从《黑暗的心》和《蝇王》看现代主义文学中的非理性特征
摘要
本文从两部现代主义作品《黑暗的心》和《蝇王》入手,通过分析小说中非理性力量同文明和外部自然环境的对立,以及非理性因素对人性中的恶行为的影响三方面来说明现代主义文学中的非理性特征并评析现代主义文学中反映出来的人类通过非理性获得拯救的理想。
在介绍部分,作者首先追溯非理性主义在文学中的起源和发展以及现代非理性主义的涵义。非理性的浅层意义是指人的潜意识,诸如想象和直觉。其深层含义是指人的原始欲望,即通过生命冲动来实现自由意志的一种本质力量。文学中的非理性特征早在古希腊神话中就有所体现。宙斯率领的奥林匹克神朝代表理性和秩序,巨人族的魔怪则代表着非理性和无序,二者都出自于万有之母盖亚,因此,他们之间的斗争象征着人内心中理性因素和非理性因素之间的冲突。另外浪漫主义时期的文学也带有非理性色彩。
在同理性的斗争中,非理性主义逐渐发展成现代主义的一股重要的思潮。西方历史上,非理性被知识和理性压制。科技的过度发展把人变为现代文明的机器,现代人的精神危机日益加剧。在此背景下,现代主义作家们把注意力由外部世界转向人的内心世界。康德把世界划分为“现象”和“本体”两部分。“本体”在他的哲学体系中相当于“物自体”,它是人的理性不能认知的。康德对于“现象”和“本体”的划分给现代主义非理性的兴起留下空间。在心理学领域,弗洛伊德的本我即是一种先天的生命驱动力,具有非理性的特点。而叔本华的“生命意志”和尼采的“权利意志”成为现代非理性哲学的代表。
在文学领域,现代主义作家们关注人的内心冲突,他们在作品中采用新的写作技巧,如意识流、神话模式、象征等来揭示人的内心世界。现代主义非理性探索人内心潜藏的一面。现代主义文学突出人的内心世界同外部世界的冲突。浪漫主义时期的文学家们通过对人同文明、自然和人自身的关系歌颂人的想象、直觉和灵感等,含有一定的非理性因素。现代主义时期的非理性同现代文明、原始环境以及人性的道德选择有一定的联系。本文作者选择两部现代主义小说《黑暗的心》和《蝇王》,将其作为个案研究借以说明现代主义非理性的特点。
本文的第一章为“文献回顾”,作者试图说明《黑暗的心》和《蝇王》在现
This dissertation intends to expound features of modernist irrationality reflected in modernist literature by analyzing relationships of irrationality with civilization, environment, and evil tendencies in human nature in two modernist literary works Heart of Darkness and Lord of the Flies to provide an insight to the ideal of man's salvation through irrationality.In the "Introduction" part, the author reviews the sources of irrationalism in literature and ethic of modernist irrationality. From the surface layer of meaning, irrationality is a collective concept of the subconscious, imagination and intuition, etc. From the deep layer of meaning, irrationality as the essential power originates from man's original desire to realize his free will by using life impulse.As early as ancient Greece, irrationality was displayed in the stories about the Olympians led by Zeus fighting against other Titans in Greek mythology. Both of them are derived from Gaea. Hence, the gods are the symbols of rationality, while the Titans are the symbols of irrationality. In Romanticism, irrationality prevailed.Irrationality gradually develops into an important thought of modernism in the process of its struggle against rationalism. In Western history, irrationality is always suppressed by knowledge and reason. With the over-development of science and technology, man becomes machine of modern civilization. Serious spiritual crises make modernists divert their attention from the exterior world to man's interior world. Irrationality reverts to the dark aspect in human nature. To Kant, the world consists of two parts, that is, the phenomenon and noumenon. In his philosophical system, noumenon equals "thing-it-self" which is not knowable by man's reason. Kant's division also leaves room for the flourishing of irrationality. In the psychological field, Freud thinks that id is a kind of man's inborn driving force. It is irrational. In the philosophical field, Arthur Schopenhauer's "will to life" and Nietzsche's "will to power" are also representative of modernist irrational philosophy.In the field of modernist literature, modern writers are concerned about man's
inner conflicting world. They break away from traditional writing techniques or literary theory and introduce some new writing techniques like stream of consciousness, mythical pattern, and symbolic expression in their literary works. The theme of modernist literature delineates the battle between man's interior world and the exterior world. The Romantics advocate man's imagination, intuition and inspiration. It demonstrates those irrational features by describing man's relationships with civilization, nature, and man himself. Therefore, modernist irrationality is also closely linked to modern civilization, wild environment and the moral choice in human nature. In order to exemplify irrational features of modernist literary works, the author focuses on two modernist novels Heart of Darkness and Lord of the Flies for a case study.The first chapter tries to prove the important positions of Heart of Darkness and Lord of the Flies among modernist literary works. Heart of Darkness is regarded as "the first truly modern work of fiction in English" (Adelman 5). Lord of the Flies is also "a modern classic" (Reilly 3). The two novels attract many critics. Some critics discuss Heart of Darkness from a post-colonial point of view. Some interpret the novel by taking a psychoanalytic approach. As to Lord of the Flies, most critics comment on Golding's revelation