家长制社会下的挣扎
摘要
亨利·詹姆斯是美国著名小说家、散文家和文学评论家。他被认为是意识流文学流派的前驱,现代派小说批评的鼻祖。亨利·詹姆斯善于刻画人物内心活动,善于表现“国际性题材”。在创作方法上他对小说进行了革新,被称为心里现实主义作家。他以独树一帜的文学表现手法,开创了现代小说的新纪元。他在小说上取得的斐然成就,使他被批评家推崇为英美文学史上最伟大的作家之一。
虽然中国的评论界一直关注着对亨利·詹姆斯这位艺术大师的介绍和研究,但遗憾的是,长期以来,国内詹姆斯研究主要围绕着国际主义主题、道德主题以及詹氏写作风格等几个有限问题进行探讨。进入20世纪80年代,国际詹姆斯研究发生了新的转向,批评家们开始越来越多地对展示作品中体现出的政治意识、性别身份、种族偏见、文化观等进行全面的考察,其深度和广度扩展到詹氏作品的各个方面。
亨利·詹姆斯的小说中创作了一系列鲜明的妇女及儿童形象,从不同程度上反映了妇女及儿童所遭受的苦难和压迫。妇女及儿童同属弱势群体,詹氏笔下的这些形象同样吸引了越来越多的批评关注。但就《梅西所知》这部作品而言,对其中妇女及儿童形象的系统论述相对较少。本篇论文试图通过《梅西所知》中妇女及儿童哭泣的意象,着力展示家长制社会中妇女及儿童所受的压迫,探寻其受害的社会根源。
在本篇论文中笔者借鉴了女性主义及形式主义等文学理论作为论文的理论支撑,但在具体的论述上还是以《梅西所知》这部作品为基础,力图通过详细的文本分析,阐述詹姆斯对家长制社会下妇女及儿童所受压迫的批判,从而为亨利·詹姆斯研究提供一个全新的视角。
Henry James is a noted American-born English novelist, essayist and critic. He is known as a pioneer of the school of“stream-of-consciousness”, and the originator of modern novel critique. Henry James is a master of characters’inner activity, and has a good command of the“international theme”. Furthermore, he innovated the writing technique, honored the mastery of psychological realism. With the unique method of writing, he created a new era of modern fiction. The fine art of his writing has led many academics to consider him the greatest master of the novel and novella form.
Although the critics in China are always concerned about the introduction and study of Henry James, it is a pity that most critics in China only centered on the“international theme”, the“morality theme”, and his writing style. From the 1980s, the study of Henry James has a new shift. More and more critics have a comprehensive study of his novels, such as the political awareness, gender identity, racial prejudice, culture values, and etc, the depth and width of which expand into various aspect of his works.
Henry James created a series of distinctive images of women and children in his novels, and reflected their sufferings and oppressions. The vulnerable group of women and children in Henry James’s novels offer themselves unusually well to critical examination. But as for What Maisie Knew, there are relatively few systematical critiques of its women and child. With the cry images of women and child in What Maisie Knew, this dissertation attempts to display the oppression on them in the patriarchal society, and explore the root causes of their sufferings in terms of social system.
In the quest to understand more fully the complexity of James’s women and children, the author has studied critical theories of different schools, including feminist theories and formalistic theories and etc with aspects of each subordinated to the general scheme of the book which cuts across all of them. Informed by these theories, the author hopes to illustrate clearly the sufferings of women and child in the patriarchal society in What Maisie Knew, thus providing a new perspective for the study of Henry James.
虽然中国的评论界一直关注着对亨利·詹姆斯这位艺术大师的介绍和研究,但遗憾的是,长期以来,国内詹姆斯研究主要围绕着国际主义主题、道德主题以及詹氏写作风格等几个有限问题进行探讨。进入20世纪80年代,国际詹姆斯研究发生了新的转向,批评家们开始越来越多地对展示作品中体现出的政治意识、性别身份、种族偏见、文化观等进行全面的考察,其深度和广度扩展到詹氏作品的各个方面。
亨利·詹姆斯的小说中创作了一系列鲜明的妇女及儿童形象,从不同程度上反映了妇女及儿童所遭受的苦难和压迫。妇女及儿童同属弱势群体,詹氏笔下的这些形象同样吸引了越来越多的批评关注。但就《梅西所知》这部作品而言,对其中妇女及儿童形象的系统论述相对较少。本篇论文试图通过《梅西所知》中妇女及儿童哭泣的意象,着力展示家长制社会中妇女及儿童所受的压迫,探寻其受害的社会根源。
在本篇论文中笔者借鉴了女性主义及形式主义等文学理论作为论文的理论支撑,但在具体的论述上还是以《梅西所知》这部作品为基础,力图通过详细的文本分析,阐述詹姆斯对家长制社会下妇女及儿童所受压迫的批判,从而为亨利·詹姆斯研究提供一个全新的视角。
Henry James is a noted American-born English novelist, essayist and critic. He is known as a pioneer of the school of“stream-of-consciousness”, and the originator of modern novel critique. Henry James is a master of characters’inner activity, and has a good command of the“international theme”. Furthermore, he innovated the writing technique, honored the mastery of psychological realism. With the unique method of writing, he created a new era of modern fiction. The fine art of his writing has led many academics to consider him the greatest master of the novel and novella form.
