摘要
本文力图探索(洛丽塔》中主要人物(瓦莱里亚、夏洛特、洛丽塔、克莱尔·奎尔蒂和亨伯特·亨伯特)称谓变化的规律,以及这些变化体现出的主人公亨伯特·亨伯特对人对己的态度极其心理变化的过程。
在关于瓦莱里亚的称呼中,亨伯特表现出了赤裸裸的嫌恶。“胖瓦莱里亚”之类的称谓成为这个失败婚姻的最好注解。
对于夏洛特,亨伯特的态度在很大程度上是以洛丽塔为轴心的。大多数敌意的称呼,如“这个令人讨厌的妇女”,是发生在她妨碍了他和洛丽塔单独相处或是无形中损害洛丽塔形象时。同样,亨伯特给她的最温情的称呼也是因为那时他能借助母亲的身体感受女儿的存在。怀有对两次婚姻相同的失望,亨伯特还以相同或类似的方法称呼瓦莱里亚和夏洛特——他甚至直接用“瓦莱里亚”来指代夏洛特。不过,有些例子也能体现亨伯特对夏洛特的柔情。
亨伯特关于洛丽塔令人眼花缭乱的称呼包含了更加丰富的内涵。所有人物中只有亨伯特使用“洛丽塔”这个名字充分说明通过亨伯特的视角和语言描述的洛丽塔是虚幻的,是和现实中的多洛雷斯·黑兹脱节的。他一再地用童年恋人阿娜贝尔的名字称呼洛丽塔,是因为洛丽塔从某种意义上讲是他夭折的初恋在意识中的延续。她是亨伯特想象的产物,更是他情欲与占有欲的对象。同时,“卡门”等也暗示了洛丽塔的可望不可及。但是,在亨伯特与洛丽塔最后的会面时,他多用“多丽”和“希勒太太”等贴近她现实身份的称呼。这时的亨伯特已经逐渐意识到他对洛丽塔的罪行,并用这种方式表达了真诚的悔恨。
至于奎尔蒂,亨伯特对他的处理方法与其他人物截然不同——他力图掩饰奎尔蒂的真实身份,直到小说的结局部分。这样就制造出了一种紧张的气
氛。另外,亨伯特通过有意地误用代词等手段,意在说明奎尔蒂是他的另一
个自我。在命名游戏中作为施动者的亨伯特,此时被奎尔蒂的种种假名所迷
惑和戏弄,这样看来,奎尔蒂的存在对亨伯特来说就是一个莫大的讽刺。而
所有这些都表现出克莱尔·奎尔蒂是显而易见的罪人,这恰恰也是他名字的
——。
最后的笔墨集中在亨伯特·亨伯特的自我称呼上。亨伯特的双重性格就
隐藏在这个名、姓一致的名字里。他在各种各样的名字的掩饰下,扮演着自
己的双重角色和意识的掩饰者和揭示者。一方面,亨伯特想通过这个命名游
戏来达到自我辩护的目的。他想利用种种伪装使我们读者把人性的亨伯特和
兽性的亨伯特区分开来,从而使罪行合理化。他对自己评论性的称呼,如“老
奸巨滑的亨伯特”之类,也往往是对读者可能的思维活动的一种反应,以此
表明他作为叙述者对主人公亨伯特的态度,进而决定我们对他的态度。但,
当叙述者从第三者的立场反观自己时,反而更加投入到自我陶醉中,忘乎所
以地为自己叫好起来。其中最有代表性的就是“亨伯特,时髦的屠夫”的用
法。另一方面,亨伯特对自己人称和绰号的处理还表达出了他的自我否定。
早些时候他通过突出自我世界的分裂,责难自己,表达罪恶感。至于后来的
“可怕的亨伯特”等传达的就是他对洛丽塔完完全全的内疚。总的来说,亨
伯特写作的用意最初是维护自己,而名称的变换,作为一种辩护策略是为了
在叙述者亨伯特和主人公亨伯特之间制造距离。而到了最后,我们则在叙述
中发现他更为广泛的动机一一不仅要解释自己的行为,而且要尽力补偿给洛
丽塔带来的损害。
本文的论述部分分为五章,按照所述的人物进行划分。
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