《道连·葛雷的画像》中的道德隐喻  

The Moral Metaphor in The Portrait of Dorain Gray

作　　者：刘茂生[1] 

机构地区：[1]浙江大学外国语言文化与国际交流学院

出　　处：《外国文学研究》2008年第5期137-143,共7页Foreign Literature Studies

基　　金：刘茂生主持的国家社科基金课题“艺术与道德的冲突与融合:王尔德创作研究”【课题编号:08BWW004】;从事博士后研究期间的阶段性成果

摘　　要：王尔德在其创作中始终坚持唯美主义艺术的创作思想,希望创造出超越道德的唯美艺术形象,但是艺术实践却证明王尔德不仅不能创造出所谓的唯美艺术形象,甚至还在他的创作中体现了某种道德原则。可以说,王尔德的艺术实践在某种程度上违背了他所坚持的唯美主张。在小说《道连·葛雷的画像》中,尽管王尔德企图塑造道连这一唯美的艺术形象,然而道连仍然是一个生活在现实社会中的人,总是和现实社会保持着种种道德联系,无法脱离现实道德而存在。王尔德用艺术的手法把体现道连道德中恶的方面转移到画像中去,画像的道德隐喻并没有真正改变道连在现实中的道德特征,回到现实中的道连也仍然无法摆脱道德的影响和道德的惩罚。Although Wilde wishes to create artistic images that could transcend morality, his literary practice shows he fails to realize his ideal. On the contrary, his writing is an embodiment of certain moral principles and thus a violation of his aestheticism. His fairy tales well illustrates this, so does his novel. In The Portrait of Dorian Gray, although Wilde tries to shape Dorian as an aesthetic figure, we find him a person living in reality. He is, from the beginning to the end, morally associated to the reality. His evil action itself shows his inseparability from both the reality and morality. To illustrate his aestheticism, Wilde artistically transfers the evil aspects of Dorian to the picture so as to conceal them. From the surface, Dorian, whose appearance is not changed, looks like an aesthetic figure, as he has nothing to do with evil. However, Wilde＇ s attempt to transfer Dorian＇ s evil and make him an example of aestheticism fails to change Dorian＇ s moral quality in reality. Dorian in reality is under great moral influence of the society.

关 键 词：《道连·葛雷的画像》 唯美主义 道德隐喻 

分 类 号：I561.074[文学—其他各国文学]