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标题: 【文学史】意大利二十世纪文学史（更新帖） [打印本页]
作者: 录入小组 时间: 2008-4-12 20:50
标题: 【文学史】意大利二十世纪文学史（更新帖）
<p align="center"><img alt="" src="http://www4.babidou.com/pic/2006/12/20/tutu312/意大利1-1ogo.jpg" /></p><p align="center"> </p><p align="center"><img alt="" src="http://www4.babidou.com/pic/2006/12/20/tutu312/mty-标题.jpg" /></p><p align="left"> </p><p align="left"><img height="561" alt="" src="http://www4.babidou.com/pic/2006/12/20/tutu312/ydl.jpg" width="400" /><br /><br /><br /><strong><span style="font-size:13.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">《意大利当代文学史》·</span><span lang="EN-US" style="font-size:13.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1996</span><span style="font-size:13.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">版</span></strong><span lang="EN-US" style="font-size:13.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /></span><span style="font-size:13.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong>沈萼梅，刘锡荣 编</strong></span><span lang="EN-US" style="font-size:13.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /></span><span style="font-size:13.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong>外语教学与研究出版社</strong></span><span lang="EN-US" style="font-size:13.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /></span><span style="font-size:13.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong>下载地址：</strong></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">http://www.heilan.com.gbaopan.com/7596e877f0db4119ad47bc19c34ec866.gbp<br /><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><b style="mso-bidi-font-weight:normal"><span style="font-size:10pt;color:#333399;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><font size="2">本贴以《意大利当代文学史》为主要参照，录入部分章节，以及引用相关资料，旨在通过文学史（意大利二十世纪以来的文学）的线索来理出我们所要介绍的作家，最后推荐该作家的作品（以短篇小说为主）。希望在文学史中介绍作家作品的形式，为我们更全面的理解提供帮助。</font></span></b><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /><br /></span><b style="mso-bidi-font-weight:normal"><span style="font-size:13.5pt;color:red;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">第一章 颓废派及其代表作家</span></b><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">19</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">世纪末期和</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">20</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">世纪初期，作为世界经济、政治中心的欧洲，逐渐失去了它在全球的统治地位。意大利统一后，社会的各种阶级矛盾日趋尖锐，国内工人和农民的起义利暴动层出不穷，政府对工人运动和共和党人实行了高压政策，对外推行军事扩张政策，使整个社会处于动荡不安之中。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1889</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年至</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1905</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年意大利侵占了厄立特里亚和索马里的一部分，并将它们变为殖民地。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1895</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年意大利政府发动的侵略埃塞俄比亚的战争遭到了失败。使意大利人民开始对资产阶级议会制度失去了信心，对自由主义思想不再抱什么幻想，对社会的政治生活抱怀疑的态度。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 面对社会和政治的严重危机，知识分子和文人们感到茫然和惆怅，进入帝国主义阶段的资本主义社会的大工业生产和科学技术的迅猛发展，使他们开始意识到自己是游离在社会之外的人，因而产生了一种失去了本身存在价值的危机感，一种认为当今世界的一切事物、一切人都在倒退的惶恐心理，以及一种对前途的忧虑而感到绝望的心态。于是，他们普遍地想逃遁现实，沉湎于梦幻，从而萌生和形成了一种新的艺术观和新的文艺创作风格，这种文艺流派称为颓废派，它脱离现实，与现代社会的科学发展和富裕的物质文明相对立；它着重表现个性，追求单纯的形式美，所以颓废派也称为唯美派。这是当时意大利文艺界的一种新动向。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 这种文艺流派的出现，在政治上反映了人们对统一后的意大利社会现实的强烈不满；曾经打着平等、博爱、自由的旗帜而登上政治舞台的资产阶级在重大历史关头所表现出来的狭隘、无能和脆弱，使人们深感失望，从而向往建立一个理想的社会，以使意大利能成为“丰宰”世界的强国，这便是颓废派文人所追求的梦幻和“神话”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 在哲学思想上，颓废派是对实证主义和自然主义的一种反动，他们对社会的发展采取一种完全否定的反科学的非理性的态度。意大利颓废派的代表作家加·邓南遮曾这样说；“试验已经完成了。科学已无法充实那已被摒弃的天地，平静安宁的灵魂已被科学所毁灭。科学也无法使那饱受创伤的灵魂重新得到安慰……我们不想要什么真理了，给我们梦幻吧。唯有在未知世界的阴影中生活，我们才能得以安宁。”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">《在生活和艺术之中》，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1893)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">颓废派的文人们认为理智和科学只能部分地、表面地回答人类存在的种种问题，所以他们重新审视了人类社会中所存在的另外一些现象，如非理性、人的潜意识和直觉，即人的内心世界中的一些令人难以捉摸的神秘的精神状态。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 在艺术手法上，颓废派反对自然主义。崇尚和追求形式上的华丽和艺术上的美。对于颓废派文人来说，艺术已成为人的存在的最高价值，人唯有在艺木本身中才能找到自身存在的价值，从而摒弃了文艺创作的社会目的和伦理道德标难。他们认为只有通过艺术上的美，才能使自己超脱平庸乏味的日常生活，向往在美妙的梦幻和神话中体现自我的存在。所以，颓废派的文人们力求寻觅和推崇高雅的、深邃的、神秘莫测的、美的艺术意境，以与自然主义的、实用主义的、平庸的世俗生活相抗衡。他们这种追求纯粹美的观念，不仅体现在他们的艺术作品中，而且认为他们自己的生活本身也应该象艺术一样美；这种把艺术与美等同起来，把艺术变成美的赖以生存的形式，把艺术变成生活的—种风格，使艺术与生活象水乳一样交融，就是颓废派文人所遵循的艺术宗旨。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 颓废派最早起源丁法国，又称巴那斯</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(panaso)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">派或高蹈派。以法国文人博德莱尔（</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1821</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1867)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">为核心的一批资产阶级作家，由于对拿破仑三世的统治失去信心而受到当局的怀疑和监视，并被现实社会所抛弃，于是他们就把自己孤立起来，力图从脱离生活和现实的“纯艺术”中去寻求寄托。表现出一种“为艺术而艺术”的文艺倾向。“颓废”一词则形象地描绘出当时法国的一些象征派学者与社会离心的思想倾向，以及他们那种反对随波逐流的“超凡”的处世态度。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 意人利颓废派的代表作家有乔瓦尼·帕斯科利</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1855</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1912)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">、加勃里埃莱·邓南遮</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1863</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">一</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1938)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">和安东尼奥·福加扎罗</span><span style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"> <span lang="EN-US">(1842</span></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">－</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1911)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10pt;color:red;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><font size="2">第一节 加勃里埃莱·邓南遮</font></span></b><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">一 生平和创作</span></b><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><b style="mso-bidi-font-weight:normal"><span style="font-size:10pt;color:#993366;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><font size="2">加勃里埃莱·邓南遮</font></span></b><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">（</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1863-1938</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">）</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">是</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">19</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">世纪末</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">20</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">世纪上半叶意大利文坛上很有影响的一位小说家、剧作家和诗人，是颓废派的代表作家。邓南遮于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1863</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">3</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">l 2</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">日出生在意大利中部靠近亚得里亚海岸的小城佩斯卡拉的一个中产阶级家庭。早在少年时代，邓南遮就显露出文学才华。他学习勤奋，博览群书，还进修外语和音乐。高中时，他读过达尔文的著作，这对他的成长有极大的影响。他在哲学思想上和宗教观念方面，深受实证论的形而上学的影响。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">16</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">岁那年，由父亲出资为其出版了诗作《颂国王翁贝托一世》。同年年底，发表了模仿卡尔社齐</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1835</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1907)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">风格的第一部抒情诗集《早春》，署名弗洛罗。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1881</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年，邓南遮进罗马大学文学系学习。当时罗马是刚刚获得统一的意大利的首都，是各地工业企业家、投机商人、政治家、文化界人士争相汇聚之地。在罗马求学期间，邓南遮对大学的课程兴趣索然，热衷于出入上流社会的交际场合和结交文化界名流，认识了大诗人焦苏埃·卡尔社齐</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1835</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1907)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">。同年</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">5</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月，发表了诗集《新歌》，热情讴歌了生活的欢乐和大自然的美，体现了自然主义的艺术风格。作品抒情色彩浓厚，抒发了对宇宙的神往，已完全摆脱了卡尔社齐诗风的影响。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 邓南遮的早期作品以短篇小说为主。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1884</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年发表了短篇小说集《处女地》和他的成名诗作《少女的书》；</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1886</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年出版了短篇小说集《圣·潘达莱奥内》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">51892</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年，《处女地》与《圣·潘达莱奥内》又汇编成《佩斯卡拉短篇小说集》出版。这些作品受到了以维尔加</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"> (1840</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1922)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">为代表的真实主义的影响，描写了阿布鲁佐地区农村的自然风貌，反映了当地农民、渔夫、贫民的艰难生活，着意刻画了这些受贫困煎熬的人们精神上的可怕的创伤，厄运的折磨使他们变成形体丑陋、畸形和具有兽性的人，其笔下的阿布鲁佐地区是一个酸楚、污秽、冷漠和残酷的社会，突出强调了这种生活环境在人们身上留下的烙印。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 从</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1881</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年至</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1991</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年，邓南遮主要生活在首都罗马，他沉湎于上流社会豪华奢侈的生活，经常出入首都沙龙。他淫荡好色，在贵夫人扇面上题写歪诗，为了女人而去决斗。在一次决斗中，因头皮受伤而留下一个长长的疤痕，并因此而开始秃头。这种生活作风是他创作上颂扬享乐、纵欲和美化个人主义以及在艺术上追求华丽、细腻的那种唯美主义艺术观所赖以形成的思想基础。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1889</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年出版的长篇小说《欢乐》一书，反映了罗马上流社会的风流韵事，表现了罗马上层人上对艺术的鉴赏力和对高雅风格的追求，描绘了作者所熟悉和喜爱的大都市罗马的风貌。它与随后发表的《无辜者》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1892)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">和《死的胜利》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1894)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">构成了在当时意大利文坛风靡一时的《玫瑰三部曲》，确立了他自己独特的艺术风格，表现了他那种明显的颓废派倾向，因此而知名于欧洲的文化艺术界，并占有了一席之地。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1892</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1894</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年，在法国巴黎，《无辜者》和《死的胜利》被译成法文出版。法国评论界认为《死的胜利》是一部杰作。其后不久，此作又被译成英文和德文。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 在</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1881</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">午至</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1891</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年期间，邓南遮还在罗马的《论坛》报和那木勒斯的《晨报》上发表过许多文学评论。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1891</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年因罗马发生瘟疫，他迁居于那不勒斯，担任《晨报》编辑。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1894</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年．邓南遮去威尼斯，在那里重又与在罗马相识的文学评论家安杰罗·贡蒂会面，并通过这位文学评论家结识了当时著名的女演员埃莱奥诺拉·杜塞。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1894</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年至</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1896</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年，邓南遮的文学创作有了一个决定性的转折。其作品深受尼采“超人”的人生哲学的影响，并开始创作剧本。在此期间，他着手创作小说《百合花三部曲》和《石榴三部曲》。他的《百合花三部曲》，实际上只完成了《岩间圣母》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1895)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">一部，作品着意通过意志支配下的人的思想感情的逐步净化来体现“超人”思想。这是体现邓南遮“超人”思想的一部小说，写作手法细腻，风格高雅，寓有诗一般的意境，对人和物的描写所达到的艺术效果，可与达·芬奇的同名绘画相媲美。《石榴三部曲》也只完成《火》</span><span style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"> <span lang="EN-US">(1900)</span></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">一部。作品通过主人公艺术创作的激情，通过爱情的毁灭和精神上的痛苦——征服激情的有效工具，来体观诗一般的至高无上的思想境界。《火》是邓南遮文学创作进入第二阶段的重要标志，充分体现了享乐主义、纵欲和表现“超人”的文学倾向。小说颂扬了年青人斯泰利奥·埃弗雷纳的强烈的创作欲望及他对一位有才华的成年女演员的激情。故事发生在</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1882</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年至</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1883</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年之间，以水城威尼斯为背景，对水城景色的描绘不矫揉造作，不落颓废主义的俗套，极富表现力。《火》是作者曾打算命名为《石榴三部曲》的第一部，可惜另外两部分别题名为《人之胜利》和《生命的凯歌》没有完成。在小说主人公诗人斯泰利奥身上艺术、生活、梦幻和成就融为一体。可以说，《火》是邓南遮的唯美主义艺术风格已趋于成熟的重要标志。其艺术表现力和诗一般的感染力都是非常突出的，在</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">20</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">世纪初的意大利文坛上占有重要地位。小说之所以题名为《火》，源于书中第一部分所描写的主显节之火。在作者笔下，</span><chsdate year="2008" day="6" islunardate="False" isrocdate="False"></chsdate><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">6</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">日</span><chsdate></chsdate><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">的主显节之夜，烟火满天的威尼斯水城犹如“漂浮在水面上的一团经久不熄的火球”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 在这段时期，邓南遮在戏剧创作方面也令人瞩目。他与著名女演员杜塞的恋情推进了他的剧本创作和上演，悲剧《死城》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1898)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">就是邓南遮与杜塞经过长期切磋而写成的。《春层之梦》是他在</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">10</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">天之内写成献给杜塞的，并于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1898</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年由杜塞主演，首次在首都罗马演出，但观众对此剧反应冷淡。然而，《死城》一剧用法文在巴黎上演，却取得了极大的成功，实现了邓南遮把剧作搬上舞台的理想，并于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1898</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年在巴黎出版了法文译本。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1899</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年邓南遮为杜塞写的剧本《琪娥康陶》在意大利西西里帕莱摩的演出获得较大成功。而《荣光》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1899)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">一剧的失败，则使邓南遮重又回到诗歌和小说的创作中。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1898</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年以后，他迁居佛罗伦萨，在塞蒂涅亚诺的卡蓬奇那别墅里一直住到</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1909</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年，这是他文学创作的重要时期。诗集《赞歌》于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1903</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1904</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年问世。后来，因为经济上入不敷出，债台高筑，卡蓬奇那别墅被迫拍卖。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 为了躲避索债，他断然取消在意大利各大城市作有关航空的巡回报告的计划，而移居巴黎，在那里他“流亡”了</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">5</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1910</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">一</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1915)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">。这个时期，他的创作带有神秘主义的色彩和惯有的色情描写。《圣·塞巴斯蒂女的殉难》一剧隐约地带有笃信基督的宗教色彩；《对死的默想》写的是星期六那天，邓南遮的两位朋友——一位是诗人乔瓦尼·帕斯科利，另一位是</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">80</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">岁的天主教徒安道尔夫·布雷蒙，去世的消息同时传来时所想到的一切。在侨居巴黎期间，邓南遮文创作中的颓废主义倾向更趋完善和奔放，达到了艺术与生活的绝对交融，追求艺术创作中的音乐性已成为他的信条。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1911</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年，利比亚战争爆发。他为迎合意大利一部分战争狂热者的口味，鼓吹帝国主义的扩张政策，著有《颂海外的伟绩》一书，出版后当即被执政的乔瓦尼·焦利蒂政府查抄，因为书中强烈地斥责了奥地利皇帝，说他是“执行绞刑的天使”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 第一次世界大战爆发后的</span><chsdate year="1915" day="15" islunardate="False" isrocdate="False"></chsdate><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1915</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">4</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">15</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">日</span><chsdate></chsdate><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">，意大利政府邀请他回国参加民族英雄加里波第纪念碑的捐幕仪式，并请他发表演说。于是，他于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">5</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月离开巴黎回到意大利。他竭力主张意大利加入同盟国，多次发表反奥演说。</span><chsdate year="2008" day="24" islunardate="False" isrocdate="False"></chsdate><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">5</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">24</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">日</span><chsdate></chsdate><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">意大利对奥宣战后，他志愿奔赴前线作战，参加了一系列陆、海、空战斗。曾获得</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">2</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">枚金质奖章，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">3</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">枚银质奖章，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">故铜质奖章，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">3</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">次获得军功十字勋章，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">3</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">次晋升。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1916</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年，因飞机失事迫降于海面，致使右眼受伤失明。在被迫退役在家休养期间，写了长篇诗作《夜曲》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1921)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">。全诗通过一个伤员的回忆、幻想和梦幻，歌颂了战争，抒发了对战争中死难者的怀念之情，描述了他们精神上和肉体上的痛苦，同时也宣扬了负有伟大历史使命的“超人”不死的精神。战场上的经历，为他此后的文学创作提供了广泛的素材，他在战场上找到了艺术生命的归宿。诗人的天职和抱负在战争中得到了最完美和最富戏剧性的体现。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 为反对意大利政府在和谈中所持的软弱妥协的立场，邓南遮于</span><chsdate year="1919" day="11" islunardate="False" isrocdate="False"></chsdate><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1919</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">11</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">11</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">日</span><chsdate></chsdate><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">策动和指挥了一次向阜姆城进军的行动。他们占领了阜姆城，邓南遮在那“自由之国”当了一年的首领。邓南遮撤离阜姆城之后，于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1921</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">2</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月在意大利北部加达湖畔的加尔多纳小镇旁的一所名叫维托里亚莱别墅里隐居下来以安度他的晚年。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1926</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年．墨索里尼在意大利建立了法西斯专制政权。邓淘遮与墨索里尼有私交．虽然他没有正式参加法西斯党，但为纳粹分子所赏识。他颂扬意大利侵略埃塞俄比亚的军事行动，是法西斯主义的积极鼓吹者。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1926</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年，法西斯当局为他建立了国立学院，专门从事他的全部著作的出版工作；</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">937</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年，他被任命为意大利科学院院长，但因身体虚弱而未能履职。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1938</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">3</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">日，邓南遮突患脑溢血死去。</span><chsdate year="2008" day="2" islunardate="False" isrocdate="False"></chsdate><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">3</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">2</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">日</span><chsdate></chsdate><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">晨，墨索里尼亲自到维托里亚莱别墅向遗体告别，葬礼庄严肃穆，法西斯党魁和首脑们都出席了。