of the evil aspect in human nature. But so far, few have concentrated on modernist irrational features reflected in the two novels. Although the two novels belong to different periods in the 20th century, they can be looked upon as classics of modernist literary works. Heart of Darkness and Lord of the Flies can manifest features of modernist literary works, including modernist irrational features.The second chapter discusses the symbols and the myths which help reveal irrational features in Heart of Darkness and Lord of the Flies. Symbolism and myth are two important writing techniques that are widely used by modernist writers. Symbols can best reflect man's multiple consciousness, exploring irrational aspect in human nature. In Heart of Darkness, those symbols like the snake, the skulls, and the jungle represent irrational power. Above all, Kurtz is the symbol of evil in human nature. In Lord of the Flies, the pig's head and the beast symbolize irrational power
and evil in human nature. Besides, Jack is also the symbol of man's irrational aspect. Modernist writers employ myth to associate the present with the history. With bold innovation, they use myth to disclose the spiritual crisis in human existence. Heart of Darkness originates from Christopher Marlowe's Dr Faustus, while Golding's Lord of the Flies is mostly derived from Jonathan Swift's Gulliver s Travels. By taking the mythical pattern, the two writers express a pessimistic attitude towards human nature.The third chapter is mainly concerned with irrational features in Heart of Darkness. Civilization in Heart of Darkness is tinted with colonial color. It is fragile when those white pilgrims are confronted with the primitive Congo area. White man's hypocrisy is in contrast with the energetic "untamed" aboriginals in the Congo area. The white colonialists degrade into "hollow men." in this primitive land. In order to seek more profits, the white devastate the primitive land in the Congo area. Meanwhile, nature corrodes man's reason and damages his physical health. The white either lose their lives in this wild area or become insane like Kurtz. When Kurtz, a man from a civilized country, is situated in primitive Congo forest, he cannot resist irrational power in his heart and becomes a "death image." Irrationality lurking in the hearts of both the white and the black is presented as man's lust for ivory and power and externalized as mysterious rites in the jungle, etc. Both the white and the black manifest evil aspects in their nature: the white mistreat the black; while some tamed Negroes cruelly kill their fellows who are regarded as "rebels" against the white.In the fourth chapter, the author analyzes irrational features in Lord of the Flies. The influence of education as the representation of civilization fades away when the boys are lured by pleasure of hunting which is the embodiment of irrationality. Nature is hostile to man. At first, Ralph tries to set up a Utopia where the boys are in harmony with nature. However, the wild island invokes irrational power in their hearts. Consequently, Jack turns it into a Dystopia where the boys indulge in hunting boars, dancing around the fire and eating meat. They ruin nature, and make it become a wasteland. Irrational power in their hearts is totally released. Hence, these boys degenerate into a group of evil pleasure-hunters.The fifth chapter states the features of modern irrationality. As exemplified by the
two novels, irrationality is in conflict with civilization. Modern civilization, as the embodiment of instrumental rationality, is hypocritical in essence. The exterior environment is hostile to the modern man. It arouses man's irrational power. What's more, modernist irrationality appears as man's evil tendency out of free will. Kant thinks man's free will makes him superior to the animal. Free will is similar to "thing-it-self," it is transcendental and cannot be perceived by man's reason. Hence, in author's opinion, free will has some color of irrational elements. The freedom of will is the basis of morality. According to Kant, man's first choice intends to be evil, because once man chooses evil, he gets self-knowledge through this fall. (Deng, 103-04) The dying Kurtz in the end degrades into a symbol of evil. The boys in Lord of the Flies are overwhelmed with irrational thought represented as pleasure of hunting and meat eating. Jack organizes his fellows to