超越时空的求索——对拜厄特多层次文本《占有》的原型解读
摘要
英国当代女作家安·苏·拜厄特的长篇小说《占有》是英国当代小说的经典之作。该书在1990年甫一出版，即在英语世界引起哄动，获得了当年的英国文学最高奖布克奖。在《占有》一书中，作者采用了多重叙述结构，三种时间状态在小说中交错呈现,包括人类远古时期、维多利亚时代和二十世纪商业社会。大量神话传奇和童话故事被巧妙地穿插其中。同时，拜厄特创造性地运用了加拿大著名文学理论家，诺斯洛普·弗莱的原型批评理论，用丰富的原始神话意象在多重历史情境和背景中展现当代社会的人文景观和社会风貌，探索解决当代社会人类精神危机和价值失落的道路和方法。本文通过对出现在小说三重叙述结构中的不同神话和传奇故事原型的总结和分析，以及对其中主要人物形象的剖析和考查，旨在揭示拜厄特对社会历史，女性地位以及婚姻爱情观的独特思考和探求。
与文本的三重叙述结构相对应，本文也由三部分组成，分别对文本中的三个不同历史时期进行分析和论述。
本文的第一章首先简要介绍《占有》的故事情节以及原型理论，然后集中分析在远古神话传说中的原型形象。神话人物普罗斯庇娜(罗马神话为Proserpina,希腊神话为佩耳塞福涅Persephone)首先出现在作者虚构的十九世纪诗人伦道夫·亨利·艾什的长诗《普罗斯庇娜的花园》中。普罗斯庇娜在罗马神话中是冥界的王后。她原本是一位嬉戏于花草园林之中，天真无邪，无忧无虑的美丽少女。冥王普路同（罗马神话为Pluto，希腊神化为哈得斯Haides）偶然间遇见了普罗斯庇娜并被她的美貌所吸引。于是普路同把她掳到了冥府。普罗斯庇娜的母亲谷物女神刻瑞斯（Ceres）不见了她的爱女，伤心欲绝。她发疯似的到处寻找，与此同时万物凋零，饥
荒和灾难笼罩着大地。终于刻瑞斯得知女儿被劫到了冥府，她请求主神朱庇主持公道，让冥王归还女儿。朱庇特（Jupiter）答应派天使墨丘利（Mercury）帮她要回女儿，但普罗斯庇娜不能在冥府吃任何东西。但最终由于冥王的诡计，普罗斯庇娜在冥府吃了冥王给的石榴，命运使普罗斯庇娜不能完全回到母亲身边。最后刻瑞斯和普路同达成协议：每年普罗斯庇娜可以有一半时间和母亲团聚，另一半时间则要和她的丈夫冥王普路同在一起。刻瑞斯找到女儿后，万物又恢复了生机与活力。普罗斯庇娜也成为了冥后和丰产女神。小说中艾什的诗《普罗斯庇娜的花园》突出描绘了伊甸园的原始神话原型和意象。诗中的女神花园巨树参天,金果高挂,流水潺潺,芳草茵茵,女人掩隐在枝叶丛中,树根下掠过蛇的身影。伊甸园式的乐园景象栩栩如生,尽管蛇的存在预示着人类最终失去乐园的不可避免的厄运，先民们用丰富的想象构筑起的幸福乐园成为人类精神家园的永恒象征。普罗塞庇娜一年一度的再生原型寄托着人类寻找失落的价值、回归幸福乐园的美好愿望和幸福憧憬。
小说中另一个重要神话故事是梅卢西娜的故事。梅卢西娜可以看作是文中虚构的十九世纪的女诗人克里斯塔贝尔·拉摩特的原型。在法国神话中，梅卢西娜是一位女神，她受到魔法的诅咒，在每个星期六晚上都要变成蛇身。如果下嫁凡人为妻,以后便可消除魔咒,但条件是不得在礼拜六被其夫窥见。后来梅卢西娜与骑士雷蒙德结婚，婚后度过了一段幸福的婚姻生活。在这段时间里她运用自己超自然的神力造福社会,使经济繁荣，庄稼丰收，代表了丰产女神的典型原始意象。但不幸她在星期六被雷蒙德窥见，雷蒙德违背了誓言，梅卢西娜变成蛇身，永远离开了丈夫和孩子。这一半人半神的原型意象从此在人类集体无意识深处固定下来。与梅卢西娜类似的神话形象也出现在中国的神话故事中。最典型的例子是民间流传的蛇精白素贞的故事。此外在其他许多国家的神话传说中也能发现美卢西娜
形象的影子。梅卢西娜已经成为一个具有普遍意义的原型意象，不断出现在不同的文学作品里。
第二章集中分析小说中维多利亚时代的男女主人公艾什与拉摩特的性格特点和原型特征。小说中的维多利亚著名诗人艾什是以勃朗宁（Browning），丁尼生（Tennyson）等人为原型塑造的。艾什的姓“Ash”源自英语中的“the Mighty Ash”，意指宇宙中心的世界之树，象征着原始的生命意象和男性形象。艾什的诗《阿斯克致埃姆布拉》中包含了伊甸园，亚当和夏娃等原型意象。同时暗示了艾什与拉摩特的秘密恋情。拉摩特是整部小说的中心人物。她代表了拜厄特心中理想的女性形象。拜厄特借拉摩特这个人物表达了她对女性地位，婚姻，爱情等问题的复杂态度和矛盾心理。拉摩特的姓“LaMotte”是个法语词，意为环绕着城堡的护城河和河堤。这一与水和土地有关的意象表明女性作为生命起源和孕育者的形象和地位。她与艾什的结合完成了伊甸园的基本组合——土地、水流和生命树,乐园神话的著名三联母题包孕其中。拉摩特实际上也成了基督教中第一位女性夏娃的化身。拉摩特的形象也脱胎于真实的英语诗人。其中狄更生（Dickinson）是她最主要的原型。作者借拉摩特的名义写了很多诗歌。这些诗歌的风格与狄更生的诗歌风格非常接近，并且在生活经历上也有许多相似之处。此外，梅卢西娜也是拉摩特的重要原型。她和拉摩特都不能和自己所爱的人在一起，都不得不最终离开
A. S. Byatt’s Booker Prize winning book Possession is a postmodern masterpiece in literary history. In this novel, the author has presented a three-layered text in which the primitive mythic story, the nineteenth century love romance and the twentieth century academic quest are mixed together. Throughout the whole novel, the archetypal images and symbols are pervasive and impressive. This paper is intended to make a thorough and systematic analysis of the different archetypes and images appearing in the different temporal layers of the text so as to have a better understanding of A. S. Byatt’s writing purpose and her unique and insightful thinking about history, society, love and marriage.