Although the critics in China are always concerned about the introduction and study of Henry James, it is a pity that most critics in China only centered on the“international theme”, the“morality theme”, and his writing style. From the 1980s, the study of Henry James has a new shift. More and more critics have a comprehensive study of his novels, such as the political awareness, gender identity, racial prejudice, culture values, and etc, the depth and width of which expand into various aspect of his works.
Henry James created a series of distinctive images of women and children in his novels, and reflected their sufferings and oppressions. The vulnerable group of women and children in Henry James’s novels offer themselves unusually well to critical examination. But as for What Maisie Knew, there are relatively few systematical critiques of its women and child. With the cry images of women and child in What Maisie Knew, this dissertation attempts to display the oppression on them in the patriarchal society, and explore the root causes of their sufferings in terms of social system.
In the quest to understand more fully the complexity of James’s women and children, the author has studied critical theories of different schools, including feminist theories and formalistic theories and etc with aspects of each subordinated to the general scheme of the book which cuts across all of them. Informed by these theories, the author hopes to illustrate clearly the sufferings of women and child in the patriarchal society in What Maisie Knew, thus providing a new perspective for the study of Henry James.
引文
Henry James (1843-1916) was one of the foremost literary figures of his time, leaving us an enormous body of novels, short stories, literary and art criticism, autobiography and travel writing. The fine art of his writing has led many academics to consider him the greatest master of the novel and novella form.
Critics often group his works of fiction into three periods. In his apprentice years, culminating with the masterwork The Portrait of a Lady, his style was simple and direct and he experimented widely with forms and methods, generally narrating from a conventionally omniscient point of view. Plots generally concern romance, except for the three big novels of social commentary that conclude this period. In the second period, as noted above, he abandoned the serialized novel and from 1890 to about 1897, he wrote short stories and plays. Finally, in his third and last period he returned to the long, serialized novel. Beginning in the second period, but most noticeably in the third, he increasingly abandoned direct statement in favor of frequent double negatives, and complex descriptive imagery.1 For the capacity to think in images, and to grow by projecting concretions instead of by passing concepts, James had an apt and illuminating metaphor.
Imagery indicates that something other than the content of a metaphor, or even its simple recurrence, will prove important for the investigator of images. Not can such a use of metaphor be viewed as a purely intellectual ability. Metaphor often functions to reveal, in the peculiarly dramatic way of presenting mental action. The change of imagery may sometimes develop into a climax, becoming itself the“scene”which produces further incident. The skill of the artist may better be revealed in the functioning of his images or the great variety of uses which they are made to serve in different contexts. This suggestion has especial validity when applied to such a craftsman as Henry James.
It was the profundity of the pondering that I had in mind when I referred to him as a “poet-novelist”: his“interests”were not of the kinds that are merely written about. Here is an apt passage from the Preface to The Golden Bowl:……the whole growth of one’s “taste”: a blessed comprehensive name for many of the things deepest in us. The“taste”of the poet is, at bottom and so far as the poet in him prevails over everything else, his active sense of life: in accordance with which truth to keep one’s hand on it is to hold thesilver clue to the whole labyrinth of his consciousness. James’s use of the word“poet”to cover the novelist, and his associating it in this explanatory way with the term“taste”, indicates the answer to the not uncommon suggestion that his work exhibits taste trying to usurp the function of a moral sense. In calling him“poet-novelist”I myself was intending to convey that the determining and controlling interests in his art engage what is‘deepest in him’(he being a man of exceptional capacity for experience), and appeal to what is deepest in us. This characteristic of his art manifests itself in his remarkable use of symbolism. 2