葬礼亡奏的是他本人事先选定的贝多芬四重奏交响乐曲。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 在邓南遮的遗作《密书》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1935)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">中，他感慨地追述过自己一生所走过的道路，怀着忏悔的心情这样写道：</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> “目睹这惨淡而又痛苦的一生，我真想抹去自己曾有过的那些经历——如今想起来真令人毛骨悚然——真想抹去加勃里埃莱·邓南遮这样一个人的存在，抹去这样一个文艺家和英雄的存在，抹去这样一个与过去休戚相关又与今后的生存紧密相连的人物，抹去与他说过的话、写过的篇章、声明过的并且实现了的业绩紧密相连的英雄般非凡而充满情欲的一生。”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><span style="mso-spacerun:yes"> </span></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">邓南遮是意大利颓废派文人中最有代表性的作家，他代表了处在整个欧洲社会大动荡、大分化时代的资产阶级文人反常的思想和心态。在作品中，他鼓吹大胆的铤而走险的精神，一往无前的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"> </span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">“英雄主义”气概；颂扬高雅的文采，追求奢侈豪华的生活；向往权力，祟尚荣誉，鄙视贱民；描绘变态的无节制的性欲和狂热的激情。他宣扬的所谓“超人”正是反映了当时意大利中产阶级的知识分子个人愿望和历史现实之间的失调，理想的目标与客观实际之间的不平衡。为了摆脱这种精神危机，填补内心世界的空虚，邓南遮力求从德国唯心主义哲学家尼采那里寻求寄托。尼采的“强权意志论”指导下的“超人”，就是超越“善”、“恶”的伦理标准，摒弃正常的道德准则而生活的人。“超人”实质上是不正常的人，是用以掩饰其极端个人主义的思想心态的幌子和借口，而且是为那种无视伦理道德，违背正常人的良知，无节制地追求生活享受，无休止地为寻求新的刺激所寻找的哲学“根据”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 生活在第一次世界大战爆发至法西斯统治在意大利确立这一特定历史时期之中的邓南遮，以他那种反历史的和超越历史的观点，孜孜以求地希冀在冒险的军事行为中创建所谓“英雄”业绩，以不断地争得“荣光”，企望自己能压倒世上的一切人，成为全欧洲风靡一时的“超凡”人物。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 在艺术观点上，邓南遮是意大利唯美派文人中最有代表性和最有影响的诗人、作家和剧作家，他以顽强的毅力和坚韧不拔的精神完成了一部又一部的长篇小说，还有多部创作，它们连同他一生写下的多达四万行诗句的诗歌作品，极大地充实和丰富了唯美主义流派的文学宝库。邓南遮生前在他留给后人的长达几百页的《密书》中自豪地写道：“发奋地学习、学习、再学习，使我成了这样的巨匠，善于表达他人无法表达的东西，我的写作风格也超越了多少世纪以来所有的人所写过的”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 邓南遮认为生活就是艺术，生活应该象艺术一般美。在文学创作中他着力于探求那“无法效仿”的生活中的美的意境，从而“把文学作品看作是一幅镶嵌画一样的装饰品，力图用文学语言来雕琢出一种“难以效仿的生活”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">见萨佩尼奥《意大利文学史》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">。邓南遮在作品中深入指示和刻意捕捉蕴含在生活中的美的内在实质，因为他认为“生活是美和力量两种形式的的永恒的交替，是声音和色彩的交响乐，当声音和色彩与非凡神圣的人自然交融在一起时，人们就能享受无上的乐趣，领略那狂热的激情”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">《在生活和在艺术中》，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1893)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">。邓南遮正是是以其独特的文采扩大了文学创作的题材，外拓了新的艺术意境，体现了文学语言的精华，丰富了美学宝库。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 邓南遮的小说结构严谨，叙事流畅，富有雄辩力和逻辑性，人物性格化，风格高雅华美，语言颇具韵律，旦富有音乐感；他的诗歌更是声音和色彩的交响乐，他认为诗歌是至高无上的宁宙的和谐，是神秘的音乐感之魂，也是最广阔的真理所在，诗歌所反映的空间和时间，其广度和深度是知识和科学所不能及的。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 所以，尽管后人对于邓南遮的作品有各种各样的评论，争议也很大，但有一点是谁也不能否定的，那就是意大利</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">20</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">世纪的许多作家，不管其主观愿望如何。几乎没有一个不是直接或间接地受到邓南遮创作思想的影响的。意大利当代现实主义作家维塔利亚诺·勃朗卡蒂</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1907</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1954)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">曾这样评论邓南遮的作品：“我在青少年时期就拜读过邓南遮的作品，读后给我的第一个印象就是，它们象是一部奇妙的装置，大大地增强了人的听觉、嗅觉、视觉和触觉，芳香、光线、声音和触觉一齐向你涌来，我小小的知觉犹如一根发疯的指南针似的胡乱地作着反应。”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">《资产者与无限》，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1938)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">从这段评论可以窥见邓南遮作品的艺术魅力之所在。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">二 《玫瑰三部曲》</span></b><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br />1</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">．《欢乐》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1889)<br /><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 故事发生在罗马古城。小说的主人公安德烈·斯佩雷利，是个贵族家庭的后裔，能赋诗、作曲、有非凡的艺术才华。</span><chmetcnv unitname="l" sourcevalue="2" hasspace="False" negative="False" numbertype="1" tcsc="0"></chmetcnv><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">2l</span><chmetcnv></chmetcnv><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">岁时父亲去世了，母亲与一位旧情人结了婚，他独自生活在罗马的一所豪华住宅里。他曾跟随父亲游历欧训各国，高雅的艺术鉴赏力和温文尔雅的举止风度，使他成了情场上的风流男子。“把生活当作艺术作品一样来雕塑”成了他的生活指南，这也使他后来对情欲、色情的追求到了“难以控制地地步”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 在罗马上流社会的沙龙中，安德烈结识了美貌出众的爱莱娜·莫蒂，他们一见钟情，赤诚相爱。节日的欢聚，乘坐马车的游逛，舞会上的频频相见，使安德烈沉醉在爱情与无节制性欲的追求之中。但最后爱莱娜离开了他，与一位英国绅士结了婚。安德烈不忘旧情，始终怀念着爱莱娜的美貌和性感。在五月的一个星期日，爱莱娜重又与安德烈会面，但不是与他恢复关系，而是宣布与他最后断绝关系。被抛弃的安德烈从此更沉湎于色情，更贪婪地追求性欲，频繁地出入于罗马上流社会，风流韵事层出不穷，竟在一次与情敌的决斗中受了重伤，在他的表妹阿泰莱塔侯爵夫人家里养伤。在养伤期间，安德烈经历了“长期而缓慢的痛苦折磨之后，变成了具有另一种精神思想的新人”，再也不狂热地追求那“污秽的、瞬间的情欲”了。在经过长时期的静心思考之后，他承认并深信自己在艺术中找到了“最忠实的情侣”——永远年青而“不朽的”情人。于是，他赋诗作画，流连这大自然的风光，以极端的热忱从事艺术创作。但是，他表抹的女友，危地马拉的执政官之妻玛丽亚·费丽丝的出现，重又扰乱了他已平静下来的心灵。安德烈被玛丽亚崇高的精神魅力所打动．玛丽亚与爱莱娜在秉性上完全不一样，但因她们俩人外表上的相似，就又使安德烈重新燃起对旧日情人的恋情。而玛丽亚虽然欣赏安德烈的高雅情趣和艺术上的素养，并对他产生了爱慕之情，但是直至她带着女儿跟随丈夫离开之前，与安德烈只是保持恋人的关系。后来，安德烈在罗马与玛丽亚重又相见，尽管玛丽亚对安德烈已有不祥的预感，并担心自己上当受骗，可还是堕入了安德烈布下的情网。但对安德烈来说，玛丽亚只是爱莱娜的替身，他心日中爱的始终是爱莱娜，他已无法区分这两个女性，把对爱莱娜的爱完全倾注在玛丽亚的身上。安德烈在与玛丽亚幽会的第一个晚上，在情欲的冲动之下，竟脱口呼唤出爱莱娜的名字。玛丽亚在幻想被击得粉碎之后，也愤然地离他而去了。后来安德烈得知，爱莱娜又另有了情夫，而玛丽亚给他留下的只是一些家俱和对过去的痛苦的回忆；另一方面。玛丽亚也因丈夫的嗜赌成性而陷于贫困之中。于是，安德烈从此开始厌弃人生．感到爱情与欢乐都是空虚的。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br />2</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">．《无辜者》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">(1891)<br /><br /></span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 《无辜者》是邓南遮的一部力作，于</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1891</span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">4</span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月至</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">7</span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月写成。是</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1891</span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">12</span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月至</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1892</span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">年</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">2</span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">月陆续发表在《那不勒斯邮报》上的花边文学。全书共</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">20</span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">万字左右，分</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">51</span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">个章节。</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 主人公图里奥·赫尔米是个玩世不恭的男子。他多次背叛贤惠温顺的妻子，与情妇泰雷萨·拉福幽会。但图里奥对妻子朱丽亚娜十分敬重，在朱丽亚娜患病期间，他对她倾吐了真挚的爱情，对自己以往的堕落深感悔恨和内疚。然而图里奥的情妇泰雷萨却一直纠缠着他，高傲而又善良的朱丽亚娜只得默默地忍受着精神上的痛苦。她之所以能默默地忍受，是因为她理解自己的丈夫，并相信一切都是命运安排的，当然更主要的是因为对那个对她体贴入微的婆婆和两个活泼可爱的女儿有着深厚的感情。后来有一天，图里奥意外地发现了朱丽亚娜与作家菲力浦·阿尔博里奥之间的隐秘关系。那也正是他刚刚与情妇断绝了关系，开始重温与妻子的柔情的时候。在他们曾经欢度过新婚之夜的那幢宁静的乡村别墅里，图里奥消除了对妻子的怀疑，与其一起重访先前一起居住过的卧室，共同回顾旧时的恩爱。但朱丽亚娜身体十分虚弱，神情抑郁，兴味素然。就在回家的当天晚上，图里奥的母亲告诉儿子说：朱丽亚娜已有身孕了。图里奥闻此异常震惊，精神上十分沮丧。这证实了他原来的怀疑是有根据的，也醒悟到他妻子精神抑郁的原因。夫妇之间进行了一席感人肺腑而又令人伤感的谈话。朱丽亚娜痛不欲生，图里奥则充满激情地抚慰妻子。从此，在图里奥的内心深处，悔恨、愧疚、嫉妒、痛恨的感情交织在一起，他精神恍惚，似乎想自杀。然而，图里奥的家里人却全然不知内情，热心地为即将出世的婴儿推备所需要的一切，图里奥因此十分烦恼。于是，动身去罗马寻找他妻子的情夫菲力浦·阿尔博里奥，但菲力浦因去非洲身染绝症已濒于死亡。从罗马回来后，图里奥就开始策划一个罪恶的阴谋：害死新生的婴儿。因为那是情欲冲动所酿成的产物，也是他对妻子的至高的爱情的障碍。婴儿自出生之后，就受到不详内情的母亲的宠爱。图里奥一看到婴儿，心里就漾起一阵厌恶。而朱丽亚娜也把这孩子看作是自己对丈夫不忠的明证，思想负担极为沉重，产后身体日见虚弱。图里奥在难以控制的憎恶心情支配下，在圣诞节前夕，他劝说奶妈也去教堂做圣诞祈祷，而他却独自留在婴儿卧室里，故意把门窗打开。并把婴儿放在窗台上。那时正值隆冬季节．刺骨的寒风吹打着婴儿稚嫩的身躯。婴儿受寒后，不久就死了，全家人都沉浸在悲哀之中。虽然图里奥所憎恶的孩子不见了，但他灵魂深处却十分悲怆和凄凉，眼前不断浮现出婴儿紧握成拳头的小手和那半张着的发紫的小嘴……他不再痛恨那个孩子了，因为核于是个“无辜”者。</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 《无辜者》在创作上有不少长处，可称得上是邓南遮最有代表性的一部作品，它充分体现了邓南遮创作的唯美主义风格。小说是采用第一人称的方式写的，风格朴实无华，文笔流畅，《欢乐》中的那种矫揉造作的文采不见了。作者想使《无辜者》一书能突出显示</span><span style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"> </span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">“精神道德”方面的深度，所以在图里奥和朱丽亚娜的身上突出强调了那种追求“纯洁”爱情的忧伤和折磨人心灵的烦恼，着意刻画了主人公那种悔恨和愧疚的心理。但作者笔下所刻画的人物意志力薄弱，“某些脑中枢神经使他无法对自己正常的精神生活予以必要的调节”，所以他时而令人鄙夷，时而又纯洁高尚，时而令人信赖，时而又阴险狡诈，时而亲切多情，时而又冷若冰霜，时而平静清醒，时而又暴跳如雷、怒不可遏，这正是他精神失去平衡的写照，也是导致他犯罪的精神因素。</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 小说的故事发生在罗马的一个贵族家庭，一所座落在罗马市郊供贵人幽会的别墅，一个击剑比武厅和一个书房。主人公饱食终日，无所事事，是个拥有丰厚田产的阔少爷，他精神极度空虚和失调，与生性忠厚，心地纯洁的老雇工乔瓦尼形成了鲜明的对照。小说对罗马近郊优美景色的描绘很有诗意，充分体现了唯美主义的艺术风格。</span><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 《无辜者》以其独特的艺术风格，结合科学与幻想、自然性与象征性，把人物感情上的波澜起伏和变态的心理尽善尽美地用富有音乐性的语言和艺术散文的形式表达出来，既有仿古风采，又有新的词语，既有人物形象的细腻刻画，又有反映复杂心理状态的独白和对话，而且故事结构严谨，情节紧凑，人物形象丰满。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 小说对主人公复杂的内心世界的刻画很细腻，对人物的仪表，尤其是对朱丽亚娜的秀丽动人的外貌的描写．很有独到之处；但小说对主人公图里奥缺乏形象的描绘，常以作者矛盾的思想感情来代替主人公的感情；过多地赞颂了朱丽亚娜作为女性的魅力而没有突出她无辜的一面，则是作品的不足之处。</span><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span></b><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br />3</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">．《死之胜利》（</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">1894)<br /><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 主人公乔治·阿乌里斯帕和伊波利塔是一对情人，他们经常相见。在一起谈论爱情，回忆往事，总之．他们真挚相爱。虽说他们如胶似漆．但内心世界总有一种莫名的孤独之感。乔治的父亲因有外遇，与其妻分居。无节制地挥霍家产，还千方百计地从家里索取钱财。母亲叫乔治回家，规劝其父改邪归正。乔治面对家庭的冲突和纠纷，进行了思索和分析：母亲与姐妹们在思想感情上与他是相通的。他能理解她们的处境，但父亲与他的兄弟不仅外表相似，而且性格都很粗暴鲁莽。乔治精神上极为沮丧，他虽然同情母亲。但又十分厌烦，最后他签给父亲一笔数目相当可观的信贷，辜负了母亲的信任。对情人伊波利塔的想念，可以使他暂时摆脱这种思想感情上的痛苦，可他—想到几年以前自杀身死的伯父德梅特里奥，就又十分激动．因为他的伯父在精神上就象他的亲生父亲一样。伯父的自杀使他深信，自杀是救赎自己的唯一出路。乔治摆脱家庭纷争的纠缠之后，就去阿勃鲁佐海滩与情人伊波利塔全面，那时正值盛夏。他希望伊波利塔的爱情能使他振作起精神。相见之后，他们日夜相处，乔治发现伊波利塔已经堕落了，变成个十分淫荡的女人，这使他十分伤心。乔治企图使她过一种新的生活，于是用当地人们的宗教观念相传统思想去感化她。当地农民和渔民的狂热的宗教信仰使人难以置信，这对情人有一次也参加了朝圣活动，观赏了妖魔鬼怪的节日表演，还到过骗子和叫花子们经常出入的地方。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 乔治的精神创伤未愈，心里充满着矛盾和冲突：他向往过一种完美的精神生活，但无节制的情欲使他感到窒息，做了情欲的奴隶。同时乔冶还一直怀念着他那已故的伯父德梅特里奥，总想起他的自杀。但阿勃鲁佐地区的人们从事农业和渔业的生活，以及大自然赋予人们的那种宁静和甜美，又使乔治感受到这种美的享受，促使他思考着人生。他想到了欧洲的先知者们，也想到了基督，他认为他们都是完美的精神境界的倡导者。由于无法抗拒神秘、恐怖的死亡的召唤，他毅然想在火车通过两条隧道的瞬间卧轨。也想到过去投海。因为除了死，他没有力量抵御女人对自己的诱惑力。于是，就出现了这样一个悲剧性的结局：他搂住情人伊波利塔从万丈悬崖跳了下去。乔治死了，伊波利塔也结束了自己的生命。这说明，在意志和感情的矛盾冲突中，死亡战胜了一切。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"> 小说《死之胜利》的结构严谨，叙事流畅，人物性格化。它既不像《欢乐》中那样追求词藻的华丽典雅，又比《无辜者》的表现手法多样。因此，《死之胜利》一书充分体现了邓南遮创作中的颓废主义和自然主义的一切主要特点，集唯美主义和象征主义的表现手法于一体，描绘了人物的自然感情，表现了主人公对情欲的厌烦，刻画了人的各种复杂的思想情感：痛苦和忧郁，仁慈和残忍。《死之胜利》一书的题目本身就意味着“超人”思想的失败，人的道德觉悟始终还是屈服于个人的情感了。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /></span><span lang="EN-US" style="font-size:10.5pt;font-family:楷体_gb2312;mso-hansi-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><br /></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">【猫头鹰手工录入，转载请注明转自黑蓝及录入人】</span><span lang="EN-US" style="font-size:10pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /></span></b><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><br /><br /></span><b style="mso-bidi-font-weight:normal"><span style="font-size:13.5pt;color:green;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">【<span lang="EN-US">G宝盘下载】</span></span></b><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><br /><br /></span><b><span lang="EN-US" style="font-size:10pt;font-family:楷体_gb2312;mso-hansi-font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><a href="http://www.heilan.com.gbaopan.com/8094f57b556147ee94324cd9f14d17ab.gbp">[合][世界短篇小说经典·意大利卷].rar</a> <br /><br /><a class="gbp:link_name" href="http://www.heilan.com.gbaopan.com/files/92e963e375734895b185d54acb176166.gbp" target="_blank"><font face="Arial" color="#0063dc" size="3">[意大利][邓南遮][佩斯卡拉的故事].rar </font></a><br /><br /><a class="gbp:link_name" href="http://www.heilan.com.gbaopan.com/files/ca52c4017db744408ab67faf88bff103.gbp" target="_blank"><font face="Arial" color="#0063dc" size="3">[意大利][邓南遮][安娜姑娘].rar </font></a></span></b><span lang="EN-US" style="font-size:10.5pt;font-family:楷体_gb2312;mso-hansi-font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><br /><br /><br /></span><b style="mso-bidi-font-weight:normal"><span style="font-size:13.5pt;color:green;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">【阅读推荐】</span></b><span lang="EN-US" style="font-size:10.5pt;color:green;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><br /><br /></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10pt;font-family:楷体_gb2312;mso-hansi-font-family:'times new 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作者: 录入小组 时间: 2008-4-19 13:30
<span style="font-size:10pt;color:red;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><font size="2"><font color="#000000">第二节 乔瓦尼·帕斯科利</font> <font color="#000000" size="1">（略）<br /><br /><span style="font-size:10pt;color:red;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><font size="2"><strong>第三节 安东尼奥·福加扎罗<br /><br /><img height="232" alt="" src="http://www4.babidou.com/pic/2006/12/20/tutu312/1/安东尼奥·福加扎罗.jpg" width="187" /><br /><br /></strong><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><font color="#000000"><strong>一 生平和创作<br /><br /></strong><p class="MsoNormal" style="margin:0cm 0cm 0pt"><span><strong> <font color="#902c90" size="2">安东尼奥·福加扎罗</font></strong>（</span><span lang="EN-US"><font face="Times New Roman">1842-1911</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">）出生于意大利北方的维琴察城。父亲曾是意大利王国的议员，于</span><span lang="EN-US"><font face="Times New Roman">1859</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年流亡都灵。福加扎罗有位叔父是神甫，他对福加扎罗的一生有极大的影响，不仅指导他完成全部初中课程，还替他校阅过早期创作的诗稿。</span><span lang="EN-US"><font face="Times New Roman">1856</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年福加扎罗在维琴察上高中时、在一位教士的指导下，开始对文学产生兴趣。高中毕业后，他在帕多瓦大学攻读法律，由于健康情况不佳，他回家休养，从此便爱上了文学。</span><span lang="EN-US"><font face="Times New Roman">1860</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年福加扎罗全家迁居都灵。</span><span lang="EN-US"><font face="Times New Roman">1864</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年他在都灵大学法律系毕业，但他对律师的职业不感兴趣。他抛弃了宗教信仰，生活上也放荡不羁。</span><span lang="EN-US"><font face="Times New Roman">1865</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年至</span><span lang="EN-US"><font face="Times New Roman">1869</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年他居住在米兰，继续攻读法律，开始与米兰自由派文人频繁交往，无形中进一步增强了他对文学创作的兴趣。</span><span lang="EN-US"><font face="Times New Roman">1866</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年与一位贵族女子成了亲，婚后得子一女，这使他感到了做父亲的责任。</span><span lang="EN-US"><font face="Times New Roman">1873</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年他的第一部诗集<i style="mso-bidi-font-style:normal">《米朗达》</i>问世，本来认为他缺乏文学天赋的父亲也不得不承认儿子的才能。</span><span lang="EN-US"><font face="Times New Roman">1876</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年另一部诗集<i style="mso-bidi-font-style:normal">《瓦尔索达》</i>出版，这就更坚定了福加扎罗从事文学创作的信念。他早期的诗歌具有浪漫主义的特点和神秘的色彩。</span><span lang="EN-US"><font face="Times New Roman">1881</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年他的第一部长篇小说<i style="mso-bidi-font-style:normal">《玛伦布拉》</i>问世。小说描述了发生在一所古老别墅里的一个贵族家庭中神秘的爱情纠葛颇有侦探小说的风格。作品采用田园诗般的笔法，描绘了湖畔大自然的景色，细腻地揭示了人物内心世界的感情冲突，着力发掘人物心灵中那种难以用理智来加以解释的奥妙的东西，探索感觉中的未知世界。《玛伦布拉》的问世，使福加扎罗在意大利文坛上占有了一席之地。</span><span lang="EN-US"><font face="Times New Roman">1888</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年，他的另一部小说<i style="mso-bidi-font-style:normal">《诗人的奥妙》</i>发表，作品描绘了人物下意识的神秘的感受，以及人物心灵深处的疑团和令人难以捉摸的精神状态。</span><span lang="EN-US"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> 长篇小说<i style="mso-bidi-font-style:normal">《小小的古老世界》</i></span><span lang="EN-US"><font face="Times New Roman">(1895)</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">是福加扎罗的代表作，描述了一位信仰基督教的贵族青年因为争取婚姻自由而与传统的贵族家庭所产生的矛盾和冲突，以及后来的悲惨命运。这部小说的问世，更进一步确立了福加扎罗在文坛上的地位。小说实际上抒发了作者对家庭亲人的思念和依恋之情，也是对在部些岁月里相继去世的家人的悼念：</span><span lang="EN-US"><font face="Times New Roman">1884</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年他最崇敬的叔父去世；</span><span lang="EN-US"><font face="Times New Roman">1887</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年他父亲去世；</span><span lang="EN-US"><font face="Times New Roman">1891</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年他母亲去世；</span><span lang="EN-US"><font face="Times New Roman">1895</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年就在福加扎罗校对这部小说的书稿时，儿子又不幸夭折了。这一系列接踵而至的噩耗对福加扎罗精神上是个沉重的打击，但同时也为他创作这部小说提供了灵感和素材。</span><span lang="EN-US"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> 此后，福加扎罗积极投入了社会活动，一度被任命为参议员；他还热衰于研究科学与宗教之间的关系，</span><span lang="EN-US"><font face="Times New Roman">1899</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年发表的《人类的升天》就体现了他在这方面的研究成果。福加扎罗后来还直接投入了天主教改革的潮流，与天主教先锋派著名人士有密切交往；</span><span lang="EN-US"><font face="Times New Roman">1901</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年发表的<i style="mso-bidi-font-style:normal">《小小的现代世界》</i>，表现了庸俗的市侩气息极浓的外省人同因循守旧的贵族之间的思想矛盾和冲突。<i style="mso-bidi-font-style:normal">《圣人》</i></span><span lang="EN-US"><font face="Times New Roman">(1905)</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">一书的主人公实际上福加扎罗唯心主义宗教观的化身．但罗马教廷的红衣主教们却把此书列为禁书，这对福加扎罗精神上无疑是个严重的打击。为了表明他对天主教纯真的笃信，他于</span><span lang="EN-US"><font face="Times New Roman">1910</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年发表了小说<i style="mso-bidi-font-style:normal">《莱伊拉》</i>，但此书同样也被教会列为禁书。从此，福加扎罗就痛苦地告别了作家生涯。</span><span lang="EN-US"><font face="Times New Roman">1911</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年初福加扎罗因患病住院，同年</span><span lang="EN-US"><font face="Times New Roman">5</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">月去世。</span><span lang="EN-US"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> 福加扎罗的作品深刻地反映了处于统一过程中的意大利社会伦理道德和精神文明方面的危机，在相当程度上反映了处在变革中的现代人心灵上的不安及现实社会思想上的冲突，特别是处于没落阶段中的贵族资产阶级面对社会急剧的变化所表现出的那种彷徨和惊恐的心态；在表现手法上富有田园诗殷的文采，融注了大自然的景色，表达了平民对美好生活的向往。作者力图使自己成为新生的精神道德的鼓吹者，倡导现代主义的伦理学说，这符合当时人们的普遍愿望；由于他在创作中力图把宗教信仰与进化论思想结合起来，所以在当时福加扎罗的名字与宗教界的争论紧密相连。</span><span lang="EN-US"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> 《小小的古老世界》、《圣人》与《莱伊拉》这</span><span lang="EN-US"><font face="Times New Roman">3</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">部小说的思想体系和宗教范畴如出一辙，作者借助主人公神秘的幻觉，鼓吹宗教改革，抨击教会的墨守成规和落后保守，揭露神职人员的狭隘吝啬和对权势的贪婪。《圣人》中的主人公梦想自己被举为“教会的改革者，基督的真正代表”而“被成千上万的拥护者狂呼着拥到神殿的入口处”，造就是福加扎罗所塑造的梦想救助人类的英雄人物，体现了作者罗曼蒂克的空想主义。</span><span><br /><br /><strong>二 《小小的古老世界》</strong><font face="Times New Roman"><strong>(1895)<br /><br /></strong></font></span><span> 小说的主人公弗朗科·马依罗尼是个虔诚的天主教徒，自幼在祖母奥尔索拉家长大。祖母是一位侯爵夫人，有一笔丰厚的财产。马依罗尼自青少年时代就配爱花卉、音乐和诗歌。长大后，没有按照祖母的意志与一位贵族姑娘结婚，却娶了平民的女儿路易莎为妻，老侯爵夫人恼羞成怒，立即剥夺丁他的财产继承权。弗朗科·马依罗尼婚后住在路易莎家，其善良的母亲泰雷莎去世后，他的舅父彼耶罗从经济上和精神上帮助他们。后来，他们生有一女，名叫玛丽亚，女孩儿与老舅公之间产生了深厚的感情。<br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> 然而，这个小家庭的欢乐是短暂的。尽管路易莎深深地爱着弗朗科·马依罗尼，但她在思想观念上却与丈夫有着本质上的不同，她虽没有宗教信仰，却祟尚正义；而弗朗科·马依罗尼却性格内向，喜欢独自沉思默想，他信仰宗教，性格怯懦，意志薄弱，这与路易莎热情奔放的性格形成了鲜明的对照。</span><span lang="EN-US"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> 老侯爵夫人奥尔索拉利用权势，在奥地利人的支持下，免除了被耶罗工程师的职务。弗朗科·马依罗尼由于经济拮据而被迫离家出走，夫妇之间的矛盾因此加剧。弗朗科为养家糊口，自己在都灵常常忍饥挨饿。</span><span lang="EN-US"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> 吉拉尔多尼教授是弗朗科·马依罗尼父亲的生前好友，他保存着老侯爵的遗嘱副本，遗嘱亡指定弗朗科是父系财产的继承人；丽弗朗科却不愿意使用这份遗嘱，因为他不想损害家族的荣誉。为此路易莎对弗朗科深为不满，她认为，侯爵夫人因嫌她出身低微而不让弗朗科继承遗产是不公正的。