In accordance with the three layers of the text, this paper is also divided into three parts to discuss respectively the three different periods.
The first part of this paper is devoted to the primitive times in human history. In this chapter, the emphasis is put on the mythical stories involved in the author’s writing and narrative. The mythical character Proserpina (or Proserpine, in Greek mythology, Persephone) appears in one poem of the fictive nineteenth century poet Randolph Henry Ash. Proserpina in Roman mythology was the queen of the underworld, who originally was an innocent and pure girl enjoying a carefree and happy life. The god of the underworld Pluto happened to see her and was attracted by her beauty. He then managed to abduct Proserpina to his underworld Tartarus. Her mother Ceres, goddess of
earth and agriculture, looked for her all over the world. As she wandered in search of her lost daughter, the earth grew desolate. All vegetation died, and famine devastated the land. Finally she found her daughter. She went to Jupiter, father of the gods and told the story of her bereavement, imploring Jupiter to interfere to procure the restitution of her daughter. Jupiter consented on one condition, namely, that Proserpina should not during her stay in the lower world have taken any food; otherwise, the Fates forbade her release. Accordingly, Mercury was sent, accompanied by Spring, to demand Proserpina of Pluto. The wily monarch consented; but the maiden had taken a pomegranate which Pluto offered her, and had sucked the sweet pulp from a few of the seeds. This was enough to prevent her complete release; but a compromise was made, by which she was to pass half the time with her mother and the rest with her husband Pluto. After Ceres found her daughter, the earth restored the original fertility. Therefore, Proserpina became the goddess of the dead and the goddess of the fertility of the earth. And she is also the personification of the revival of nature in spring. From Ash’s poem concerning with the story of Proserpina, we can find many archetypal images such as the paradise Eden, the serpent and Eve. In spite of the fact that the existence of the serpent foreshadows the loss of the paradise, the imaginary happy heaven constructed by the primitive people becomes the eternal symbol of Mankind’s spiritual home. And the revival archetype of Proserpina is a reflection of Byatt’s cycle theory about history and society, conveying modern people’s wish of restoring the losing values and spirits so as to regain the original happy paradise.
