个体与伦理视角下的女性形象比较研究——论曹七巧的泪与三仙姑的羞

A Comparative Research of Female Image from Individual and Ethical Perspective: On Cao Qi-qiao's Tears and San Xian-gu's Blush

张爱玲《金锁记》中的曹七巧和赵树理《小二黑结婚》中的三仙姑具有很多共性。她们都情欲旺盛,却都遭遇了不幸的婚姻,感情受到压抑,以至于性格扭曲,做出了种种不合常理的事情。不同的是,张爱玲在描写曹七巧种种"恶"的同时,还描写了她独自一人时的垂泪,而赵树理只看到了三仙姑的"恶"以及在这"恶"的背后三仙姑的脸红。可以说,张爱玲对曹七巧流泪的描写,说明作者走进了人物的内心世界,而赵树理对三仙姑脸红的描写,只能说明赵树理对三仙姑仅是远远围观,尚未进入三仙姑丰富的内心世界。对三仙姑的塑造反映了赵树理伦理本位的中国传统思想,对曹七巧垂泪的描写则体现了张爱玲对个体生命的尊重。

Cao Qi-qiao in Eileen Chang＇s The Tale of the Golden Lock and San Xian-gu in Zhao Shu-li＇s Little Erhei＇s Marriage share many commons： they had an unhappy marriage though their sexual passions are strong; their repressed feelings lead to a distorted character and then force them to do something unreasonable. Differently,Eileen Chang describes both Cao Qi-qiao＇s cruelty and her tears,while Zhao Shu-li only focuses San Xian-gu＇s cruelty and her blush. That is to say,Cao Qi-qiao＇s tears tells us that Eileen Chang walks into the innate mind of Cao,while Zhao Shu-li only observes San Xian-gu as a spectator,and never deeps into her emotional heart. The image of San Xian-gu created by Zhao Shu-li reflects ethics-centered Chinese traditional thoughts,while Cao Qi-qiao＇s tears description express Chang＇s respect to the individual life.