家庭天使还是堕落女郎:丁尼生与亨特的《女郎夏洛特》之争  

House Angel or Depraved Woman:The Tennyson-Hunt Dispute over"The Lady of Shalott"

作　　者：张静波 

机构地区：[1]山东科技大学外国语学院 [2]南开大学

出　　处：《英语文学研究》2024年第1期60-73,共14页Journal of Literature in English

摘　　要：维多利亚时期的桂冠诗人丁尼生爵士根据中世纪神话创作的诗歌《女郎夏洛特》因其韵律优美、爱情凄婉,以及对维多利亚女性典范“女郎夏洛特”的刻画,在维多利亚文坛乃至艺术界深受赞誉且广为流传。诗中的丰富意象,如塔楼、织机、镜子和孤舟,后来被理解为维多利亚女性被禁闭的象征。拉斐尔前派代表画家威廉·亨特为丁尼生诗集绘制的“女郎夏洛特”插图,因大胆叛逆的肉欲形象,与诗歌中的“家庭天使”大相径庭,遭到丁尼生的斥责。两位艺术家对维多利亚典范女性的不同刻画,有其个人对女性理解不同的深层原因。通过文学和绘画的相互结合,维多利亚艺术家们展现出对女性的微妙的同情立场,其作品呈现出维多利亚时期进步和觉醒的女性意识。Sir Alfred Tennyson's poem"The Lady of Shalott",based on medieval myths,is highly acclaimed in the Victorian period for its rhythmic beauty,poignant love,and heartfelt portrayal of the Victorian female model.The rich images in the poem,such as the tower,the loom,the mirror and the canoe,have become the representative symbols of the Victorian cloistered women.Pre-Raphaelite painter William Holman Hunt's painting"The Lady of Shalott',based on Tennyson's poem,is condemned by Tennyson for its bold and rebellious representation of the woman,which differs from that of the poem.Their different portrayals of the Victorian"angel in the house"have their roots in their different personal understanding of women.The interaction between literature and painting enables the Victorian artists to express their subtle sympathy for women,and show the gradually awakening female consciousness among Victorian women.

关 键 词：《女郎夏洛特》 丁尼生爵士 威廉·霍尔曼·亨特 维多利亚禁闭女性 

分 类 号：I561.072[文学—其他各国文学]