西方颓废派文学中的“疾病”隐喻发微
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摘要
19世纪中叶以降,在由浪漫主义自由理念衍生出的"反自然"和"反道德"观念的引导下,西方作家对各类"反常"话题的热情持续升温,而"疾病"则处于此种美学兴趣的中心。与借助科学的客观视角审视、刻画病理学层面上的"疾病"的自然主义文学不同,波德莱尔、于斯曼等颓废派作家将更多精力用于发掘与彰显"疾病"在构筑新的美学理念和精神主题等方面的独特潜质和优势。颓废派作家以迷恋"疾病"的颓废者形象建构了颓废派文学最为鲜明独特的标识。他们通过确立"疾病"之于布尔乔亚式"健康"的优越地位,彰显其蔑视、疏离和反叛平庸化的布尔乔亚大众审美观与价值观的个人主义精英立场;他们在逾越常规的非理性生命状态中探索和创造崭新的美,带来了开启"反思"的"震惊"效应,由此彻底颠覆了古典主义的审美范式;他们将从浪漫派的"忧郁"发展而来的神经质的"怨怒"作为颓废主人公的情感底色,以精神分裂作为其常见的病理学症状,以"反自然"的行为与心理作为其唯美—颓废生活的特征,精确地描绘出以啜饮自由感为唯一生存理想的颓废者形象。
Since the mid-19 th century, the enthusiasm of western writers upon various "abnormal" topics have continued to thrive under the guidance of the "anti-natural" and "anti-moral" concepts derived from the idea of "freedom" of Romanticists, and "illness" is at the center of this aesthetic interest. Decadent writers such as Baudelaire and J.K.Huysmans devoted more energy to exploring and highlighting the unique potentials and advantages of "illness" in constructing new aesthetic ideas and spiritual themes, which was quite different from Naturalism that examined and depicted "illness" at the pathological level under the objective perspective of science. Decadent writers constructed the most distinctive mark of Decadent literature with the image of a Decadent who was infatuated with "illness". They demonstrated their individualistic elite position of contempt, alienation and rebellion against the bourgeois aesthetic standards and values by establishing the superior status of "illness" to the bourgeois "health". They explored and created new kind of beauty in an irrational state of life, which brought the so-called "Shock" effect which inspired introspection, thus thoroughly overturning the classical aesthetic paradigm. They set neurotic "Spleen"— which was developed from Romantic "Melancholy"— as the emotional impression of decadent protagonists, and set schizophrenia as common pathological symptom, and, at the same time, depicted "anti-natural" behavior and mind as the main feature of their aesthetic-decadent life, thereby accurately created the image of a Decadent whose sole pursuit of life is "free sensitivity".
Since the mid-19 th century, the enthusiasm of western writers upon various "abnormal" topics have continued to thrive under the guidance of the "anti-natural" and "anti-moral" concepts derived from the idea of "freedom" of Romanticists, and "illness" is at the center of this aesthetic interest. Decadent writers such as Baudelaire and J.K.Huysmans devoted more energy to exploring and highlighting the unique potentials and advantages of "illness" in constructing new aesthetic ideas and spiritual themes, which was quite different from Naturalism that examined and depicted "illness" at the pathological level under the objective perspective of science. Decadent writers constructed the most distinctive mark of Decadent literature with the image of a Decadent who was infatuated with "illness". They demonstrated their individualistic elite position of contempt, alienation and rebellion against the bourgeois aesthetic standards and values by establishing the superior status of "illness" to the bourgeois "health". They explored and created new kind of beauty in an irrational state of life, which brought the so-called "Shock" effect which inspired introspection, thus thoroughly overturning the classical aesthetic paradigm. They set neurotic "Spleen"— which was developed from Romantic "Melancholy"— as the emotional impression of decadent protagonists, and set schizophrenia as common pathological symptom, and, at the same time, depicted "anti-natural" behavior and mind as the main feature of their aesthetic-decadent life, thereby accurately created the image of a Decadent whose sole pursuit of life is "free sensitivity".
引文
约翰·沃尔夫冈·冯·歌德:《谈话录》。杨武能译,河北教育出版社,2015年。[Goethe, Johann Wolfgang von. Conversations with Goethe During the Last Years of His Life. Translated by Yang Wuneng, Hebei Education Publishing House, 2015.]
Huysmans, J. K.àRebours[Against the Grain]. Illustrated Editions Company, 1931.