</span><span><br /> 为了对横蛮无理的老侯爵夫人进行报复，路易莎决心找奥尔索拉面对面地据理力争；就在路易莎离家去找老侯爵夫人的时刻里，小女儿玛丽亚不小心掉在湖中淹死了。悲剧发生后，原本性格倔强的路易莎从此一蹶不振，丧失了活下去的勇气，终日惘然若失，如痴如呆地想念着死去的女儿玛丽亚，甚至相信起招魂木。弗朗科却以惊人的毅力强忍着悲痛投入了当时的爱国活动，同时也借助宗教信仰来排除精神上的痛苦，这样苦苦地挨了</span><span lang="EN-US"><font face="Times New Roman">3</font></span><span>年。<br /> </span><span lang="EN-US"><font face="Times New Roman">1859</font></span><span>年普奥战争爆发前夕，弗朗科参了军。在离开家乡之前，他很想与路易莎话别，可是路易莎却始终难以摆脱失去爱女的悲痛，寸步不离地死守着女儿的坟墓，后来在舅父被耶罗的好言规劝之下，路易莎才同意去与弗朗科会面。他们在一座小岛上见了面，在相互热烈的拥抱中，似乎他们已意识到这是最后的诀别了，所以心情都十分激动。随后，弗朗科奔赴战火纷飞的前线，年迈的舅父彼耶罗因久病不愈而去世，留下了路易莎孤身—人，但她感到了孕育在母腹中的小生命的蠕动，“它象是有生命力的胚芽，为迎接即将诞生的新世纪，已孕育成熟而要破土而出了。”<br /> 文学评论家们对小说《小小的古老世界》评价很高，认为这是一部很有乡土气息的内容丰富多采的佳作。作品通过展示日常生活的环境，透析了人物复杂的精神世界和矛盾的心态，表达了他们真实的思想感情。故事充满戏剧性，蕴含了浓厚的人情味和人道主义内容。</span><span lang="EN-US"><font face="Times New Roman">1892</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年福加扎罗在动笔撰写本书时，曾在给家人的一封信上写道；“我是想让读者看到我笔下的几位主人公，让他们了解这些人的生活准则．以及按这样的淮则生活所得到的结局。有人活</span></p><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">着只是为了享受生活而蔑视来世；有人活着是为了替这个世界做点好事而别无他求；有人只凭信仰与祈祷活着而希望来世能有好报，也有人活着是向往另一种世界，以更好地实现自己生活的准则。”女土人公路易莎为丈夫争遗产继承权并不是为了享受，而是追求能得到公正的待遇；男主人公弗朗科活着不是追求享受天伦之乐，而是想做个诚实正直的无求于世的人。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><span style="mso-spacerun:yes"> </span></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">福加扎罗为完成这部作品，花了</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">3</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年功夫，小说于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1894</span><span>年问世，很快被译成欧洲国家的多种文字，在各国广为流传。<br /> 小说风格淳朴，语言简练，结构紧凑，情节衔接灵活自然。当时著名的文学评论家贝内代托·克罗齐</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1866</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1952)</span><span>曾这样评论道；“《小小的古老世界》的作者对人物的心理活动刻画细腻，透过口常生活，用喜剧性的诙谐的表现手法来展示主题。全书凝聚了艺术家良好的文学修养，它无疑是福加扎罗所写的最好的一部作品。”<br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 小说有广泛的群众性，因为它描绘的是一对普通男女所经历的痛苦，以及他们为摆脱贫因与饥饿所进行的斗争。他们所生活的时代和现实社会在他们思想上打下了不同的烙印，这使他们对人生道路采取了各自不同的抉择，读后发人深思。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 小说在很大程度上带有自传性，作品中有好几个人物形象是作者生前身边亲人的缩影，因此，作者笔下的人物性格真切而又生动，富有艺术感染力。<br /><br /><span style="font-size:10pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong>【聂泽泽手工录入，转载请注明转自黑蓝及录入人】<br /><br /><br /><span style="font-size:13.5pt;color:green;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">【他山之石】</span></strong><span lang="EN-US" style="font-size:10.5pt;color:green;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><br /><br /><span lang="EN-US" style="font-size:10.5pt;color:black;font-family:楷体_gb2312;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt"><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=35012&page=1"><span lang="EN-US" style="color:black"><span lang="EN-US"><strong>安东尼奥·<span lang="EN-US">福加扎罗：雷托戈莱村的独眼龙的遗嘱</span></strong></span></span></a></span></span></span></span></font></span></font></span></font></font></span>[此帖子已经被作者于[lastedittime]1218596874[/lastedittime]编辑过]
作者: 兔兔 时间: 2008-5-30 14:11
占楼，５月份意大利文学史第３部分暂停。
作者: 录入小组 时间: 2008-5-30 14:17
<p><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:13.5pt;color:red;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong><font size="3">第三章 黄昏派和未来主义<br /></font></strong></span></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">20</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">世纪初期的社会动荡和第一次世界大战中意大利宣布参战后的国内外形势，使人们对建立一个“新意大利”的希望破灭了。尽管当时的统治者使中、小资产阶级和部分劳工阶层的生活得到某种改善，但对建立一种理想的民主、自由国家缺乏新蓝图。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1911</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年的意土战争，以及意大利征服利比亚的冒险政策，似乎给意大利社会以新的生机，但人们面对这动荡的社会感到茫然，“祖国、上帝、人类博爱”似乎都只是华丽动听的词藻，对科学进步的信仰也彻底破灭了。许多小资产阶级文人精神上消极、仿惶和苦闷，他们采取回避现实的态度，把自己禁锢在小资产阶级的狭小天地里，终日沉湎在对往事无穷的回忆和感慨之中。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> <strong>转向内心自我，对现实生活感到厌倦而又无可奈何的心态。无法重新寻觅个人在社会上存在价值的忧郁、阴暗的心理，空虚、无望的处世态度，对过去的惋惜和留恋之情，就是黄昏派诗人所要倾诉的思想感情。</strong></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> “理想、信仰和行动的淮则都崩溃了，全力以赴地投身于现实生活中去的能力消失了，对社会和政治的热情也没有了，留下的只有怀旧、伤感和看破红尘，并且满足于做生活的旁观者。每天日复一日的生活慢镜头是那么千篇一律，它们已失去了生活的实质含义，人们心中的激情、追求都消逝了，他们只有逃遁在昔日的回忆或梦境之中才能获得解脱，尽管他们警觉地意识到这种梦境是毫无价值的”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">《意大利</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">20</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">世纪文学指南》，古莱尔莫</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">)<br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 黄昏派诗人既反对能动主义和邓南遮的“超人”的活力论，也反对帕斯科利那种痛苦地沉湎在对人类存在和主宰宇宙的神秘之力的沉思默想；更不理解未来主义那种追求行动的狂热性，又远远不同于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">20</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">世纪初佛罗伦萨几家刊物所宣扬的那种唯心主义思想和非理性主义。黄昏派诗人没有一种明确的哲学思想，也没有某种特定的思想准则，他们在破除了浪漫主义和颓废主义的神话的同时，并没有提出新的信仰以解决自身认识上的危机。尽管他们用讥讽的手法嘲笑过去大资产阶级民族主义狂热的神活，但他们却不由自主地选择了与现实隔绝的道路，隐居在个人的小天地里，从日常平庸生活中捕捉各种迹象，以此抒发丧失理想后的那种伤感情绪，这实际上是一种拒绝历史、逃避现实的落后和消极的态度。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 所以，在创作题材上，都比较陈旧、僵化，往往以景寄情，象征性地反映了诗人蜷缩在其中的小天地和梦幻：他们描绘的是破旧的小屋，古老的街区，被丢弃的花园，医院里的病室，修道院和心情忧郁的修女；看到的是乡间僻静的小客店，空无一人的寂静的教堂；听到的是管风琴哀婉、悠扬的乐声。诗人就是以此来抒发对这种平庸生活的厌倦，从而隐喻了人们在动荡不安的社会中所感受到的困惑和惆怅。这种疲惫、平淡意境的独特魅力就在于它们能强烈地感染着读者，使他们正视一个越来越野蛮的现实世界，告诫他们不久之后就会坠入战争的漫漫长夜之中。他们正是用语言和诗歌来表现历史所面临的这种危机，从而向人们表明历史已处于黄昏落日阶段。因此，从反映当时的社会情绪这一点上来说，黄昏派尚有一定的积极作用。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> </span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1909</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年，正当黄昏派的文学趋于衰亡之时，以菲力普·托马索·马里内蒂</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1876</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">一</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">l 944)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">为首的一批文人，在法国巴黎的《费加罗》报上发表了《未来派宣言》，接着又于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1912</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年发表了《未来派文学表现手法宣言》。宣言声称：“未来主义是一种反哲学反文化的运动。”<strong>未来派文人颂扬现代文明的活力和能动性，讴歌工业社会和大机器生产的现代化社会的胜利，颂扬勇敢的精神、健壮的体魄和紧张的生活节奏，他们主张艺术——包括建筑、音乐、电影和诗歌——都应表现现代生活的节奏，面向未来，忘却包括颓废派在内的文艺传统。为此，他们主张摧毁一切博物馆、图书馆，以期割断与过去的—切联系；他们认为文艺要承受不断发展的现实社会的冲击，抓住其急速的令人眼花缭乱的运动节奏．忠实地反映机器的创造性，以及对速度和力量的渴求精种，为了达到他们所要表达的速度．未来派作家抽掉了字句的—切逻辑关系，提出要屏弃句法和语法，消灭代词、前置词、连接词和副词，甚至用代数符号来代替标点符号，把动词变成唯—的基本的语言形式，这就是他们所谓的“自由不羁的字句”。</strong></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 未来主义的文学运动，虽然并没有产生真正有影响的诗人，但它在整个欧洲文坛却引起了很大的反响，对后来出现的先锋派文艺运动有着一定的影响。产生未来主义的根由是因为科技的巨大进步从根本上改变了人们的感觉和观念。未来派文人自称是一批唇枪舌剑的好斗之士，是纯真世界的创新者，是加速社会变革的创新者，他们还提出了“反对世俗、反对社会主义、反对传统”的口号，这股文学潮流不仅冲击着艺术领域，还在很大程度上影响了思想政治和文化领域，甚至触动了人们的人生观。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 但是未来主义祟尚暴力和恐怖行为，鼓吹极端的民族主义，赞颂冒险主义，把暴力和个人意志看作是推动生活的原则，这就使它后来纳入了法西斯的思想、艺术轨道．成为当时意大利的垄断资产阶级疯狂地进行军事竞争、追逐权力和对外侵略扩张的宣传工具。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1912</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年马里内蒂发表宣言，公开支持意大利政府发动侵占埃塞俄比亚的战争，鼓吹什么“战争是伟大的交响乐”，“是世界上唯—的洁身之道”，把军国主义和战争看作是争取自由、摧毁旧传统的有效手段而加以颂扬，因而，很多未来主义作家在第一次世界大战爆发后志愿奔赴前线作战。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1918</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年，马里内蒂等人还建立听谓“未来党”，同以墨索里尼为首的法西斯党公开合作。到了</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">20</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年代，未来主义的文人们则进一步堕落为法西期独裁政权的工具了。<br /></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:13.5pt;color:red;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong><font size="3">第四章 20世纪初的叙事文学<br /><br /></font></strong></span></span></span></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> “<span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">19</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">世纪未到</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">20</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">世纪初期的小说，标志了时代的动荡，反映了人们对新鲜事物的渴望和对平庸的世俗社会的厌恶。真实主义作家们那种严格遵循道德规范和刻板的思想准则的创作体系解体了，以反映特定时期中客观存在的社会现实和风貌为基础的创作思想淡漠了；文学中非个性的准则消失了，文学创作转入着重于表现个人思想的茫然和心情的困惑，以及变化无常的性格。”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">《意大利文学史》，萨佩尼奥</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">)<br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> <strong>真实主义作家以反映真实、反映社会现实的多重性为特点，他们往往回避表现个人病态的烦恼和痛苦，他们描写人物并不是描写人物个人，而是真实地描述了复杂多样的现实世界上生活着的真实的人；</strong>而</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">20</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">世纪初出现的以皮兰德娄</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(186?<span style="mso-spacerun:yes">－</span>1936)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">、期韦沃</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"> (1861</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1928)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">、黛莱达</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1871</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1936)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">、潘志尼</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1863</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1936)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">、托齐</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"> (I 883</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1920)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">等为代表的作家，则有一种明显地反映个人主观世界的倾向，并富有浓厚的抒情色彩，他们似乎把小说作为用来表达他们个人思想和精神状态的工具，他们笔下的人物往往是作者自身的写照，其故事也多半是他们生活中的经历和感受的翻版；文学创作领域中这种倾向的出现，体现了</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">19</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">世纪真实主义文学体系所面临的危机。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> “新产生的小说不再立足于表现社会．而是立足于表现个人，它反映了那种无政府主义式的摧毁现实的思想心态，一种近乎有意识的逆反心理，一种强烈的孤寂情怀，这种心态在社会上引起强烈的共鸣。这些作品对资产阶级世界进行了幽默的讽刺、辛辣的抨击、猛烈的鞭挞和透彻的分析，使资产阶级原形毕露，并把它批得体无完肤。”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">《意大利文学史》，萨佩尼奥</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">) <br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 在这方面进行大胆探索和创新的最杰出的代表是路易吉·皮兰德娄。他的作品不再是清晰地反映现实的一面光滑的平面镜，而是哈哈镜。它所照出来的外部世界的面貌往往是奇形怪状的，是走了形的，而作者个人对现实社会的那种批判的立场也就贯穿在其中；<strong>皮兰德娄的作品使意大利文学乃至世界文学完成了一次决定性的转折，使文学创作摆脱了</strong></span><strong><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">19</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">世纪唯心主义的浪漫主义和刻板的真实主义的路子，开创了非理性的创作道路，旨在揭示当今世界人类的痛苦和潜在的疯狂性。</span></strong><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 皮兰德娄所奉行的这种新的哲学思想是一种相对主义的世界观，他在作品中竭力反映和表现那应该鞭苔的现实社会，那僵死的、令人窒息的然而却仍被人接受的现实。他采用一反传统的创作手法，着力于描写偶然发生的、异乎寻常的、例外的和病态的东西。在其作品中，传统的人物形象被摧毁了，他所塑造的人物都那么怪诞，故事情节都那么不合常规，然而正是通过对出身卑微的平民那种单调乏昧的日常生活的描述，通过对人物内心深处迸发出来的隐秘的痛苦和忧郁的情感的揭示，才使人们痛苦地意识到现实生活的荒谬，以及无法改变的现状。从而揭露了社会的残酷和不公。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 这种对现实生活真实含义的挖掘和探索是艰苦的，也是痛苦的，这是因为皮兰德娄无法用理性这把筛子，按照一定的公式和模式去过滤和安排现实。在现实生活中，要是强迫自己理性地去认识和反映客观世界，就往往变成了一种自欺欺人的手段，一种虚假和诡辩的方式，—种对事实真相随心所欲的解释，所以皮兰德娄象是一位漫画家，用清晰鲜明的线条轮廓，勾画出—个个离奇、荒诞、畸形的人物形象和画面，幽默而又极尽讽刺地向人们展现了—个潜在的疯狂的世界。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 这一时期意大利北方的里雅斯特城的另一位作家伊泰洛·斯韦沃</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1861</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">一</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1928)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">与皮兰德娄一样，也意识到当代社会个人的“异化”，他同样也屏弃了唯美主义作家邓南遮的“超人”神话，在作品中着力表现和剖析当代社会中人的孤寂和精神上的忧虑不安。<strong>期韦沃所创作的作品突出现代人自相予盾的内心冲突，他笔下的主人公似乎都是些“无能人”，以此来表达现代人“无所作为”、“无法生存下去”的主题，这是当时中部欧洲文学的创作基点。</strong></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 斯韦沃彻底排除了唯心主义和新浪漫主义的创作思想，把心理分析的”科学武器”用于揭示生活在现代社会中的人的心灵，以适应对现代人心态进行严格的剖析和深入挖掘其内心精神世界的需要。斯韦沃着力挖掘人物内心深处那种难以捉摸、自相矛盾、曲折复杂而又混乱的精神世界，用人物“内心独白”的表现手法来代替客观描写的手法。这种通过人物的“意识”间接地反映客观现实的手法、在当时是独一无二的。其主导思想就是发掘“潜意识”，而这种“潜意识”是在人的内心深处起作用并左右着人的思想行为。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 撒丁岛的女作家格拉齐亚·黛莱达的作品富有浓厚的乡土气息，在当时欧洲新文学思想的影响下，她的作品中注入了抒情的色彩，把小说的环境、情节、对话与主人公的内心感情融为一体，充分揭示了新旧时代的冲突，表现了现代人不可名状的孤寂的精神状态。正如黛莱达自述的那样：“人总是处在一种与内心感情殊死搏斗的状态中，人的情感有时很强烈，有时却被抑制住了，但人是永远不能以一种果断的办法战胜并支配自己的情感的。”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">《风中芦苇》序言</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">)<br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 生于安科纳省的阿尔弗雷多·潘志尼</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1863</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1939)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">也是这个时期叙事文学的代表作家。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1886</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年他于波洛尼亚大学文学系毕业后，开始了长达</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">10</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">余年的高中教员的生涯，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1897</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年以后在米兰大学文学系任教。他</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1896</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年发表的短篇小说集《天真的人》，描述了不合时代的文人对美好的理想社会的向往，揭示了古老文明与工业社会发展之间的辩证关系，抒发了作者自身因与现代社会格格不入而感到的内心痛苦。作者沉浸在对失去年代的无限惋惜和留念之中，认为过去有着永恒的不变的价值，流露出身居尘世的孤寂和茫然。长篇小说《一个穷书生》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1919)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">和《我寻找妻子》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1920)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">反映了意大利战后现代政治和传统文明之间的冲突给人们造成的精神危机。小说《小姐妹》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1921)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">、《我书店里的魔鬼》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1920)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">以及《战争中的情感日记》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1923)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">则进一步展示了人们对新时代的困惑和陌生感。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 存在主义作家费代里科·托齐</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1883</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1920)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">擅长把个人生活中的痛苦经历和忧郁、烦恼的心态直接倾注在作品之中。他幼年丧母，并患有母亲遗传给他的癫痫病，他的几个兄弟都是出生后不久就夭折了。坎坷的人生道路使他对生活抱有一种仇恨的态度，古老、秀美的家乡锡耶纳城在托齐的笔下犹如一所人间地狱，一个诱使人掉落在其中的万丈深渊；他塑造的人物常常是面目狰狞，阴险狡猾，富有“兽性”，这些人物常常是伴随着恶梦和暴力而产生和存在的。小说《闭着的眼睛》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1918)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">正是描述了作者内心充满噩梦的世界，小说的主人公是一个被迫闭上眼睛面对生活的人，因为惧怕生活，他的精神受到压抑因而产生了心理障碍。小说《三个十字架》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1920)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">通过三兄弟悲剧性的结局，表现了作者对生活的绝望态度。小说《农住》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1921)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">描述了人与人之间的冲突，最后发展并演变成一桩凶杀案。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 托齐“对生活有一种绝望的观念；我认为可以说托齐是意大利第一位存在主义的作家。他的小说写出了生活就是痛苦，痛苦就是生活。”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">莫拉维亚《新论题》，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1987)<br /><br /></span></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:13.5pt;color:red;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong><font size="3">第一节 格拉齐亚·黛莱达（Grazia Deledda,1871--1936）<br /></font></strong></span></span></span></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:13.5pt;color:red;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><font size="3"><strong><br /><img src="http://farm4.static.flickr.com/3112/2758153451_b8c8e7373f_o.jpg" border="0" alt="" /><br /></strong></font></span></span></span></span><font face="宋体"><br />一 <strong>生平和创作<br /><br /></strong></font><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> <span style="font-size:10pt;color:#993366;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong><font size="3">格拉齐亚·黛莱达</font></strong></span>生于撒丁岛诺罗镇的一个富裕家庭。在她生长的年代里，女孩子读书只能上到小学四年级，因此她很羡慕能上高等学府深造的两个兄弟。黛莱达自幼酷爱文学，贪婪地阅读托马斯、巴尔扎克、拜伦、雨果等名家的作品，她的一位当神父的舅舅去世后留下的一个私人藏书馆，为她提供了丰富的图书来源。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1896</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">13</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">岁的黛莱达就在当地小报《撒丁岛的未来》上发表了她的第一部长篇小说<em><strong>《东方的星辰》</strong></em>。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1896</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年小说<em><strong>《邪恶之路》</strong></em>发表之后，探受当时著名的文学评论家路易吉·卡普安纳</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1839</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">—</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1915)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">的赞赏。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1900</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年黛莱达随同在财政部任职的丈夫迁居罗马，安定的家庭生活给她提供了继续进行文学创作的良好环境和条件，所以</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1903</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年至</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1920</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年是黛莱达文学创作的全盛时期，先后发表了多部优秀作品，如<em><strong>《埃利亚斯·波尔托鲁》</strong></em></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1903)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">，<em><strong>《骨灰》</strong></em></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1904)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">，<em><strong>《常春藤》</strong></em></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1908)，</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><em><strong>《风中芦苇》</strong></em></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1913)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">，<em><strong>《橄榄园里的火灾》</strong></em></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1918)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">，<em><strong>《母亲》</strong></em></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1920)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">等。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> <strong>撒丁岛的传统、风俗和历史构成了黛莱达的作品之魂，这使她的作品具有强烈的地方色彩，撒丁岛成了她记忆中的一种社会现实。</strong>作者通过丰富的想象，重新渲染出一种意境，从而把记忆中时时浮现出来的故乡的景色，如贫瘠的岛屿，群山深谷，无边无际的牧场，光秃的山岭，干旱的平川，像一幅幅水彩画似的展现在读者面前。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 黛莱达笔下的人物形象，有在撒丁岛世代当奴仆的牧民，有在荒隙偏僻的山庄里当差的长工，还有终日守在寂静的屋子里、整天围着锅台度过漫长岁月的纯朴的家庭主妇，所以黛莱达被人们誉为“撒丁岛的心声”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 黛莱达发展了真实主义作家的创作思想，她的作品不单纯是反映撤丁岛的贫困落后的社会面貌和人与人之间的关系，还着力于展现处于变革中的社会风貌和习俗，如家庭的危机、父母与子女之间、夫妇之间、情人之间关系的内聚力的解体，个人感情中传统的道德准则的瓦解，并揭示了这些因素给个人所造成的内心痛苦。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 道德标准构成了黛菜达作品的根本基点、因为在这块土地上，祖先们道德上的旧观念根深蒂固地存留在人们的头脑之中，形成了人们顶礼膜拜的信条和戒律。谁要是犯了这些禁忌，谁就会感到自己罪孽深重，因而产生了无法解脱的恐惧、羞愧和悔恨心理。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 善与恶之间的冲突是黛莱达文学创作的永恒主题，她往往把爱情描述成一种有罪恶的激情，一种需要补赎的罪过，而不是一种纯洁的感情，这充分表露了黛菜达那种认为人要与罪悲和邪念作斗争的道德观念。《邪恶之路》</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1896)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">中的男女主人公的爱情虽然都带有一定的浪漫主义的色彩，但他们都蒙胧地意识到要补赎罪孽；小说《母亲》（</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1920)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">中则进一步展现了善与恶之间的矛盾冲突，激情与道德观念之间的思想斗争。