弥尔顿《失乐园》中的视觉空间建构

Constructions of Visual Spaces in Milton＇s Paradise Lost

弥尔顿在《失乐园》中借助空间叙事技巧巧妙地在地狱、天庭和伊甸园三类空间中穿梭往来，重点围绕撒旦被贬和人的原罪两条主线展开空间叙事，并以撒旦诱惑夏娃偷吃禁果、人类始祖失去伊甸园作为空间的交汇点。本文试图以微观视觉空间为切入点挖掘史诗中庞大的空间建构，重点围绕空间吁请、神魔对立、撒旦变形的空间移动、人类始祖伊甸园生活来展开论述，以便人们打开探索想象空间的视野，深入了解弥尔顿多重转换的空间图景，从而有利在整体上把握史诗的视觉空间建构。

In Paradise Lost, Milton makes use of the art of spatial constructions to proceed among the three spaces： hell,heaven and Eden. The spatial narrative in the epic develops with Satan＇s degradation and man＇s original sin. Spaces are joined when Satan tempts Eve to eat the forbidden fruit successfully and the human being loses their Eden. The text will begin with micro-visual space to present the huge spatial arrangement and focus on the invocations, the opposition between the God and the Satan, the spatial movement of Satan＇s physical metamorphosis and man＇s life in the Eden. Thus it is convenient for people to exert their imaginations to know Milton＇s view of three worlds （hell, heaven and human world） and the prospect with multiply visual presentations. Therefore, it provides people with a macro-visual space construction as a whole.