My argument will focus on What Maisie Knew (1897), a text that has often been seen by critics as an“experimental”precursor of modernism at the level both of structural innovation and in its concern with problems of epistemology. What Maisie Knew is a novel by Henry James, first published as a serial in the Chap Book and (revised and abridged) in the New Review in 1897 and then as a book later in the same year. What Maisie Knew, which is about the impact of legal reform upon the dynamics of family life and a portrayal of the effect that adult freedoms have upon a small child, has great contemporary relevance as an unflinching account of a wildly dysfunctional family. Henry James shows his characters as still, to some extent, circumscribed by traditional conventions, but also opportunistically getting away with as much as they can in terms of freedom. The story is of the sensitive daughter of divorced and irresponsible parents. When Beale and Ida Farange are divorced, the court decrees that their only child, the very young Maisie, will shuttle back and forth between them, spending six months of the year with each. The parents are immoral and frivolous, and they use Maisie to intensify their hatred of each other. Beale Farange marries Miss Overmore, Maisie's pretty governess, while Ida marries the likeable but weak Sir Claude. Maisie gets a new governess, the frumpy, more than a little ridiculous, but devoted Mrs. Wix. Both Ida and Beale soon busy themselves with other lovers besides their spouses. In return those spouses—Sir Claude and the new Mrs. Beale—begin an affair. Maisie's parents essentially abandon her in heartbreaking scenes, and she becomes largely the responsibility of Sir Claude. Eventually, Maisie must decide if she wants to remain with Sir Claude and Mrs. Beale. In the book’s long final section set in France, the now teenaged Maisie maturely decides that the relationship of her new“parents”might well end as badly as that of her biological parents. She leaves them and goes to stay with Mrs. Wix, her most reliable adult guardian. 3
Over the past ten years, criticism of Henry James’s novel, What Maisie Knew, has focused on such issues as: its relationship to the social comedy of Ford Maddox Ford,technologies of vision, the novel’s relationship to the trial of Oscar Wilde, social purity, racial phantasmagoria, the role of the governess, the oedipal family, and the novel’s significance in the context of James’s novella, The Turn of the Screw.4 As it is so often the case with James, the problem is not one of opaqueness. Rather, there is too much to be discerned: overtones, symbols, disturbing implications confront the reader on almost every page. He seeks to forge a narrative machinery for the symbolization.
What Maisie Knew has attained a fairly strong critical position in the Jamesian canon, just because of the power of the imagery. The phantasmagoria of What Maisie Knew is, of course, a mutation of the more well-known theatrical metaphors that James habitually adopts in his theorizing of the novel. The novel’s imagery of beasts, battles, games, gardens, France and hand has been thoroughly analyzed by a number of critics. In a much-cited essay, Juliet Mitchell draws attention to the proliferation in What Maisie Knew of the imagery of mirrors, windows, screens, and reflections, signaling what she calls“a process of initiation into vision,”that is“at the deepest level, profoundly bound up with his method for the whole novel”5. But one important strains of imagery has been oddly neglected. That is the cry of women and child in the novel, who are like insects fluttering helpless about the flame of patriarchy. The curious and variations of the scene of cry suggest that in the novel oppression of patriarchy and resistance are shown by cry.
Nowadays, literary critical practice has become more and more concerned with the question of otherness. The ongoing critical revolution calls into our attention the questionable identity of women and children in the patriarchal society. Henry James exploited to the last emotional pang the sympathy and identification that people had come to feel for women and child in What Maisie Knew. In the period of the novel, British women found themselves increasingly defined as avatars of silence, submission, and domestic servitude. Victorian “femininity”required women to impersonate passivity and helplessness, and by definition prevented them from voicing discontent. But adult life is somehow superior to child life, so the novel is also a thoroughgoing condemnation of parents and guardians abandoning their responsibilities towards their children. James saw English society as becoming more corrupt and decadent, and What Maisie Knew is one of his harshest indictments of those who can't be bothered to live reasonably responsible lives. Henry James uses the subjectivity of the women
6 M. H. Abrams. A Glossary of Literary Terms. pp.121
7 Sight, touch, smell, hearing, and taste.
8 Borgquist Alvin. The American Journal of Psychology. pp. 185
9 Borgquist Alvin. The American Journal of Psychology. pp. 180
10 Ibid. pp. 187
11 Ibid. pp. 191
12 Borgquist Alvin. The American Journal of Psychology. pp. 180
13 Juliet Mitchell. Women’s Estate. Penguin 1971. 182pp. pp 75-122
14 The Modern British Novel 1878-2001. pp. 24
15 Elizabeth Allen. A Woman’s Place in the Novels of Henry James. New York: St. Martin’s Press. 1984. viii, 223 pp.
16 James Henry. The Tragic Muse (1890), ch. IX,
17 Wojtczak Helena. A Brief overview of Women’s Status in Mid 19th- century England http://www.hastingspress.co.uk/history/19/overview.htm. 2009-1-18
18 Peterson M. Jeanne. The Victorian Governess: Status Incongruence in Family and Society. pp. 7-26
19 Cluesman Carissa. A Historical View of the Victorian Governess. http://www.umd.umich.edu/casl/hum/eng/classes/434/charweb/cluesman1.htm. 2009-2-20