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 人的思想感情上的矛盾和冲突在撒丁岛这一特殊的社会环境中往往显得十分尖锐，而黛莱达作品的生命力就在于探索人生无法解脱的矛盾；黛莱达把现实社会看作是相对立的社会势力无休止冲突的场所，但是社会环境和人们的精神世界又处于变化的状态之中，人们往往都想超脱传统习俗和清规戒律，主人公的富有激情的人生经历，使他们各自以不同的目光来观察人们一贯维持着的传统习俗和道德标准。所以黛莱达的作品传达了一种变革的心声，一种客观的要求；然而她笔下的人物这种对旧的世俗观念的冲击完全是凭一时的冲动，他们表现出来的行动往往比较冒失，没有明确的思想指导和信仰，所以常常无法获得积极的结果，如《常青藤》的女主人公为了爱情而掐死了身患气喘病本已奄奄一息的老主人；如《风中芦苇》中的老长工埃菲克斯为了解救他心目中的女主人而杀死了老庄园主；又如《邪恶之路》中的男仆被彼得特洛为赢得女主人而杀死了富裕的情敌。他们最终都以犯罪的手段来求得解脱，因为现实生活不能给予他们个性的自由和解放，致使这些悲剧性的人物在心灵上都蒙上了终生难以摆脱的悔罪的阴影。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 浓厚的抒情色彩是黛莱达作品中另一个突出的特点，情景的描绘与人物心理的描写总是有机地结合在一起。“景色的描绘也富有道德性，它烘托并勾画出故事中人物内心的痛苦和精神上的悲剧。”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">《意大利文学史》·萨佩尼奥</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">随着故事情节的展开和人物感情的波澜起伏。”“宁静的牧场”，“鸟儿的啭鸣”，“风儿吹动枝叶发出的瑟瑟声”，“皎洁的明月”等，往往是作品中的人物处在无法解脱的内心矛盾和冲突时的无声的慰藉；而“骤然大作的狂风暴雨”往往又用来衬托主人公难以抑制的内心冲动。情景交融是黛莱达表现手法的独特之处，从艺术手法上来看，颇有超越真实主义的浪漫主义色彩。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 黛莱达于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1926</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年获诺贝尔文学奖，她是意大利至今获得过诺贝尔文学奖的唯一的一位女作家。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 黛莱达晚期的作品有<em><strong>《安纳雷娜·比尔西尼》</strong></em></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1926)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">，<em><strong>《风之国》</strong></em></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1930)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">，<em><strong>《寂静的教堂》</strong></em></span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">(1936)</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">等。这一阶段的作品中巧炒地揉合了隐瞒和幻想，人物与情景颇有童话色彩，接近象征主义的风格。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 浸透了撒丁岛之魂的黛莱达的作品中没有引入任何方言，这是黛莱达语言使用上的独到之处，她那潇洒、流畅、洗练的意大利语显示出她高深的语言修养。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> </span><chsdate isrocdate="False" islunardate="False" day="15" year="1936" 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lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1936</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">8</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">月</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">15</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">日</span><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chsdate><chsdate></chs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style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">黛莱达因病在罗马逝世。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br style="mso-special-character:line-break" /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"></span></span></span></p><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"></span></span><p><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">二</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><strong> </strong></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><strong>《常春藤》</strong>（</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1906</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">）</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 故事发生在撒丁岛一个牧民聚居的小镇里。富裕的德凯尔基家庭由于败家子侄少爷帕乌<span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">鲁的挥霍无度而濒于破产，</span></span></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">债台高筑，以致不得不把住宅和最后一片牧场也抵押出去。女仆安内莎原来是跟随—位老叫花子来镇上行乞的姑娘，老乞丐死后，安内莎就被德凯尔基收作养女，后因主人家门庭败落而沦为女仆。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 侄少爷帕乌鲁婚后不久丧妻，安内莎对帕乌鲁产生了爱慕之情；铿吝的老爷德凯尔基长年患气喘病卧床不起，多年的疾病折磨使他性情暴戾，动辄发火，他尤其嫉恨侄子帕乌鲁与安内莎之间的恋情。他虽然已经病人膏盲．却不愿放过安内莎。让她终日守候在身边。从精神上不断折磨她。一个狂风骤雨的夜晚，安内莎生怕情人帕乌鲁无法筹齐钱款赎回房宅和牧场，对不肯解囊相助的气喘病老人恨之人骨。为了使恩人全家从破产的绝境中解脱出来，她失去了理智，怀着对帕乌鲁的炽热的爱情，在绝望中用被子捂住老病鬼，然后用全身的重量压在上面，病人伸开双臂痉挛地挣扎，最后在被子底下呻吟几声后就咽气了。事发后，安内莎镇定自若地对人说老德凯尔基是气喘病发作憋死的，说那天夜里她一直熟睡着没发现任何动静。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 然而，安内莎的内心却因自己犯下的罪孽而久久不能平静，尤其是后来当她得知老人生前曾立了遗嘱许下赎回住宅和牧场的意愿之后，深感自己完全没有必要犯下这种罪行。精神上负担更重。帕乌鲁己筹集到赎回房子所需要的钱款回到了镇上。有人诬告气喘病老人是帕乌鲁虐待致死，致使全家人都锒铛入狱。安内莎闻讯后躲在山洞里不敢回村里去，但她的精神包袱越来越重，性情也更加忧郁，时时受到良心的责备而感到愧疚，于是她向神父仟悔了自己的罪孽。经法医验尸，帕乌鲁无罪，后来众人也都怀疑安内莎犯有谋杀罪，但她愧对恩人，不敢正视自己的罪孽而决意离开村子远走他乡。黎明时分，就在她要离开村镇时，帕乌鲁出于对她的爱怜想挽留她，但她看到帕乌鲁那充满恐惧的苍白的脸容，感受到心爱的人那种既同情她又深感恐怖的矛盾心理，对情人的真挚的爱给了她坚决出走的勇气。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 出走后的安内莎在另一户人家当女佣，她时时感受到离别情人的痛苦，她丢不下那曾赐予过她恩惠的一家人，但她毫无反悔之心，从在别人家当女佣的生活中第一次寻求到心灵的安宁。后来当帕乌鲁又去寻找她，并好言劝她回到原来的天地里去时，她感到帕乌鲁犹如一个陌生人，象冰凉的幽灵—样。当安内莎最后回到恩主的家时，原先的老人们都已故去，年青人也都老了，她百感交集地目睹了大家庭的败落，如今那里只笼罩着贫困和疾病，她深感那儿正是自己该赎罪的地方，她终日陪伴着百无聊赖的帕乌鲁。曾几何时，安内莎曾对他充满着爱的激情，而月还为了他犯下过滔天大罪。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 她犹如常青藤那样，“—旦攀缘在墙头上，就不再脱落，一直到藤条枝叶干枯为止”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 《常青藤》是黛莱达的名著之一，这部长篇小说的手稿由作者于</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1914</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">年夏天亲自赠送给撒丁岛首府萨萨里大学的图书馆珍藏。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /><span style="mso-spacerun:yes"> </span></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">小说乡土气息浓厚，生动地展示撒丁岛上传统的礼仪和古老的习俗；人物的对话突出了各自的性格，以及他们在故事中所处的地位和所扮演的角色；常以细腻的景致描写来烘托人物的心理活动，如当故事的情节发展到高峰时，对安内莎在爱与恨交织之下失去理智时的那段描写：</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> “外面暴风雨越来越猛，如注的大雨泼打着房门，雷电交加。她用脑袋顶着房门，心里惦念着帕乌鲁，在这风雨大作的夜院，他一定沉沦在忧伤之中，暴风雨一定会使他勃然大怒，她似乎觉得大自然如今也干预起人间的事情来了，也想插手决定人的命运，对不幸的人也变得那么残忍。”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 她在谋杀老主人之前，处在—种“似清醒又不清醒的紧张状态之中”，那噩梦似的幻觉始终萦绕在她眼前，象一把梭子似的织编着一种‘可怕的阴谋”，“那是一种无名的痛苦；她那焦虑的心象是掉入无底的深渊之中，她象是一名落难逃生者，回想着生活的痛苦，但这比死亡时可怖的痛苦要轻松得多”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 作者把当时安内莎内心的思想起伏，以及她即将致病人于死地时的绝望心态描绘得非常细腻。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">三<strong>《风中芦苇》</strong>（</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">1913</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">）</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 故事发生在撒丁岛上一个偏僻的村庄。堂·扎姆是当地的大庄园主，他思想古板守旧，</span></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">经营着大批的田产。妻子去世后，他俨然以传统礼教的维护者自居。对四个女儿严加管教，是“父权制”社会家长式统治的一个典型代表。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> —天夜里，他的三女儿丽娅突然失踪了。富裕人家的闺秀竟然弃家私奔，在整个庄园掀起了轩然大波，成了轰动一时的丑闻。气急败坏的堂·扎姆发誓要把大逆不道的女儿抓回来严惩。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 一天早晨，人们在村口的—座木桥旁意外地发现了堂·扎姆的尸体。庄园主的突然死去，使全家立时蒙上了阴影。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 丽娅出邹后，嫁给了外省的一个牲口贩子，生得一子，名叫贾钦托。她写的家信给死水—潭的家庭带来了几丝外部世界的新气息。随着岁月的流逝，丽娅和她的丈夫先后去世了，丽娅的儿子贾钦托写信给他的三位姨妈，表达了他想回归母亲出生的故乡的意愿。然而，三位姨妈对贾钦托的请求态度冷淡，唯有多年在庄园里干活的老长工埃菲克斯表示热情支持。埃菲克斯当年曾热烈地爱过丽娅．正是他帮助丽娅逃离了这个旧式家庭，所以他对贾钦托有一种持殊的感情；而且当初为救出被抓回家的丽娅而杀死老庄园主堂·扎姆的也是埃菲克斯。自堂·扎姆死后，家产变卖光了，势利的亲戚朋友也断绝了同名老庄园主家人的来往，唯有埃菲克斯还仍然在仅有的—块田地里辛勤耕作，忠心耿耿地支撑着这个破落的家庭。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 不料，这个在外省见过世面的贾钦托却是个放荡不羁的花花公子，他挥金如土，整天热衷于对外交际。他把手头的钱全部挥霍殆尽之后，又是借高利贷，又是赌膊，致使这个本已败落的家庭濒于崩溃。他的大姨露丝目睹家庭的衰败满腔忧愤地离开了人世。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 贵族出身的镇长堂·普列图是老庄园主堂·扎姆的远亲．他善于随机应变．迎合潮流，当意大利南方和撤丁岛落后的生产关系受到北方资本主义大工业生产的冲击时，他就经商办企业而发了横财，成了镇上的大富豪。堂·普列图早就看中了贾钦托美貌的小姨妈诺爱米，他依仗权势和财富想强娶诺爱米为妻，并以此为条件，答应出资买下堂·扎姆生前留下的最后一块田产。然而，诺爱米却因自己身不由己地默默地爱上了外甥贾钦托而断然拒绝了老镇长的求婚。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 后来，贾钦托因债台高筑而逃离家乡，他走后杳无音信，孤寂愁苦的两位姨妈就恳求老长工埃菲克斯四处寻访。埃菲克斯在外出途中遇见了—群乞丐和瞎子，他们仅仅为了抢夺几个小铜板而大打出手，目睹了此番惨象的埃菲克斯深感人世间的炎凉和罪恶，艰难的人生竟使人变得那么无情、冷漠和残酷。于是，他绝望而又沮丧地返回了村庄。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 为了维持这破落的家庭，埃菲克斯决定去镇长家当长工以补贴家用，诺爱米也违心地答应嫁给令她厌恶的堂·普列图。躲债外出后又回到家乡的贾钦托与村里一个家境贫寒的姑娘结了婚，过看清贫的生活。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 就在诺爱米与堂·普列图举行婚礼的那一天，老长工埃菲克斯因身染疟疾发高烧，病倒在厨房炉子旁的一张芦席上，他感到死亡即将来临，忧心忡忡地看着人们正在忙碌地为婚礼做各种准备工作。埃菲克斯心里盘算着，诺爱米结婚后，全家人受欺凌的局面就可结束了。在高烧昏迷中，埃菲克斯似乎看到了诺爱米的眼泪，他深知诺爱米是个得不到幸福和爱情的新娘，但她的痛苦却能换得全家人的安宁。埃菲克斯就这样满怀酸楚地离开了人世。临死前他对老庄园主的女儿艾斯苔叹息道：“我的女主人，我们都是风中芦苇！我们的命运就象是风！”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 《风中芦苇》一书充分体现了黛菜达独具一格的创作思想，是她的一部力作。小说反映了封建式的大家庭的解体，揭示了僵死的封建序庄园制的必然崩溃的历史命运：随着工业社会的发展，新兴的工商资产阶级的代表人物在历史舞台上粉墨登场，那些传统的大家庭的后裔，有的被旧的封建习俗所吞噬而死亡，有的却竭力使自己纳入现代文明的轨道，以寻觅新的生路，但他们这种寻求新生的尝试往往归于失败。小说中的贾钦托就是在落得一贫如洗之后又不得不重返故里，然而家庭的破产，使他再也无法回归原先的封建世俗社会中去了，他只能绝望地与一个失去双亲的孤女结婚了事；老庄园主的最小女儿诺爱米也只能无可奈何地依附于新兴的有产者——那位当镇长的堂·普列图，否则也没有出路。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 小说体现了作者悲观主义的宿命论观点，富有浓厚的宗教意识。小说的题目《风中芦苇》本身就生动形象地比喻了心甘情愿地屈服于命运安排的宿命论观点；作者力图通过老长工埃菲克斯的经历，说明人的—生就是赎罪，人生的道路就是一个赎罪者的长途跋涉，这就是作者要表达的主题思想：人都有自己的过失，所以人都得经受痛苦和磨难，上帝对罪人是要进行惩罚的。自从埃菲克斯杀死老庄园主之后，他总是带着一种悔罪的心理度日，尽管无人知道事情的真相。埃菲克斯是封建时代典型的旧式奴仆，他长年无条件地为主人尽忠，他杀死老庄园主也是为了解救心上人丽娅，事后他立誓要为庄园主的三个女儿尽职终生，但他呕心沥血所维持的旧式封建家庭却气息奄奄了。他满怀欣喜迎来旧情人的儿子，更加速了这封建大家庭的彻底瓦解和崩溃。故事的结局有力地表现了作品的主题，即生活在世上的人的命运就象被风吹打的薄弱的芦苇一样摇曳不定，谁想改变自己的命运，其所作的努力也往往是徒劳的。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 《风中芦苇》突出地体现了黛莱达写实主义与抒情风格相结合的表现手法。面对撤丁岛大自然的荒凉景色与人们艰辛的生活，使主人公凝神思索自己的命运，埃菲克所看到“路边的芦苇象是痛苦的灵魂一样在呻吟”；“为什么我们所到之处人们都这么受苦呢</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">?</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">为什么命运对我们如此无情，把我们象芦苇—样折断了呢</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt">?</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">”这种情寓于景、景烘托情的情景交融的风格和表现手法，使整个作品既有扣人心弦的故事情节，又有感人肺腑的情感抒发；乡间夜晚静止不动的月亮，风吹芦苇发出的瑟瑟声，春天古老公墓里百花丛中的死人白骨，远处巍巍的祟山峻岭，这些自然风光的描绘，读来不禁使人联想到—幅完美的配有诗文的风景画。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 小说的结构颇有俄国作家陀思妥耶大斯基的《罪与罚》的特色。作者采用倒叙的手法，小说一开始就展现了撤丁岛的一片荒凉景色，老长工埃菲克斯在已经败落的庄园里耕作，他凝望着“路边的芦苇随风相互碰撞，象是在相互告诫面临的危险”，这时有人来告知他说丽娅的儿子贾钦托来信了，这不禁勾起了埃菲克斯对往事的回忆，引出了长期埋藏在主人公心底的无人知晓的“秘密”。作者是怀着一种仁爱、理解的情感去感受人物思想感情的发展脉络，捕捉瞬间产生的激情，表现人物思想感情上的复杂而又细微的变化的。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt"> 小说的故事情节曲折多变，错综复杂，总给人以“一种意外的发现”。小说的结尾是即将告别人世的老长工埃菲克斯的怨诉：“我们好似芦苇．命运就是风。”这与小说</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体;mso-bidi-font-size:12.0pt"><span style="mso-spacerun:yes"> </span></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">开头埃菲克斯视野中的“路边随风摇曳的芦苇”遥相呼应，有力地烘托出小说的主题思想，起到了独特的艺术效果。<br /><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new 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</font></span></span></span></p>[此帖子已经被作者于[lastedittime]1218596664[/lastedittime]编辑过]
作者: 录入小组 时间: 2008-6-15 00:58
<span style="font-size:10.5pt;color:red;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><strong><font size="4">第二节 伊泰洛·斯韦沃</font><br /><br /><img src="http://farm4.static.flickr.com/3250/2758176663_43dd6557c7_o.jpg" border="0" alt="" /><br /><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000" size="3"><br />一、生平与创作</font></span></strong><span><br /><br /><font color="#000000"> </font><strong><font face="楷体_GB2312" color="#71394f" size="3">伊泰洛·斯韦沃</font></strong></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">(1861</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">1928)1861年生于意大利北方的的里雅斯特，真名是埃托雷·施密茨(Ettore Schmitz)。父亲是德国犹太族人，在当地经营玻璃器皿，母亲是意大利人。父亲为了让儿子掌握德语，特意把斯韦沃和另外两个儿子送到德国去上教会中学，以便儿子能象他一样经商，成为出色的生意人。1878年，父亲又让他上贸易专科学校，但斯韦沃对贸易不感兴趣，在课外贪婪地阅读古典文学名著，席勒和歌德的作品成了他最好的伴侣，他曾对兄弟说：</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">席勒是全世界最伟大的大才。</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">他还用自己酌积蓄买书，为自己开设厂个小图书馆；尽管卧室很乱，但他书架上的书总是排列得整整齐齐的。有一次他用彩票中奖得来的钱买了莎士比亚的《哈姆雷特》后，就贪婪地阅读，度过了好几个不眠之夜，斯韦沃不仅通读厂欧洲大作家的许多作品，对哲学也颇感兴趣，这与他父亲当初的意愿大相径庭。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">1880年因父亲经济上的严重亏损，斯韦沃全家濒于破产。家庭经济境况的骤然恶化，使他不得不中途辍学，在的里亚斯特的</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">家银行当职员，负责处理德语和法语的信件公函，他在那家银行任职达20年之久。银行职员的生活是单调乏味的，但这段生活经历对斯韦沃后来的文学创作有着非同寻常的意义，工作之余他没有放弃文学方面的钻研，晚上常去市立图书馆如饥似渴地攻读马基亚维里和薄伽丘等文学巨匠的作品；还对戏剧有过浓厚的兴趣。从1881年开始，斯韦沃就因与《独立》报社合作而步入文坛，他署名E．S．或用假名埃·萨米利发表了许多小说以及戏剧和音乐方曲的评论，还常发表短篇小说．如<i style="mso-bidi-font-style:normal">《一场斗争》</i>(1888)，<i style="mso-bidi-font-style:normal">《贝尔波乔人街上的凶杀案》</i>(1890)等，已开始显露出他在文学创作方面的才华。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">1892年他自筹资金发表了第一部长篇小说《一生》。也是第一次使用他正式的笔名。小说既带有传统的自然主义的风格，又具有浪漫主义的色彩；笔名伊泰洛·斯韦沃是意大利和古代德国南部与意大利交界地区施瓦本的译音，象征着他在文学艺术上的素养具有意大利和德意志两种成分。期韦沃的父亲和母辛相继于1892年和1895年逝世。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">1895年斯韦沃与出身大工业资本家的堂妹订了婚。次年结为伉俪。自此斯韦袄逐渐摆脱了以前那种自我孤寂的精神状态，密切了与的里亚斯特文化界人士的交往，这对他的创作有着推进作用，提供他不少创作的灵感，如他结交了一化名叫乌贝托·维鲁达的画家就成了他第二部长篇小说<i style="mso-bidi-font-style:normal">《衰老》</i>(1898)中的人物，为主人公(作者自己的化身)出谋划策的生活顾问。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">斯韦沃自筹资金出版的第二部小说《衰老》(1898)与第</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">部小说《一生》的命运一样，发表后没有引起起文坛的任何反响，这对斯韦沃精神上无疑是个沉重的打击，他决心从此弃绝文学，正像他自己所说的是弃绝</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">那可笑而又害人的称之为</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">‘</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">文学</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">’</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的东西</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。他曾一度去学习演奏小提琴，并离开了在银行的职位。从1899午后，斯韦沃在他岳父经营的轮船油漆公司工作，为承办公司业务斯韦沃常上法、英、德等闲旅行。在整整25年之中，他没有再提笔写过任何作品。</span></font><span><br /><font color="#000000"> 出于轮船油漆公司对外业务洽谈的需要(跟英国海军部签署合同装备一家新工厂)，斯韦沃想进修英语。而英国作家<strong>乔伊斯</strong></font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">(1882-1941)当时正在的里亚斯特的一所中学任教，由于工资收入微薄，为了赡养两个孩子、不得不另外结私人授课，有人把乔伊斯介绍给斯韦沃，任其家庭教师。他们不仅谈论文学，还相万交换作品，乔伊斯拜读了期韦沃的两部小说的手稿之后，惊奇地发现斯韦沃是一位才能非凡的作家。当乔伊斯把小说归还斯韦沃时，很有把握地说道：</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">您是一位被人忽视了的作家。</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span></font><font color="#000000"><span>对乔伊斯的评价，斯韦沃既感到震惊又感到困惑，连午饭都忘了吃，一直陪乔伊斯走到市中心，兴奋不已地对乔伊期谈了自己今后创作的意向。<br /> </span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">l915年第一次世界大战爆发后，乔伊斯离开了的里雅斯特；斯书沃的岳父母迁居英闰，他经营的轮船油漆公司也关闭了。后来，乔伊斯经常从瑞士的苏黎世给斯韦沃写信。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000"> 受到文坛冷遇的斯韦沃沉默了20多年，但他的创作激情并未混灭。当时他曾在日记中这样写道：</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">我只想通过我所写的这些纸页更好地理解我自已。……那笨拙而又生硬的笔，又</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">次作为我的工具，帮助我触及如此复杂的自我存在的底里。然后，我将把笔永远抛掉……</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span></font><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">(1902年12月)<br /> 1919年，的里亚斯持从奥地利统治下解放出来，斯韦沃在乔伊斯的鼓励下着手创作长篇小说<i style="mso-bidi-font-style:normal">《泽诺的良知》</i>。花了整整3年功夫之后，1923年5月《泽诺的良知》出作者自筹资金正式在波仑尼亚出版。由于小说的发行量有限，书评也寥寥无几，所以仍未引起意大利文坛的注意。早在1908年到1912年期间，斯韦沃就阅读和研究了精神分析学家弗洛伊德的作品，并与他一个当医生的侄子一起翻译了弗洛伊德的作品《释梦》，因此他对精神分析产生了浓厚的兴趣。他的第三部作品就体现了他的创作思想从真实主义到注至心理分析的过渡，着力刻画人的精神状态和思想意识，挖掘人的潜在意识和内心世界，揭示处在精神危机中的现代人的病态心理。</font></span><span><br /><font color="#000000"> 1924年，斯韦沃把《泽诺的良知》寄给了乔伊斯，很快在英国和法国的评论界引起了反响；当时年轻的意大利诗人<strong>欧金尼奥·蒙塔莱</strong></font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">(1296</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">—</span><span>1981)也十分赞赏这部小说，还特意在期刊《考试》上发表了评论，称斯韦沃是继<strong>维尔加</strong></span><span>(1840一1922)之后山现的意大利最伟人的小说家。意大利文坛终于发现了斯韦沃。他的前两部小说之所以未引起意大利文学界的重视，是因为因循守旧的意大利文坛一时还难以接受斯韦沃那种富有时代气息的创新风格，认为它既没有传统的美学性，又缺乏真实主义的自然性，无法理解和欣赏斯韦沃那种充满了心理分析的内向型的文学创作倾向。诗人<strong>蒙塔莱</strong></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">于1966午发表的评论文章说：</span></font><font color="#000000"><span>“斯韦沃不得不等待，这不是其他人所能做到的。”<br /> <strong>斯韦沃是意大利20世纪初反映资产阶级精神危机的一位小说家，他的作品在欧洲文坛上与大作家普鲁斯持·乔伊斯和卡夫卡的作品有异曲同工之妙。他在作品中不断地提出现代人悲剧性的自相矛盾的内心冲突，反映现代人“无所作为</strong></span><strong><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">、</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">无法生活下去</span></strong></font><span><font color="#000000"><strong>”的独特的创作主题，这也是当时中欧小说家们共同的创作特点。<br /></strong> </font></span><font color="#000000"><span>随着斯韦沃在欧洲文坛上地位的确立，他的许多作品，连同那些以前从未发表过的作品，都陆续出版，如短篇小说集<i style="mso-bidi-font-style:normal">《善良的老人和漂亮的姑娘的故事》</i>(1929)，<i style="mso-bidi-font-style:normal">《短暂的情感旅行》</i>(1949)，<i style="mso-bidi-font-style:normal">《杂文与拾零》</i>(1954)，<i style="mso-bidi-font-style:normal">《喜剧》</i>(1960)，<i style="mso-bidi-font-style:normal">《写给未婚妻的日记》</i>(1962)，<i style="mso-bidi-font-style:normal">《书信集》</i>(1966)等。<br /> </span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">令人可惜的是，斯韦沃的金色黄昏却很短暂。l928年9月14日，他驱车与妻子和7岁的小孙子从特伦多出发朝的里亚斯特驶去，因那天下了一天的暴雨，途中车轮打滑，车子失控后猛掩在一棵大树上，斯韦沃身受重伤，当即被送往医院，因抢救无效．第二天就与世长辞了。</span></font><span><br /><br /><strong><font color="#000000" size="3">二、从《一生》(1892)、《衰老》(1898)到《泽诺的良知》(1923)</font></strong></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">著名的隐逸派诗人蒙塔莱曾把斯韦沃的三部小说《一生》、《衰老》和<i style="mso-bidi-font-style:normal">《泽诺的良知》</i>看成是不可分割的三部曲。有人认为斯韦沃只是把同样的主题写了三遍的看法，不是没有道理的。《一生》中采用的是自然主义的创作手法；《衰老》中注重心理因素的描写刻画；《泽诺的良切》则是用辛辣的讽刺手法对现代人的内心世界进行了大量的挖掘和鞭辟入里的分析。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">《一生》的主人公阿方索·尼蒂幼年丧父，离开母亲和故乡后，在的里雅斯特的一家银行工作。他通晓几国语言，在银行负责处理信件和公函。他是个性格复杂的男人，自觉在业务上比同事们高出一筹，因而沾沾自喜，但他在精神上很空虚，心灰意懒，终日沉浸在麻木失意的状态之中，日复一日碌碌无为地生活着。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">一天晚上，银行的经理邀阿方素去他家作客，阿方索无意中流露了自己在文学创作方面的抱负和意向。经理的独生女儿安内塔爱上了阿方索，主动提出要与阿方索合作写一部小说。从此，俩人就通力合作，为创作一篇小说一起度过了许多夜晚。女管家百般怂恿他们私通，这位女管家是经理早先的情妇，出于安内塔的竭力反对而未能遂愿，她成全安内塔与阿方索的恋情，想以此换得安内塔的好感，以使自己如愿以偿。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">银行经理在得知女儿与阿方索的关系后怒不可遏，安内塔无可奈何地写信给阿方索，要他暂时中断与自己的来往。阿方索茫然不知所措，他借口母亲病重告了15天的假；阿方索回到了家乡，没料到年迈的老母亲果真病危，后来自己也病倒了，但他没给安内塔写信说明实情，虽然他明知这样做会失去安内塔的爱。当他为母亲送完葬并变卖了母亲所有的遗产告别故乡回到银行时，方知自己犯了难以挽回的错误，而且眼看着自己在银行的职位也即将丢失。安内塔也不再露面，并听说安内塔快要嫁给她的堂兄马卡里奥了。有一天，阿方索·尼蒂在街上遇见了由女管家陪同着的安内塔，可两个女人见到阿方索却连招呼也不打。后来阿方索写信给安内塔，要求与她作最后的一次谈话，但出现在约会地点的却是安内塔的兄弟，并在报复地扇了他一记耳光之后扬长而去。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">阿方索沮丧地回到公寓之后，把自己仅有的</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">点积蓄全部送给了房东的女儿。她是被一个男人引诱失身后又被抛弃丁，阿方索十分同情她。最后，百无聊赖的阿方索打开煤气自杀了。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">故事的结尾是银行发布的一则简短肋讣告，上面通报了该银行的同事和领导将出席阿方索·尼蒂先生葬礼的消息。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">小说《一生》以现实主义的手法描述了一个银行小职员的平庸的一生。主人公阿方索·尼蒂是斯韦沃笔下的第一个</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">无能人</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，他无法适应现代大都市的生活，终日神经高度紧张，除了应付烦杂的银行业务之外，还梦想使自己成为</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">重要人物</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，雄心勃勃地立志著书立说，但结果是一事无成；他意外地赢得了银行经理女儿的爱慕，却又不知道亨受这种爱，当看到经理家豪华约摆设时他胆怯了，竟想摆脱那种处境，他认为自己无法积累那样的巨额财富做</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人上人</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，却又不甘心按他人的意志去生活，使自己陷入从属依附他人的地位，所以他割断了与经理女儿安内塔的情丝，借故回到度过童年时代的故乡。但乡亲们却</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">以诧异的目光看他，好象他是从天上掉下来似的</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。他深感自己已无法重返过去的天地中去了。当他返回都市，想再回到恋人安内塔身边也已不可能了，已与堂兄订了婚的安内塔把他看作是薄情人而怨恨他。这样一来，返回故乡的童年之梦与爱情之梦就都破灭了，最后主人公感到无地自容，以自我毁灭了结了一生。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">斯韦沃在小说《一生》中、惟妙惟肖地刻画了主人公对前途感到渺茫的彷徨心态，揭示了生活在现代资产阶级社会中人的精神危机：思想空虚，意志力薄弱，既不满自我现状，又无所作为。这种对现代人潜意识的发掘，是期韦沃在文学创作领域中的一种超前试探，他深刻展示了在变态走形、分崩离析、混乱不堪的现代社会中人们的病态心理。<br /> 整部小说按时间顺序自然主义地描述了的思雅斯特城内的一个普通银行职员阿方索·尼蒂的一生，体现了传统的叙事文学的风格。