摘要
罪孽与救赎始终是克洛岱尔戏剧创作所隐含的重要主题之一。笃信天主教的克洛岱尔认为,人皆有罪,救赎是世间凡人存在的目的,罪孽则是灵魂获得拯救之路上必须跨越的一重关卡。圣奥古斯丁的名言"罪亦有用"因而成为克洛岱尔剧作中反复强调的一个命题。克洛岱尔的剧作《正午的分界》描述男女主人公经历了艰辛且神秘的爱情旅程,最终抵达与上帝完美融合的境界。作者通过剧中人物之口对生命与人性发出诘问,对人类炽烈情感之归属以及人与上帝之关系进行了探索与思考。本文以该剧作主人公的情感经历为个案,解析克洛岱尔"罪亦有用"的观点,着重分析这一观点对于人类罪孽与救赎的宗教思考、深层内涵及其启迪意义。
One of the recurrent themes in plays by Paul Claudel is sin and atonement. A firm believer in Catholicism, Claudel holds that everyone is sinful and that to atone for sin is the purpose of life, as sin is an inevitable path for the soul to cut through for ultimate salvation. Saint Augustin＇s famous epigram ＂Meme les peches servent＂ thus finds its most vibrant echo in Claudel＇s plays. His Partage de Midi depicts its hero and heroine on their journey of hard and mythical love to their eventual destination of man and God in perfect unification. The playwright, through the characters he has created, probes into the nature and significance of life and explores the ＂home＂ to the great passion of love and the relationship between man and God. Tracing the love experiences of the protagonists in the play, this paper analyzes the myriad perspectives of Claudel＇s ＂Meme les prchrs servent,＂ endeavouring to bring home its religious contemplations over sin and salvation, its deep-structure connotations and its implications for humanity.
出处
《外国文学研究》
CSSCI
北大核心
2014年第4期149-156,共8页
Foreign Literature Studies
基金
福建省社科规划项目"保尔.克洛岱尔与他笔下的中国形象"【项目批号:2009B2046】系列成果之一
