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挚爱无疆——读王尔德的《坎特维尔幽灵》

第10卷第1期
2011年1月
漯河职业技术学院
JournalofLuoheVocationalTechnologyCollege
Vo1.10No.1
Jan.2O11
doi:10.3969/j.issn.1671-7864.2011.01.022
挚爱无疆丰/里
——
读王尔德的《坎特维尔幽灵》
关薇
(辽宁对外经贸学院公外部,辽宁大连116052)
摘要:所谓”唯关主义”,就是以艺术的形式美作为绝对美的一种艺术主张.美不是真,也不同于善,它仅仅
是形式,是人的感觉印象.现实社会是丑恶的,只有”美”才有永恒的价值.善良挥洒生命的绿色使人类心灵复苏,
于是善与恶之上辉煌着爱的光芒.
关键词-艺术;唯美主义;城堡;幽灵
中图分类号:I106.4文献标识码:A文章编号:1671-7864(2011)01-0052-02
辛??孛-串?夺?÷?寺?孛?夺?夺-夺?幸?夺??夺?幸?々?<:)?夺?孛?寺?夺?夺.夺.’}.孛.孛.夺.夺.孛.夺.夺.孛.÷.夺.夺.夺.夺.夺..丰.夺.夺..夺.6.
憎死恋生是整个人类的本性.丑恶挥舞死亡的大斧
在人间布下一层层死亡的大网,而善良又挥洒生命的绿色
使人类心灵复苏,于是善与恶之上辉煌着爱的光芒.这是
读完《坎特维尔幽灵》这部小说最独特的感受.关于生
死,是人类永恒的话题,如何诠释这一问题,王尔德在小说
《坎特维尔幽灵》中有很好的见解.

,王尔德与唯美主义
《坎特维尔幽灵》的作者奥斯卡?王尔德,是英国19
世纪末唯美主义运动的倡导者,重要的戏剧家,颇有成就
的小说家和诗人,具有惊人的叙述技巧和机敏辛辣的幽默
感.他极力主张”为艺术而艺术”.他认为:不是艺术反
映了现实,而是现实反映了艺术;现实社会是丑恶的,只有
“美”才有永恒的价值;艺术家不应带有任何功利主义的
目的,也不应受道德标准的约束;艺术家的个性不应受到
压抑,而只是在”社会主义”社会里,才能出现真正的艺术
fl由.其短篇小说《坎特维尔幽灵》中的幽灵形象体现了
他对唯美的追求,同时博爱的表达方式优雅引人,字里行
问充满了对人类苦难的同情以及对纯真美好世界的向往.
本文揭示了跨越时间和空间爱与恨的启迪.
所谓”唯美主义”,就是以艺术的形式美作为绝对美
的一种艺术主张.这里所说的”美”,是指脱离现实的技
巧美.因此,有时也将唯美主义称为”耽美主义”或”美的
至上主义”.唯美主义是极其崇拜形式和外观的美的,美
不是真,也不同于善,它仅仅是形式,是人的感觉印象,其
艺术品关心的是形式之美而非内容.视文学为艺术之首
的王尔德当然极其看重他作品形式的完美性.他的文学
作品奉现给读者的唯美世界是丰富多彩的.王尔德认为
艺术就是撒谎,就是讲述美而不真的故事.
二,《坎特维尔幽灵》的内心读本与心灵感动
《坎特维尔幽灵》无论是题材,人物,还是场景,都尽
量激发读者的想象力,唤起读者对于理想美的向往.它只
不过是王尔德的一部短篇小说,但也很让人拿起来就让你
放不下,一口气看完之后,还要掩卷沉思,咀嚼它们的隐微
和底蕴;忍不住还要再翻一遍,在心里重新描绘那几个人
物的音容笑貌,并想从他们身上获得启迪.
你会相信世界上会有这种事情发生吗?决不会.你
会相信生活中果真有这种幽灵存在吗?更不会.然而,读
者的思路却要沿着王尔德所描绘的那个特定的轨迹”走”
下去,一直走到它的”尽头”,看一看事情的究竟,看一看
几个人物各自的命运(特别是幽灵的”命运”).
当美国商人海勒姆?B?奥蒂斯买下那座叫坎特维尔
古堡的宅邸时,人们对他说,那座宅子里有一个幽灵.坎
特维尔勋爵还亲自对奥蒂斯先生讲了有关它的一切:”我
们自己都不愿意在那房子住,”他说,”我家里有很多人都
见过这个幽灵.我妻子的祖母,博尔顿公爵夫人,就是其
中一位.有天晚上,当她正在穿衣服准备去赴宴,有两只
骷髅手放在了她的肩膀上.她因此一病不起,有好多年
了.我妻子从没在那儿睡着过觉,因为晚上总有各种稀奇
古怪的声音.”奥蒂斯先生答道,”我要把房子,还有幽灵
都买下来.我来自现代化的国家,在美国我们几乎能买到

