玷污的美德:从理查森到比尔兹利

Tatiana A. Boborykina
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引用次数: 0

摘要

这篇文章的出发点是费奥多尔·陀思妥耶夫斯基的第一部小说《穷人》中的一个人物对“失去光泽的美德”的陈述。组合这个词唤起了各种联想、典故和许多不同的解释。在书信体小说的框架中对美德的评论立即让人想起18世纪英国作家塞缪尔·理查森的小说,尤其是他的第一部小说,标题中出现了“美德”这个词——帕梅拉·奥尔,美德得到了回报。然而,理查森对美德的理解似乎相当狭隘,这一事实已经被他同时代的作家亨利·菲尔丁所注意到,他模仿了帕梅拉。通过对这一滑稽模仿的简要分析,我们发现菲尔丁和陀思妥耶夫斯基对美德的本质有着共同的看法,当我们发现他们的共同参照点——塞万提斯的《堂吉诃德》时,这一观点就更加清晰了。本文探讨了理查森的其他小说,他对欧洲文学的影响,以及他与卡拉姆津和普希金等作家的内在联系。此外,本文还探讨了作者几年前提出的一个问题,即《克拉丽莎》和《穷人》的情节情节之间存在某种相似性,“洛夫莱斯”在陀思妥耶夫斯基的第一本书中出现,以及情节从理查森的赞美美德转向陀思妥耶夫斯基的戏剧现实主义。本文简要分析了对《穷人》的几种解读,包括为小说配图的奥布里·比尔兹利的解读。对“失德”这句话的几种解释进行了探讨,最后提出了一种新的解释。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Tarnished Virtues: From Richardson to Beardsley
The starting point of the article is a statement about “tarnished virtues” by one of the characters of Poor Folk, Fyodor Dostoevsky’s first novel. The word combination evokes various associations, allusions, and numerous variants of interpretation. A remark on virtues made in the frame of an epistolary novel immediately recalls the novels of a coryphaeus of the genre, 18th-Century English writer Samuel Richardson, especially his first one, in which the word “virtue” appears in the title – Pamela Or, Virtue Rewarded. However, Richardson’s comprehension of virtue seems to be quite narrow, a fact that had been already noticed by his contemporary writer Henry Fielding, who wrote a parody on Pamela. A brief analysis of the parody discovers a common vision on the nature of virtue by both Fielding and Dostoevsky, which becomes even clearer when one finds out their mutual reference point – Cervantes’ Don Quixote. The article explores other novels by Richardson, his influence upon European literature as well as his inner correlation with such writers as Karamzin and Pushkin. Besides, the article investigates the question – raised by its author some years ago – of a certain similarity between the plotlines of Clarissa and Poor Folk, the appearance of “Lovelace” in Dostoevsky’s first book, and the sudden turn of the plot from Richardson’s glorification of virtue to Dostoevsky’s dramatic realism. A few interpretations of Poor Folk are briefly analyzed, including that of Aubrey Beardsley, who illustrated the novel. Several explanations of the sentence on “tarnished virtues” are explored, and finally, the author offers a new one.
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