20 Gissing George. The Gissing Newsletter. Volume XIV, Number 2. April, 1978. pp. 3
21 Smith Bonnie G. Changing Lives, Chapter 5: The Domestic Sphere in the Victorian Age.
22 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 19
23 Peterson M. Jeanne. The Victorian Governess: Status Incongruence in Family and Society. pp. 7-26
24 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 40
25 Ibid. pp. 41
26 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 100
27 Ibid. pp. 101
28 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 79
29 Ibid. pp. 47
30 Ibid. pp. 47
31 Ibid. pp. 214
32 Ibid. pp. 215
33 Ibid. pp. 210
34 Ibid. pp. 210
35 Ibid. pp. 212
36 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 215
37 Ibid. pp. 216
38 Johnson Lee Ann. James’s Mrs. Wix: The“Dim, Crooked Reflector”. Nineteenth-Century Fiction, Vol. 29, No. 2. (Sep., 1974), pp. 164
39 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 51
40 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 24
41 Ibid. pp. 36
42 Ibid. pp. 81
43 Ibid. pp. 25
44 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 66
45 Ibid. pp. 67
46 Ibid. pp. 185
47 Ibid. pp. 26
48 Hamilton Sarah. Ethics and Literature: Love and Perception in Henry James. B.A. Centenary College of Louisiana, 1995 August 2004. pp. 52
49 Ibid. pp. 48
50 Ibid. pp. 51
51 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 81
52 Hamilton Sarah. Ethics and Literature: Love and Perception in Henry James. B.A. Centenary College of Louisiana, 1995 August 2004. pp. 52
53 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 76
54 Ibid. pp. 173
55 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 11
56 Hirsch Marianne. Mothers and Daughters extracted from A Theoretical Reader in Motherhood. pp. 237
57 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 12
58 Ibid. pp. 12
59 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 60
60 Ibid. pp. 60
61 Hirsch Marianne. Mothers and Daughters extracted from A Theoretical Reader in Motherhood. pp. 231
62 Hirsch Marianne. Mothers and Daughters extracted from A Theoretical Reader in Motherhood. pp. 236
63 Goodman Charlotte. The Sins of the Fathers and Mothers: The Child as Victim in Modern Literature. Modern Language Studies, Vol. 15, No. 2. (Spring, 1985), pp. 47
64 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 12
65 Ibid. pp. 12
66 Ibid. pp. 112
67 Ibid. pp. 112
68 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 113
69 Ibid. pp. 112
70 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 112
71 Ibid. pp. 119
72 Ibid. pp. 120
73 Ibid. pp. 16
74 Ibid. pp. 121
75 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 92
76 Ibid. pp. 9
77 Ibid. pp. 91
78 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 96
79 Ibid. pp. 96
80 Ibid. pp. 97
81 Ibid. pp. 97
82 Ibid. pp. 57
83 Ibid. pp. 133
84 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware,Hertfordshire SG12 9HJ. 2000. pp. 134
85 Ibid. pp. 137
86 Ibid. pp. 138
87 Borgquist Alvin. The American Journal of Psychology. pp.164
88 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 138
89 Borgquist Alvin. The American Journal of Psychology. pp.162
90 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 65
91 Ibid. pp. 33
92 Ibid. pp. 22
93 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 19
94 Ibid. pp.20
95 Ibid. pp.77
96 Ibid. pp.166
97 Ibid. pp.166
98 Ibid. pp.23
99 Ibid. pp.23
100 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.42
101 Ibid. pp.70
102 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.156
103 Ibid. pp.210
104 Ibid. pp.12
105 Chen Rong. Objectification of Children in Henry James’s Fiction. pp.135
106 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.12
107 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.12
108 Pat Righelato. Introduction of What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. PVI
109 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.119
110 Ibid.
111 Ibid.
112 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.138
113 Ibid.
114 Ibid.
115Mitchell Juliet.‘What Maisie Knew: Portrait of the Artist as a Young Girl’in The Air of Reality: New Essays on Henry James.pp.185.
116 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.160
117 Ibid. pp. 184
118 Ibid. pp. 94
119 Ibid. pp. 96
120 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.96
121 Ibid. pp. 97
122 Ibid. pp. 205
123 Ibid.
124 Ibid. pp. 206
125 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.206
126 Ibid. pp.211
127 Ibid. pp.213
128 RenéDescartes was a French philosopher whose work, La géométrie, includes his application of algebra to geometry from which we now have Cartesian geometry. His work had a great influence on both mathematicians and philosophers.
