摘要
鲁迅《伤逝》中的涓生、郁达夫的《茑萝行》中的"我"和郭沫若的小说《歧路》中的爱牟在理想与现实产生矛盾时,都选择抛弃妻子(或恋人)。叙事者试图告知我们:这些男主人公从主观上看都是无辜的,没有故意伤害妻子或恋人,他们又都或多或少为自己的行为感到不安,认为自己在妻子或恋人面前是有罪的,并进行真诚的忏悔。然而这样的结论显然直接来自叙述人的叙述角度与叙述方式。3个文本都以男性作为主人公展开叙事,话语的有意设计使得3位男主人公可以成功地掩盖一些对他们不利的事实,而夸大一些对他们有利的细节。这类人物心理有很深的历史渊源,又有时代赋予他们的许多新质。
Juan Sheng—the character of Lu Xun' Shang Shi,'I'—the character of Yu Dafu's Niao Luo Xing and Ai Mou—the character of Guo Moruo's Branch Road all chose to abandon their wives(or their lovers)when they were confronted with conflict between ideal and reality.The narrators tried to tell us that these male characters were subjectively innocent,they didn't want to hurt their wives or lovers and they all felt discomposed for their objective behavior more or less.They felt guilty to their wives or lovers and confessed sincerely.However the conclusion obviously came from perspective and narrative way of the narrators directly.The three discourses which the narrators intentionally designed to narrate from the angle of the male characters can conceal some fact which is harmful to them and magnify some detail which is advantageous to them.The psychology of these characters had deep historical origins and new characteristic that they were endowed with by the times.
关键词
涓生
无辜
有罪
忏悔
Juan Sheng
innocent
guilty
confess