hunt pigs. Guided by this irrational force, they even kill Simon and Piggy. All the irrational behavior appears as an evil tendency.The sixth chapter asserts that modernist irrationality is a mode of salvation of man's spiritual predicament. According to Freud's three-level division of structural models in human nature: id ego, superego. Id is based on our pleasure principle exhibited as instinctive behavior. Ego sometimes pays attention to the others' needs and sometimes succumbs to the calls from id. It is free floating in all three levels. Superego is the moral part in human nature. It restrains the instinctive behavior that disobeys moral values or ethics. Superego is rational. In the two novels, Marlow's meeting with Kurtz and Ralph's struggle against Jack indicate the confrontation between superego—rational social conventions and id—irrational aspect in human heart. In the modern period, id is liberated from ego and superego. It traces the root of man's spiritual predicament. Besides, the indulgence in irrationality is similar to Nietzsche's Dionysiac state. It is in the internal insane state that agony and exultation coexist together. In a Dionysiac state, Kurtz, Simon and Jack pierce through the hypocritical surface, and realize the truth. Kurtz and Jack are Nietzschean heroes. A Nietzschean hero deserts all traditional values and faces his doom with great courage. Through his fall, he comprehends the true meaning of life. Kurtz understands the dark
truth of life at his dying moment. Ralph realizes the dark side in human nature from Jack's riot.In the conclusion part, the author reviews the features of modernist irrationality. Modernist irrationality is in conflict with civilization and the exterior environment. It is an evil tendency in human nature upon free will. Kant's free will is tinted with irrational elements. Besides, man's first moral choice based on free will tends to be evil, because as what Kant thinks, man could elicit good from evil. Through the fall, people wake up from ignorance and realize the truth of life, just like Nietzschean heroes Jack and Kurtz in the two novels. Hence, the victory of irrationality over reason and rationality paves the way for man's salvation. The irrational trend in modernism is indispensable to man's maturity.
在介绍部分,作者首先追溯非理性主义在文学中的起源和发展以及现代非理性主义的涵义。非理性的浅层意义是指人的潜意识,诸如想象和直觉。其深层含义是指人的原始欲望,即通过生命冲动来实现自由意志的一种本质力量。文学中的非理性特征早在古希腊神话中就有所体现。宙斯率领的奥林匹克神朝代表理性和秩序,巨人族的魔怪则代表着非理性和无序,二者都出自于万有之母盖亚,因此,他们之间的斗争象征着人内心中理性因素和非理性因素之间的冲突。另外浪漫主义时期的文学也带有非理性色彩。
在同理性的斗争中,非理性主义逐渐发展成现代主义的一股重要的思潮。西方历史上,非理性被知识和理性压制。科技的过度发展把人变为现代文明的机器,现代人的精神危机日益加剧。在此背景下,现代主义作家们把注意力由外部世界转向人的内心世界。康德把世界划分为“现象”和“本体”两部分。“本体”在他的哲学体系中相当于“物自体”,它是人的理性不能认知的。康德对于“现象”和“本体”的划分给现代主义非理性的兴起留下空间。在心理学领域,弗洛伊德的本我即是一种先天的生命驱动力,具有非理性的特点。而叔本华的“生命意志”和尼采的“权利意志”成为现代非理性哲学的代表。
在文学领域,现代主义作家们关注人的内心冲突,他们在作品中采用新的写作技巧,如意识流、神话模式、象征等来揭示人的内心世界。现代主义非理性探索人内心潜藏的一面。现代主义文学突出人的内心世界同外部世界的冲突。浪漫主义时期的文学家们通过对人同文明、自然和人自身的关系歌颂人的想象、直觉和灵感等,含有一定的非理性因素。现代主义时期的非理性同现代文明、原始环境以及人性的道德选择有一定的联系。本文作者选择两部现代主义小说《黑暗的心》和《蝇王》,将其作为个案研究借以说明现代主义非理性的特点。
本文的第一章为“文献回顾”,作者试图说明《黑暗的心》和《蝇王》在现
This dissertation intends to expound features of modernist irrationality reflected in modernist literature by analyzing relationships of irrationality with civilization, environment, and evil tendencies in human nature in two modernist literary works Heart of Darkness and Lord of the Flies to provide an insight to the ideal of man's salvation through irrationality.In the "Introduction" part, the author reviews the sources of irrationalism in literature and ethic of modernist irrationality. From the surface layer of meaning, irrationality is a collective concept of the subconscious, imagination and intuition, etc. From the deep layer of meaning, irrationality as the essential power originates from man's original desire to realize his free will by using life impulse.As early as ancient Greece, irrationality was displayed in the stories about the Olympians led by Zeus fighting against other Titans in Greek mythology. Both of them are derived from Gaea. Hence, the gods are the symbols of rationality, while the Titans are the symbols of irrationality. In Romanticism, irrationality prevailed.Irrationality gradually develops into an important thought of modernism in the process of its struggle against rationalism. In Western history, irrationality is always suppressed by knowledge and reason. With the over-development of science and technology, man becomes machine of