福克纳诗集《春之幻景》中的语象叙事

On Ekphrasis in Vision in Spring

相较于福克纳的小说研究,国内学者对于其诗歌作品的关注甚少。事实上,福克纳小说的语象叙事表现手法可以追溯到其集中创作诗歌的“学徒期”阶段,并以诗集《春之幻景》最为典型。《春之幻景》生动的语象特征,具体表现为诗画互文、“向内转”叙述所呈现的时间颠倒及诗歌空间形态的循环往复。这些特征使得《春之幻景》获得的隐喻力量,成为福克纳“追寻自我身份”在文本中的艺术表征。以自由想象为基础,以视觉艺术手段为媒介营造幻景空间,是福克纳以“画家诗人”身份对写作的早期探寻,也是其日后所创作的意识流小说图文互文画面感的主要渊源。

Compared with his novels, Faulkner’s poems have received less attention. The narrative technique in Faulkner’ novels can be traced back to poems written during his apprenticeship period, particularly represented by Vision in Spring. The ekphrastic features in this collection are embodied in the intertextuality between poetry and painting, anachrony achieved by inward-turn narrative and the repetition of spatial forms in poetry. These visual qualities are aesthetically metaphoric of Faulkner’s quest for his identity. On the basis of his imagination, to produce the vision with ekphrasis is Faulkner’s initial attempt at writing as a “painter-poet” and is also the main source of the inter-textuality between images and words in his later stream-of-consciousness novels.