切——可买不到幽灵.所以,如果宅子里真有幽灵,我
们就把它送回美国去,人们会花钱来参观的.”于是,海勒
姆?B?奥蒂斯先生买下了那栋宅子,几周之后,他们一家
人便乘火车来到了坎特维尔古堡.
收稿日期:2010—12—26
作者简介:关薇(1959一),女,吉林省吉林市人,辽宁对外经贸学院公共外语部教授,研究方向为大学英语教学.
第1期关薇:挚爱无疆53
奥蒂斯太太是位非常漂亮的女人,看上去就跟英国女
人一样.奥蒂斯太太的大儿子叫华盛顿,是个英俊的年轻
人,笑起来非常好看,他的优美舞姿在伦敦各大舞会上都颇
有名气.弗吉尼娅?E?奥蒂斯小姐是位可爱的小姑娘,15
岁了,有一双蓝色的大眼睛.她喜欢骑马,而且比许多男人
骑得还要快.在弗吉尼娅之后还有一对双胞胎——两个快
活,淘气的小男孩,他们总是笑个不停,爱搞恶作剧.
幽灵原是城堡16世纪时的主人赛蒙?坎特维尔爵
士,在1575年,他的夫人伊丽诺死在城堡中.过了9年,
赛蒙爵士突然神秘失踪,而真实情况是他被妻弟囚禁在密
室,被活活饿死的.300年来,他的鬼魂不断在城堡中出
没.他先是杀死了自己妻子,其原因是,有一次他从森林
里打了一只他认为是很帅的公鹿回来,而一经他妻子手却
被做得毫无美感之言.而这个幽灵在杀妻,被妻弟囚于密
室饿死后的300年中,他的灵魂始终在城堡中飘荡,他的
尸骨被铁链牢牢地锁在密室里而不得安宁.300年间,鬼
魂以行为艺术而自乐,但还是向往着而希望能被上帝宽
恕.幽灵的真诚忏悔,终于打动了公使的女儿弗吉妮亚,
从而帮助幽灵得到安息.在幽灵忏悔的言语中,可以看出
他内心深处所向往的是一片充满温馨与爱意的祥和之地:
“松树林的后面有一个/J,1J,的园子.那里的草长得又高又
密,蘑菇花像颗颗很大的白色星星,夜莺整夜歌唱,水松树
伸出它那巨大的臂膀罩住长眠的人.”而幽灵在唯美追求
中产生的深切的罪孽感,使他无法超度自己.在很久以
前,他就在书房的窗户上写下了预言:”待到一个金发女
孩,从罪人口中引出祈祷来,待到不育的巴旦杏开花结果,
泪水从孩子眼里扑簌簌直落,这座宅院方能平静,坎特维
尔才得安静.”他渴望能得到爱的帮助与同情.而帮助幽
灵得到救赎的弗吉妮亚,则有着耶稣基督一般的宽容和博
爱精神.也正由于此,在公使全家戏弄鬼的过程中,唯有
弗吉妮亚没有参与.虽然幽灵经常骚扰她的家人,虽然她
非常清楚幽灵的鬼把戏:那让全家人费解的每天都出现
的,让华盛顿每天都要用清洁剂擦掉的血迹,其实就是幽
灵用从她那偷来的颜料画上的,但她从不抱怨,相反却是
以沉默的态度表达了对幽灵的尊重和宽容;当看到幽灵
“极其沮丧”,她非常同情他,”决定尽力安慰他”;当听说
幽灵生前是被饿死的,她立即说:”您饿不饿?我的盒子里
有一份三明治,您请吃吧”;当听说幽灵300年来居无定所
时,她的表情相当凝重,”她的嘴唇开始像玫瑰花瓣一样颤
抖.她走到幽灵跟前,在他身旁跪下,抬头凝视着他那衰
老,枯萎的脸”.她真切的同情暗合了幽灵的预言,使幽灵
明白,弗吉妮亚就是他的超度者.当幽灵恳求她帮助自己
求得上帝的宽恕时,她坚定地说”我不怕”,”我一定求天
使怜悯您”,当鬼带领她在幽暗的空间穿行,绿色挂毯上的
小精灵呼唤她不要去的时候,她闭上眼睛不理会小精灵.
弗吉妮亚对鬼的过失,是宽容;对鬼的不幸,是同情;对鬼
的愿望,是无私无畏的帮助.正是博爱的力量使鬼真正地
得到了上帝的宽恕,”那棵干枯的老巴旦杏开花了”;使幽
灵得到了真正的安息,得到了他向往已久的安祥:”月亮就
从浮云后面出来,把一片银辉静静地洒在小小的坟场上,
远处矮树丛里有一只夜莺开始歌唱.”于是,恶被善征服
了,丑被美征服了.这就是艺术的魅力所致.
试看那个嗜杀成性,桀骜不驯,但又怨气冲天,专愿与
活人作对,搅得人们不得安生,几乎无人可奈何他的幽灵,
最后却被一个不谙世事,天真而柔软的小女孩征服了,并
且诚恳地表示”忏悔”.乍一听不可思议,回味起来却人
情人理,是什么原因使这个冥顽不化的家伙改恶从善的
呢?作者用生动感人的艺术笔触告诉我们:是”爱”,是
“同情心”,是”真诚”.当我们读到早就丧失人性的”幽
灵”竟会敞开心扉,推心置腹地向小弗吉尼亚恳求”……
你可以帮助我,你可以为我打开死亡宫殿的大门,因为爱

