从对照到同一:论雨果的怪诞与崇高

Unity Through Contrast:How Victor Hugo Combines the Grotesque and the Sublime

本文从《克伦威尔序》切入,结合雨果不同时期的诗歌、叙事作品及理论性文章,考察崇高与怪诞这对概念在作家文本中的存在方式,阐明二者之间的对照关系并不仅限于严肃与诙谐的艺术风格对比,而是表现为不同形式,并在道德、政治、宗教、哲学等多个维度产生意义。在雨果的中后期作品中,怪诞极少被论及,逐渐让位于崇高。这一变化看似标志着某种思想转变,实则隐藏着一种必然性和连贯性,彰显出两个概念之间潜在的动态关联:作家尝试以不同方式来表述思想,怪诞与崇高也从对照走向同一,在意义的滑动之中勾勒出一幅独特的想象与思维图景。

The grotesque and the sublime are two crucial concepts with ambiguity in Hugo's works.An investigation into the dialogical relationship between them in the writer's poems,narrative works and theoretical articles from different periods demonstrates how the aesthetics of contrast produce meaning in multiple dimensions such as morality,politics,religion,and philosophy.The grotesque is rarely discussed in Hugo's later works,gradually giving way to the sublime.This change implies a kind of coherence and exhibits the dynamic correlation between the two concepts.Hugo tries to express his idea in different ways,the grotesque and the sublime also outline a unique picture of imagination and thinking,showing the unity through contrast.