129 (Objectification of Children in Henry James’s Fiction. Chen Rong, P150 note 19)
130 Reesman , Campbell Jeanne.The Deepest Depths of the Artificial: Attacking Women and Reality in“The Aspern Papers”The Henry James Review - Volume 19, Number 2, Spring 1998, pp. 148-165
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36. Showalterm, Elaine. A Literature of Their Own: British Women Novelists from Bronte to Lessing [M]. Foreign Language Teaching and Research Press, 2004.
37. Tannerm, Tony. The Literary Children of James and Clemens [J]. Nineteenth-Century Fiction, 1961, 16 (3): 205-218.
38. The ladder: a Henry James Website. http://www.henryjames.org.uk/, 2009-2-25
39. Wasiolek, Edward. Maisie: Pure or Corrupt? [J]. College English. 1960, 22 (3): 167-172.
40. Westover, Jeff. Handing over power in James’s What Maisie Knew [J]. Style, 1994, 28 (2): 201.
41. Wilson, W Harris. What Did Maisie Know? [J]. College English, 1956, 17 (5): 279-282.
42. Worden, S. Ward. A Cut Version of What Maisie Knew [J]. American Literature. 1953, 24 (4): 493-504.
43. Wojtczak Helena. A Brief overview of Women’s Status in Mid 19th- century England http://www.hastingspress.co.uk/history/19/overview.htm, 2009-1-18
44. Worden, S. Ward. Henry James’s What Maisie Knew: A Comparison with the Plans in the Notebooks [J]. PMLA, 1953, 68 (3): 371-383.
45.陈榕.亨利·詹姆斯小说中儿童的物化现象[M].河南:河南大学出版社, 2004.
46.代显梅.传统与现代之间:亨利·詹姆斯的小说理论[M].北京:社会科学文献出版社, 2006.
47.戴维斯.维多利亚人[M].上海:外语教学与研究出版社,2007.
48.高伟光.“前”现代主义,现代主义与后现代主义文学[M].北京:中国社会科学出版社,2006.
49.顾祖钊.文学原理新释[M].北京:人民文学出版社, 2000.
50.亨利·詹姆斯.小说的艺术[M].朱雯,乔佖,朱乃长等译.上海:上海译文出版社, 2001.
51.侯维瑞.现代英国小说史[M].上海:上海教育出版社,1985。
52.侯维瑞,李维屏.英国小说史[M].江苏:译林出版社,2005.
53.胡克斯·贝尔.女权主义理论——从边缘到中心[M].晓征,平林译.南京:江苏出版社, 2001.
54.李维屏.英国小说艺术史[M].上海:上海外语教育出版社, 2003.
55.刘甫田,徐景熙主编.文学概论[M].北京:高等教育出版社, 2000.
56.鲁西.艺术意象论[M].广西:广西教育出版社, 1995.
57.乔以刚,林丹娅.女性文学教程[M].河北:河北教育出版社, 2007.
58.任生名.西方现代悲剧论稿[M].上海:上海外语教育出版社, 1998.
59.芮渝萍.美国成长小说研究[M].北京:中国社会科学出版社, 2004.
60.申丹,韩加明,王丽亚.英美小说叙事理论研究[M].北京大学出版社, 2005.
61.童庆炳主编.文学理论教程[M].北京:高等教育出版社,1998.
62.王先霈主编.文学批评原理[M].武汉:华中师范大学出版社, 1999.
63.西蒙娜,德波伏娃.第二性[M].北京:中国书籍出版社,1998.
64.严云受,刘锋杰.文学象征论[M].安徽:安徽教育出版社, 1995.
65.朱立元主编.当代西方文系理论[M].上海:华东师范大学出版社, 1997.
Critics often group his works of fiction into three periods. In his apprentice years, culminating with the masterwork The Portrait of a Lady, his style was simple and direct and he experimented widely with forms and methods, generally narrating from a conventionally omniscient point of view. Plots generally concern romance, except for the three big novels of social commentary that conclude this period. In the second period, as noted above, he abandoned the serialized novel and from 1890 to about 1897, he wrote short stories and plays. Finally, in his third and last period he returned to the long, serialized novel. Beginning in the second period, but most noticeably in the third, he increasingly abandoned direct statement in favor of frequent double negatives, and complex descriptive imagery.1 For the capacity to think in images, and to grow by projecting concretions instead of by passing concepts, James had an apt and illuminating metaphor.
Imagery indicates that something other than the content of a metaphor, or even its simple recurrence, will prove important for the investigator of images. Not can such a use of metaphor be viewed as a purely intellectual ability. Metaphor often functions to reveal, in the peculiarly dramatic way of presenting mental action. The change of imagery may sometimes develop into a climax, becoming itself the“scene”which produces further incident. The skill of the artist may better be revealed in the functioning of his images or the great variety of uses which they are made to serve in different contexts. This suggestion has especial validity when applied to such a craftsman as Henry James.