modern civilization. Serious spiritual crises make modernists divert their attention from the exterior world to man's interior world. Irrationality reverts to the dark aspect in human nature. To Kant, the world consists of two parts, that is, the phenomenon and noumenon. In his philosophical system, noumenon equals "thing-it-self" which is not knowable by man's reason. Kant's division also leaves room for the flourishing of irrationality. In the psychological field, Freud thinks that id is a kind of man's inborn driving force. It is irrational. In the philosophical field, Arthur Schopenhauer's "will to life" and Nietzsche's "will to power" are also representative of modernist irrational philosophy.In the field of modernist literature, modern writers are concerned about man's
inner conflicting world. They break away from traditional writing techniques or literary theory and introduce some new writing techniques like stream of consciousness, mythical pattern, and symbolic expression in their literary works. The theme of modernist literature delineates the battle between man's interior world and the exterior world. The Romantics advocate man's imagination, intuition and inspiration. It demonstrates those irrational features by describing man's relationships with civilization, nature, and man himself. Therefore, modernist irrationality is also closely linked to modern civilization, wild environment and the moral choice in human nature. In order to exemplify irrational features of modernist literary works, the author focuses on two modernist novels Heart of Darkness and Lord of the Flies for a case study.The first chapter tries to prove the important positions of Heart of Darkness and Lord of the Flies among modernist literary works. Heart of Darkness is regarded as "the first truly modern work of fiction in English" (Adelman 5). Lord of the Flies is also "a modern classic" (Reilly 3). The two novels attract many critics. Some critics discuss Heart of Darkness from a post-colonial point of view. Some interpret the novel by taking a psychoanalytic approach. As to Lord of the Flies, most critics comment on Golding's revelation of the evil aspect in human nature. But so far, few have concentrated on modernist irrational features reflected in the two novels. Although the two novels belong to different periods in the 20th century, they can be looked upon as classics of modernist literary works. Heart of Darkness and Lord of the Flies can manifest features of modernist literary works, including modernist irrational features.The second chapter discusses the symbols and the myths which help reveal irrational features in Heart of Darkness and Lord of the Flies. Symbolism and myth are two important writing techniques that are widely used by modernist writers. Symbols can best reflect man's multiple consciousness, exploring irrational aspect in human nature. In Heart of Darkness, those symbols like the snake, the skulls, and the jungle represent irrational power. Above all, Kurtz is the symbol of evil in human nature. In Lord of the Flies, the pig's head and the beast symbolize irrational power
and evil in human nature. Besides, Jack is also the symbol of man's irrational aspect. Modernist writers employ myth to associate the present with the history. With bold innovation, they use myth to disclose the spiritual crisis in human existence. Heart of Darkness originates from Christopher Marlowe's Dr Faustus, while Golding's Lord of the Flies is mostly derived from Jonathan Swift's Gulliver s Travels. By taking the mythical pattern, the two writers express a pessimistic attitude towards human nature.The third chapter is mainly concerned with irrational features in Heart of Darkness. Civilization in Heart of Darkness is tinted with colonial color. It is fragile when those white pilgrims are confronted with the primitive Congo area. White man's hypocrisy is in contrast with the energetic "untamed" aboriginals in the Congo area. The white colonialists degrade into "hollow men." in this primitive land. In order to seek more profits, the white devastate the primitive land in the Congo area. Meanwhile, nature corrodes man's reason and damages his physical health. The white either lose their lives in this wild area or become insane like Kurtz. When Kurtz, a man from a civilized country, is situated in primitive Congo forest, he cannot resist irrational power in his heart and becomes a "death