catastrophic childhood experience through his fictional creativity. It aims to revisit Dickens' s early life to see how incidents of this period are transformed in his fiction, and how the newly-found evidence of the so-called "blacking poems" modifies former conclusions, whether the experience is seen as destructive or reformative.
出处
《外国文学研究》
CSSCI
北大核心
2006年第3期38-46,共9页
Foreign Literature Studies