It was the profundity of the pondering that I had in mind when I referred to him as a “poet-novelist”: his“interests”were not of the kinds that are merely written about. Here is an apt passage from the Preface to The Golden Bowl:……the whole growth of one’s “taste”: a blessed comprehensive name for many of the things deepest in us. The“taste”of the poet is, at bottom and so far as the poet in him prevails over everything else, his active sense of life: in accordance with which truth to keep one’s hand on it is to hold thesilver clue to the whole labyrinth of his consciousness. James’s use of the word“poet”to cover the novelist, and his associating it in this explanatory way with the term“taste”, indicates the answer to the not uncommon suggestion that his work exhibits taste trying to usurp the function of a moral sense. In calling him“poet-novelist”I myself was intending to convey that the determining and controlling interests in his art engage what is‘deepest in him’(he being a man of exceptional capacity for experience), and appeal to what is deepest in us. This characteristic of his art manifests itself in his remarkable use of symbolism. 2
My argument will focus on What Maisie Knew (1897), a text that has often been seen by critics as an“experimental”precursor of modernism at the level both of structural innovation and in its concern with problems of epistemology. What Maisie Knew is a novel by Henry James, first published as a serial in the Chap Book and (revised and abridged) in the New Review in 1897 and then as a book later in the same year. What Maisie Knew, which is about the impact of legal reform upon the dynamics of family life and a portrayal of the effect that adult freedoms have upon a small child, has great contemporary relevance as an unflinching account of a wildly dysfunctional family. Henry James shows his characters as still, to some extent, circumscribed by traditional conventions, but also opportunistically getting away with as much as they can in terms of freedom. The story is of the sensitive daughter of divorced and irresponsible parents. When Beale and Ida Farange are divorced, the court decrees that their only child, the very young Maisie, will shuttle back and forth between them, spending six months of the year with each. The parents are immoral and frivolous, and they use Maisie to intensify their hatred of each other. Beale Farange marries Miss Overmore, Maisie's pretty governess, while Ida marries the likeable but weak Sir Claude. Maisie gets a new governess, the frumpy, more than a little ridiculous, but devoted Mrs. Wix. Both Ida and Beale soon busy themselves with other lovers besides their spouses. In return those spouses—Sir Claude and the new Mrs. Beale—begin an affair. Maisie's parents essentially abandon her in heartbreaking scenes, and she becomes largely the responsibility of Sir Claude. Eventually, Maisie must decide if she wants to remain with Sir Claude and Mrs. Beale. In the book’s long final section set in France, the now teenaged Maisie maturely decides that the relationship of her new“parents”might well end as badly as that of her biological parents. She leaves them and goes to stay with Mrs. Wix, her most reliable adult guardian. 3
Over the past ten years, criticism of Henry James’s novel, What Maisie Knew, has focused on such issues as: its relationship to the social comedy of Ford Maddox Ford,technologies of vision, the novel’s relationship to the trial of Oscar Wilde, social purity, racial phantasmagoria, the role of the governess, the oedipal family, and the novel’s significance in the context of James’s novella, The Turn of the Screw.4 As it is so often the case with James, the problem is not one of opaqueness. Rather, there is too much to be discerned: overtones, symbols, disturbing implications confront the reader on almost every page. He seeks to forge a narrative machinery for the symbolization.
What Maisie Knew has attained a fairly strong critical position in the Jamesian canon, just because of the power of the imagery. The phantasmagoria of What Maisie Knew is, of course, a mutation of the more well-known theatrical metaphors that James habitually adopts in his theorizing of the novel. The novel’s imagery of beasts, battles, games, gardens, France and hand has been thoroughly analyzed by a number of critics. In a much-cited essay, Juliet Mitchell draws attention to the proliferation in What Maisie Knew of the imagery of mirrors, windows, screens, and reflections, signaling what she calls“a process of initiation into vision,”that is“at the deepest level, profoundly bound up with his method for the whole novel”5. But one important strains of imagery has been oddly neglected. That is the cry of women and child in the novel, who are like insects fluttering helpless about the flame of patriarchy. The curious and variations of the scene of cry suggest that in the novel oppression of patriarchy and resistance are shown by cry.
