芥川龙之介《地狱变》中多重“地狱”分析

• 作 者: 白羽然
• 机 构: 河南大学文学院,
• 出 处: 青年作家
• 发表日期: 2015年06期
• 关键词: 地狱变 芥川龙之介 波德莱尔 罗生门 人生的思考 地狱图 死亡方式 河童 艺术层面 惩恶扬善

芥川龙之介之所以被誉为大正时期的“鬼才”作家,不但因为他擅长写突出的鼻子,丑陋的河童,幽森的罗生门,扑朔迷离又无解的密林,还是因为这些诡谲意象所承载的与世界背离的情感和思想。所谓“人生不过是一行波德莱尔”像他所喜爱的波德莱尔一样,芥川的作品无不浸透了对现实人生的思考,对生存的怀疑,对死亡的关照。不论是任何题材,那种笼罩他作品的悲剧色彩一直不曾消失。他笔下的人物常用令人震撼的死亡方式传递出惊心动魄的美感。

Akutagawa Ryunosuke has been hailed as the writer of the Taisho period not only because he is good at writing prominent nose, ugly kappa, secluded forest’s rousheng, complicated and solitary jungle, but also because of these treacherous Emotions and thoughts carried by the image and deviated from the world. The so-called “life is only a line Baudelaire ” Like his favorite Baudelaire, Akutagawa’s works are all soaked in the thinking of the real life, doubts about the survival, the care of death. No matter what the theme, the tragedy that has covered his work has never disappeared. The characters in his works commonly use the most shocking way of death to deliver a thrilling beauty.