鲁迅笔下的“堂吉诃德”与“庄子”——从译作《解放了的董吉诃德》谈起

The Plight of African Women in Emecheta’s The Joys of a Motherhood

戏剧《解放了的董吉诃德》是苏联作家卢那察尔斯基对西班牙作家塞万提斯《堂吉诃德》的戏仿之作,1931年最先由鲁迅翻译了第一幕并发表于《北斗》,后由瞿秋白按照俄文本翻译全文,并由鲁迅写作后记。鲁迅在《后记》中对吉诃德的缺点与毒害加以明白揭示的同时,也对嘲笑吉诃德的旁观者予以批评。于鲁迅而言,卢那察尔斯基笔下的董吉诃德具备多重象征意义,既是不辨是非、脱离现实的理想主义者,同时也是怀有真诚信仰与实干精神的勇士。鲁迅对于前者自然持严肃的批评态度,对于后者却加以肯定。这一态度通过与《起死》中“庄子”及其影射的现代“伪士”形象作对比得以凸显,也可借由鲁迅杂文中对堂吉诃德的相关论述加以印证。以鲁迅对卢氏的董吉诃德的态度为切口,得以透视鲁迅重视远离伪诈之“心声”、强调现时行动的革命观与文学观。

Nnu Ego in Buchi Emecheta’s The Joys of Motherhood was portrayed as victims in various social levels.The female expectation of the traditional rural patriarchal society made her undergo a series of social gender traumas in the relationship between father and daughter,husband and wife,mother and son.The modern urban society in colonial period added racial oppression to her besides social gender oppression.That makes Ego become the double other.Ego kept seeking to strike a balance between traditional agricultural culture in pre-colonial times and modern urban culture in colonial times,but all her efforts failed due to the dislocation of consciousness and the complexity of value choice.Eger’s life dilemma could be regarded as a microcosm of the plight of African women who moved from traditional rural society to modern urban society during the period of African cultural transformation.