J. K.于斯曼:《逆天》。尹伟、戴巧译,上海文艺出版社,2010年。[---. Against the Grain. Translated by Yi Wei and Dai Qiao, Shanghai Literature and Art Publishing House,2010.]
索伦·克尔凯郭尔:《致死的疾病》。张祥龙、王建军译,中国工人出版社,1997年。[Kierkegaard, S?ren Aabye. The Sickness Unto Death. Translated by Zhang Xianglong and Wang Jianjun,China Workers Publishing House, 1997.]
Lehtonen, Joel. Mataleena. SKS, 1950.
弗里德里希·尼采:《瓦格纳事件·尼采反瓦格纳》。孙周兴译,商务印书馆,2016年。[Nietzsche, Friedrich. The Case of Wagner, Nietzsche Contra Wagner. Translated by Sun Zhouxing, The Commercial Press, 2016.]
——:《快乐的科学》。余鸿荣译,中国和平出版社,1986年。[---. The Gay Science. Translated by Yu Hongrong, China Peace Publishing House, 1986.]
Pires, Maria Jo?o.“Symbolism or Decadence?:England and the 1890s.” Universidade do Porto, Faculdade de Letras, 2001.
让—保罗·萨特:《波德莱尔》。施康强译,北京燕山出版社,2006年。[Sartre, Jean-Paul. Baudelaire. Translated by Shi Kangqiang, Beijing Yanshan Publishing House, 2006.]
Scott, Jacqueline.“Nietzsche and Decadence:The Revaluation of Morality.” Continental Philosophy Review,vol. 31, no. 1, 1998, pp. 59-79.
Spackman, Barbara. Decadent Genealogies:The Rhetoric of Sickness from Baudelaire to D’Annunzio. Corell UP, 1989.
Symons, Arthur.“The Decadent Movement in Literature.” Harper’s New Monthly Magazine, vol. 87, Jun 1,1893, pp. 858-67.
奥斯卡·王尔德:《莎乐美》。吴刚译,上海译文出版社,2011年。[Wilde, Oscar. Salomé[Salome].Translated by Wu Gang, Shanghai Translation Publishing House, 2011.]
(1)世纪末颓废派作家如王尔德、西蒙斯、哈维洛克·艾利斯、勒·加里恩等都曾针对文学自由话题做过相关表述。后来叶芝在其《自传》(Autobiographies)里对这种艺术自由理念作了总结:“经过了许多嘲弄和迫害,科学已经赢得了探索一切肉眼可见的事物的权利,仅仅因为它闪过(passes)……如今,文学要求同样的权利,去探索一切从人们的眼前闪过的东西,仅仅因为它闪过。”(Yeats.Autobiographies.1955,p.326,qtd.in“Decadence in Later Nineteenth-century England”in Decadence and the 1890s,edited by Ian Fletcher,Butler&Tanner Ltd,1979,p.27.)
(2)此处仅追究文学内部理念发展方面的原因。当然,除此之外,19世纪--尤其是后半叶--哲学、心理学、精神病理学等领域对人的无意识领域的广泛兴趣以及大众阅读“市场”的形成与蓬勃发展,也对19世纪作家创作中所体现出的“反常”趣味有不同程度的影响。
(3)这与以左拉为代表的自然主义作家阵营所信仰的科学决定论的观念立场直接相关。
(4)这里谈到的最宽泛意义上的“疾病”与“病态”一词的内涵基本一致。
(5)19世纪后半叶,尼采、布尔热、艾利斯等人曾对“颓废”的此种象征性意味作过相关阐述。参见:Henry Havelock Ellis,Views and Reviews,1st ed.1932,quoted in R.K.R.Thornton,The Decadent Dilemma.Edward Arnold Ltd.,1983,pp.38-39;Jacqueline Scott,“Nietzsche and Decadence:The Revaluation of Morality,”Continental Philosophy Review,vol.31,no.1,1998,pp.59-79;尼采:《瓦格纳事件·尼采反瓦格纳》,孙周兴译,商务印书馆,2016年。
(6)倾慕于莎乐美的年轻叙利亚军官因无力劝阻她的癫狂行为而在痛苦中举刀自裁,倒在她和约翰之间。
(7)朱尔斯·巴比德·奥雷维利(1808-1889),19世纪法国小说家。
Huysmans, J. K.àRebours[Against the Grain]. Illustrated Editions Company, 1931.