小说象是一幅巨型壁画，以印象派的手法宽幅式地把象征现代资产阶级社会的意大利北方城市的里雅斯特展现在读者面前，它充满生机又虚幻莫测，这就使斯韦沃笔下的里雅所持不亚于卡夫卡笔下的布拉格，乔伊斯笔下的都柏林。这幅画面上的基本色调是灰色的，这正是通贯小说《一生》的基调，也是一个</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">无能人</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">视觉中所呈现的世界的色彩：银行经理先生家的</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">地板是灰色的，家俱的颜色是深灰色的，坐椅的扶手和腿也是用乌木制作的</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，而笼罩在一片茫茫的雾霭中的城市街道更是灰色的，大街两旁的房子也是灰包色，经理先生的家里也是那么灰暗而令人窒息，以致使阿方索·尼蒂感到难以步入他家的门槛，就连经理女儿女内塔的紧身内杉也是灰色的。在白日里，阿方索·尼蒂对现实生活的色彩是没有感觉的，只有在梦境只才看到欢快的色彩，如</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">穿花衣服的女人</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">夏日的阳光</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，梦中见到的</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">那个公墓也是绿茁茁的充满了阳光</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。这就形象有力地烘托出主人公在迷宫一样的现实生活中不能自拔的心态。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">阿方索从乡下来到大城市一个月之后，就给在故乡的母亲写了一封信，倾诉了他在都市生活的苦恼和陌生感，流露出他对故乡清新空气的向往：</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">这里的人们呼吸着某种污浊的空气，我一到这里，就见到城市上空笼罩着一片尘埃，那么沉重，就象家乡冬天池塘上的水蒸汽似的……</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">寥寥几笔就勾画出土人公在大都市里感到窒息的心态，所以他在信中说：</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">母亲，你不觉得我还是回家更好吗？迄今我看不出留在这儿对我有什么用。</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">这充分揭示了阿方索无法适应大都市生活的惆怅心理。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">阿方索不仅与外界环境格格不入，而且内心也始终充满了深刻的矛盾和冲突：</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">方面他是个卑微的银行小职员，住在简陋的公寓房子里，另一方而，出于自尊心，既觉得在他人积累的财富面前低人一等，又得超越自身的能力去应酬种种关系，这个身就构成了阿方索悲剧的社会基础和思想根源。在他处理跟经理女儿安内塔的恋情上也是如此，在度过第</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">个良霄之后，一觉醒来就清醒地意识到了自己的处境；在占有过安内塔之后，却又怀疑她是否出于某种目的而委身于他，而不是真心爱他，所以他</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">在拥抱安内塔时，觉得与拥抱死人的尸体一样</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，深感自己是陷入了不现实的罗曼蒂克的爱的泥深之中了；于是他干脆逃到了乡下，这是他第一次逃遁现实，这说明他并不甘心于寄人篱下做经理女儿的附属品。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">最后，阿方索终于选择了自绝于生活的自杀道路，这是他第二次也是最后一次的彻底逃遁现实，但这并非</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">声明自己认输了</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，而是又一次证明和确认了他不向世俗屈服的高傲秉性，所以他的自杀不是因为绝望，而是一种超脱，不是软弱，而是一种顽抗，只是默认自已是无能为力面对现实而己。阿方索精神上的不平衡，使他无法调和客观环境和个人之间的关系，所以他感慨地说：</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人最好有两种生活，一种为自己，一种为他人。</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">这充分说明了在现代社会中人生活的沉重与艰辛。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">斯卡沃的第二部长篇小说《衰老》(1898)中的主人公埃米里奥·布伦塔尼是靠微薄的工资为生的一名保险公司的小职员、他已30多岁，与他的一位独身生活的妹妹阿玛丽亚相依为命。布伦塔尼的业余爱好是写小说，</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">并不是出于雄心壮志，而是为了满足自己的虚荣心</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。他的第一部小说出版后堆在书店的仓库里都发黄了，人们只承认他是个有发展前途的年青文人。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">一位名叫女乔利娜·扎丽的年轻姑娘的出现，打乱了布伦塔尼原先那一池死水似的平静生活，安乔利娜</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">金黄色的头发，蓝色的大眼睛</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">非常诱人，她矫健而富有激情，但玩世不恭而且放荡不羁，其至把所有爱过她的男人照片都收集起来，对她来说，那些照片是她赢得男人喜爱的</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">战利品</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，是情场上获胜的</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">纪念碑</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，她常常以此为傲。布伦塔尼爱上了这位富有魅力的姑娘，但又不想放弃文学创作，他对充满青春活力的安乔利娜说：</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">我很喜欢你．但你在我的生活中还不如</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">件玩具，我有工作，有前程要为之奋斗，还有家庭。</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">后来，因为他难以克制自己的情欲而与她发生了关系，安乔利娜也为他解除了与一个裁缝的婚约，同时却又当上了雕塑家巴利的模持儿，雕塑家巴利是个拈花惹草的花花公子，布伦塔尼的妹姑阿玛丽亚深深地爱上了他、但巴利是不可能爱上那瘦骨嶙峋的阿玛丽亚的。可怜的阿玛丽亚却因无法忍受长期的孤寂而对巴利产生了真挚的爱情，从此她精神恍惚，借酗酒麻醉自己，还在睡梦中胡言乱语。后来她患了肺结核病。高烧不退，长期处于昏迷状态。最后终于被病魔夺去了生命。但怀着爱之梦而死去的人是幸福的。妹妹阿玛丽亚的死，使沉湎在情欲中的布伦塔尼清醒过来。后来安乔利娜跟随一个在一家银行当出纳的情人私奔去了维也纳，然而，布伦塔尼却继续默默地爱恋着他心目中完美的安乔利娜，总回想着她美丽的倩影。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">这是一部着重于心理分析的小说．作者以丰富的想象来刻画分析人物的心理状态。在当时很多意人利作家尚把自己当作艺术创作的工具的时代中，似乎还没有一个作家能象斯韦沃那样清楚地分析现代社会中人的精神危机。从这一意义上来说，斯韦沃堪称是意大利心理分析文学的先驱。有人说，《衰老》一书是在弗洛伊德的影响下写成的，这样说是缺乏根据的，因为斯韦沃在1908年小开始阅读弗洛伊德的作品。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">小说题名为《衰老》，是富有象征意义的，它巧妙地隐喻着现代人精神上的衰竭，表现和反映了他们丧失了一切活力，丧失了对生活的激情，在不断的失误中彷徨犹豫，而最终使希望归于破灭。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">在对艺术创作的追求和对现实生活的享受的矛盾之中处于进退维谷境地的主人公布伦塔尼是斯韦沃着意刻划的典型人物。他热烈地爱恋着不愿受任何约束的姑娘安乔利娜，却又无法忍受她的放荡不羁，所以终日处在忧虑、嫉妒和恐惧不安的精神状态之中。他竭力想把年轻漂亮的情妇幽闭在他那狭小的知识分子的天地里，因为唯有这样，他才感到平静和有安全感，但天生丽质而又多情的安乔利娜本是个玩世不恭的女性，她不断地背叛他，与其他男人同居，这使布伦塔尼时而嫉妒怨恨，焦灼不安，总想寻机报复；时而却又体谅她，因为她得赡养母亲和供养好几个妹妹。但后来布伦塔尼这种企图改变他人生活哲学的幻想破灭了，妹妹死了，情人走了，自己那种知识分子的处世哲学也破产了，这使他失去了生活的信心和希望。最后他认为，唯有放弃生活，放弃对安乔利娜的爱，退居在生活一旁，承认自身的</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">衰老</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，即知识分子精神上的衰竭与枯萎，别无他路。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">布伦塔尼爱倩生活上的失败，说明了生活是在不断地变化和更新的，是令人难以预料也不受任何限制和约束的。不能按先验论的观念事先有个什么框框和模式，也不能事先贴好标签、划定范畴、定好规格的，谁要是这样去看待生活，就会无法理解生活，而成为现实生活的局外人。布伦培尼却想按自己的意愿去改变象征着令人难以捉摸的现实生活的女性安乔利娜，妄想使她就范，结果却失去了她，即失去了现实生活，唯有回忆、梦境和幻想才是他的寄托，并以语言为工具，用文学形式把回忆和梦幻再现出来。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">小说结尾的耐人寻味之处就在于人物形象的反差：被伦理道德、生活信条所束缚的布伦塔尼，由于精神上的自我折磨，在活生生的现实面前变成了一个病态的不健康的人；而那个生气勃勃、富有魅力而又放荡不羁的安乔利娜。却对生活充满强烈的欲望，她是个实实在在的代表现实生活的人。后来，当布伦塔尼到已离弃他而出走的安乔利娜家去时，他仿佛看到了她的倩影，</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">她象是供在祭台上，成了他无穷思念和痛苦的化身</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。布伦塔尼深感自己还在爱她。如果爱就是一种赞美和渴望的话，他感到安乔利娜</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">代表了那段时期里他向往并追求过的一切崇高的东西</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。他记得她</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">总是朝地干线那边看，红色的霞光映照在她那玫瑰色的面容上……那预示着未来的生活！她始终在期待着！</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">安乔利娜的形象在他的心目中，越来越高大，越来越逼真，几乎重又成了他的情人了。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">可以说，斯韦沃在《一生》中塑造的那位因弃绝生活而自杀的</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">无能人</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">阿方索·尼蒂，在小说《衰老》中又被改造成为一个面对生活的挑战不动摇地坚持自己原则的布伦塔尼了，尽管他仍然是个失败者，在情人跟随别的男人出逃去维也纳后，他在记忆中仍寻觅着她的踪影，默认着她在自己心中占有的地位。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">长篇小说《泽诺的良知》是主人公泽诺·科西尼回忆昔日个人生活经历的一部冗长的日记。泽诺生活在上层资产阶级社会，有一个完美的家庭，一个无可挑剔的妻子，一幢体面的房子，他很富裕，巨额的财产由一位信得过的管家奥利维掌管处理。译塔快到50岁时，患有丧志症和其它疑难病症，于是他决定请一位精神科大夫进行治疗。医生劝他从良知意识和下意识的角度回忆自己曾行过的一切经历和各种恶习，并把它们用日记的形式写下来。泽诺用了整整6个月的时间，完全沉浸在对过往的回忆之中，并真地把它们写成了日记。《泽诺的良知》实际上就是以日记的形式记述一个丧失意志力的精神病患者对过去的回忆。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">日记从泽谐青少年时代写起。他曾有过烟瘾，是从他父亲西服背心的口袋坐偷了钱去买烟开始的，他几度想戒掉，但又缺乏毅力，难以自制，后来发展到偷抽父亲剩下的雪茄姻。家里人越是不让他抽，就越是刺激他的烟瘾，还与其他年青人躲在地窖里比赛谁能在最短的时间里把烟抽完，当他从地窖里出来时儿乎都安昏晕过去了。到了20岁左右，他突然发起烧来，咽喉疼痛难忍，医生令他立即卧床休息，并叫他绝对戒烟。父亲也严词告诫他不准再抽，但话音刚落，他就因难以忍受烟瘾的折磨又猛抽起来。尽管他房间阳墙上写满了戒烟的期限，但他越抽越凶，电疗和按摩也不见效，直到他的妻子出于对3岁的孩子的疼爱劝他住院治疗时，他才只好带着最后的两支烟进了疗养院。结果非但没戒成烟，反而沾染了嗜酒的恶习，有一次他竟然酩酊大醉地从疗养院里逃了出来。他出（此处缺一页）<br />一定剂量的安眠药假装自杀，事先他己安排好让大夫及时赶来抢救，但由于天气恶劣，再加上一系的阴差阳错，大夫来得太迟了。结果圭多真的死了。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">圭多死后，泽诺接管了贸易公司的一切业务。他很走运，交易所里的生意很得手，公司的买卖也十分兴隆，不仅扭转了圭多在世时财经上的亏损，还变成了富豪。泽诺可以说是万事如意了，虽然他的烟瘾仍然很大，但他感到自己已完全痊愈，决心不再求医问病了。但这时战争爆发了，泽诺认为只有战争才能使整个人类得救，使人们至新获得健康而又正常的生存环境。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">《泽诺的良知》是一部心理分析小说，它最完整、最充分地体现了斯韦沃的创作思想．即反映处在精神危机中的人们的病态心理。1909年以后．斯韦沃对弗洛伊德的心理分析学有一定的研究，这为他撰写这部长篇小说打下了坚实的基础，大大提高了他对人物进行心理分析和在潜意识领域中探索生活实质内涵的能力。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000">小说的主人公泽诺用日记的形式，分阶段地回顾了自己一生所走过的道路，这使他意识到自已是个意志薄弱的无能人，思想上已陷入病态而不能自拔，其根源是他所属的资产阶级本身己面临悲剧性的道德和精神危机，使人失去了一种奋发向上的推动力；资产阶级社会里的所谓伦理道德已变成被人嘲讽的僵死的东西，它给人们带来的也只能是孤寂，他人在现实面前无所作为或是无能为力。</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">泽诺是斯韦沃笔下的第二个</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">无能人</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，但泽诺比《人生》和《哀老》中的主人公成熟多了，他既没有象尼蒂那样以自杀来了结一生，也不象布伦塔尼那样逃避现实沉湎于象征性的幻想之中；泽诺是以他自己的方式以及他对生活的态度全身心地投入了现实生活。他这种令自己感到束手无策的对待生活的态度，使他活着仅仅是为了让自己感觉到是活着。他无休止地分析着自我的心理状态，这使他总以为自己有病，是得了神经官能症。而在分析自身一生经历的过程中，他才明智地意识到生活本身已染上了不治之症，世界本身也从根本上病了，只有发生一场大爆炸，才能彻底更新世界，从而把世界从</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">寄生虫</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">、</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">疾病</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">和</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">灾难</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">中拯救出来，这就是</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">泽诺的良知</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"> 小说中的另一个夺泽诺所爱的男角色圭多的假自杀真送命，反映了人生的难以捉摸的偶然性和荒谬。这就是斯韦沃要探亲的</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">现实的或然性</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，即人能否在生活中青云直上，靠的往往不是才能，而是靠命运和偶然的机遇。白白送命的圭多是生活的失败者，他死后，泽诺下意识地跟错了送葬队伍，象是对他俩生前所结宿怨的报应。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">小说末尾以整个地球即将发生灾难性的爆炸来影射资本主义世界的即将毁灭，充分体现了斯韦沃悲观主义的世界观，表明斯韦沃对生活的一切幻想和神话都彻底破灭了。斯韦沃的伟大就在于把</span><span lang="EN-US" style="font-size:10.5pt;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">个精神病患者的病历和日记变成了一部文艺作品，而且作者是以一个清醒的健康人的身份为患者进行诊断，认为他的病根所在就是他生活在其中的社会，并暗示了这个社会必然解体和崩溃的前景。作品富有艺术性、现代性和伟大的人性，似乎作者是带着痛苦的微笑，不断地审慎而又明智地进行自我剖析，并对病态的社会予以深刻的分析。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">斯韦沃这部小说充满了幽默和讽刺，深刻地揭示了主人公主观世界的予盾，以及他与其所生活的环境之间的矛盾。小说不光是病人的自我分析，而且是对</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">健康人</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">生活在其中的商品化社会的分析和批判。作者在小说的最后深刻地指出：谁也无法做个</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">绝对健康</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的人，因为</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">现今的社会已从根子上污染了</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，因而一切使人类获得健康的努力都是徒劳的。主人公泽诺后来自以为完全痊愈了。那是因为他已经完全适应了那病态的环境和充满了谬误的生活，完全堕入了那从根子上已腐烂、异化了的社会：</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">生活好象是一个人患了病，时好时坏，天天有变化。生活的疾病是难以医治的，是致命的，这是它区别于其它疾病的地方。这就象是一个已是千疮百孔的躯体，要是把身上所有的孔洞都堵住了，那么非但病治不好，人也将窒息而死。</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><font color="#000000"> </font></span><font color="#000000"><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">作者向人们揭示了这已被现代社会从根子上污染了的人类生活，指出</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人类已把自己降低到树木和动物的水平……</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">最后作者把希望寄托在未来，甚至还指望有朝一日来个大爆炸，毁灭全球，却不致毁灭生命。但这只不过是一种超越人类历史和人类文明发展现律的想法。</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><br /><br /></span><font color="#000000"><strong><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt">【</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体">xiaowu</span></strong><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new 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style="font-size:13.5pt;color:green;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong>【阅读推荐<span lang="EN-US">】<br /><br /><font color="#000000"><font size="3"><span style="font-size:10.5pt;font-family:楷体_gb2312;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">【阅读推荐】伊泰洛</span><span style="font-size:10.5pt;font-family:宋体;mso-ascii-font-family:楷体_gb2312;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt;mso-bidi-font-size:12.0pt">•</span><span style="font-size:10.5pt;font-family:楷体_gb2312;mso-hansi-font-family:'times new 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作者: 录入小组 时间: 2008-7-25 00:02
<p><font color="#ff0000" size="3"><strong>第三节 路易吉·皮兰德娄<br /></strong></font><br /><img src="http://farm4.static.flickr.com/3075/2759030612_fe39960233_m.jpg" border="0" alt="" /><br /><br />（Luigi Pirandello，1867-1936）<br /><br /><br /><strong><font size="3">一 生平与创作</font></strong><br /><br /> <span style="font-size:10pt;color:#993366;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong><font size="3">皮兰德娄</font></strong></span>于1867年6月28日生丁于意大利西西里岛的阿格里琴托。母亲出身于一个进步的家庭，他的外祖父和三个舅舅都参加过意大利民族复兴统—运动；父亲经营祖传的硫磺矿业。皮兰德娄在家乡完成小学和初中学业。他自小酷爱文艺，1879年，年仅l2岁的皮兰德娄就写出了一部五幕悲剧，他与姐妹们临时搭起舞台给朋友们演出。<br /> 1880年因父亲的合股人舞弊营私，致使皮兰德娄全家濒于破产；此后父亲去巴勒莫掌管一家硫矿仓库，全家就迂至巴勒莫，皮兰德娄就在那里上的高中。那时他对意人利19肚纪文学己产生了浓厚的兴趣，尤其是对卡尔杜齐的作品。1886年高中华业后，皮兰德娄又随同全家迁回阿格里琴托，协助父亲经营硫磺矿。刚离开学校课堂的皮兰德娄目睹矿工们终日在黄腾腾的硫磺雾气的熏蒸下干活，顶着灼热的阳光过秤检验硫磺矿石。硫磺矿工们艰辛的劳动和困苦的生活，以及他亲身体验到的社会现实，后来都生动地反映在他早期的作品中，如短篇小说<em><strong>《烟》</strong></em>，<em><strong>《远方》</strong></em>，<em><strong>《初夜》</strong></em>，<strong><em>《小红书》</em></strong>长篇小说<strong><em>《青年人与老年人》</em></strong>(1908)等。《青年人与老年人》揭不了在矿上熬煎的童工的悲惨命运，作者对他们寄寓了极大的同情，反映了在统一运动中成长的老一代人与资产阶级时代中成长起来的一代新人之间存在的鸿沟和他们的苦闷。<br /> 1886午皮兰德娄入巴勒莫大学，同时攻读文学和法律两个专业。1887年11月他转至罗马大学文学系学习，住在他的—位在省政府行政公署任公职的舅舅家。在罗马大学学习期间，皮兰德娄还选修了心理分析学，这使他对生活有敏锐的观察力，对人的心理有深刻入微的体察力。<em><strong>《欢乐的痛苦》</strong></em>（1889）是他的第一部抒情诗集。<br /> 1889年，皮兰德娄经一位导师推荐赴德国波恩大学攻读语言学，于是，他离开了繁华的罗马开始在幽静的莱茵河畔刻苦攻读。在那儿他接触到更广泛更生机勃勃的文化园地和更自由的习俗。由于他勤奋好学，又精通德语，所以与波恩大学的师生建立了密切的关系，1891年毕业后，皮兰德娄留校教授意大利语。在波思大学任教期间，他完成了诗集<em><strong>《杰亚的复活节》</strong></em>，并翻译了歌德的《罗马的哀歌》。1892年皮兰德娄回到罗马，诗人路易吉·卡普安纳引荐他步入罗马文学界与新闻界，当时他同时在几家文学杂志社工作。<br /> 1894年，皮兰德娄与一位名叫安东涅塔的西西里姑娘结为伉俪。这桩由两家父母精心策划包办的婚姻构成了他一生当中的一个重大转折，皮兰德娄的父亲看中的是女方的丰厚陪嫁，想把它用于投资筹建一家硫磺矿。结婚那年，皮兰德娄发表了他的第一部短篇小说集<strong><em>《没有爱的爱情》</em></strong>。婚后他们生有两男一女。<br /> 早在青少年时期皮兰德娄就产生过那种与他人无法沟通的寂寞感，对此他曾有过这样一番自述：“自小我就与自己的母亲在思想上有隔阂，我与父亲简直就无法沟通，我多次尝试着力图与他沟通思想，但是都失败了。然而，作为艺术家，应该说，多亏了他，我才得以感受到人在无法与他人沟通时的忧愤的心态。”（《意大利名人》，1935）<br /> 1897年皮兰德娄在罗马高等师范学院讲授意大利文学和美学。1901年发表了他的第一部长篇小说<strong><em>《被抛弃的女人》</em></strong>（原名为《玛尔塔·阿亚拉》）。作品效法维尔加的真实主义文艺思想，描述了20世纪初西西里岛的贫困、落后和人们的愚昧，对忍辱受屈两次被男人（丈夫与情人）遗弃的女主人公寄寓了深切的同情，鞭挞和讽刺了资产阶级上流社会的腐朽和封建宗法势力的罪恶。<br /> 1903年，他父亲在西西里经营多年的硫磺矿因山崩而毁坏，性格脆弱的安东涅塔闻讯后即刻休克半瘫在床上，因为这硫磺矿当初是用她的陪嫁投资兴建的。她因此得了精神分裂症，而且长期双腿瘫痪；为了维持一家五口的生机，皮兰德娄在绝望中挑起了全家的经济重担，由于任教的薪俸低微，他就同时在好几家杂志社工作，还教授私人德语课和意大利语课。皮兰德娄的生活曾一度陷入困境，心力交瘁的他曾有过自杀的念头。然而，正是这不济的命运和痛苦的遭遇，使作家心灵中迸发出令人难以置信的创作灵感。皮兰德娄头脑中生就的丰富的想象力在痛苦的心灵中萌生了梦一般虚幻的意境，脍炙人口的长篇小说<em><strong>《已故的帕斯卡尔》</strong></em>就是在那段艰辛的人生旅途中出世的。小说于1904年在《新文选》杂志上连载，取得了一鸣惊人的成就，很快被译成各国文字，使皮兰德娄立即跻身于意大利一流作家的行列。这部佳作是皮兰德娄在绝望和痛苦中力求逃遁现实的写照，当时他整天守着疯瘫在床上的妻子，无法摆脱困境的折磨，小说的主人公帕斯卡尔那荒谬绝伦的离奇经历，正是皮兰德娄想超脱困境而发挥了超凡的想象力所编织的梦幻。这部作品的发表是皮兰德娄文学创作的一次根本转折；屏弃早期作品中真实主义风格，转入了描写和刻划那变幻莫测的主观内心世界。整部小说以主人公两次抛弃自我、想寻觅“另一个自我”的荒诞离奇的经历来说明人生的悲剧，即人们只有通过脱离虚假的现实生活，戴上一具假面，才能寻得生存的一席之地。<br /> 1908年皮兰德娄在罗马高等师范学院任教，同年他发表了两部文学评论集<em><strong>《幽默》</strong></em>和<em><strong>《艺术与科学》</strong></em>，与美学家克罗齐展开了长期的争论。长篇小说《青年人与老年人》也于同年开始仟《当代评论》杂志上连载，小说深刻地揭示了现实生活中人与人之间难以沟通的关系，指出了年岁的差异并非是思想观念差异的根本原因，不同年龄的人都一样体验到生活的艰辛及其给人们带来的烦恼。<br /> 当时皮兰德娄象是隐居在一个神秘的孤岛上，不受外界任何文艺思潮的影响，什么象征派、印象派、超现实主义、表现主义等等，似乎都与他无关，他总是以白己独特的方式去观察生活和客观世界，这使他在作品表现的主题思想和艺术手法上都别具一格：擅长描述和刻画地位低下、出身卑微的人物，揭示了现实生活的单调乏味和荒谬，抒发了作者隐藏在内心深处的痛楚和忧郁。<br /> 1912年至1915年之间，皮兰德娄写了近50篇小说。1915年发表的长篇小说<strong><em>《一个摄影师的日记》</em></strong>，进一步揭示了现代人精神上的严重危机，以及他们无法逃遁观实的悲剧。<br /> 1915年，第一次世界大战爆发，皮兰德娄的长子奔赴前线，此后不久，皮兰德娄的母亲去世。妻子的精神病也日益加重，患多疑症的妻子不仅限制他出门，还盯梢监视他的一切活动。因作战负伤被关进俘虏营的长子患了重病，为营救儿子，皮兰德娄曾恳求意大利总理出面与奥地利政府交涉，但由于维也纳当局提出要以交换3个被俘的奥地利海军高级将领为条件而未能遂愿。喜欢绘画的次子也在应征入伍后不久过早地离外了人世，只留下皮兰德娄一人孤寂地守护着疯瘫的病妻。<br /> 1915年以后，皮兰德娄把创作的重点转向了戏剧，因为他深感“对现实生活实在太难表态了，生活已只是沦为一些连续不断的戏剧场面，对于这些场面，人们既难以作比任何得体的评价，也难以把它们贯通起来，可见生活已沦为戏剧了”。“生活就是演戏”，“我们人人都存心在当自己的木偶，都在演戏”，“生活是滑稽可笑的，生活是一种作假，就同舞台上演出的戏剧一样”。(《幽默》，1908)<br /> 1915年4月，3幕话剧<em><strong>《如果不是如此》</strong></em>(剧名改为《他人的理由》)在米兰首次上演；1916年7月，与短篇小说同名的3幕话剧<strong><em>《想一想，贾科米诺！》</em></strong>也在米兰演出成功；随后皮兰德娄又发表了<em><strong>《带响铃的帽子》</strong></em>一剧，以及用西西里方言写成的三幕话剧<strong><em>《莉奥拉》</em></strong>，从此，皮兰德娄步入了意大利戏剧界并享有盛名。1917年<strong><em>《坛子》</em></strong>、<em><strong>《真诚的欢乐》</strong></em>和<em><strong>《如果你们以为如此，就如此》</strong></em>等剧作相继问世，并且公演。1918年又发表了《角色》和《并非是件严肃的事》两部剧作。1919年发表的短篇小说集<strong><em>《月亮里的一匹马》</em></strong>已完全摆脱了自然主义的痕迹。这些剧作体现了皮兰德娄独具一格的创作思想。当时意大利社会正步入法西斯主义时期，剧作的主人公往往借“疯癫”或“假面”来逃遁现实，反映了处于阶级矛盾日益尖锐的社会中的中、小资产阶级及其知识分子精神上的空虚以及心灵上的无所寄托，他们深感自己在现实社会中已无立足之地，于是表现“自我”与“现实”的冲突、“自我”与“假面”的冲突、揭示现实社会的虚幻和紊乱的怪涎剧就应运而生。<br /> 1918年第一次世界大战结束,皮兰德娄的长子从俘虏营回来。皮兰德娄的妻子因病情不断恶化，被送进疯人病院治疗，她在病院一住就是40年，直至1959年底去世。<br /> 怪诞剧<strong><em>《六个寻找作者的剧中人》</em></strong>于1920年底在罗马首次公演时，观众席上响起一片嘘声，有人还破口大骂“进神经病院去吧!”，致使皮兰德娄不得不在几位朋夜的保驾之下，与女儿走出剧场，匆匆上了等候在门外的出租行车。这是因为当时罗马的上流社会难以理解此剧所表现的主题思想，接受不了他那种荒诞、古怪的创作手法，看不透皮兰德娄辩证地展现和揭示的虚伪的现实社会。当时的几家报刊杂志也在“皮兰德娄是疯子”的一片谩骂声中持反对或保留的态度。然而，6个月之后，1921年5月10日，《六个寻找作者的剧中人》一剧在米兰公演却获得了极大的成功。接着，此剧又在欧、美各国连续公演，使皮兰德娄的剧作从此获得了世界声誉。六个剧中人的各自不幸的遭遇，都是现实生活中一个个真实的故事，展现了资产阶级家庭中悲剧性的矛盾和冲突，揭示了现实世界的变幻莫测和现代人所面临的可怕的精神危机。此剧情节荒诞，作者用高超的戏剧技巧展现了“戏中戏”。<br /> 皮兰德娄的另—部剧作<em><strong>《亨利四世》</strong></em>(1922）上演后，也获得了很大的成功。剧本突破了传统戏剧的框框，打破了过去与现在、幻觉与现实之间的界限，充分展现了人物真实的内心世界与外部世界之间的冲突，所以，它既是怪涎剧，又是心理剧。<br /> 皮兰德娄似乎从这两部怪诞剧中找到了“自我”，他奋笔疾书，又相继写出了<strong><em>《给裸体者穿上衣服》</em></strong>(1923)和<em><strong>《各行其是》</strong></em>(1924)两部剧作。于足，意大利的戏剧越过了国界，在国际上赢得了从未有过的声誉。皮兰德娄的作品的发行量在当时达到了最高的指数，超过以往任何一位意大利作家。《给裸体者穿上衣服》的问世，标志着皮兰德娄的戏剧创作进入了一个新的阶段。剧本通过一位女教师短暂一生的遭遇，揭露了人生的痛苦和现实的丑恶，淋漓（缺几个字,122页下半页是空白的，怀疑是缺失了）****************************************************************************************************<br /> 皮兰德娄晚年整理了自己所有的作品，他一生共写有长篇小说7部，短篇小说300篇(后汇编成<strong><em>《一年的故事》</em></strong>)，剧本44部。最后一部剧作<strong><em>《高山上的巨人》</em></strong>写至第三幕时，皮兰德娄就与世长辞了。此剧的女主人公深信艺术能给痛苦的人生和整个世界带来高山一样的价值，她孜孜不倦地追求艺术，最后在与现代社会财富的占有者——“巨人们”的冲突中死去了。作品富有象征主义的色彩，女主人公的死象征着现代社会容不得艺术，艺术受到窒息并被扼杀。<br /> 1936年12月10日皮兰德娄因患肺炎医治无效在罗马逝世，终年69岁。皮兰德娄在晚年撰写的自传体小说<em><strong>《我不得已旅居在地球上》</strong></em>只留下几页手稿和打字稿。</p><p><br /><strong><font size="3">二 小说创作</font></strong><br /><br />1.短篇小说集《一年的故事》（1922-1937）<br /><br /> 长达2500多页的《一年的故事》共有300多个短篇，其中的不少人物、情节和故事内容后来都构成了皮兰德娄长篇小说和剧本的素材。这些故事中的人物形象逼真，他们都是一些“不得已地来到地球上旅居的人”，作者笔下的这些形形色色的人物，希奇古怪的情景，就是皮兰德娄儿时或青少年时代脑海中呈现过的形象和意境，它们象是多年的日常生活中积累起来的素材，作者似乎只是用笔记的形式把回忆起来的人物、故事和情节一一记录下来而已，所以，《一年的故事》就象足一个“杂录本”。<br /> 皮兰德娄的这些小说既具有哲理性，又富有道德性和人民性，他的作品不带任何政治色彩，也没有一种明确的思想。他笔下的人物都是些“世上感到最不如意的人，男、女、老、少都处在奇异的境况之中而无法逃遁；他们或沉洒于幻想之中不能自拔；或处在绝望之中无法超脱。”(《六个寻找作者的剧中人》序言)<strong>皮兰德娄所塑造的这些“感到最不如意的人”，往往是与客观世界格格不入，首先是与他们自我本身格格不入，这种发自内心的格格不入的意识，往往是在发现自身存在的空虚和自己的失败命运时产生的。<br /></strong> 《一年的故事》象是一系列的“人间喜剧”的结集，作者用自然、活泼而又生动的笔调，使人物在特定的时间、特定的行为中产生，又把人物安排在确定的有限的空间和情节之中。<strong>皮兰德娄通常从人物思想的紊乱和精神上的扭曲或人物与环境的无法沟通入手，抓住某个特定时间里人物意识上的某种反映，甚至是人物精神上一瞬间产生的怪癖念头，而且有时人物身上体现出来的某种思想就是作者本身瞬间的一种直觉。<br /></strong> 短篇小说《火车鸣笛了》中的主人公是某公司的一名会计师，他妻子双目失明，靠他微薄的薪水实难支撑12口人的家庭，白天他终日埋头在公司的账目中，晚上还要为别人誊写稿子或文件而伏案疾书，这位被生活拖累得精疲力竭的会计师，常常是到深夜，才沉重地倒卧在一张东倒西歪的破沙发上入睡。在一个沉沉的黑夜中，他突然听到远处传来的火车鸣叫声，它令这个被生活的重负压得喘不过气来的人茅塞顿开，他积怨在胸口的满腔苦水和愁绪也随着那远离而去的火车飘逸公黑夜之中了。他仿佛又回到了幸福的童年时代，回味起曾有过的美好生活。然而，他从此却终日沉湎在幻想中，对帐目也心不在焉了，当顶头上司核对帐目后发现他严重失职而责问他时，他却神魂颠倒地回答说：“火车，火车鸣笛了。”同事们都以为他疯了，并真地把他送到疯人院里去了。但可怜的会计师没有疯，深知他家庭境况的人完全清楚这只是他一瞬间精神上的“异化”和“错位”，他的确没有疯，是普通的人理解不了他的心态才把他当成了疯子。<br /> 皮兰德娄以他丰富的想象力和心理上的特异的反应能力，采用形而上学和诡辩的手法，刻画和描述了日常生活中自相矛盾的幻象和人与人之间的荒谬关系。，幽默而又含蓄地抒发了他对生活中某些现象的憎恨、厌恶和反感。短篇小说《监视》中的一位漂亮的太太，其行动经常受到她姐夫的严密监视，有一次家人集体外出郊游。那位太太托故不参加，其姐夫就怀疑她与别的男人有约会，可实际上是这位太太与自己的丈夫有约在先。小说嘲讽了那种多管闲事的小人。《清教徒》中的那位高度近视的宗教史教授平时只有两名学生，有一天当他带着经过充分准备的宗教史讲稿去上课时，一名学生因故缺席，另一名学生迟到了。