直伴随着你,而爱比死更强”时,谁不深深地被这撼人心
弦的语言所震动?当已变得可怜的幽灵苦苦哀求小弗吉
尼亚”请不要走,我实在太孤独,太不幸了,简直不知怎么
才好”时,我们也不禁为这”三百年来没睡觉”可怜巴巴的
家伙流出一掬同情的眼泪,所以,小弗吉尼亚感动了,”渐
渐地感到泪眼迷茫”,终于以她的至美至纯的少女情怀,向
幽灵伸出援助的手,”我一定请求天使怜悯你.”她坚决地
说.在这里,作者几乎是明确无误地告诉读者,生命和死
亡都算不了什么,”爱比两者都强”.地狱的威力压不倒

个小孩子的纯洁无邪.
三,唯美主义的艺术体现
大家都知道,”唯美”J派作家王尔德从自己对生活的
独特感受,独特思索,独特评论,以及自己在艺术上把握生
活的独特方式和手段,创作出许多有鲜明个性的戏剧和小
说,是19世纪末英国文坛显赫一时的佼佼者.他的一生
都在宣扬”为艺术而艺术”唯美主义原则,一再强调艺术
与道德的彻底分离,他甚至认为,所有的艺术都毫无用处,
文学作品也无所谓道德不道德,可是在艺术实践中,他恰
恰没有恪守这个”原则”.我们从这篇作品中可以清楚地
看到作家的思想倾向和作品的道德力量,这儿善与恶,美
与丑,正与邪,真与伪是泾渭分明的.尽管王尔德顽强地
宣称”没有一个艺术家希望证明任何东西,即使是那些真
实的,的确能够证明的东西”,但是,读完这篇小说,谁还会
怀疑王尔德是在努力证明”爱”和”宽容”的力量呢?
唯美主义者形成一种偏执的心理定势:越是轻视现实
生活和自然,就越是沉溺于”美”的崇拜和艺术至上的观
念,反之亦然.古往今来,许多流派的美学家和艺术家都
承认美高于生活,艺术高于自然,尽管各有各的立场,观点
和方法,但都肯定其间的内在联系.唯美主义者把美与艺
术抬高到生活和自然不可企及的程度,这样,他们心目中
的”好的艺术”就只能是童话和神话或者某些玄妙,空幻,
神秘怪异的东西了.
这是存在于一个艺术家身上的非常有趣的现象:他的
创作实践否定了他的艺术主张;以子之矛,攻子之盾.
参考文献:
[1]郎晓玲.”另类”的鬼故事——对王尔德《坎德维尔城堡的鬼》
的文化解读[J].上海师范大学(哲学社会科学版),2004,
(1).
[2]夏青.网络文学的唯美主义倾向[J].当代文坛,2003,(3).
[3]俞海宝.奥斯卡?王尔德文学创作中的矛盾性[D].兰州大
学,2007.
[责任编辑孟蕴华]

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