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十九世纪末,亨利·赖德·哈格德与罗伯特·路易斯·斯蒂文森令冒险类小说再度风生水起,这甚至一度威胁到了乔治·艾略特与安东尼·特罗洛普的现实主义作品。这类浪漫主义小说的流行在当时引起了不小的争议:在文学评论者的心目中,现实主义胜过浪漫主义,丰满的人物胜过精彩的情节。但是正如安德鲁·朗格(Andrew Lang)在其文章《现实主义与浪漫主义》(1886)中所言,“若小说中出现所谓的现实主义,你多半会发现那‘令人不悦的真实’会远远多过那‘快活的真实’……在我看来,虽说现实主义作家的确将真实展露于我们眼前,但是他们偏爱呈现它不平常、不讨喜的一面”[1],这么看的话,“所有的小说都是一种‘假装’。”只是区别在于,相较于现实主义小说,我们更容易发现传奇故事或冒险小说中的“假装”。哈格德的代表作《她》(She)与斯蒂文森的《弗丽莎海滩》(The Beach of Falesá)均为维多利亚晚期的冒险小说,均有异域色彩与帝国主义元素,但作者的意图与整个的氛围有很大的差别,将两者进行对比,不仅可以对此类体裁,也可以对维多利亚晚期的英国有更深入的了解。
In the late nineteenth century, Henry Ryder Haggard and Robert Louis Stevenson ordered the rise of adventure novels, which once threatened the realities of George Eliot and Anthony Trollow Works of art. The prevalence of such romantic novels sparked much controversy at the time: in the eyes of literary critics, realism was better than romanticism, and plump characters outweighed the wonderful plots. But as Andrew Lang states in his article “Realism and Romanticism” (1886), “If so-called realism appears in fiction, you will most likely find that ’unpleasant reality ’Will go far beyond that’ merciful reality ’... In my opinion, although realist writers will indeed reveal themselves to our eyes, they prefer to present its unusual and unloved side. ”[1] In that case, “all the novels are a kind of ’pretense.’” The only difference is that we are more likely to find “pretensions” in legends or adventure novels than realist novels. Haggard’s masterpieces She and Stevenson’s The Beach of Falesá are both late Victorian adventure novels, both exotic and imperialistic, but the author’s intentions In contrast to the entire atmosphere, comparing the two can provide a deeper understanding of not only such genres but also late Victorian England.