那位迟到的学生看到那位几乎快要瞎眼的教授正有声有色地在空无一人的教室里念他的讲稿，原来，黄昏时刻朦胧的光线使高度近视的名教授误把拧在衣架上的大衣当作是来听课的学生了。作者辛辣地讽刺了信奉宗教八股的教授的迂腐和可笑。《已故的部长阁下》中的一位前任政府部长在临终前提出了把自己的遗体运回故乡的意愿，还要人们在当年他当选为部长的那个选区举行葬礼。由于手续烦琐复杂，装着他遗体的棺材投运到当地，运来的却是一位不知名的神学院的学士的棺材，但人们只能将错就错地举行了葬礼。待部长阁下的棺材运到后，人们只得悄悄地埋葬了他的遗体。小说通过灵抠的错换，无情地嘲讽了一生享有高官厚禄的部长阁下在死后的可笑下场。<br /> 皮兰德娄的短篇小说还揭示了西西里这块土地上潜在的社会危机和心理危机。意大利统一后经济、政治上的动荡，严重地影响着生活在这块古老的苦难深重的土地上的人们。皮兰德娄通过作品中人物的形形色色的悲惨遭遇，寄寓了对西西里人的深切怜悯和同情。《实话》(1912)中的主人公是个憨厚正立的农民，他因杀死了长期与别人通奸的妻子而遭到判刑，不料他竞成了黑社会为达到不可告人的目的而加以利用的工具和跳板。小说描述了一位既受妻子欺骗愚弄又受社会欺骗愚弄的贫苦农民的可悲结局。《如此痛苦的生活》中的女主人公被丈夫抛弃后孤苦度日，她的那位古怪而又暴虐成性的丈夫虽有时来看望她，但她的心情凄楚悲凉。情妇去世后，丈夫又带着三个女儿回来与她共同生活，最后又跟一个年青的姑娘走了，她独自一人含辛茹苦地抚养三个女孩，“她无限痛苦与惆怅，既怀着一片爱心，又无限怜悯……如此痛苦地生活着”。作者对西西里岛妇女的悲苦命运寄予了深切的同情。《新婚之夜》的女主人公是海边小镇上一个穷苦人家的女儿，父亲在海上遇难去世，成了寡妇的母亲好不容易才把女儿抚养成人。就在她准备当新娘的前夕，未婚夫也不幸淹死在海里了。当她戴孝在公墓瞻仰未婚夫的坟墓时，结识了看守公墓的一位老鳏夫。这位老鳏夫的妻子一年前离开人世后也埋葬在那儿。远处传来的海涛声，近处农庄里蟋蟀的叫声，打破了公墓里死一般的寂静，这两颗同是孤寂的心在这里相遇了。<br /> 苦难深重的西西里岛赋予皮兰德娄的作品一种神秘的色彩，一种沉郁的格调，一种奇异的魔幻般的情景，渲染出人们无法挣脱荒谬的现实的一种焦虑不安的心态。短篇小说《坛子》幽默而又诙谐地描述了两位老人之间的一场难解难分的争吵：一个富裕的农民请了当地一位发明了某种特殊粘胶的乡人齐迪马来补坛子。那种胶粘性持别好，以致于当齐边马钻进大酒坛子补好裂缝后就再也无法钻出坛子了，于是两人争吵起来。齐迪马要那位富裕的农民重新敲破坛子让他出来；可那位富裕的农民却非要让齐迪马先答应以新坛子的价格赔偿他那个旧坛子，否则就不让他出来；坛子中的齐迪马在盛怒之下让坛子滚动起来，结果撞在一根树干上破了，齐迪马获胜了。爬进坛子无法脱身象征着荒谬而又难以超脱的现实生活。<br /> 《一年的故事》中，有些故事的情节和内容虚虚实实，渲染了一种魔幻般的气氛，烘托出一个令人难以捉摸的现实世界，使作品有一种近乎超现实的虚无主义色彩。如短篇小说《梦的现实》和《一场中断的梦境》中都具有弗洛伊德式的梦境。<br /> “皮兰德娄在《一年的故事》中为一年的每一天各写了一篇，它们无论从主题到人物都富有变化：生活被描述得时而单纯真切，时而充满哲理，时而又荒诞不经，而且常常伴有幽默和嘲讽的色彩。”(摘自皮兰德娄1934午获诺贝尔文学奖的授奖词)<br /><br />2.长篇小说《已故的马蒂亚·帕斯卡尔》（1904）<br /> <br /> 马蒂亚·帕斯卡尔是船长的儿子，其父靠海上运输致富后，购置了大笔田产和房产。后来他父亲在一次去科西嘉岛的旅途中染上恶性疟疾去世了，留下的家产被老管家马拉涅亚逐渐侵吞了。阴险刁滑的马拉涅亚勾引马蒂业?帕斯卡尔的表侄女罗米尔达，并使她怀了身孕。马蒂亚?帕斯卡尔也深深池爱着罗米尔达，出于对情人处境的同情，决心娶已有身孕的罗米尔达为妻。当时马蒂亚?帕斯卡尔已一贫如洗，婚后他住在那既吝齿又刻薄的岳母家当“上门女婿”，终日受到岳母训斥和欺凌的帕斯卡尔无法得到片刻的安宁。他的好友波米诺托在市镇当教育局长的父亲为帕斯卡尔在图书馆谋了个当管理员的差事，月薪只有60里拉，而且“那里的耗子比兔子还要多”，帕斯卡尔一人终日在图书馆里感到特别孤独，他真不想在同自己形影相吊的图书堆里呆下去，但在那里他至少可以避开夫妻的口角和岳母的斥责。后来罗米尔达生了双胞胎女儿，但她们出世后不久就先后夭折，帕斯卡尔的母亲也含愤离开了人世。自母亲和两个女儿去世后，他百无聊赖，毅然采取果断的方式彻底与厄运决裂。深感人生惨淡悲凉的帕斯卡尔从家里小走了。当时他口袋里只装着他兄长寄结他的500里拉，这原本是作为母亲的安葬费，出于丧事由姑妈—手承揽了，这500里拉一直夹在图书馆的一本厚书中。<br /> 帕斯卡尔一心向往过一种新生活，想远远地离开所有的人。他登上了—艘去美洲的轮船，可是到了尼斯后，他却心灰意冷了，没有开始新生活的勇气，就索性去了蒙特卡罗的轮盘赌场。在赌场的花园里，帕斯卡尔曾想用裤带吊在一棵树上以了结一生。不料他没有什么本钱就赌赢了一大笔钱：8.2万里拉。离家才十几天，他就有了左右自巳命运的物质基础了。他携带巨款乘上火车回家，心里盘算着这笔钱不仅抵债绰绰有余，还可以赎回卖掉的庄园和磨房，这样，他在家里就会有自己应有的地位了。但是，当火车一驶入意大利国境后，帕斯卡尔就从报纸上读到了一则令他意外的消息：在他家磨房的沟渠里找到了一具已腐烂的尸体，帕斯卡尔的妻子和岳母误认为那死者就是从家里出走的帕斯卡尔。<br /> 读到这则意想不到的消息后，帕斯卡尔心乱如麻，他迫不及待地想对家里人说明真相，甚至想打个电报，但就在他从车厢里跳下来的那一瞬间，却又打消了这个念头。他思忖着，自己何不乘此机会获得新生呢！他手头有一大笔钱了，家乡的人们已当他死了就不会再有债主了，也可以从此摆脱妻子和岳母的折磨了，可以获得自由成为掌握自己命运的主人了。于是，他干脆改名为阿特里亚诺?梅伊斯，并改换了装束，戴上了一副有色眼镜，还剃去了浓密的大胡子，留着长头发，还把上面刻着他与妻子名字的结婚戒指埋在地下，以把它从记忆中彻底抹掉。<br /> 马带亚·帕斯卡尔从此自由了。他穿着一套礼服，戴着一顶宽沿帽，以新的面貌出现在世界上。他去意大利各地旅行，还去国外游历，但失去了原来身分的梅伊斯却时时感到孤寂。没有家又没有朋友，他虽然有钱是个富翁，但他无法做一个与过去的“自我”截然不同的人，“冬天勾起了我伤感的情绪，圣诞节即将来临，又勾起了我对温暖的小家庭的憧憬和对与家人欢聚情景的回忆。”马蒂亚·帕斯卡尔在新的生活道路上彷徨、苦恼了。后来，他在罗马遇上了一位真心爱他的善良可亲的姑娘阿特里亚娜，这使他的生活发生了根本的变化，他感到自己的生活充实多了，感情上有了寄托，生活上有了伴侣，自己真的成为另一个人了，真的开始一种新的生活了。可是令他苦恼的是，他是个法律上不被人承认的人，连个正式户口也没有，所以不能娶阿特里亚娜为妻。他只好放弃她，走出她的生活，因为他“不能让她与一个连身分也无可奉告的活死人结伴”。促他又不能把事实真相坦诚地告诉她，所以他决心让阿特里亚娜不爱他，希望她恨他，鄙视他。有一天他望着黑乎乎的河水，把自己的名字、住址和日期写在一张字条上，用帽子和手杖把纸条压在桥边栏杆上，就这样，他让梅伊斯“自杀”，使马蒂亚?帕斯卡尔又复活了。他深信自己游离在生活之外的状态该结束了，又乘火车回到了家乡。在他兄长家里，他惊讶地得知妻子罗米尔达已与他原先的好友波米诺结了婚，他们婚后的生活很幸福，而且还生了个女孩。这消息对他的打击实在太大了。根据法律，妻子的第二次婚姻应该作废，他是可以重新获得做丈夫的权利的。但他放弃了，他只能接受自己所面临的现实，他深感自己是个没有勇气开创自己新生活的懦夫。事隔两年多，家乡没有人认出他，都认为他已经死了，好象他根本就没在这个世上存在过。他的重返故里已失去了任何意义，而且显得是那么愚蠢、荒唐和徒劳无益。这时的帕斯卡尔深感自己是真地死了。<br /> 他住在老姑妈家，天天去原来工作过的图书馆，那里已雇佣了新的管理员。百无聊赖的帕斯卡尔有时去公墓瞻仰那个为已死的假马蒂亚·帕斯卡尔而树立的墓碑，献上一束花。当有人好奇地走近他问道：“究竟谁是帕斯卡尔?”他微微闭上了眼睛，耸耸肩答道：“我亲爱的朋友，我就是已故的马蒂亚·帕斯卡尔。”<br /> 小说《已故的帕斯卡尔》反映了小资产阶级对一种新的社会地位和新的自我存在的渴求和内往，他们拼死地与资产阶级旧习惯势力和旧风俗相抗衡，但总是受到阻挠而致使希望落空。主人公帕斯卡尔寻求新的“自我”的失败，说明了现实社会是容不得真实的东西存在的，人只能在社会世俗所强加的虚假关系中生活。是的，后来帕斯卡尔把自己的那只斜眼也矫正了过来，似乎自己已完全变成了另一个人了，但他却痛苦地发现自己只是个被排斥在生活之外的“陌生人”，“活象个沉默的影子，任凭他人践踏”，“一个死去的人的影子，这就是我的生命”。而当他想结束那个从可怕的骗局中生出来的“生命的影子”重新回到原有的大地中去时，却又发现那儿也已没有自己的立脚之地了。于是他象个幽灵似的徘徊在已死的帕斯卡尔的墓地上，感到自己真的是死了。<br /> 正如作者在小说末尾所论述的那样：“生活本身在好多方面都是荒诞的，不管是大还是小，反正只能称之为荒诞。生活有一种十分珍贵的特权，这就是，事情虽然荒诞，却并不显得不真实……”</p><p><strong>三 戏剧创作<br /></strong><br /> “路易吉·皮兰德娄是戏剧领域中‘冲锋陷阵的勇士’。他的喜剧犹如无数枚手榴弹，在观众的头脑中砰然爆炸，荡涤了陈旧庸俗的习气，使情感和观念分崩离析。”(《论文学》，安东尼奥·葛兰西)<br /> 皮兰德娄的戏剧有一种“反骨精神”，即一种“逆反的感情”，这也正是他的戏剧的幽默所在。他的戏剧展现了“赤裸裸的，充满矛盾的，至少表面上是混乱的生活”的荒谬和可笑，揭示了现实社会的悲剧，具有强烈的社会性，这与当时在戏剧界风靡一时的邓南遮所宣扬的无节制地追求“欢乐”和“享受”、美化骄奢淫逸的唯美主义是针锋相对的。当时颓废派中的一些文人对法西斯军国主义对外扩张的所谓丰功伟绩的吹嘘甚嚣尘上，他们的戏剧作品多数不是宣扬趣味低级庸俗的男女感情纠葛，就是脱离现实、狂热地赞美尼采式的所谓“超人”的。皮兰德娄则是以“革新者”的姿态向陈腐的旧戏剧挑战，掷出了投枪匕首，在广大观众中引起了强烈的反响，使原来禁锢着人们的庸俗的道德观和颓废的思想感情土崩瓦解了。皮兰德娄的这种挑战是惊世骇俗的，使戏剧舞台的面貌焕然一新。<br /> <strong>皮兰德娄曾抨击旧戏剧只是热衷于以表面和谐的形式、虚构的情节和貌似逻辑的伦理，简单地、客观地反映表面看来是“井然有序”的客观世界；认为“旧戏剧家煞费苦心地淘汰了生活的泥沙，单是把闪光的金子呈现在观众面前”的作法是虚假的，不足取的；认为戏剧作品所展现的生活现实应该象自然界一样，“金子始终而且仅仅以同泥沙混杂的形式出现。”他说，新剧作家“应以敏锐的洞察力展现和揭示赤裸裸的、充满矛盾的、纷繁复杂的生活”(《新戏剧与旧戏剧》，1922)，表现人类心灵迷宫里“古怪的、不连贯的、羞为人知的那些近乎疯狂的念头。”(《论幽默》，1908)这些看法和主张构成了皮兰德娄戏剧创作的基点。</strong><br /> 皮兰德娄的戏剧具有深刻的思想性和鲜明的时代感。他的剧作多以人与人之间的难以沟通和人与社会之间的关系失调为主题，揭示社会文明的危机和现代的精神危机，表现人生和世界的荒诞性，而他所渲染的剧情氛围的荒诞又正是荒诞的时代的缩影和荒诞的人生的写照。所以，一般都称他的戏剧为“怪诞剧”。<br /> 皮兰德娄常给他笔下的人物冠以诸如“赤身裸体”、“赤裸裸”一类的形容词，这并不是危言耸听，而是作者对现代人的境遇所作的一针见血而又形象的概括。所以，他不仅有一部以《赤裸裸的生活》为题名的短篇小说集，还有一部以《赤裸裸的假面》为题名的剧作全集。皮兰德娄作品中的“赤身裸体者”已成了现代人的象征，因为生活在冷酷、虚假并已支离破碎的现实社会中的人，为在生活中给自己寻找一席之地，就要戴上一具“假面”，用以自欺欺人；但是严酷的生活现实总是无情地撕破人物的假面，揭穿其伪装，让他们“赤身裸体”地呈现在读者向前。作者对他们不无同情，但也不无嘲讽和鄙视，不过读者从这些可笑、可悲而又可怜的“赤身裸体者”身后瞥见的总是一个荒诞的世界。如在《给裸体者穿上衣服》(1922)一剧中的家庭女教师艾西莉娅是位命运坎坷的女子，先是遭到当海军军官的未婚夫的背叛，后又受到当外交官的男东家的百般欺凌，最后又因她负责管教的女孩子不慎从阳台上坠落身亡而被驱逐；走投无路的艾西莉娅不得不以卖淫为生而沦为一名娟妓。绝望中的她坐在公园里想服毒自杀，刚巧被一位名作家发觉并把她引救到自己家里。本指望可以换个新面貌重新生活的艾西莉娅却始终无法彻底与不堪回首的过去告别，搭救了她的名作家要审视她的身世，过去她委身过的情人为挽回各自的名声和尊严也都来寻找她要她给个令他们满意的回答，逼得她不得不以服毒自杀来了却人生。临死前，她只求穿上她订婚时曾穿过的那件漂亮衣服，以使把蒙受的耻辱都已赤裸裸地公诸于世的自己至少不致赤裸裸地死去。皮兰德娄的剧作反映的就是这样—些孤立无援、毫无自卫能力的”赤身裸体者”，他们就象艾西莉娅一样，越是软弱，那些虚伪的正人君子们就越是凶猛地向他们扑去，把他们撕成碎片吞噬掉。他们处往往是生活中的弱者。他们需要伪装，需要相互欺骗，以顺应艰辛而又严酷的生活现实。<br /> 认为自己“富有哲学秉性”的皮兰德娄的每一部剧作几乎都蕴含着—种“哲学”，“浸透着一种特殊的生活涵义”。从而体现了一种“普遍的价值”。所以，皮兰德娄的作品读来令人觉得既荒诞离奇，又合情合理，既难以置信，又顺理成章。他“力图把当代哲学的‘辨证法’引入大众文化中来，同亚理斯多德一基督教的‘现实的客观性’的观念相抗衡。”(《皮兰德娄的“辩证法”》，载葛兰西《民族与文化》，1950)在皮兰德娄的作品中，旧戏剧的那种静止地、形而上学地看待客观世界的陈旧观念已荡然无行。他笔下的主人公以幽默的目光和忧郁的神情冷眼观察这畸形混乱和支离破碎的病态的客观世界。取材于短篇小说《夜间咖啡馆》的独幕剧《嘴上含花的人》(1926)中的男主人公是个身患皮癌的人，深知自己已病入膏肓不久于人世，却一反常态地比以往健康时更为投入地生活。他本该在非常有限的生命中陪伴年仅34岁的年青妻子在窗明几净的客厅里听着挂钟滴嗒声安度所剩不多的时光，却终日在外游逛，寻觅和思索着“自我”与“客观世界”之间的关系。他不厌其烦地细心观察商店里售货员包装捆扎售出商品时的每一个单调乏味的细微动作，琢磨着医院候诊室里供患者轮番占坐的一排排椅子的作用。身患绝症的主人公“犹如预知要发生大地震的人们那样，内心难以平静”，竭力想在仅有的那些时光里去“品尝人生的实质涵义”。表面看来，这位癌症患者似乎太古怪了，然而他这样试图体验和感受现实生活的乏味和空虚，却是为了使自己在行将结束生命的时刻，不致因为离开这令人厌烦而又荒谬可笑的现实生活而感到遗憾。正象主人公自白的那样：“对人生的品尝是永无止境的，人们永不满足自己的生活，而生活也总不让人品尝到其真实的滋味。”所以他能死而无憾。<br /> 皮兰德娄的剧作非常富有社会性，深刻地反映了第一次世界大战后意大利那种畸形、混乱社会中的现代人沉沦的精神状态，病态的人际关系，人和社会的关系，以及人与内心自我的关系。他擅长用荒诞不经的故事，畸形扭曲的形象，多层次地展现普通人各自不同的生活经历，不同的社会习俗，乃至个人的怪癖和恶习。剧中人多是中小资产阶级，有律师，教师，医生，病人，还有受尽侮辱和欺凌的弱女子。描述的故事多取材于日常生活中的真人真事，其中有28部剧作是根据他创作的小说改编而成的，短篇小说集《一年的故事》似乎是提供他戏剧创作素材的一座“仓库”，一个“活页记事本”，可随时从中提取各种故事和情节，赋予人物生动的对话和深邃的思想感情，以不断更新的艺术风格和创作技巧，大大丰富、充实并发展了他在小说创作中所展现的主题，创作出一部又一部富有生命力的剧作，使受到窒息的意大利戏剧艺术在法西斯统治时期出现了别开生面的转机。<br /> 皮兰德类笔下人物的那种固有的“反常的心态”，正是社会的“脓包”和“痈疽”的象征，因为人物的种种“反常的心态”是个人无法医治的内心冲突的产物，是人物所处社会的潜在疯狂性的反映，是对窒息人的现实的一种反叛。剧作《亨利四世》中的主人公为逃避现实不得不可笑地戴着皇帝的假面，自欺欺人地在痛苦中度过了20个年头，最后又为了免受法律制裁不得不继续伪装自己，把自己禁锢在阴暗痛苦的人间地狱里。“我多么想脱下这件化妆舞会的衣服；结束这种噩梦吧！让我们把窗户统统打开，尽情地呼吸生命的空气！让我们迈步走出大门，奔向广阔的天地中去吧。”可见，皮兰德娄的怪诞剧具有鲜明的社会倾向性。<br /> 皮兰德娄给自己的戏剧创作提出了这样一个新课题：那就是激化“表象”和“真实”、“正常”与“反常”、“自我”与“外部”之间的冲突，使喜剧中药含着悲剧，即现实成了无法演成悲剧的最惨烈的悲剧。这也正是皮兰德娄剧作的幽默性之所在，它启迪人们去冷静地思索和评判，从那些荒诞可笑、古怪离奇的故事中，从他塑造的那些形象被“扭曲”、人格被“肢解”的人物身上去品味和咀嚼其所要表达和揭示的深刻的内涵：即“生活本身就是无稽之谈，生活就象是舞台上演出的喜剧一样，纯属虚构和假设。”剧中人物行为的荒唐，源于生活本身的荒唐。“我们有意识地仅仅生活在我们精神的躯壳里自欺欺人，这是欺骗人的社会造成的结果。”(《论幽默》，1908)他的作品格调低沉、悲怆，有人称其为“黑色幽默”。<br /> 取材于短篇小说《守夜》的剧作《象从前，胜似从前》(1920)中的女主人公芙尔维娅因无法忍受猥亵成性的丈夫而离家出走，结交了多个情人，正当她想自杀离开人世时，丈大救了她，并请求她带着年幼的小女儿回家。芙尔维娅却荒唐地提出要以丈夫后妻的身份化名为弗朗切斯卡回家，让已多年不见的18岁的大女儿利维亚把她当作“继母”。亲生女儿利维亚对这位取代自己生母、染成一头红发的“继母”恨之入月，尽管芙尔维娅竭力想博得女儿爱心使女儿顺和。后来，利维亚经过“调查”发现，这位弗朗切斯卡与自己的父亲根本没有履行过婚姻手续，因而认定她是个淫荡的女人，更不认她带来的女孩儿是自己的妹妹。芙尔维娅被迫道明真相。谎言揭穿了，假面揭开了，她只得带着唯一可亲的小女儿跟着一位当音乐家的、脾气古怪的老情人又从家里出走了。为什么亲生母亲非得隐姓更名才能回家呢?为什么道明真相后却又非得再次出走呢？作者通过被地狱般的家庭生活“扭曲”和损害的芙尔维娅命运的反复、转折及其意识的觉醒和行为的反叛，流露了对她的深切同情，并无情地撕破家庭的“面纱”，剥去它的“伪装”，让主人直面惨谈的人生。<br /> 皮兰德娄笔下的人物往往不单纯是命运的牺牲品，还是自身命运的铸就者，他们往往无法借助外界的力量得以救赎，所以就显得更加不幸和可悲。面对变幻莫测的现实，人们难以在一瞬间主观地赋予现实以固定的形式，因为现实的人是不成形的，可变的，是可以出内部或外部的力量被塑造成各种形象；而剧本里的人物则总是固定地拾演自己的角色，重复同样的悲剧。所以可以说，现实生活中的人往往是不真实的，而作品中的人物却是唯一的真实，因为通过作品中的人物，人们能重新寻觅到无可更改的、独特的、无法摧毁的永恒的东西。这就是皮兰德娄作品独特的戏剧性之所在，他的戏剧作品的艺术感染力就在于他所塑造的人物形象立足于现实的人与剧中的人物之间，在于树立一种最终既无法成为现实的人又无法成为剧中的人物的形象。《寻找自我》中的女主人公朵娜塔是剧坛的一位著名演员，她以舞台为生，在扮演某个角色时才真正体验到她自己的存在价值，她以演戏为天职，人们永远把她看作只是舞台上的一个角色；英俊、热情的瑞典籍画家埃利爱上了朵娜塔，他们一起乘小游艇扬帆山海，与海上的大风暴搏斗。当小艇即将倾覆的瞬间，朵娜塔想自绝于人世，勇敢的埃利拼死相救，他们结成了生死之交，并萌生了爱慕之情，朵娜塔答应了埃利求婚的要求，但她不能“仅仅作为他的一件东西而投入他的怀抱……成为只属于他的一副躯体”，因为埃利的“闯入”，并不能使她从以往徘徊迷茫的状态中解脱出来，因为生活不仅仅是从属于她个人，机遇、环境以及身边的人都会构成种种障碍，使生活中的人不再只是个独善其身的人，也不再是个自由的人；真实的现实生活导致她与阻碍地进人角色的埃利之间产生隔阂和猜忌，于是，她的艺术生涯受到束缚，她不再是她自己了，她感到自我的贫困，她只有回到舞台重新赢得观众之爱，而不只是一个男人的爱；她“不得不在由其想象创造的、富有生命力的人物身上寻找生活，感觉生活……”(《寻找自我》，1922)在自己扮演的角色里找到充满自信的自我，一个真实的自我。在她扮演某个角色时，不再有现实生活予以她的重负和窒息感，她感到是那么轻松，充实，充溢着醉人的幸福的愉悦，因为她获得的不只是作为一个演员在艺术上的完整性，而且还拥有她作为一个女人在生活中的完整性。<br /> 皮兰德娄戏剧中的人物对话都有自己独特的表达方式，有重复和频繁的间歇，又有省略和欲言又止的停顿，人物对话的结构随着人物内心感情的起伏而带有一种特殊的节奏。主人公还常常以大段的内心独白向一个不存在的对话者或忧郁地倾诉，或慷慨激昂地陈述，或痛苦地呐喊，从而打破了演员和观众的界限，激起听众的共鸣。</p><p>1.《六个寻找作者的剧中人》（1921）<br /><br /> 此剧是由他原先发表的两部中篇小说《一个剧中人物的悲剧》和《与剧中人物对话》改编而成的。<br /> 有一天，某个剧团的演员们在某个剧院的排演场内正在排练皮兰德娄的一出新戏《各尽其职》，舞台的背景空荡荡的，演员们谁都背不好台词，导演叫他们退场。这时，6个陌生人突然闯人排演场，自称是某个剧本中的6个人物，因为剧本的作者拒绝上演自己的戏而把他们都辞了，他们没有机会完成自己的角色了，所以来到某个正在排练的剧场与导演纠缠，希望他能充当剧本的作者，以把这出未演成的戏排出来。于是，他们就在舞台上各自扮演起自己的角色来，也就是各自把自己的身世和遭遇表现出来。<br /> 这六个剧中人在原剧中分别扮演父亲、母亲、儿子、继女、小男孩和小女孩。父亲在这个传统的资产阶级家庭中享有绝对的权威，出身卑微而又温厚淳朴的母亲在婚后与丈夫生了个儿子。父亲后来雇佣了一个品性敦厚的男秘书，这位秘书很快成为家里的常客，而且母亲与他因情投意合而相互产生了感情并发生了关系。父亲发现母亲与另秘书私通后，一怒之下，把母亲驱赶出家门，并把儿子送到乡下由一位村妇抚养。被扫地出门的母亲只得与那位男秘书重建了一个新的家庭，他们生了一个继女，后来又有了一个小男孩一个小女孩。多年之后，男秘书去世了。母亲和年幼的孩子们陷于极端贫困的境地，继女因生活所迫而沦为妓女。母亲被赶出家门之后，父亲一直过着孤独的生活，常常在空寂的屋于里踱步，寂寞潦倒的父亲后来成了妓院的常客。一天，父亲去逛妓院，恰巧遇上了继女接客，幸亏母亲忽然赶来，认出了昔日的丈夫，才避免了悲剧性的父女乱伦。感到无地自容的父亲，在万分羞愧之下，决定把妻子和3个继子女以及早年寄养在乡下的儿子都接回家中，以重温合家团聚之乐，医治心灵的创伤。但那个在农构环境里长大的儿于对父母亲没有任何感情，他性格孤僻，沉默寡言，终日烦恼苦闷。既憎恨父亲，又鄙视母亲。当初离弃了儿子的母亲也愧疚万分，现在她也得不到儿子的宽恕，失去了儿子对她的感情。那个在妓院以卖淫为生的继女，也早已堕落成一个玩世不恭的坏女子。因此，这个重新组成的家庭中还是没有任何欢乐和幸福可言，亲人之间的关系很冷漠。小女孩是个活泼而又任性的姑娘，她很不喜欢呆在那气氛沉闷而又污秽的屋子里，总喜欢到花园里去玩耍。一天，她在花园的池塘边玩耍时，不慎失足掉进池内。在母亲闻讯后疯狂地呼救并向水池跑去时，小女孩已经掩死了。当时，也在花园里玩耍的小男孩却躲在一棵大树后面，眼睁睁地看着小妹妹溺死在水池中却毫无反应；而后，他掏出了手枪，了结了自己幼小的生命。六个剧小人的叙述与表演到此结束，这时舞台上又真的响起了枪声，原来是演小男孩的剧中人开枪把自己打死了。剧团的导演和演员们原先以为这是剧中人的表演，这时才恍然大悟，他们的演出已变成了生活的现实——一出活生生的人间悲剧。<br /> 《六个寻找作者的剧中人》深刻地揭示了现代社会资产阶级家庭中所存在的严重的离心倾向——一种渴望与传统的家庭模式彻底决裂的欲望。家庭的每个成员都强烈要求个人的权利，因而在家庭内部产生了难以调和的矛盾和冲突，这是一方面；另一方面，家庭与外部世界又有着无数难以处置的关系——而人物就是在展现典型的资产阶级家庭内部悲剧的矛盾和冲突中，表达其要求个性自由、挣脱精神桎梏的强烈愿望的。<br /> 在表现手法上，此剧打破了传统的剧本格局，是一出别具一格的“戏中戏”，取得了独特的艺术效果；有力地说明了生活本身就是一出戏，每个人都在生活中扮演—种角色，而舞台上演出的戏又是现实生活中活生生存在的悲剧。这6个人物在舞台上所扮演的角色就是他们个人在现实世界里遭遇到的悲惨经历，只是他们找不到—个作者把他们的遭遇切实地以团定的形式表现出来，所以他们只能请求导演允许他们把各人的经历表演出来，这就是所谓的“戏中戏”。皮兰德娄同时编写演出的是两出戏：一出是反映当代人道德上沉沦的人世悲剧；另一出是人物把悲剧性的遭遇搬到舞台上所演的戏。这无疑是创作手法和技巧上的一种革新，也是艺术上的一种革新。剧中的一系列的情景缺乏逻辑性，人物对情节的发展也不断提出争议，每个人都想以自己的观点来表现悲剧，因此作者只能采取“由着剧中人物自己去处理各自扮演的角色”的旁观态度，不进行逻辑加工，也不予以美化。而传统戏剧通常都由作者予以“艺求术加工”，表面上看来结构完美元缺，剧情的发展也符合逻辑，实际上则是掩饰和扭曲了现实社会的真相。所以，皮兰德娄就反其道而行之，甚至超越了与现实生活的“空间”截然不同的艺术“空间”的界限，即舞台上的演员与台下观众之间的界限，把人物置于极端荒诞的环境和剧情之个，完全打破了戏剧的传统格局。<br /> 用这种独特的艺术手法所展现的情景没有时空的界限，给人一种“抽象”的感觉。剧中人各自为自己设计了一种能更充分地表达自己的形式，随着人物内心感情的节律变化，人物时而象是自己对自己在独白，时而又象是对着—个不存在的对话者自言自语似的，好象是痛苦的忏悔，又好象是在倾诉人物内心的孤寂。如剧中的父亲在大声地叙述自己的痛苦经历的同时，发现了他自己的过失、罪孽和生活的恐怖，他的长段独白象个“自我鉴定”似的使他为自己的过失和罪孽感到无地自容。人物给自己铸就和塑造的形象，不仅反映了他自己的命运，同时也展现了现实生活中许多人的命运：“我心灵的悲剧都在此演出了，先生，这也是我们每个人的悲剧，看，人们以为这是一个人的遭遇，其实并非如此，那是很多人的遭遇，是我们之中很多人的各种不同遭遇，有人这样，有人那样，各种完全不一样的遭遇！”这样，剧中人物的独白就成了对充满精神危机的现实社会的怨诉，因为剧中人的命运和遭遇正是他们所生活在其中的社会危机的缩影，是现代社会造成了这种人与人之间的离异，并不可避免地产生出种种悲剧。所以剧中人物在舞台上演出的是现实生活中存在的悲剧，他们只是把观代社会悲剧搬上了舞台，而台上剧中人的各种遭遇又牵动着台下的每一位观众，似乎他们都成了审视自身命运和遭遇的剧中人的化身了。皮兰德娄的戏剧之所以富有强烈的艺术感染力，是因为他的“戏中戏”不只是一种舞台表演艺术，也不只是—种戏剧性的表现手法，而是对戏剧与现实生活内在关系的一种挖掘，是对戏剧的真实含义的一种探索，所以被称为是当今戏剧的一次革新。该剧有力地揭示了现代社会中人的异化，现实生活中人与人之间的虚假，现实生活中真相与表象之间的冲突，即产生现代人“反常”心态的永恒的原由。剧中人物想演出人间悲剧而寻觅不到作者，正说明了现实生活中存在有难以用剧本表现出来和无法用舞台艺术表演出来的荒唐、怪涎的人生悲剧。<br /> 《六个寻找作者的剧中人》连同另外两部剧作《各行其是》(1924)、《我们今晚即兴演出》(1929)被人们看作是皮兰德娄“戏中戏”或“戏外戏”的三部曲。</p><p>2.《亨利四世》（1922）<br /><br /> 一位年青的绅士在王公贵族举行的节日盛会中，化妆成11世纪神圣罗马帝国的皇帝亨利四世。他骑马参加游行，由化妆成托斯卡纳伯爵夫人的美丽女子玛蒂尔达陪同，并辔缓缓地行走在游行队列之中。不料，尾随在他们后面的另一位名叫贝尔克雷迪的年青绅士突然拔出利剑，猛地刺伤那位年青绅士坐骑的屁股，受伤的马儿因疼痛难忍，咆哮一声，猛然腾跳直立起来，致使那位绅士从马背上摔了下来，碰伤了头部，因大脑受了重伤而昏迷过去了。原来这两个年青绅士都热恋着玛蒂尔达，贝尔克雷迪是出于嫉妒才这样做的。<br /> 两个小时以后，受伤的年青绅士回到了他别墅的客厅里。来宾们起初没有注意到他精神上有什么异常，大家还兴致勃勃地各自观看着别人化装成的角色。后来，他突然拔出宝剑，恐怖地怒吼一声，使在场的人们惊万恐分。这时，人们才发现他已经神经错乱了，他真地把自己看作是当年的亨利四世了。家里人为了使他镇静下来，千方百计地依顺他，并真地把他当成亨利四世供养起来，甚至把他的别墅也布置成皇宫的样子，还特意雇来了四名年轻仆人，让他们穿上古装，订扮成当年皇帝的侍从，客厅里还挂上玛蒂尔达化装效仿的那位托斯纳伯爵夫人的画像。他就这样整天疯疯癫癫地扮演着亨利四世的角色，神志昏迷了整整12年。除了身边有“宫廷侍从”外，当地的王公、主教、参事和修士们也常常络绎不绝地来谒见他。<br /> 一天，亨利四世突然恢复了理智清醒了过来，明白了这12年间所发生的一切。当他发现昔日自己心爱的姑娘玛蒂尔达己成了情敌贝尔克雷迪的妻子时，痛不欲生，怨愤万状，他周围的人都把他当成是疯子，他已无法回到他原先的生活中去了。如今他已鬓发花白，人生对他来说是“一席已散去的欢乐的宴席”，“一切都业已破灭，一切都已了结”。他终日在金碧辉煌的宫殿里和豪华而又空荡的别墅中消磨时光，他感到孤寂空虚，促他已无法摘去现实生活给他铸成的这副“疯人”的面具。他厌恶和憎恨这副面具，但他只能继续装“疯”下去，因为这副“疯子”的面具可以使他随心所欲地应付虚幻的难以捉摸的现实。他虽然外表看上去是疯子，但他内心是理智的、清醒的。<br /> 又过去了8年。亨利四世年青时的情人玛蒂尔达与贝尔克雷迪带着他们年轻美貌的女儿弗莉达一起来到他所在的宫殿，他们全都身着古装，随同他们前来的还有一位著名的精神科大夫，这位大夫乔装成ll世纪的修道院院长来替他治病。为了促使亨利四世清醒过来，大夫别出心裁地设想了一个治疗方案：让玛蒂尔达和酷似母亲的女儿弗莉达都化妆成20年前在节日化妆队伍中扮演的托斯卡纳伯爵大人的模样，以使亨利四世重温当年的情景。大夫是想借助精神上突然而又强烈的刺激来唤起他对往事的回忆，从而使他恢复理智。亨利四世从弗莉达身上仿佛又见到了20年以前的情人马蒂尔达美丽的形象，于是他紧紧地搂抱着她，说她就是自己所钟爱的人。这时，亨利四世当着众人面撕下了当古代皇帝的假面，当场揭穿了贝尔克雷迪当年阴谋暗算他的卑鄙伎俩；但是当贝尔克雷迪向他扑过去时，亨利四世立即从身旁一位侍从的剑稍里拔出利剑，刺死了这个20年以前暗算过他的情敌。气息奄奄的贝尔克雷迪在被人抬走时连声喊道：“他不是疯子！他没有疯！”<br /> 亨利四世没有失去理智，他是在装疯，这一点在场的人都逐渐明白了。但他还得继续装成疯子活下去，因为这是摆在他面前的能逃避严酷现实的唯一出路。如今他成了杀人犯，生活对他的判决就是要他永远戴着“疯人”的假面活下去，永远以古罗马皇帝亨利四世的身份活下去。他招呼他用围的侍从们，凄然地说道：“现在……我们将永远……永远相处在一起……这已是难以改变的命运了。”<br /> 《亨利四世》是皮兰德娄最有代表性的一部寓意深刻的怪诞剧。它深刻地剖析了分崩离析的资本主义社会中已失去了个人存在的实质性价值的人，反映了在社会上失去立足点的小资产阶级知识分子精神上的空虚。他们没有归宿，只能以“疯”来调和自身与现实生活之间无法解脱的矛盾和冲突，只有戴着“假面”才能逃遁了虚假的现实生活之外，才能避免各种祸殃。正象亨利四世所痛苦地倾诉的：“今天，我是戴着忏悔者的面具活着，明天，是他人将戴着囚犯的面具活着，或者戴上皇帝的面具或教皇的面具，反正谁都得戴着面具活着，否则他就会遭殃。”<br /> 全剧充满了深刻的哲理，挖掘和解剖了人物的精神世界，并使主人公始终处于一种“自我”与“假面”，“客观现实”与“自然本质”之间的矛盾和冲突之中。面对着很不和谐的社会所存在的种种混乱与虚假，人的“自我”都是难以捉摸的，变幻莫测的，正象亨利四世情时时对旧时的情人玛蒂尔达所说的那样：“正如人老了染头发似的。至于我头发染的颜色是否与我原来头发的颜色一样，这与你们又有什么关系呢?”染头发不是为了诓骗别人，也不是为了愚弄自己，而是为了在镜子见能看到您自己所要看到的形象”；而一旦人们在镜子里发现自己所戴的假面只是虚假的东西时，就无法生活下去了。人的悲剧也就在于：为要自欺欺人地活下上，别无他法，只能依靠这种假面而活着。<br /> 亨利四世原来是在偶然情况下变疯的，清醒过来之后却不得不有意识地继续装疯下去，以让自己永远做现实生活的局外人，因为他的“真实”存在在人世间没有立足之地。在杀死了情敌贝尔克雷迪之后，他立即意识到这副“疯人”的面具是他抵御现实的防护罩。为了避免发生新的悲剧，他不得不借助这个“面具”继续虚假地生活下去，假面成了他掩盖自己真实存在的永恒的形式了。<br /> 亨利四世是皮兰德娄塑造的人物形象中最为绝望、最为悲惨的了，他在现实世界中彻底孤立了；他不仅得不到过去曾有过的东西，也无法以真实的面貌生活在现时，更不能对将来寄予什么希望，他个人与社会之间沟通的渠道已经绝对地断绝了，他只能而且必须永远戴着现实为他铸就的假面自欺欺人地个活下去，这就是皮兰德娄通过剧本所揭示的现实生活当中内在的深刻的悲剧。其实质就是：现代人始终处于真实的存在与无可奈何地得用“外衣”和“假面”遮盖着它之间的矛盾和冲突之中。<br /> 在人物与其处境之间发生尖锐冲突的时刻，即当剧情发展到“高潮”时，作者恰到好处地通过主人公大段的独白，让剧中人直接向观众倾诉其多年来郁积在心中的满腔悲愤和怨恨，也直抒情了作者对现代社会的抨击和批判。<br /> 在人物塑造上，作者笔下的亨利四世是以“真实的自我”与“虚假的假面”两种面貌同时交替存在，所以剧中的亨利四世似疯又不疯，似癫狂又似清醒，他说话颠三倒四，却时断时续、似真似假地道出了深刻的人生哲理。当他重又见到20年以前曾蓄意谋害他的仇敌之后，他凄楚地揭示了炎凉的世态，鄙夷地说：“那些相继去赴宴的人们，出于某种测隐之心，也许会给我留下些残羹剩饭；或者出于内疚，在肮脏的盘子里给我留下几根鱼骨头。太谢谢你了！”亨利四世“装疯”的行为自然是荒唐的，但却是他唯一能生存下去的自卫手段。而他的假面一旦被戳穿，他就得面对现实，又成了赤裸裸的毫无自卫能力的可怜的现代人，残酷的现实又要像猛兽一样吞噬他。皮兰德娄曾非常透辟地指出：“争取生活的斗争越是艰难，在这一斗争个就越是感觉自己的软弱，因而也便愈加需要相互欺骗。于是人们就伪装勇敢、诚实、同情、谦逊，总之，伪装现实中一切最高贵的美德，这是一种顺应的形式，一种巧妙的斗争手段。”(《幽默主义》，1960)亨利四世曾愤然地说道：“我情愿保持最清醒的理智，安然地过着疯人的生活，”意即他是“清醒地在当疯子”，而不幸的却是世俗的人们，他们“不知道白己疯了，看不到自己疯了，却还心安理得地生活着”。这就一针见血地点出了充斥看利己主义罪恶的世界才是心理上失去平衡的真正的疯子，而实际上根本没有疯的亨利四世只是不得不戴着那具“赤裸裸的假面”继续生存下去而已。后来，“赤裸裸的假面”出就成了皮兰德娄全部戏剧幽默的代名词。<br /><br /><strong><span style="color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">【X手工录入，转载请注明转自黑蓝及录入人】</span><br /></strong><br /><br /></p><p><span style="font-size:13.5pt;color:green;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new 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作者: 录入小组 时间: 2008-8-12 17:52
<span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><strong><font color="#ff0000">第五章<span style="mso-spacerun:yes"> </span>两次世界大战期间的文学</font></strong><br /><br /> 20世纪纪初，在争夺殖民地的战争狂热和军国主义的蛊惑下，新兴的中、小资本主义企业家有一种左右历史进程的强烈要求。意大利工业生产的迅猛发展，无产阶级队伍的日益壮大。又使中、小资产阶级清醒地看到了无产阶级是他们政治上危险的敌人，因此，他们竭力在上层社会寻找支持者和同盟军。这就是法西斯在意大利产生和确立的社会原因和时代背景。<br /> 从当铁匠的父亲那里接受了社会主义思想的墨索里尼，于1900年加入了意大利社会党。1914年以后，墨索里尼在资产阶级金融巨头的支持下。狂热地发表鼓吹战争和黩武的军国主义理论，猛烈抨击社会党对世界大战所抱的中立主义态度。他利用主持《意大利人民》报编辑工作之便，开始他一系列富有煽动性的反动舆论宣传。为了赢得基层劳动群众的拥护，他提出要动员民众，要资产阶级懂得</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">意大利民族中包括劳动群众，要是这些劳动群众思想不安定，闲散懒惰，那就谈不上整个民族的伟大，为了在将来国家一旦需要他们时，能赢得他们的拥护，法西斯的任务就是要使他们与国家成为有机的整体，就象艺术家为了雕塑出杰作而需要有粗糙的材料一样。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">(《等级》，1924)这种富有欺骗性的宣传，使群众对法西斯主义寄予一定的幻想，尤其是在第一次世界大战以后，当时意大利民众的精神正处于一种危机状态，法西斯的极端民族主义思想，在某种程度上填补了人们思想上的空白。<br /> 在对外政策上，帝国主义的殖民主义冒险事业成了摆脱民族危机的唯一出路，而对墨索里尼和那些被</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">优越的种族</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">观念感染了的知识分子来说，则是体现本民族价值的一种手段，也给意大利普通的士兵们提供了显示对祖国</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">忠诚</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的最好机会。战争狂墨索里尼曾这样踌躇满志地说道：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">战争使民族终于统一了，战争解放了意大利人民，使他们显示出非凡的适应能力。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /> 墨索里尼对内主张建立</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">独裁政权</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，这不仅意味着国家权力的高度集中，还意味着在需要集中体现国家的最高利益时，要用武力解决国内的阶级矛盾和经济冲突。<br /> 1921年的大选结果，标志了法西斯专政在意大利的确立，那年法西斯党有30人当选为议员，其中就有墨索里尼。构成法西斯主义的三种社会势力是：对无产阶级革命日益扩大的影响忧心忡忡的中产阶级；日益壮大的社会主义运动中的激进派；大企业资本家，尤其是那些垄断国家经济命脉的大财阀和金融巨头。以第一次世界打战退伍军人中的好战分子为主体而组成的法西斯别动队就是专门用来镇压民众反抗的。1920年法西斯党魁们进军罗马，他们声称这一行动是</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">法西斯纪元</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的开始，国王维多利奥·埃玛努埃莱三世（1869-1947）授权墨索里尼组阁，从此，在意大利就开始了漫长的法西斯统治的黑暗时期。1924年6月10日意大利社会党领导人马泰奥蒂（1885-1924）因在议会上无情地揭露了法西斯分子在大选中的舞弊行为而被法西斯党徒所暗杀，于是全国爆发了声势浩大的反法西斯暴行的浪潮。1925年以后，法西斯独裁政权逐步巩固，所有其它的政党和工人组织都被迫解散，法西斯当局还压制新闻和言论自由，反对派无力反抗，成批民主人士遭受迫害，有的被监禁，有多被流放，从而形成了法西斯一党专政的局面。法西斯党内还成立了保安队和一个镇压进步人士的秘密组织。法西斯政府还专门设立了一个所谓的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">国家安全特别法庭</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，判处了成百上千的法西斯人士，以示</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">惩戒</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。议会已失去了实际意义。法西斯驱逐了124名持不同政见的国会议员，法西斯的最高首领墨索里尼成了国家唯一的军政首脑，他可以随意颁布任何法令，他的权力高于一切。<br /> 以法西斯主义重要的理论家乔瓦尼·真蒂莱（1875-1944）为代表的文人们所合办的刊物《评论》，从政治上、哲学上为法西斯主义涂脂抹粉，在长达20年之久的法西斯统治期间，竭力宣扬并发展丁法西斯文人在1925年发表的宣言中的反动观点，成为维护法西斯反动统治的御用工具。1927年法西斯当局颁布的《劳动宪章》中规定国家镇压并取缔工会的合法斗争，罢工被视为犯罪行为，这样就从经济体制上为今后建立以</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">行会会议</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">制代替议会制度打下了基础。<br /> 1929年2月，墨索里尼与教皇庇护十一世所签订的《拉特兰条约》是法西斯专政的国家与教会之间的一种妥协，也是从政治上巩固法西斯政权的一个决定性的新步骤。《拉特兰条约》以教会公开支持法西斯政权为交换条件，政府则保证教皇的政治独立、个人豁免权和其它特权。条约确认天主教为意大利国教，并规定全国各级学校开设天主教的课程。<br /> 墨索里尼对外实行扩张、侵略的殖民主义政策，使意大利陷入了连年的对外战争。墨索里尼野心勃勃地声称地中海是</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">我们的海</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，他梦想当一位像拿破仑和凯撒大帝一样的伟人，开拓版图，征服和统治世界。1935年意大利对埃塞俄比亚宣战，次年占领了其全部国土。