浮士德迟来的成长与弗兰肯斯坦早到的觉醒

Ideology-dictated Plot Arrangement in Faustus and Frankenstein

马娄的《浮士德》和玛丽·雪莱的《弗兰肯斯坦》在主题上相似显而易见,但两部作品之间也有一些耐人寻味的区别,其中之一就是:浮士德虽然很早与魔鬼签定协议,却到最后才意识到自身行为之实质及其严重后果;弗兰肯斯坦则早在怪物诞生之初即对上述问题有深刻认识。这看似纯粹表面性的、仅涉结构的差别,其实与两部作品背后各自的意识形态相关。马娄认同的新教阿米尼乌斯派教义需要拖延浮士德的认识过程,因此只能将其所受之惩罚高度浓缩于最后一小时,而玛丽·雪莱的浪漫主义思想则需要大篇幅、尽可能详细地展示弗兰肯斯坦造人行为的严重后果。

Underlying the structural difference between Faustus by Marlowe and Frankenstein by Mary Shelley, two works of a common theme, are two ideologies that require different plot plans. Whereas Faustus＇ tardiness in realizing the nature and seriousness of his pact with the devil indicates Marlowe＇s Arminian notion of salvation as it heightens the role of his choice in damnation, Frankenstein and the creature＇s lengthy accounts of the emotional consequences of the creation act serve to magnify the importance of what Mary Shelley as a female Romantic values most-family ties, friendship and human tenderness in general.