J. K.于斯曼:《逆天》。尹伟、戴巧译,上海文艺出版社,2010年。[---. Against the Grain. Translated by Yi Wei and Dai Qiao, Shanghai Literature and Art Publishing House,2010.]
索伦·克尔凯郭尔:《致死的疾病》。张祥龙、王建军译,中国工人出版社,1997年。[Kierkegaard, S?ren Aabye. The Sickness Unto Death. Translated by Zhang Xianglong and Wang Jianjun,China Workers Publishing House, 1997.]
Lehtonen, Joel. Mataleena. SKS, 1950.
弗里德里希·尼采:《瓦格纳事件·尼采反瓦格纳》。孙周兴译,商务印书馆,2016年。[Nietzsche, Friedrich. The Case of Wagner, Nietzsche Contra Wagner. Translated by Sun Zhouxing, The Commercial Press, 2016.]
——:《快乐的科学》。余鸿荣译,中国和平出版社,1986年。[---. The Gay Science. Translated by Yu Hongrong, China Peace Publishing House, 1986.]
Pires, Maria Jo?o.“Symbolism or Decadence?:England and the 1890s.” Universidade do Porto, Faculdade de Letras, 2001.
让—保罗·萨特:《波德莱尔》。施康强译,北京燕山出版社,2006年。[Sartre, Jean-Paul. Baudelaire. Translated by Shi Kangqiang, Beijing Yanshan Publishing House, 2006.]
Scott, Jacqueline.“Nietzsche and Decadence:The Revaluation of Morality.” Continental Philosophy Review,vol. 31, no. 1, 1998, pp. 59-79.
Spackman, Barbara. Decadent Genealogies:The Rhetoric of Sickness from Baudelaire to D’Annunzio. Corell UP, 1989.
Symons, Arthur.“The Decadent Movement in Literature.” Harper’s New Monthly Magazine, vol. 87, Jun 1,1893, pp. 858-67.
奥斯卡·王尔德:《莎乐美》。吴刚译,上海译文出版社,2011年。[Wilde, Oscar. Salomé[Salome].Translated by Wu Gang, Shanghai Translation Publishing House, 2011.]
(1)世纪末颓废派作家如王尔德、西蒙斯、哈维洛克·艾利斯、勒·加里恩等都曾针对文学自由话题做过相关表述。后来叶芝在其《自传》(Autobiographies)里对这种艺术自由理念作了总结:“经过了许多嘲弄和迫害,科学已经赢得了探索一切肉眼可见的事物的权利,仅仅因为它闪过(passes)……如今,文学要求同样的权利,去探索一切从人们的眼前闪过的东西,仅仅因为它闪过。”(Yeats.Autobiographies.1955,p.326,qtd.in“Decadence in Later Nineteenth-century England”in Decadence and the 1890s,edited by Ian Fletcher,Butler&Tanner Ltd,1979,p.27.)
(2)此处仅追究文学内部理念发展方面的原因。当然,除此之外,19世纪--尤其是后半叶--哲学、心理学、精神病理学等领域对人的无意识领域的广泛兴趣以及大众阅读“市场”的形成与蓬勃发展,也对19世纪作家创作中所体现出的“反常”趣味有不同程度的影响。
(3)这与以左拉为代表的自然主义作家阵营所信仰的科学决定论的观念立场直接相关。
(4)这里谈到的最宽泛意义上的“疾病”与“病态”一词的内涵基本一致。
(5)19世纪后半叶,尼采、布尔热、艾利斯等人曾对“颓废”的此种象征性意味作过相关阐述。参见:Henry Havelock Ellis,Views and Reviews,1st ed.1932,quoted in R.K.R.Thornton,The Decadent Dilemma.Edward Arnold Ltd.,1983,pp.38-39;Jacqueline Scott,“Nietzsche and Decadence:The Revaluation of Morality,”Continental Philosophy Review,vol.31,no.1,1998,pp.59-79;尼采:《瓦格纳事件·尼采反瓦格纳》,孙周兴译,商务印书馆,2016年。
(6)倾慕于莎乐美的年轻叙利亚军官因无力劝阻她的癫狂行为而在痛苦中举刀自裁,倒在她和约翰之间。
(7)朱尔斯·巴比德·奥雷维利(1808-1889),19世纪法国小说家。