image." Irrationality lurking in the hearts of both the white and the black is presented as man's lust for ivory and power and externalized as mysterious rites in the jungle, etc. Both the white and the black manifest evil aspects in their nature: the white mistreat the black; while some tamed Negroes cruelly kill their fellows who are regarded as "rebels" against the white.In the fourth chapter, the author analyzes irrational features in Lord of the Flies. The influence of education as the representation of civilization fades away when the boys are lured by pleasure of hunting which is the embodiment of irrationality. Nature is hostile to man. At first, Ralph tries to set up a Utopia where the boys are in harmony with nature. However, the wild island invokes irrational power in their hearts. Consequently, Jack turns it into a Dystopia where the boys indulge in hunting boars, dancing around the fire and eating meat. They ruin nature, and make it become a wasteland. Irrational power in their hearts is totally released. Hence, these boys degenerate into a group of evil pleasure-hunters.The fifth chapter states the features of modern irrationality. As exemplified by the
two novels, irrationality is in conflict with civilization. Modern civilization, as the embodiment of instrumental rationality, is hypocritical in essence. The exterior environment is hostile to the modern man. It arouses man's irrational power. What's more, modernist irrationality appears as man's evil tendency out of free will. Kant thinks man's free will makes him superior to the animal. Free will is similar to "thing-it-self," it is transcendental and cannot be perceived by man's reason. Hence, in author's opinion, free will has some color of irrational elements. The freedom of will is the basis of morality. According to Kant, man's first choice intends to be evil, because once man chooses evil, he gets self-knowledge through this fall. (Deng, 103-04) The dying Kurtz in the end degrades into a symbol of evil. The boys in Lord of the Flies are overwhelmed with irrational thought represented as pleasure of hunting and meat eating. Jack organizes his fellows to hunt pigs. Guided by this irrational force, they even kill Simon and Piggy. All the irrational behavior appears as an evil tendency.The sixth chapter asserts that modernist irrationality is a mode of salvation of man's spiritual predicament. According to Freud's three-level division of structural models in human nature: id ego, superego. Id is based on our pleasure principle exhibited as instinctive behavior. Ego sometimes pays attention to the others' needs and sometimes succumbs to the calls from id. It is free floating in all three levels. Superego is the moral part in human nature. It restrains the instinctive behavior that disobeys moral values or ethics. Superego is rational. In the two novels, Marlow's meeting with Kurtz and Ralph's struggle against Jack indicate the confrontation between superego—rational social conventions and id—irrational aspect in human heart. In the modern period, id is liberated from ego and superego. It traces the root of man's spiritual predicament. Besides, the indulgence in irrationality is similar to Nietzsche's Dionysiac state. It is in the internal insane state that agony and exultation coexist together. In a Dionysiac state, Kurtz, Simon and Jack pierce through the hypocritical surface, and realize the truth. Kurtz and Jack are Nietzschean heroes. A Nietzschean hero deserts all traditional values and faces his doom with great courage. Through his fall, he comprehends the true meaning of life. Kurtz understands the dark
truth of life at his dying moment. Ralph realizes the dark side in human nature from Jack's riot.In the conclusion part, the author reviews the features of modernist irrationality. Modernist irrationality is in conflict with civilization and the exterior environment. It is an evil tendency in human nature upon free will. Kant's free will is tinted with irrational elements. Besides, man's first moral choice based on free will tends to be evil, because as what Kant thinks, man could elicit good from evil. Through the fall, people wake up from ignorance and realize the truth of life, just like Nietzschean heroes Jack and Kurtz in the two novels. Hence, the victory of irrationality over reason and rationality paves the way for man's salvation. The irrational trend in modernism is indispensable to man's maturity.