1936年德、意法西斯结成了轴心，武装干涉西班牙内战，墨索里尼派遣了以雇农和矿工为基本队伍的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">志愿军</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">奔赴马德里，支持佛朗哥法西斯政权。1939年意大利侵占了阿尔巴尼亚。在德国进攻波兰发动了第二次世界大战以后，意大利于1940年对法国宣战，并侵占了希腊。1941年德、意瓜分了南斯拉夫，并对苏联宣战。意大利法西斯党魁在反动血统论的主导之下，还伙同德国纳粹分子对犹太人实行了灭绝人性的大捕杀。<br /> 延续了20年之久的法西斯专政，使意大利社会陷入了严重的政治和经济危机之中，并给广大民众带来了深重的灾难。面对法西斯的强权统治，意大利文艺界人士采取了两种截然不同的态度和立场：以彼耶罗·戈贝蒂（1901-1926）为代表的自由派文人和以安东尼奥·葛兰西（1891-1937）为代表的无产阶级文人主张文学与社会现实要有密切的关系，坚持文学一定要有鲜明的政治立场。他们对法西斯主义采取了强硬的态度，并进行了坚持不懈的斗争；而以文学刊物《巡逻消》为代表的文人，他们却认为文学是高于一切的艺术手段，坚持拒绝和避免把文学牵连在政治和现实斗争中去的立场。<br /><br /><br /><strong><font color="#ff0000">第一节<span style="mso-spacerun:yes"> </span>安东尼奥·葛兰西<br /><br /><img src="http://farm4.static.flickr.com/3160/2759038722_ced3545835_m.jpg" border="0" alt="" /><br /></font></strong><br />（Antonio·Gramsci，1891-1937）<br /> <span style="font-size:10pt;color:#993366;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><strong><font size="3">安东尼奥·葛兰西</font></strong></span>1891年出生在撒丁岛的卡利亚里，父亲是地籍注册局的职员，他是家里的第四个儿子。葛兰西4岁时因不慎摔伤而变成了驼背。当时他连续出血3天，医生也以为他会死的，母亲也替他准备好了临终时穿的衣服。因为家境贫寒，葛兰西小学毕业后曾不得不去谋生，在地籍注册局工作了两年。在工作实践中，他体验了社会分配的不平等和不公正，萌生了对富人的一种本能的反抗精神。1911年秋天在卡利亚里高中毕业后，获得了都灵</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">卡罗·阿尔伯托大学</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的奖学金，他报名攻读文学。在大学头两年，他致力于学习，对语言学有浓厚的兴趣。葛兰西早期的社会主义思想是通过阅读《团结报》、《批判》和《心声》等杂志吸收的，从此他开始对国家和民族的命运以及所面临的许多社会问题表示关切。他与当时的社会主义者帕尔米罗·陶里亚蒂（1893-1964）和安杰洛·塔斯卡（1892-1960）之间的友谊也进一步促使他接近社会主义思想。1913年葛兰西参加了社会党。他在都灵这样一个现代化工业城市中生活，亲身体验了工业资本与无产阶级之间的尖锐矛盾和对立。1914年他与《人民的呐喊》报社合作。1915年他结束了大学学业，从事记者工作，成为都灵《挺进报》的一名编辑。对撒丁岛贫困的直接体验，对都灵工人阶级在政治斗争中所表现出来的力量的认识，加上对俄国革命的深远意义及其影响的认识，构成了葛兰西社会主义思想和革命实践活动的基础。<br /> 1919年5月1日他与陶里亚蒂创办了《新秩序》周刊，一对民众继续进行无产阶级文化熏陶为宗旨。1920年葛兰西在社会党内建立了一个左翼反对派，他积极参加占领工厂的运动，并领导了都灵工人的总罢工。意大利社会党分裂后，他于1921年1月21日出席了意大利共产党的成立大会，被选入意大利共产党第一届中央委员会，并被指定为意共机关报《新秩序》周刊的主编。1922年葛兰西旅居莫斯科，在第三国际秘书处工作，年底又参加了共产党国家第四次会议。后来，他移居奥地利，于1924年又回到意大利并被选为议员。1925年，他重赴莫斯科参加共产国际执委会第五次会议。<br /> 由于葛兰西对法西斯杀害社会党领袖马泰奥蒂的暴行表示强烈抗议，加上他积极参加并领导政治斗争，在民众中有影响，所以墨索里尼对葛兰西恨之入骨，扬言</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">必须阻止这个大脑的运转</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。尽管葛兰西当时作为议员有人身不受侵犯的权力，法西斯党徒们仍然逮捕了他，并判处5年流放；后来，葛兰西又被臭名昭著的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">特别法庭</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">以</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">密谋反对国家政权，煽动内战，挑动阶级仇恨，为犯罪者辩护，进行颠复性宣传</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">等罪名判处20年徒刑。<br /> 艰难的铁窗生活使葛兰西遭受了极大的痛苦，1933年以后，葛兰西病倒在狱中，他的身体被彻底摧垮了，但他对社会主义的信念却丝毫没有动摇。葛兰西入狱不久，在给他母亲的信中真挚地抒发了他崇高的思想感情和非凡的气质：<br /><br /> </span><font face="仿宋_GB2312"><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span></font><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font face="仿宋_GB2312">亲爱的妈妈：<br /> 我希望你不要害怕，不管我被判什么刑，你都不要难过，这样，我心里才能平静些。我希望你从感情上能理解这一点；我是个政治犯，我将被判刑，对此我不感到羞愧，将来也不会感到羞愧。你务必懂得这一点，因为说穿了，从某种程度上来说，是我自己要坐牢和判刑的，因为我从来不想改变我的思想观点，为了实现这些理想，我准备牺牲生命，不仅仅是蹲监狱。为此，我内心很平静，我对我自己是满意的。亲爱的妈妈，我真想紧紧地拥抱你，让你感到我是多么爱你，我是多么想消除因为我给你带来的烦恼，但我不能不作出现在这样的选择，因为生活就是这样，生活是十分艰辛的，儿女们有时往往给母亲们带来巨大的痛苦，因为他们想保持自己的名誉，维护做人的尊严。</font></span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体"><font face="仿宋_GB2312">”</font></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /> 《狱中书剑》（1947）<br /><br /> 《狱中书剑》收集了葛兰西在八年的囚禁生活中给家人和亲友的书信。这些信件真实地记述了葛兰西在狱中所受到的折磨和非人的待遇，表现了他对革命事业的忠诚，抒发了他对母亲和儿女们的真挚深厚的感情，读来感人肺腑。在《狱中书简》中，葛兰西以真切朴素的语言，表现了一位革命志士高尚的精神境界和坚强的意志力，抒发了对远在异乡患精神分裂症的妻子的关切和思念，以及对故乡撒丁岛的怀念。全书充满了坚韧不拔的斗争精神和浓厚的人情味，因而具有非凡的感染力。此书于1946年获维阿雷焦文学奖，1947年正式发行后，在意大利引起了强烈的反响。<br /> 长年在监狱中煎熬使葛兰西的身体到了彻底崩溃的地步，他经常彻夜难眠，因患有肺结核而几次咯血，常常发高烧；他还患有动脉硬化症和高血压症，所以常常失去知觉或痉挛。1934年，鉴于葛兰西的健康状况严重恶化，在亲人的强烈要求下和国际舆论的压力下，法西斯当局才同意无条件释放他。葛兰西生命的最后两年是在罗马一所医院里度过的，1937年与世长辞。<br /> 在狱中，葛兰西总是千方百计地设法弄到书籍、报纸和杂志，如饥似渴地阅读和从事研究工作，墨索里尼最终还是没有</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">终止这个大脑的运转</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。葛兰西以惊人的毅力在狱中写下了32本札记，在那些本子上密密麻麻地写了无数篇对报刊文章的旁注眉批，注释和短小的评论，记载了社会、政治、文化、习俗等各方面问题的见解和批评。这些珍贵的笔记后来都由葛兰西的表妹达蒂亚娜保存了下来。这32本零碎的笔记构成了一部完整的作品，它们是一种无价的精神遗产，是一笔巨大的文化财富；它们也是有着一种坚定信念的人的精神力量的见证，表达了葛兰西那种坚定不移而又十分清醒的无产阶级世界观。<br /> <strong>32本</strong></span><strong><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">狱中札记</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span></strong><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><strong>再一次向人们揭示了意大利在法西斯统治下的20年中是处于怎样一种黑暗和死亡的深渊之中，它们是人们思想指南，鞭策人们去研究和认识意大利社会各个方面的问题。在这些笔记中，从社会政治体制到历史、文艺批评等各个方面，葛兰西都提出了经过深思熟虑和见解，供后人参考和借鉴。</strong><br /> 这32本</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">狱中札记</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">后来被分别整理成专集出版，计有：<em><strong>《历史唯物主义和克罗齐的哲学》</strong></em>（1948），<em><strong>《民族复兴运动》</strong></em>（1949），<em><strong>《论马基雅维利》</strong></em>（1949），<strong><em>《知识分子和文化组织工作》</em></strong>（1949），<strong><em>《论文学与民族生活》</em></strong>（1950）等。葛兰西的文艺理论观点集中反映在《论文学与民族生活》一书中，在给亲朋好友写的《狱中书简》中也有片言只语的论述。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">狱中札记</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">发表后，在意大利，人们不仅把葛兰西看作是一位政治家，还把他看作是一位在文化艺术方面有独到见解的文学评论家和思想家。<br /> 葛兰西文艺思想的重要特点是他的坚定的无产阶级革命性，鲜明的战斗性和科学性。葛兰西所提出的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">民族</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">——</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人民的文学</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">观点，是他文艺思想的基础。他尖锐地指出：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">意大利从来不曾有过，现在也仍然没有民族</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">——</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人民的文学，包括小说和其它的艺术形式。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">他分析了意大利普通老百姓热衷于读外国通俗小说而不喜欢读本国当代作品的现象，并从历史、社会和文化传统等方面去探索根源和实质，深刻地阐明了关于人民的文学、文学的人民性和作家应是</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">民族的教育者</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的文艺思想。葛兰西从历史观点出发，强调指出：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">意大利不存在一个思想上和精神上的民族统一体，也不存在等级制的、更勿庸说平等的民族统一体。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">在分析意大利知识分子所存在的弊病时，葛兰西尖锐地指出：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">知识分子不是来自人民，虽然偶尔也有出身人民，他们同人民毫无联系（撇开娓娓动听的言辞不谈），他们不了解人民，不懂得人民的疾苦和愿望，不体验人民内心的感情；就与人民的关系来说，知识分子像是悬吊在空中的、脱离人民的阶层，而不是人民的组成部分；他们没有担当起应该承担的职责。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">因而葛兰西认为意大利知识分子是脱离民族和人民的，缺乏同人民一致的世界观和思想感情，却同旧的等级制度有着千丝万缕的联系。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">换句话说，作家既未想人民之所想，喜人民之所喜，也没有肩负起</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">‘</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">民族教育者</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">’</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的使命，他们从前不曾，现在也没有给自己提出要去体验人民的情感，跟人民的思想感情融为一体，从而培育人民大众的思想情感的任务。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">（《论文学与民族生活》）葛兰西还运用马克思主义的阶级观点分析了意大利知识分子的致命弱点，他说：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">从意大利社会的成分看来，绝大部分知识分子隶属于农村资产阶级，而这个阶级的经济地位只有当广大农民群众遭受敲骨吸髓的压榨时才能得到保障。一旦需要从言论转向具体的行动时，对于这些知识分子来说，就意味着彻底摧毁他们的经济基础。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">（《论文学与民族生活》）<br /> <strong>对克罗齐</strong></span><strong><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">艺术即直觉</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的唯心主义艺术观的批判是葛兰西文艺思想的另一个重要组成部分。葛兰西立场鲜明地反对克罗齐的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">感觉先于观念和行动</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">以及</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">文艺与现实、内容和形式相分裂的所谓</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">‘</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">纯诗歌</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">’”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的观点，他认为文学艺术是历史的产物，文艺作品是特定的社会环境和道德思想的艺术体现。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">这里涉及到文学为什么和怎样才能成为人民的文学的问题。光求</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">‘</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">美</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">’</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">是不够的。需要一定的思想和道德内容，并使之成为一定的群众</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">——</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">即在历史发展的一定阶段的民族</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">——</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人民</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">——</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的最深沉的愿望的完美和充分的反映。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span></strong><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><strong>（《历史唯物主义和克罗齐的哲学》）</strong><br /> 葛兰西提出了马克思主义的文艺观，以历史唯物主义的观点，阐明了</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">文化</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">这一概念所包含的极其深刻的内涵：文化代表一个民族</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">对生活和对人的概念</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，是一定社会的精神生活，而为着建立新文化，必须对人民抱新的立场和态度，确立关于</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">民族</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的新观念。葛兰西在谈到</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">文化</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">时，分析了意大利人的精神状态，抨击了教会文人对人民精神思想方面的毒害。他指出</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">教会文人写的这类作品浸透了像麝香鼠的乳液一般的耶稣教的说教，令人作呕</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。他认为</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人民处于极端的冷漠状态，缺乏生动活跃的精神生活；宗教依旧停留在迷信阶段，它因世俗文人的软弱而未被人类的非宗教的新道德所取代</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。为此，葛兰西强调要以严格和彻底的批判精神把创立新艺术的斗争同创立新文化的斗争，以及同改造人的自身的斗争融为一体。<br /> <strong>在文艺批评方面，葛兰西既反对唯美主义，也反对用政治说教来取代艺术创作的教条主义。他指出</strong></span><strong><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">内容同形式是二位一体的，不可分割的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，基于这一基本思想，葛兰西进一步揭示了内容与形式之间除了蕴含着</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">美学的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">涵义，又具有</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">历史的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">涵义，从而提出了他自己的文学批评准则。他认为，对于一部艺术作品，不仅要研究它的艺术特征，而且</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">要研究这部作品贯串着怎样的情感，它对生活采取怎样的态度</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。葛兰西认为如果一部作品达到了完美的境地，那是仰仗着它的道德内容和政治内容，而不是取决于</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">同抽象的内容融合成一个整体的作品的形式</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">；但葛兰西同时又认为</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">艺术就是艺术，而不是</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">‘</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">预先安排好的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">’</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">和规定好的政治宣传</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，主张</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">文学批评要更加切实有效，更加生动活泼</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。他指出</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">政治家施加压力，要求他那个时代的艺术反映一定的文化世界</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">——</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">这不过是政治行动，同艺术批评毫不相干</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span></strong><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><strong>。</strong><br /> <strong>在艺术表现手法上，葛兰西批判了长期来盛行于意大利文学界的那种矫揉造作的文风，提出</strong></span><strong><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">创立清新活泼、富有表现力、同时又质朴自然、含蓄洗炼的散文，是有待实施的文化任务之一</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。他认为坚持有艺术</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">‘</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">形式</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ascii-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体;mso-fareast-font-family:宋体">’</span></strong><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><strong>，这是执着于内容、纠正传统的华而不实的文风的一种实际手段。他提出，文艺批评的任务，就是研究和理解作品的形式与内容之间的相互依存的辩证关系。</strong><br /> 在《论文学与民族生活》一书中，葛兰西除了对德·桑克蒂斯、克罗齐、卡尔杜齐等著名文艺批评家和《呼声》派的文艺倾向作了透彻的分析与比较之外，还对意大利和外国的重要作家，如但丁、马基雅维利、彼特拉克、哥尔多尼、曼佐尼、皮兰德娄、托尔斯泰、巴尔扎克以及莎士比亚等的作品进行了精辟的分析和论述，发表了独到的见解。对历史上出现的人文主义和文艺复兴运动，对于意大利文学的现状以及在世界上的作用，甚至对于歌剧与民歌、侦探小说、连载小说和科幻小说等等都广为涉及，予以一定的评论。所以此书不愧是一部当今和未来的文艺理论和文艺创作的指南。<br /><br /><span style="color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"><strong>【X手工录入，转载请注明转自黑蓝及录入人】<br /><br /></strong><span style="font-size:13.5pt;color:green;font-family:宋体;mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-font-kerning:1.0pt"><br /><strong>【他山之石】<br /><br /><font face="楷体_GB2312" color="#000000" size="3"><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37014&page=1">葛兰西：现代君主论</a></font></strong><font color="#000000"> <br /><br /><font face="楷体_GB2312" size="3"><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37015&page=1"><strong>葛兰西：反《资本论》的革命</strong></a><br /><br /><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37022&page=1"><strong>葛兰西：但丁和马基雅维里</strong></a><font color="#000000"><font face="宋体" size="4"> <br /><br /></font><font face="楷体_GB2312" size="3"><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37021&page=1"><strong>葛兰西：社会主义和文化</strong></a><br /><br /><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37020&page=1"><strong>葛兰西：革命者和选举</strong></a><font color="#000000"><font face="宋体" size="4"> <br /><br /></font><font face="楷体_GB2312" size="3"><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37019&page=1"><strong>葛兰西：《狱中札记》选</strong></a><br /><br /><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37018&page=1"><strong>葛兰西：历史</strong></a><font color="#000000"><font face="宋体" size="4"> <br /><br /></font><font face="楷体_GB2312" size="3"><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37017&page=1"><strong>葛兰西：夺取国家</strong></a></font></font></font></font></font></font></font></font></span></span></span>[此帖子已经被作者于[lastedittime]1218597716[/lastedittime]编辑过]
作者: 录入小组 时间: 2008-8-12 19:27
<span><p class="MsoNormal" style="margin:0cm 0cm 0pt"><font color="#ff0000" size="3"><span><strong>第二节<font face="Times New Roman"> </font>《巡逻哨》和艺术散文</strong></span></font><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /><br /></span><font size="3"><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"> 《巡逻哨》是第一次世界大战后在意大利最有影响的文艺刊物。《巡逻哨》提倡恢复传统的文艺创作路子，推崇</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">14</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">世纪诗人彼特拉克（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1304-1374</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">）和</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">19</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">世纪诗人莱奥帕尔迪（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1798-1837</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">），曼佐尼（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1785-1873</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">）的作品，主张恢复正统秩序，讲究高雅的艺术风格，所以《巡逻哨》也被成为新古典主义派。</span></font><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /></span><font size="3"><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"> 《巡逻哨》于</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1919</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">4</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">月创刊于罗马，一直发行至</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1922</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年底停刊（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1923</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">12</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">月又发行过一期）。这是由一批年青的作家和文学评论家组成的文艺团体创办的杂志，由安东尼奥·巴尔迪尼（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1889-1962</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">）、<strong>维琴佐·卡尔达雷利</strong>（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1887-1989</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">）和<strong>埃米利奥·切基</strong>（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1884-1966</font></span></font><font size="3"><span>）任主编。<br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"> <strong>《巡逻哨》文人们笃信艺术家的天职就是创造出高雅完美的艺术作品。他们既反对未来派的空想主义和虚无主义的文艺观点，又反对《呼声》派表现个人自我意识的文艺主张。他们提倡恢复文学的传统作用，反对文学真实地和直接地反映社会现实，反对文学作品具有现实主义的思想内容，认为文艺应该脱离社会和政治，提倡一种不受政治、道德、哲学、社会和宗教支配与约束的文学。</strong></span></font><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /></span><span><font size="3"> <strong>他们认为现代诗歌应该表现现代人的情感和现代人的自省，倾向于用抒情散文代替诗歌，开创了用散文来抒发作者的印象和感受、对往事的眷恋追忆以及对美好事物的幻想的先河；强调文学作品的艺术价值，追求完美的艺术形式。他们把艺术形式的美和文体的高雅放在第一位，认为优美、贴切、华丽的词语是准确地表达思想感情的文学手段。这种用完美的艺术形式来抒发感情的文学手段就是<font face="Times New Roman">“</font>艺术散文<font face="Times New Roman">”</font>，其特点是篇幅短，形式优美，具有浓厚的抒情色彩。</strong></font></span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font size="3"> 然而《巡逻哨》文人们在反对文学的现实性和反对文艺的政治倾向的同时，却滑到了孤立地强调语言的作用和抽象地侈谈艺术风格的斜路上去，使诗歌或散文变成单纯的艺术形式，把作品的艺术表现力和艺术风格看成是绝对高于一切的东西。</font></span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /></span><font size="3"><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"> 面对战后意大利社会的动荡、混乱和暴力行为的猖獗，《巡逻哨》文人主张恢复过去的旧秩序。经历了战争的急风暴雨洗礼的意大利社会，人们从精神上和心理上有一种恢复传统</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">“</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">秩序</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">”</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">的需求，</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">“</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">要恢复社会秩序</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">”</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">成为当时最流行的一句口号，也是人们最关切的问题。然而，《巡逻哨》文人要求恢复</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">“</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">秩序</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">”</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">的主张恰恰为法西斯主义鼓动建立反动的法西斯</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">“</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">新秩序</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">”</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">所利用，所以，从某种意义上来说，它助长了法西斯迅速登上政治舞台的气焰。但这并不是说他们赞成法西斯主义，恰恰相反，《巡逻哨》最有权威的代表人物克罗齐后来还在</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1925</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年的反法西斯宣言上签了字。</span></font><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font size="3"> 另外，《巡逻哨》提倡文学的纯洁性和艺术的绝对价值，这就在客观上为生活在法西斯桎梏下的文人们寻找到一条出路，提供了一个避风港，使他们注意力都集中在崇尚艺术、追求高雅文采和讲求表现形式的纯文学艺术的范畴之中，使他们能避开了法西斯主义政治上蛊惑人心的宣传，不必去为法西斯主义歌功颂德或涂脂抹粉了。但后来历史的发展证明《巡逻哨》文人的那种企图超脱尘世、洁身自好的立场完全是一种幻想，意大利国内日益加剧的政治危机使他们完全处于茫然又不知所措的境地。