《罪与罚》尾声的诗学问题

On the Poetic Problems Emerging in the Epilogue of Crime and Punishment

一百年多年来,国绕《罪与前》尾声的诗学问题产生了无休止的争论。这是因为,该部分表面看来相对发散,同小说主体的共时性特征存有较大差异。但若细究就会发现,作家通过借用整体的时间之流、回忆性叙事以及同样遵从“基督教现实主义”美学原则等方式,将尾声与主体部分紧紧黏合在一起,使两者并行不悖,互为补充,同构一体.在尾声部分,作家通过设置梦境和悔悟痛哭两个重要场景,诗意地.表现了主人公拉斯柯尔尼科夫走向精神复活的过程,象征性地传达了经由爱获得新生的信念。总体来看,精心设计的尾声极好地传达了作家的思想,其诗学建构非常成功。

There have been endless debates on the poetic problems emerging in the epilogue of Crime and Punishment since it was created, as is produced by the false impression that this part seems to be relatively divergent, which is quite different from the synchronic characteristics of the main body of the novel. However, if you look closely, you will find that the writer tightly bonds the ending and the main part by arranging the flow of time as a whole, recollecting narrative and samely following the aesthetic principles of Christian realism. As a result, the two parts are parallel, complementary and isomorphic. Besides, in order to show the fission process of Raskolnikov's spiritual resurrection, Dostoevsky also intentionally sets up two important scenes: Raskolnikov's dream and his crying on Sonia's knees, which conveys the belief of obtaining new life through love symbolically. Generally speaking, the elaborate epilogue conveys the author's thoughts very well, and its poetic construction is very successful.