Nowadays, literary critical practice has become more and more concerned with the question of otherness. The ongoing critical revolution calls into our attention the questionable identity of women and children in the patriarchal society. Henry James exploited to the last emotional pang the sympathy and identification that people had come to feel for women and child in What Maisie Knew. In the period of the novel, British women found themselves increasingly defined as avatars of silence, submission, and domestic servitude. Victorian “femininity”required women to impersonate passivity and helplessness, and by definition prevented them from voicing discontent. But adult life is somehow superior to child life, so the novel is also a thoroughgoing condemnation of parents and guardians abandoning their responsibilities towards their children. James saw English society as becoming more corrupt and decadent, and What Maisie Knew is one of his harshest indictments of those who can't be bothered to live reasonably responsible lives. Henry James uses the subjectivity of the women
6 M. H. Abrams. A Glossary of Literary Terms. pp.121
7 Sight, touch, smell, hearing, and taste.
8 Borgquist Alvin. The American Journal of Psychology. pp. 185
9 Borgquist Alvin. The American Journal of Psychology. pp. 180
10 Ibid. pp. 187
11 Ibid. pp. 191
12 Borgquist Alvin. The American Journal of Psychology. pp. 180
13 Juliet Mitchell. Women’s Estate. Penguin 1971. 182pp. pp 75-122
14 The Modern British Novel 1878-2001. pp. 24
15 Elizabeth Allen. A Woman’s Place in the Novels of Henry James. New York: St. Martin’s Press. 1984. viii, 223 pp.
16 James Henry. The Tragic Muse (1890), ch. IX,
17 Wojtczak Helena. A Brief overview of Women’s Status in Mid 19th- century England http://www.hastingspress.co.uk/history/19/overview.htm. 2009-1-18
18 Peterson M. Jeanne. The Victorian Governess: Status Incongruence in Family and Society. pp. 7-26
19 Cluesman Carissa. A Historical View of the Victorian Governess. http://www.umd.umich.edu/casl/hum/eng/classes/434/charweb/cluesman1.htm. 2009-2-20
20 Gissing George. The Gissing Newsletter. Volume XIV, Number 2. April, 1978. pp. 3
21 Smith Bonnie G. Changing Lives, Chapter 5: The Domestic Sphere in the Victorian Age.
22 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 19
23 Peterson M. Jeanne. The Victorian Governess: Status Incongruence in Family and Society. pp. 7-26
24 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 40
25 Ibid. pp. 41
26 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 100
27 Ibid. pp. 101
28 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 79
29 Ibid. pp. 47
30 Ibid. pp. 47
31 Ibid. pp. 214
32 Ibid. pp. 215
33 Ibid. pp. 210
34 Ibid. pp. 210
35 Ibid. pp. 212
36 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 215
37 Ibid. pp. 216
38 Johnson Lee Ann. James’s Mrs. Wix: The“Dim, Crooked Reflector”. Nineteenth-Century Fiction, Vol. 29, No. 2. (Sep., 1974), pp. 164
39 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 51
40 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 24
41 Ibid. pp. 36
42 Ibid. pp. 81
43 Ibid. pp. 25
44 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 66
45 Ibid. pp. 67
46 Ibid. pp. 185
47 Ibid. pp. 26
48 Hamilton Sarah. Ethics and Literature: Love and Perception in Henry James. B.A. Centenary College of Louisiana, 1995 August 2004. pp. 52
49 Ibid. pp. 48
50 Ibid. pp. 51
51 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 81
52 Hamilton Sarah. Ethics and Literature: Love and Perception in Henry James. B.A. Centenary College of Louisiana, 1995 August 2004. pp. 52
53 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 76
54 Ibid. pp. 173
55 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 11
56 Hirsch Marianne. Mothers and Daughters extracted from A Theoretical Reader in Motherhood. pp. 237
57 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 12
58 Ibid. pp. 12
59 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 60
60 Ibid. pp. 60
61 Hirsch Marianne. Mothers and Daughters extracted from A Theoretical Reader in Motherhood. pp. 231
62 Hirsch Marianne. Mothers and Daughters extracted from A Theoretical Reader in Motherhood. pp. 236
63 Goodman Charlotte. The Sins of the Fathers and Mothers: The Child as Victim in Modern Literature. Modern Language Studies, Vol. 15, No. 2. (Spring, 1985), pp. 47
64 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 12
65 Ibid. pp. 12
66 Ibid. pp. 112
67 Ibid. pp. 112
68 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 113
69 Ibid. pp. 112
70 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 112
71 Ibid. pp. 119
72 Ibid. pp. 120
73 Ibid. pp. 16
74 Ibid. pp. 121
75 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 92
76 Ibid. pp. 9
77 Ibid. pp. 91
78 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 96
79 Ibid. pp. 96
80 Ibid. pp. 97
81 Ibid. pp. 97
82 Ibid. pp. 57
83 Ibid. pp. 133
84 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware,Hertfordshire SG12 9HJ. 2000. pp. 134