Another important myth in this novel is the story of Melusina (or Melusine),
who can be viewed as the embodiment of the fictive nineteenth century poetess Christabel LaMotte. Melusina in French mythology was a goddess, who was bewitched so that every Saturday she would be transformed into a serpent. If she married a mortal man, she would regain her human body provided that she should not be seen bathing by her husband on Saturday. Then Melusina married a chevalier named Raymond and lived a period of happy life. During the period the goddess applied her supernatural power to the earth and thus brought prosperity and fertility to society and crops, representing the typical archetypal image of the goddess of fertility. Unfortunately, she was seen by Raymond when bathing
与文本的三重叙述结构相对应，本文也由三部分组成，分别对文本中的三个不同历史时期进行分析和论述。
本文的第一章首先简要介绍《占有》的故事情节以及原型理论，然后集中分析在远古神话传说中的原型形象。神话人物普罗斯庇娜(罗马神话为Proserpina,希腊神话为佩耳塞福涅Persephone)首先出现在作者虚构的十九世纪诗人伦道夫·亨利·艾什的长诗《普罗斯庇娜的花园》中。普罗斯庇娜在罗马神话中是冥界的王后。她原本是一位嬉戏于花草园林之中，天真无邪，无忧无虑的美丽少女。冥王普路同（罗马神话为Pluto，希腊神化为哈得斯Haides）偶然间遇见了普罗斯庇娜并被她的美貌所吸引。于是普路同把她掳到了冥府。普罗斯庇娜的母亲谷物女神刻瑞斯（Ceres）不见了她的爱女，伤心欲绝。她发疯似的到处寻找，与此同时万物凋零，饥
荒和灾难笼罩着大地。终于刻瑞斯得知女儿被劫到了冥府，她请求主神朱庇主持公道，让冥王归还女儿。朱庇特（Jupiter）答应派天使墨丘利（Mercury）帮她要回女儿，但普罗斯庇娜不能在冥府吃任何东西。但最终由于冥王的诡计，普罗斯庇娜在冥府吃了冥王给的石榴，命运使普罗斯庇娜不能完全回到母亲身边。最后刻瑞斯和普路同达成协议：每年普罗斯庇娜可以有一半时间和母亲团聚，另一半时间则要和她的丈夫冥王普路同在一起。刻瑞斯找到女儿后，万物又恢复了生机与活力。普罗斯庇娜也成为了冥后和丰产女神。小说中艾什的诗《普罗斯庇娜的花园》突出描绘了伊甸园的原始神话原型和意象。诗中的女神花园巨树参天,金果高挂,流水潺潺,芳草茵茵,女人掩隐在枝叶丛中,树根下掠过蛇的身影。伊甸园式的乐园景象栩栩如生,尽管蛇的存在预示着人类最终失去乐园的不可避免的厄运，先民们用丰富的想象构筑起的幸福乐园成为人类精神家园的永恒象征。普罗塞庇娜一年一度的再生原型寄托着人类寻找失落的价值、回归幸福乐园的美好愿望和幸福憧憬。
小说中另一个重要神话故事是梅卢西娜的故事。梅卢西娜可以看作是文中虚构的十九世纪的女诗人克里斯塔贝尔·拉摩特的原型。在法国神话中，梅卢西娜是一位女神，她受到魔法的诅咒，在每个星期六晚上都要变成蛇身。如果下嫁凡人为妻,以后便可消除魔咒,但条件是不得在礼拜六被其夫窥见。后来梅卢西娜与骑士雷蒙德结婚，婚后度过了一段幸福的婚姻生活。在这段时间里她运用自己超自然的神力造福社会,使经济繁荣，庄稼丰收，代表了丰产女神的典型原始意象。但不幸她在星期六被雷蒙德窥见，雷蒙德违背了誓言，梅卢西娜变成蛇身，永远离开了丈夫和孩子。这一半人半神的原型意象从此在人类集体无意识深处固定下来。与梅卢西娜类似的神话形象也出现在中国的神话故事中。最典型的例子是民间流传的蛇精白素贞的故事。此外在其他许多国家的神话传说中也能发现美卢西娜
形象的影子。梅卢西娜已经成为一个具有普遍意义的原型意象，不断出现在不同的文学作品里。
第二章集中分析小说中维多利亚时代的男女主人公艾什与拉摩特的性格特点和原型特征。小说中的维多利亚著名诗人艾什是以勃朗宁（Browning），丁尼生（Tennyson）等人为原型塑造的。艾什的姓“Ash”源自英语中的“the Mighty Ash”，意指宇宙中心的世界之树，象征着原始的生命意象和男性形象。艾什的诗《阿斯克致埃姆布拉》中包含了伊甸园，亚当和夏娃等原型意象。同时暗示了艾什与拉摩特的秘密恋情。拉摩特是整部小说的中心人物。她代表了拜厄特心中理想的女性形象。拜厄特借拉摩特这个人物表达了她对女性地位，婚姻，爱情等问题的复杂态度和矛盾心理。拉摩特的姓“LaMotte”是个法语词，意为环绕着城堡的护城河和河堤。这一与水和土地有关的意象表明女性作为生命起源和孕育者的形象和地位。她与艾什的结合完成了伊甸园的基本组合——土地、水流和生命树,乐园神话的著名三联母题包孕其中。拉摩特实际上也成了基督教中第一位女性夏娃的化身。拉摩特的形象也脱胎于真实的英语诗人。其中狄更生（Dickinson）是她最主要的原型。作者借拉摩特的名义写了很多诗歌。这些诗歌的风格与狄更生的诗歌风格非常接近，并且在生活经历上也有许多相似之处。此外，梅卢西娜也是拉摩特的重要原型。她和拉摩特都不能和自己所爱的人在一起，都不得不最终离开
A. S. Byatt’s Booker Prize winning book Possession is a postmodern masterpiece in literary history. In this novel, the author has presented a three-layered text in which the primitive mythic story, the nineteenth century love romance and the twentieth century academic quest are mixed together. Throughout the whole novel, the archetypal images and symbols are pervasive and impressive. This paper is intended to make a thorough and systematic analysis of the different archetypes and images appearing in the different temporal layers of the text so as to have a better understanding of A. S. Byatt’s writing purpose and her unique and insightful thinking about history, society, love and marriage.