引文
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李思孝:《从古典主义到现代主义:欧洲近代文艺思潮论》。北京:首都师范大学出版社 1997年。(Li Sixiao From Classicism to Modernism: the Review of European Modernist literature Thoughts. Beiing: Capital Normal University Press. 1997.)
阮炜:《二十世纪英国小说评论》。北京:中国社会科学出版社,2001年。(Ruan Wei Twentieth Century British Novels Review Beijing: China Social Science Press. 2001.)
徐曙玉、边国恩等编:《20世纪西方现代主义文学》。天津:百花文艺出版社2001年。(Xu Shuyu. Eds. twentieth century Western Modernist Literature. Tianjing: Baihua Literature and Art Publishing House. 2001.)
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李玉花:《泯灭的章心,泯灭的人性:说戈尔丁的<蝇王>》,《外国文学研究》1999年3月,第一期:83—87页(Li Yuhua. "Disappearing of Childlike Innocence, the Disappearing of Human Nature." Views on Golding's Lord of the Flies." Foreign Literature Study 1 (1993): 83-87.)
隋旭升:《<黑暗的心脏>中库尔兹和马洛的象征意义》,《外国文学评论》1994年第2期:47-54页(Sui Xusheng "the Symbolic Meaning of Kurtz and Marlow in Heart of Darkness" Foreign Literature Study 2 (1994): 47-54.)
殷企平:《<黑暗的心>解读中的四个误区》,《外国文学评论》,2001年第2期:144—151页(Yin Qiping "Four Misreadings in Heart of Darkness" Foreign Literature Review 2 (2001): 144-51.)
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侯维瑞:《现代英国小说史》。上海:上海外语教育出版社,1985年。(Hou Werrui A History of Modernist British Novels Shanghai: Shanghai Foreign Language Education Press. 1985.)
李思孝:《从古典主义到现代主义:欧洲近代文艺思潮论》。北京:首都师范大学出版社 1997年。(Li Sixiao From Classicism to Modernism: the Review of European Modernist literature Thoughts. Beiing: Capital Normal University Press. 1997.)
阮炜:《二十世纪英国小说评论》。北京:中国社会科学出版社,2001年。(Ruan Wei Twentieth Century British Novels Review Beijing: China Social Science Press. 2001.)
徐曙玉、边国恩等编:《20世纪西方现代主义文学》。天津:百花文艺出版社2001年。(Xu Shuyu. Eds. twentieth century Western Modernist Literature. Tianjing: Baihua Literature and Art Publishing House. 2001.)
杨江柱、胡正学主编:《西方浪漫主义文学史》武汉:武汉出版社1985年。
《雅典,西方文明的摇篮》2005年3月2日
邓晓芒:《康德宗教哲学对我们的启示》,《现代哲学》2003年第一期103-04页(Deng Xiaomang "the Revelation of Kant's Philosophy of Religion" Modern Philosophy 1 (2003): 103-04.)
冯玉珍:《康德意志两重性及其对现代非理性主义的影响》,《吉林大学社会科学学报》1994年6期14—19页(Feng Yuzhen. "The Dual Qualities of Will in Kant's Philosophy and its Influence on Modernist Irrationality." Jilin University Journal Social Science 6 (1994): 14-19.)
李玉花:《泯灭的章心,泯灭的人性:说戈尔丁的<蝇王>》,《外国文学研究》1999年3月,第一期:83—87页(Li Yuhua. "Disappearing of Childlike Innocence, the Disappearing of Human Nature." Views on Golding's Lord of the Flies." Foreign Literature Study 1 (1993): 83-87.)
隋旭升:《<黑暗的心脏>中库尔兹和马洛的象征意义》,《外国文学评论》1994年第2期:47-54页(Sui Xusheng "the Symbolic Meaning of Kurtz and Marlow in Heart of Darkness" Foreign Literature Study 2 (1994): 47-54.)
殷企平:《<黑暗的心>解读中的四个误区》,《外国文学评论》,2001年第2期:144—151页(Yin Qiping "Four Misreadings in Heart of Darkness" Foreign Literature Review 2 (2001): 144-51.)