陀思妥耶夫斯基与奥斯特洛夫斯基:论戏剧《没有嫁妆》中人物的文学渊源与碰撞问题

N. Mokina
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引用次数: 0

摘要

本文考察了奥斯特洛夫斯基的戏剧《没有嫁妆》和陀思妥耶夫斯基的小说《恶魔》在情节和形象上的相似之处。奥斯特洛夫斯基在晚年对陀思妥耶夫斯基的评论表明,他与《恶魔》作者的创作原则保持了距离。然而,《没有嫁妆》中人物的姿态和言论,如帕拉托夫、沃热瓦托夫、拉里萨·奥古达洛娃,以及与他们相关的主题和冲突,让我们认为,奥斯特洛夫斯基在创作这部戏剧时,受到了陀思妥耶夫斯基小说《恶魔》及其人物斯塔夫罗金、彼得·维尔霍夫斯基、丽莎·图什娜的“文学回忆”的影响。《没有嫁妆》和《魔鬼》中的人物可能有相似之处,这也可以从他们共同的圣经和文学原型中看出:斯塔夫罗金和帕拉托夫的故事中有对大毒蛇、哈姆雷特、哈里王子、梅菲斯托菲勒斯和浮士德的暗示,彼得·维尔霍夫斯基和沃热瓦托夫的手势和动作中有对大毒蛇和梅菲斯托菲勒斯的暗示,而丽莎·图西娜和拉里萨·奥古达洛娃的形象中有对奥菲莉亚、格雷琴和可怜的丽莎的暗示。尽管两位作者的写作手法不同,但这两部作品的情节却有显著的相似之处,人物形象的共同组成部分,相似的艺术手法,在我们看来,这是《恶魔》和《没有嫁妆》作者之间文学“对话”的迹象。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
F. M. Dostoevsky and A. N. Ostrovsky: To the Problem of Literary Sources of Characters and Collisions in the Drama “Without a Dowry”
The article examines parallels in plot and images between Ostrovsky’s drama “Without a Dowry” and Dostoevsky’s novel “Demons.” Ostrovsky’s remarks about Dostoevsky in the last years of his life reveal that he distanced himself from the creative principles of the author of “Demons.” However, gestures and remarks of the characters of “Without a Dowry,” such as Paratov, Vozhevatov, Larisa Ogudalova, as well as motifs and collisions connected with them allow us to suggest that while working on the drama, Ostrovsky was influenced by a “literary recall” of Dostoevsky’s novel “Demons” and its characters, namely Stavrogin, Petr Verkhovensky, Liza Tushina. The possible parallels between the characters in “Without a Dowry” and “Demons” are also indicated by their common biblical and literary prototypes: there are allusions to the Serpent-temtper, Hamlet, Prince Harry, Mephistopheles and Faust contained in the stories of Stavrogin and Paratov, allusions to the Serpent and Mephistopheles in the gestures and actions of Petr Verkhovensky and Vozhevatov, while allusions to Ophelia, Gretchen and Poor Liza can be found in the images of Liza Tushina and Larisa Ogudalova. Even despite the differences in the writers’ approaches, there are remarkable plot parallels between the two works, common components in the characters’ images, similar artistic techniques, which, in our opinion, are signs of a literary “dialogue” between the authors of “Demons” and “Without a Dowry.”
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