85 Ibid. pp. 137
86 Ibid. pp. 138
87 Borgquist Alvin. The American Journal of Psychology. pp.164
88 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 138
89 Borgquist Alvin. The American Journal of Psychology. pp.162
90 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 65
91 Ibid. pp. 33
92 Ibid. pp. 22
93 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. 19
94 Ibid. pp.20
95 Ibid. pp.77
96 Ibid. pp.166
97 Ibid. pp.166
98 Ibid. pp.23
99 Ibid. pp.23
100 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.42
101 Ibid. pp.70
102 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.156
103 Ibid. pp.210
104 Ibid. pp.12
105 Chen Rong. Objectification of Children in Henry James’s Fiction. pp.135
106 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.12
107 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.12
108 Pat Righelato. Introduction of What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp. PVI
109 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.119
110 Ibid.
111 Ibid.
112 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.138
113 Ibid.
114 Ibid.
115Mitchell Juliet.‘What Maisie Knew: Portrait of the Artist as a Young Girl’in The Air of Reality: New Essays on Henry James.pp.185.
116 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.160
117 Ibid. pp. 184
118 Ibid. pp. 94
119 Ibid. pp. 96
120 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.96
121 Ibid. pp. 97
122 Ibid. pp. 205
123 Ibid.
124 Ibid. pp. 206
125 James Henry. What Maisie Knew. Wordsworth Editions Limited 8b East Street, Ware, Hertfordshire SG12 9HJ. 2000. pp.206
126 Ibid. pp.211
127 Ibid. pp.213
128 RenéDescartes was a French philosopher whose work, La géométrie, includes his application of algebra to geometry from which we now have Cartesian geometry. His work had a great influence on both mathematicians and philosophers.
129 (Objectification of Children in Henry James’s Fiction. Chen Rong, P150 note 19)
130 Reesman , Campbell Jeanne.The Deepest Depths of the Artificial: Attacking Women and Reality in“The Aspern Papers”The Henry James Review - Volume 19, Number 2, Spring 1998, pp. 148-165
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35. Ross, Judith Wilson. Recreating Motherhood: Ideology and Technology in Patriarchal Society [M]. Hastings Center Report, 1990.
36. Showalterm, Elaine. A Literature of Their Own: British Women Novelists from Bronte to Lessing [M]. Foreign Language Teaching and Research Press, 2004.
37. Tannerm, Tony. The Literary Children of James and Clemens [J]. Nineteenth-Century Fiction, 1961, 16 (3): 205-218.
38. The ladder: a Henry James Website. http://www.henryjames.org.uk/, 2009-2-25
39. Wasiolek, Edward. Maisie: Pure or Corrupt? [J]. College English. 1960, 22 (3): 167-172.
40. Westover, Jeff. Handing over power in James’s What Maisie Knew [J]. Style, 1994, 28 (2): 201.
41. Wilson, W Harris. What Did Maisie Know? [J]. College English, 1956, 17 (5): 279-282.
42. Worden, S. Ward. A Cut Version of What Maisie Knew [J]. American Literature. 1953, 24 (4): 493-504.
43. Wojtczak Helena. A Brief overview of Women’s Status in Mid 19th- century England http://www.hastingspress.co.uk/history/19/overview.htm, 2009-1-18
44. Worden, S. Ward. Henry James’s What Maisie Knew: A Comparison with the Plans in the Notebooks [J]. PMLA, 1953, 68 (3): 371-383.
45.陈榕.亨利·詹姆斯小说中儿童的物化现象[M].河南:河南大学出版社, 2004.
46.代显梅.传统与现代之间:亨利·詹姆斯的小说理论[M].北京:社会科学文献出版社, 2006.
47.戴维斯.维多利亚人[M].上海:外语教学与研究出版社,2007.
48.高伟光.“前”现代主义,现代主义与后现代主义文学[M].北京:中国社会科学出版社,2006.
49.顾祖钊.文学原理新释[M].北京:人民文学出版社, 2000.
50.亨利·詹姆斯.小说的艺术[M].朱雯,乔佖,朱乃长等译.上海:上海译文出版社, 2001.
51.侯维瑞.现代英国小说史[M].上海:上海教育出版社,1985。
52.侯维瑞,李维屏.英国小说史[M].江苏:译林出版社,2005.
53.胡克斯·贝尔.女权主义理论——从边缘到中心[M].晓征,平林译.南京:江苏出版社, 2001.
54.李维屏.英国小说艺术史[M].上海:上海外语教育出版社, 2003.
55.刘甫田,徐景熙主编.文学概论[M].北京:高等教育出版社, 2000.
56.鲁西.艺术意象论[M].广西:广西教育出版社, 1995.
57.乔以刚,林丹娅.女性文学教程[M].河北:河北教育出版社, 2007.
58.任生名.西方现代悲剧论稿[M].上海:上海外语教育出版社, 1998.
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