In accordance with the three layers of the text, this paper is also divided into three parts to discuss respectively the three different periods.
The first part of this paper is devoted to the primitive times in human history. In this chapter, the emphasis is put on the mythical stories involved in the author’s writing and narrative. The mythical character Proserpina (or Proserpine, in Greek mythology, Persephone) appears in one poem of the fictive nineteenth century poet Randolph Henry Ash. Proserpina in Roman mythology was the queen of the underworld, who originally was an innocent and pure girl enjoying a carefree and happy life. The god of the underworld Pluto happened to see her and was attracted by her beauty. He then managed to abduct Proserpina to his underworld Tartarus. Her mother Ceres, goddess of
earth and agriculture, looked for her all over the world. As she wandered in search of her lost daughter, the earth grew desolate. All vegetation died, and famine devastated the land. Finally she found her daughter. She went to Jupiter, father of the gods and told the story of her bereavement, imploring Jupiter to interfere to procure the restitution of her daughter. Jupiter consented on one condition, namely, that Proserpina should not during her stay in the lower world have taken any food; otherwise, the Fates forbade her release. Accordingly, Mercury was sent, accompanied by Spring, to demand Proserpina of Pluto. The wily monarch consented; but the maiden had taken a pomegranate which Pluto offered her, and had sucked the sweet pulp from a few of the seeds. This was enough to prevent her complete release; but a compromise was made, by which she was to pass half the time with her mother and the rest with her husband Pluto. After Ceres found her daughter, the earth restored the original fertility. Therefore, Proserpina became the goddess of the dead and the goddess of the fertility of the earth. And she is also the personification of the revival of nature in spring. From Ash’s poem concerning with the story of Proserpina, we can find many archetypal images such as the paradise Eden, the serpent and Eve. In spite of the fact that the existence of the serpent foreshadows the loss of the paradise, the imaginary happy heaven constructed by the primitive people becomes the eternal symbol of Mankind’s spiritual home. And the revival archetype of Proserpina is a reflection of Byatt’s cycle theory about history and society, conveying modern people’s wish of restoring the losing values and spirits so as to regain the original happy paradise.
Another important myth in this novel is the story of Melusina (or Melusine),
who can be viewed as the embodiment of the fictive nineteenth century poetess Christabel LaMotte. Melusina in French mythology was a goddess, who was bewitched so that every Saturday she would be transformed into a serpent. If she married a mortal man, she would regain her human body provided that she should not be seen bathing by her husband on Saturday. Then Melusina married a chevalier named Raymond and lived a period of happy life. During the period the goddess applied her supernatural power to the earth and thus brought prosperity and fertility to society and crops, representing the typical archetypal image of the goddess of fertility. Unfortunately, she was seen by Raymond when bathing
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程倩, “女性生命本真的历史叙述—拜厄特小说《占有》之女性主义解读”,《北京大学学报》（哲学社会科学版）,2003年第2期.
黄梅, “风靡一时的《着魔》” 《现代主义之后：写实与实验》,中国社会科学出版社,北京,1997.
蒋显文, “评A. S. 拜厄特的《占有》”, 《外国文学》, 1998年第5期
蒋显文, “A. S. 拜厄特女权思想”, 《衡阳师范学院学报》, 2000年第2期.
叶舒宪, 《神话——原型批评》,陕西师范大学出版社，西安，1987.
叶舒宪, 《探索非理性的世界》,四川人民出版社，成都，1988.