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同样是关于爱情、嫉妒和仇杀的悲剧,莎士比亚让他笔下的奥赛罗、伊阿哥和苔斯德蒙娜将故事演绎得冲突尖锐激烈、情节曲折紧张,而梅特林克塑造的佩列阿斯、梅丽桑德和高洛却将这些内容诠释得有些迷离恍惚、虚无缥缈。笔者以此为发端,对《佩列阿斯和梅丽桑德》的对话世界进行了初步探究,发现其人物对话不仅缺乏内在的冲突性,还缺少层层推进的逻辑动力。梅特林克正是想通过这些十分“另类”的对话带领你进入那个隐藏在内心深处的非理性世界。
Also on the tragedy of love, jealousy and vendetta, Shakespeare made his story of Othello, Igago, and Dessemora interpret the story as sharp, plot-tense, Sri Lanka, Merisand and Gore have interpreted these elements somewhat blurred, nothingness. As a starting point, the author probes into the dialogue world of “Peres and Mellisand” and finds that her character dialogue not only lacks inherent conflict, but also lacks the logical impetus to promote it at every level. It is with these very “alternative” dialogues that Mettlinker is trying to get you into that irrational world that is hidden in the heart.