摘要
喜剧性“恶”是指看似光明正大的手段所象征的邪恶力量,它由规则、习俗、信仰组成。《威尼斯商人》中的喜剧性“恶”,表现在负面性格特征的人和抽象的观念束缚上。作者视“恶”为审美对象,在揭示人性缺点的同时达成个人与社会之间的和解。喜剧通过独白、神态,把人性阴暗面“合法地”暗示出来,喜剧性“恶”不重渲染行为的影响,而重表现对隐含动机的消解,剧本用“捉弄法”使安东尼奥和夏洛克先后“意志受辱”,捉弄者的机巧和被捉弄者的迂腐相映成趣。经济观念的矛盾是夏洛克和威尼斯青年之间冲突的根源,夏洛克的吝啬之恶和青年人的挥霍之恶都破坏了威尼斯对自由的信仰。《威尼斯商人》把喜剧背后的悲剧性提升到了形而上的高度,成为喜剧性“恶”,从人生观、价值观与文化环境的悖谬角度彰显了喜剧背后的丑恶与鄙俗。
Comedic“evil”refers to the evil power symbolized by seemingly righteous means,which is composed of rules,customs,and beliefs.The comedic“evil”in The Merchant of Venice is manifested in people with negative personality traits and abstract social constraints.The author regards“evil”as an aesthetic object,revealing human flaws while achieving reconciliation between individuals and society.Comedy legitimately implies the dark side of human nature through monologues and expressions.Comedy does not emphasize the influence of behavior,but instead uses“trickery”to undermine Antonio and Sherlock’s willpower.The cleverness of the teaser and the pedantry of the victim complement each other.The contradiction in economic concepts is the root of the conflict between Sherlock and the Venetian youth.Sherlock’s stinginess and the youth’s extravagance both undermined Venice’s belief in freedom.The Merchant of Venice elevates the tragic spirit behind comedy to a metaphysical level,becoming a comedy villain,highlighting the ugliness and vulgarity behind comedy from the perspective of paradoxical views on life,values,and cultural environment.
出处
《河南大学学报（社会科学版）》
CSSCI
北大核心
2024年第5期59-65,153,154,共9页
Journal of Henan University(Social Sciences）
基金
国家社会科学基金重大项目“莎士比亚戏剧本源系统整理与传承比较研究”(19ZDA294)阶段性成果。
作者简介
张松林(1979-),男,河南开封人,文学博士,商丘师范学院人文学院副教授。
