“自私的粉色老派自由主义者”:以奥登《死亡之舞》的结局为中心  

“A Selfish Pink Old Liberal”:On the Ending of W.H.Auden's The Dance of Death

作　　者：张强 Zhang Qiang

机构地区：[1]南开大学外国语学院

出　　处：《英美文学研究论丛》2024年第2期29-43,共15页English and American Literary Studies

基　　金：国家社科基金青年项目“西南联大诗人群翻译活动与中国新诗翻译理论建构研究”(18CWW004);中央高校基本科研业务费的阶段性研究成果。

摘　　要：英国诗人奥登在20世纪30年代创作的早期实验性剧作《死亡之舞》,以梅尼普斯式反讽叙事摹拟欧洲当时激烈的意识形态交锋。剧末马克思登场,结束了众声喧哗的舞台矛盾交锋。本文以这一隐喻式结局为出发点,结合奥登在诗歌与散文作品中关于马克思主义及英国左翼传统的论述,澄清学界对奥登作为一位被标签化的马克思主义者的误解,指出剧中马克思的出场是奥登作为一位“自私的粉色老派自由主义者”的必然选择,也是其公众形象与私人话语妥协的必然结果,在一定程度上表现为奥登对马克思主义的认知属精神分析式的诊疗话语范畴。The British poet W.H.Auden’s early experimental play The Dance of Death written in the 1930s imitated the intense ideological conflict in Europe through Menippean satire.At the end of the play,Karl Marx appeared on the stage,ending the tumultuous stage conflict.This essay takes this metaphorical ending as the starting point.Drawing upon Auden’s idea concerning Marxism and the British left-wing tradition in his poetry and prose,this essay clarifies the misconception of Auden as a labeled Marxist in academia,and points out that the appearance of Marx in the play is an inevitable choice for Auden as“a selfish pink old liberal”,and it is also the inexorable consequence of compromise between his public image and private discourse.To some extent,Auden’s understanding of Marxism falls within the scope of psychoanalytical diagnostic discourse.

关 键 词：W.H.奥登 《死亡之舞》 马克思主义 梅尼普斯式反讽 自由主义 

分 类 号：I561.073[文学—其他各国文学]