面具、谎言、诱惑——论阿芙拉·贝恩在《奥汝努克》中的作者构建

Masques,Lies and Seduction:Aphra Behn's Authorial Construction in Oroonoko

17世纪英国女作家阿芙拉·贝恩在《奥汝努克》中具有悖论性的女性作者权威构建与复辟时期戏剧文化和早期小说话语密切相关。其作者形象的悖论性首先体现在复辟时期舞台上戴面具的交际花形象中,这一人物既被市场所物化,又有着制造自我形象的力量。其次,在早期小说真实/虚构混杂的范式内,贝恩揭示了虚构与女性的密切关联。小说作者不仅仅是真相记录者,也是诱惑与说谎者,女人的面具是其文本诱惑机制的隐喻。与此同时,女性/小说家伤感而没有行动力,但这却正是让作者同时做到共情和客观写作的合适位置。现实中的无法介入激发她发愤著书的愿望,但她在抒情之下仍充满对于文本虚构性的反思。

Aphra Behn’s construction of the paradoxical female writing authority in Oroonoko is closely related to the Restoration stage and the discourse of the early novel.This paradoxical nature is first revealed in the image of the masqued courtesan on the Restoration stage.This figure is objectified while still possessing the power of producing self-images.Then,within the pattern of the fact/fiction ambiguity of the early novel,Behn reveals the intimate relationship between fiction and the feminine.The novelist is not only a truth recorder but also a seducer and liar.The image of the masqued woman is a metaphor of the text’s mechanism of seduction.Also,as a woman/novelist,she is sentimental and lacks capacity in action.This,however,offers her a proper position of emotional participation and writing.Her inability to secure her footing in reality only instigates her ambition in writing.But in spite of her lyrical elements in the narrative,there is still reflection upon the texts’fictionality.