在奥斯卡·王尔德的莎乐美的象征意义 [2]
论文作者:bluesky论文属性:硕士毕业论文 dissertation登出时间:2013-03-29编辑:bluesky点击率:5581
论文字数:9419论文编号:org201303261152324544语种:英语 English地区:英国价格:$ 88
关键词:英美文学莎乐美的历史法国作家纯粹的艺术
摘要:本文是对英美文学的分析,莎乐美“必须看起来与众不同在王尔德的语料中,与他的戏剧作品的的社会喜剧片占主导地位。莎乐美除了是显而易见的。
ts through an abstract vision which gives the reader only what is necessary and works by the trope of metonymy, foregrounds the symbolic value of what is described, and sharpens the symbolist’s sense of the unseeable but apprehendable forces governing human life. (167)
Wilde was delighted when Sarah Bernhardt agreed to play the lead in the first production planned for the Palace Theatre, London, in 1892. The play was in full rehearsal when the Lord Chamberlain, then Britain’s authority for stage censorship, invoked the law which had suppressed the mediaeval mystery plays three hundred years before, that biblical characters must not be represented on the public stage. In simple outline, this was to be a play about a young woman, hardly more than a girl, who falls precipitously in love with a man who rigidly spurns her advances; in perverse retribution she claims his severed head as the price of a sensuous dance before the Tetrarch, only to be killed herself by the humiliated and outraged ruler. Just as Rodney Shewan concludes, Wilde’s Salome belongs to a mythical one in which ethical and religious emphases make way for an aesthetic and symbolic orientation (Symons 189).
B. Sources for the story of Salome and Wilde’s adjustment
Wilde’s reasons for choosing the story of Salome have been much debated. Part of the answer does lie in Paris and in Wilde’s fascination with the symbolist writers and painters who encouraged him in his intuitive sense that the stage should be “the meeting place of all the arts”. Another reason may be that, there was the popularity of the Salome topic; she was obsessively painted by Gustave Moreau, Klimt and others. And there were models provided by Flaubert and Mallarme, and Massenet’s Herodiade. We need to register this, to account for Wilde’s so different attitude towards his subject from that of his French contemporaries. Where they emphasise the exotic and perverse elements in the fable – Salome as the symbol of decadence – Wilde sees her far more sympathetically as ‘the tragic daughter of passion’ (Daniel). The Salome of Flaubert, of Moreau, Laforgue and Mallarme are known only to students of literature and connoisseurs, but the Salome of the genial comedian Wilde is known to all the world.
The play is tightly structured and it is built around three major duologues: the first between Salome and Iokanaan, the second between Herod and Salome, and the third between the Princess and the severed head. It begins with the minor characters in Herod’s court who set the scene and makes us curious about the major players. Into their talk, the voice of the Prophet erupts from his cistern prison beneath the earth. The Soldiers and the Page cannot guard against something so insubstantial as a voice. Salome enters in a great rush, seeking solace from the oppression of Herod’s feast.
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