</font></span><span><br /><br /><br /><strong><font color="#000000" size="3">一<span style="mso-spacerun:yes"><font face="Times New Roman"> </font></span>维琴佐·卡尔达雷利</font></strong></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"> </span><br /><br /><img src="http://farm4.static.flickr.com/3093/2759048152_b335870c89_m.jpg" border="0" alt="" /><br /></p><p class="MsoNormal" style="margin:0cm 0cm 0pt"><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">（</span><span lang="EN-US"><font face="Times New Roman">Vincenzo Cardarelli</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">，</span><span lang="EN-US"><font face="Times New Roman">1887-1959</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">）</span><span lang="EN-US"><br /><font face="Times New Roman"><span style="mso-spacerun:yes"></span><br /></font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> <b style="mso-bidi-font-weight:normal"><span style="color:#993366">维琴佐•卡尔达雷利</span></b>是《巡逻哨》的主编，也是该刊物所提出的文艺纲领的最忠实的执行者。</span><span lang="EN-US"><font face="Times New Roman">1887</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年生于意大利中部地区一个叫科尔内托•塔尔圭尼亚的地方，那里曾是古代特鲁斯基民族生活的地方。他父亲在那儿经营一家饭馆，他童年时代的大部分时间都是在家乡铁路上度过的。卡尔达雷利没有正规上过学，但他自幼喜爱文学，通读了歌德、波德莱、莎士比亚和尼采的作品，尤其是意大利诗人但丁和莱奥帕尔迪的作品。</span><span lang="EN-US"><font face="Times New Roman">19</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">岁时去罗马谋生，当过文书、会计和五金公司的职员，他经常失业，饱尝了贫困之苦。</span><span lang="EN-US"><font face="Times New Roman">1911</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年迁居佛罗伦萨，为《呼声》报撰写文学评论。第一次世界大战爆发后，他被迫流亡到瑞士。</span><span lang="EN-US"><font face="Times New Roman">1919</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">年回到罗马后，创立了《巡逻哨》杂志。</span><span lang="EN-US"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> <b style="mso-bidi-font-weight:normal"><span style="color:black">卡尔达雷利的散文堪称是“艺术散文”的典范，严格的艺术风格的追求和对传统的古典主义的纯艺术性的探索，使他能以一种抒情性的语言和高雅的艺术形式传达了在一定程度上超脱了现实生活而又怀着恋旧伤感情绪的现代人的内心感受。</span></b></span><span lang="EN-US"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> 卡尔达雷利的代表作有<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《童话与回忆》</i></b>（</span><span lang="EN-US"><font face="Times New Roman">1925</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">），<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《落山的太阳》</i></b>（</span><span lang="EN-US"><font face="Times New Roman">1929</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">）和<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《城市上空的天》</i></b>（</span><span lang="EN-US"><font face="Times New Roman">1939</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">）等，<b style="mso-bidi-font-weight:normal">作品以抒情散文的形式展现了大自然宽阔的画面，传达了现代人内心的忧虑和不安；古人在无垠的空间留下的文明痕迹勾起了他对童年的回忆和对过去岁月的留恋。</b></span><span lang="EN-US"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> </span><span lang="EN-US"><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> </span><span style="font-family:仿宋_gb2312">“山里刮起了秋风，那萦绕着思绪的秋风。狂怒、哀伤而又令人陶醉的秋风吹刮过来，像是要置人于死地，又像是一场浩劫。秋风诱人歌唱。秋风荡涤了已收摘过的葡萄园和那业已萧瑟的丛林。我能否像秋风扫落叶一样，扫除那些充斥在我脑海里的记忆……蚂蚁从蚁穴爬出来采集过冬的食物。霎时间，秋雨哗哗地瓢泼下来，犹如人的一场号啕大哭，无休无止，大自然像是在雨中痛苦地抱怨着时光的流逝。这雨水犹如人的泪水，汇流成江川和山涧，湖水上涨，淹没了街道，毁坏了桥梁和田埂，浸漫了绿色的田野。墙上重又长出茅草，蛤蟆和蝾螈出来了，无数只青蛙欢跃蹦跳在大水塘中。天天早晨一缕阳光战战兢兢地出人意料地露出头来，寻觅那仍然掉落在窗台上的枯黄的槐树叶，还有那撒落在林荫道上的梧桐叶，阳光似乎有些依恋不舍，这惨淡、衰竭的阳光照耀着花果山，也照耀着布满枯枝落叶的像公墓一样肃穆而又凄凉的花园……”</span><span lang="EN-US"><br /><span style="mso-spacerun:yes"><font face="Times New Roman"></font></span></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">（《落山的太阳》，</span><span lang="EN-US"><font face="Times New Roman">1958</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">）</span><span lang="EN-US"><br /><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> 这篇艺术散文描写了泼洒在湖面上的滂沱的秋雨和雨后惨淡的阳光，那萧瑟的秋风勾起了作者对似水年华的无穷回忆，秋风给人以一种信息：岁月在无情地流逝。诗人触景生情，幻想着自己能像秋风扫落叶一样驱散头脑里的记忆；然而，“蚂蚁”出洞，“青蛙”在水塘里嬉戏，又使诗人回到现实生活中来；接着，作者又用瓢泼的秋雨比喻大自然也像人一样在“哭泣”时光的流逝，把诗人留恋似水年华的心情寓于雨景之中，使情与景自然地交融于一体。</span><span lang="EN-US"> <br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> <strong>卡尔达雷利散文的特点是用典雅的形式把对现代社会生活的感触表现出来，实际上他是以散文的形式来写诗，或是以交谈对话的形式用诗歌的节律来表现思维推理和对生活的思索。他善长于借景抒情，用外界的景象传达并抒发现代人惆怅、伤感的心情。他的作品风格高雅，语言优美，有强烈的表现力，他的每篇散文都犹如一席明快的谈话，又似一幅明朗的画面，其意境往往按照逻辑思维和推理的过程而展现，语言清新、明澈，避免庸俗地直接地去描述风景的魅力，而是着眼于抒发诗人的内心感受。</strong></span><span lang="EN-US"><br /><br /></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"> </span><font face="Times New Roman"> </font><span style="font-family:仿宋_gb2312">“谁若在湖边度过一个夏日的夜晚，就一定能领略到什么叫惬</span><span lang="EN-US"><font face="Times New Roman">(157</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">缺</span><span lang="EN-US"><font face="Times New Roman">)***************************************************************************************************************************************************** <br /><br /></font></span><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">【</span><span lang="EN-US"><font face="Times New Roman">X</font></span></b><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">手工录入，转载请注明转自黑蓝及录入人】</span></b> </p><p class="MsoNormal" align="left" style="margin:0cm 0cm 6pt;line-height:10pt;text-align:left;mso-line-height-rule:exactly;mso-pagination:widow-orphan;mso-layout-grid-align:none"></p></span>[此帖子已经被作者于[lastedittime]1218598192[/lastedittime]编辑过]
作者: 录入小组 时间: 2008-8-12 23:36
<p class="MsoNormal" style="margin:0cm 0cm 0pt"><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font color="#ff0000"><font color="#000000">二 </font><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn"><strong><font color="#000000">埃米利奥·切基</font><br /><br /></strong></span></font>(Emilio Tcheky,<span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman" size="3">1884-1966)</font></span><br /><br />（缺页） <br />意大利和欧洲的文化中心佛罗伦萨，并在佛罗伦萨大学攻读文学，这为他的文学修养和造诣打下了扎实的基础；切基对英、美文学有浓厚的兴趣，加上他有良好的英语基础，于</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1919</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年编写出版了《</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">19</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">世界英国文学史》。他在文艺评论上的杰出才能和他对问题敏锐的观察力，使他成为《呼声》报的积极合作者之一，并于</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1910</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年应邀去罗马负责《论坛》杂志的文学评论栏目，著有《乔瓦尼·帕斯科利》（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1912</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">）等文学论著。著名的文学评论家德·罗伯蒂斯（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1888-1963</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">）曾这样评论过切基的观察力：</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">“</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">切基观察事物不仅用眼睛，他是把五个感觉器官都用上了；切基是在事物内部搜寻什么，像是想从中寻找谜底似的。</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">”<br /><span style="mso-spacerun:yes"> </span></font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">第一次世界大战爆发以后，切基应征入伍，奔赴前线，曾任当时陆军第十二师上尉。战后，他以《论坛》报记者的身分迁居至伦敦。</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1919</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年切基回到意大利后，成为《巡逻哨》文学杂志的创始人之一，并一直是该杂志的积极合作者。在美学家克罗齐起草的意大利文人反法西斯宣言上，切基是首先签名的文人之一。这段时期的文学评论集《红鱼》（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1920</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">）和《天气恶劣时的旅馆》（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1927</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">）先后问世，另外还著有《</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">19</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">世纪意大利绘画》（</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1926</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">）一书。这段时期的文学评论集《小步跑》问世，同年，在著名的剧作家和小说家<strong><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">皮兰德娄</span></strong>提议下，切基荣获意大利科学院颁发的文学奖。</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1940</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年切基被任命为意大利科学院院士。</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1949</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年以后，切基在罗马林琴科学院主管文艺评论工作。</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1958</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年他荣获佛罗伦萨大学颁发的荣誉博士学位。</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1961</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年又获意大利共和国总统颁发的</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">“1959</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年金笔</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">”</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">文学奖。</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">1966</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">年逝世于罗马。</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /><span style="mso-spacerun:yes"><font face="Times New Roman"> </font></span></span><b><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn">埃米利奥·切基被人称为艺术散文的鼻祖。他对形象艺术的认识，对英、美文学的研究，以及对象征派文学和古典主义的探索，都为他奠定了深厚的文学功底。他的艺术散文风格新颖，语言明晰、洗练，充满想象力，并有浓厚的抒情性；加上细腻的文笔，自然洒脱的文采，轻巧活泼的表现手法和清晰的条理，使他的作品成为艺术散文的典范。</span></b><b><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /></span></b><b><span style="mso-ansi-language:zh-cn"><span style="mso-spacerun:yes"><font face="Times New Roman"></font></span></span></b><b><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn">切基善于把人对现代社会的感受用抒情散文的形式展现出来，往往展现日常生活中最普通的场面，捕捉住瞬间产生的最细微的感受和印象，深刻地探索其中异乎寻常的奥妙，把读者引到意想不到的古老、原始、遥远的境界中去。切基以描写动物见长，从金鱼到野猫，从猩猩到鳖，从河马到黑豹，无不涉及，而且联想奇妙。试以他写的金鱼为例：圆形玻璃缸里游动的金鱼，从侧面看去它是鱼的样子，但当金鱼从正面游过来时，</span></b><b><span style="mso-ansi-language:zh-cn"><font face="Times New Roman">“</font></span></b><b><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn">它那歪斜的大嘴巴，在象小山丘一样的前额下，变成了一张红色的假面具，看了使人感到悲怆、忧郁……</span></b><b><span style="mso-ansi-language:zh-cn"><font face="Times New Roman">”</font></span></b><b><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn">，它使人想到了</span></b><b><span style="mso-ansi-language:zh-cn"><font face="Times New Roman">“1000</font></span></b><b><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn">年前发怒的大龙</span></b><b><span style="mso-ansi-language:zh-cn"><font face="Times New Roman">”</font></span></b><b><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn">。作者由此联想到了古老的中国和东方，并引用了东方的古诗。</span></b><b><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /></span></b><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><span style="mso-spacerun:yes"><font face="Times New Roman"> </font></span></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">切基善于运用他那高超的艺术鉴赏力和敏锐的洞察力以及娴熟的文笔，巧妙地分析、解剖一只动物或一件物品，探索事物之间既和谐又有差别，既互有联系又相互矛盾的关系。这种通过对事物形象细腻、确切的描述来进行文艺评论的手法，这种把日常生活中常见的事物用艺术水准的高度去衡量的能力，正是切基区别于他同时代其他评论家的一个重要标志。</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /><span style="mso-spacerun:yes"><font face="Times New Roman"> </font></span></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">如切基笔下的伦敦动物园里的两只黑豹，它们身上的皮毛色彩是那么和谐单一，就像</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">“</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">是一个长着两只灰白色大眼睛的人穿着有弹性的黑色条纹毛衣似的，只有在黑豹打哈欠时，色彩的组合才有瞬间的变化，露出了红色的舌头和镀金似的象牙色的利齿</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">”</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">。作者自认</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">“</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">是个特别喜欢黑豹的人，但又不得不承认它也是以某种方式被重新修饰打扮过的：在强烈的阳光照射下，豹皮上呈现出一些小环圈，就像花豹和花猫身上的花斑一样，犹如穷人因为买不起新衣料制作孝服，就把旧的衣服染黑了穿上去一样。日子长了，黑颜色褪了，发绿了；旧衣服底色的花样或格子又都露出来了</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">”</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">。这时候，作者的心情，</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">“</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">就像是在一个自己十分爱慕的漂亮的女子身上，发现她的头发是假的时候</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><font face="Times New Roman">”</font></span><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt">的心情一样。</span><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /><span style="mso-spacerun:yes"><font face="Times New Roman"> </font></span></span><b><i><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn">《金鱼》</span></i></b><b><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn">（</span></b><b><span style="mso-ansi-language:zh-cn"><font face="Times New Roman">1920</font></span></b><b><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn">）是最能体现切基艺术造诣的一部散文，其论证的确切性，分析的透彻性和清晰度，都是无人可比的。凭借作者对事情内在实质的洞察力，使作品既是一篇文艺评论，又是本人的经历叙述，既是个人的感情抒发，又是教诲他人如何判断客观事物的一席个人见解。作品不仅向人们揭示了现实生活的内涵和本来的面貌，还抒发了他对所酷爱的艺术的追求和对岁月的流逝、事情的消亡而感到伤感以及对文人生涯的体验。</span></b><b><span style="mso-ansi-language:zh-cn;mso-bidi-font-size:10.5pt"><br /></span></b><b><span style="mso-ansi-language:zh-cn"><font face="Times New Roman"><span style="mso-spacerun:yes"> </span></font></span></b><b><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn">比起艺术散文家卡尔达雷利那种富有音乐性的、格调奔放的作品来，切基的作品却给人一种老练审慎而又世故冷漠的印象，他活像是一位古板的艺术品鉴赏家，总是以那种探索的目光冷峻地洞察着周围的一切事物。<br /><br /><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">【</span><span lang="EN-US"><font face="Times New Roman">X</font></span><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'">手工录入，转载请注明转自黑蓝及录入人】</span></b></span></b></p>[此帖子已经被作者于[lastedittime]1218598258[/lastedittime]编辑过]
作者: 录入小组 时间: 2008-8-13 00:20
<span style="font-size:10.5pt;color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><strong><font color="#000000">三<span style="mso-spacerun:yes"> </span>里卡尔多·巴凯利</font><br /><br /><img src="http://farm4.static.flickr.com/3105/2758232075_af9c4994b2_o.jpg" border="0" alt="" /><br /></strong></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br />（Ricardo Bacchelli，1891-1985）<br /><br /> <b style="mso-bidi-font-weight:normal"><span style="color:#993366">里卡尔多·巴凯利</span></b>生于意大利的波仑尼亚；后来长期生活在米兰。他是《巡逻哨》的创始人之一，曾是《呼声》报的合作者。既是诗人、剧作家和小说家，又是文艺批评家和历史学家。第一次世界大战期间曾任炮兵军官赴前线作战，后任《晚邮报》记者，这为他多向性的文艺创作提供了丰富的经历和题材；<b style="mso-bidi-font-weight:normal">他积极地探索19世纪著名作家曼佐尼和诗人卡尔杜齐的创作风格，大胆地提出了一种融</b></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">知识性</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">、</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">历史性</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">和</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">社会性</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">为一体的多向性的文学主张。</span></b><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">早期的诗集有<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《抒情诗》</i></b>（1914），<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《爱的词语》</i></b>（1935），其诗熔抒情性和哲理性于一炉，并带有自传体风格；他的剧作有<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《哈姆雷特》</i></b>（1919），<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《最后一晚的黎明》</i></b>（1949）等，都带有方言的特色。<b style="mso-bidi-font-weight:normal"><span style="color:black">他的小说创作模仿曼佐尼的风格，以历史题材为主，把人物、事件和背景都安排在一个特定的历史环境之中，犹如一幅大型的历史壁画，刻画出人物所处的年代，人们的习俗风尚、思想观念和道德准则，读后发人沉思，并予人以教诲。</span></b>其三部曲<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《波河上的磨坊》</i></b>（1938-1940）就是一部脍炙人口的巨著，从而确立了巴凯利在文坛上的地位。<br /> 巴凯利还是艺术散文家。他那部以描写景色为主的<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《意大利的大地和海洋》</i></b>（1952），既有浪漫主义的色彩，又体现了古典主义的风格。<br /> 巴凯利文学创作的题材广泛，充分显示了其历史知识的渊博。他的历史题材的作品从古罗马时代一直跨越到中世纪，直至现代社会，作品有：<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《斯大林之子》</i></b>（1953），<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《米兰的火灾》</i></b>（1953），<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《凯萨大帝的三个奴隶》</i></b>（1969），<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《一部爱情小说》</i></b>（1969），<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《星星》</i></b>（1971）；宗教题材的作品有：<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《拉斯之子的眼泪》</i></b>（1945），<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《耶稣的目光》</i></b>（1948）等；评论著作有：<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《文学的忏悔》</i></b>（1932），<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《罗西尼》</i></b>（1954）和<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《在历史的长河中》</i></b>（1955）等。这位才华横溢的文学巨匠不仅创作题材广泛，表现手法多样，语言运用娴熟，人物形象刻画细腻，而且善于从众多人物和历史事件的描述中挖掘一种人生哲理，抒发对人类历史和命运的一种感受，所以他的作品似乎是他本人所生活过的那个世纪的一面活镜子。<br /> 巴凯利曾先后被任命为意大利科学院院士（1941）和林琴科学院院士（1944）。1985年逝世于北方米兰附近的小城蒙扎。<br /> 长篇小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《长桥上的恶魔》</i></b>（1927）展现了1873-1876年期间意大利艾米利亚</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">罗马涅亚大区社会的动荡。主人公安德烈亚·利斯塔是一位巴枯宁式的空想主义者，他玩世不恭，淫荡纵欲。作者以辛辣的讽刺手法，幽默且富有想象力地给主人公画了一幅漫画。作品描绘了波仑尼亚城资产阶级的社会风尚，时而以哲学家的口吻借用寓言进行讽喻，时而又以辛辣的措词对当时的社会弊病加以嘲弄，流露了作者对现代文明社会发展前景的忧虑不安，并以主人公的堕落和荒淫无耻来揭示现代社会人的扭曲心态。<br /> 巴凯利在他的代表作<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《波河上的磨房》</i></b>（1938-1940）中，雄心勃勃地表现出一种气势磅礴的创作风格，为其小说创作立下了一块里程碑。小说以1812年拿破仑从俄国撤退至1918年一次世界大战中比亚维战役之间整整一个世纪的意大利历史为背景，通过艾米利亚地区一个贫困的磨房工人家庭里几代人的遭遇，描述了这一百多年间在这块土地上发生的贫困、饥饿、战争和人们相互之间的争斗。这三部曲《波河上的磨房》由<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《愿上帝保佑你》</i></b>（1938），<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《船上的贫困生涯》</i></b>（1939）和<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《旧世界犹新》</i></b>（1940）三部小说组成。<br /> 《愿上帝保佑你》（1938）的主人公拉扎罗·斯卡切尔尼是沙俄时代从俄国战场上撤退的拿破仑军队的一名士兵，他在从莫斯科撤离回国的途中，过河时营救了一个名叫马扎科拉蒂的军官，并一路上照料他，但马扎科拉蒂因长途跋涉而体力不支，临死前为了报答拉扎罗的救命之恩，请求拉扎罗接受他死后留下的一大笔遗产，并赐予他半个金币作为认领遗产的凭证，拉扎罗回到意大利之后，把那笔财产变卖了，为自己在波河上建造了一座磨坊，又娶了一位名叫多索丽娜的善良的姑娘为妻，婚后过着幸福美满的生活。可是有一天，波河泛滥成灾，当时多索丽娜正要分娩，拉扎罗在与洪水的搏斗中，一条腿受了重伤，但磨坊总算保住了。多索丽娜得一男孩。当年曾帮助过拉扎罗变卖财物的海盗拉古塞奥想拉扎罗诈取钱财，拉扎罗借助另一个强盗之手把拉古塞奥杀了。杀人凶手被缉拿归案并当众判决政法后，拉扎罗既内疚又悔恨，因为他自己是杀人犯的同谋，而且他拥有的财富原本也是他人的遗产。此时，意大利各地也出现了争取独立和社会改革的民众暴动；第一部小说《愿上帝保佑你》的故事就是在1844年至1848年的动荡岁月中结束的。<br /> 波河再次泛滥，一个名叫切契丽亚的小姑娘随着一个磨盘漂流到拉扎罗的磨坊来，她是波河上另一家磨坊主的女儿，其父是在洪水泛滥中淹死的。<br /> 《船上的贫困生涯》（1939）的主人公是拉扎罗的儿子朱塞佩，这个在当年波河泛滥时出生的年青人生性刁钻，诡计多端，外号叫狼兔崽子。他因伙同走私犯搞非法买卖曾被警方拘留；他还用阴险的欺骗手段娶了随洪水漂流而来的切契丽亚为妻，婚后生育了七个儿女，但朱塞佩只对小儿子拉扎里诺有感情。后来朱塞佩的父母亲双双死于霍乱。朱塞佩靠走私发了财，乡亲们都憎恨他。13岁的拉扎里诺因目睹乡亲父老对其父怀有那么刻骨的仇恨，就立志离开家乡，依然投奔了加里波第的千人红衫军，并在一次战斗中不幸牺牲。波河又泛滥了，朱塞佩生怕洪水冲毁田地淹没庄稼，他祈求鬼神显灵，但洪水还是冲垮了堤岸。面对被洪水淹没的家园，朱塞佩急疯了。<br /> 《旧世界犹新》（1940）是以切契丽亚拖儿带女艰苦度日开始。统一后的意大利政府颁布了名目繁多的苛捐杂税，繁重的磨面税给农业劳动者和磨面工带来了沉重的经济负担。小说描述了波河两岸的农民所开展的初期的政治斗争：他们抵制交纳赋税，反对新兴地主的兼并，组织罢工。乡亲们团结一致的行动使罢工获得了胜利。新农场主经营的农田庄稼被毁，牲畜都被宰杀在牛棚羊圈里；期望分得土地的农民们和磨面工人们还组织向省城弗拉拉的进军，但因缺乏明确的奋斗目标和坚强的领导而以失败告终。切契丽亚的一个儿子普林奇瓦莱因用拳头揍死了姐姐贝尔塔的情夫而进了监狱。为养育儿女而含辛茹苦的切契丽亚后来也在忧郁和痛苦中死去，磨坊里只留下长子乔瓦尼和两个女儿贝尔塔和玛丽亚。切契丽亚最小的女儿多索丽娜与一个外乡人结婚所生的一个儿子，后被无儿无女的乔瓦尼收养为义子，取名拉扎罗，这是小说的最后一代年青人。这是，正值第一次世界大战爆发，拉扎罗上了前线，战死在比亚维河畔的那次战役中，而此时的意大利已胜利在望了。<br /> 三部曲《波河上的磨坊》是以一个普通的磨坊主一家三代人的坎坷遭遇，展现了意大利劳苦大众在长达100年的历史中所经历的苦难：饥荒、灾祸、贫困、战争、疾病与死亡，那川流不息、喜怒无常的波河则是这悠久历史的见证。小说借鉴了世界著名小说家曼佐尼和托尔斯泰书写大型历史小说的传统风格，以雄伟的气势和独特的风格创作了这部巨大的历史画卷。对这部作品，著名文艺评论家切基曾这样形象地评述过：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">巴凯利的这部《波河上的磨坊》像是一条曲折蜿蜒的大河，河水的流速缓慢，却水量丰富。河水流到了一片无垠的平川之上，有时懒洋洋地迂回在笼罩着浓雾的沼泽地，有时却像奔腾咆哮的瀑布向四方喷溅出水花，它时而停滞不前，时而又奔腾向前，时而流入贫瘠的不毛之地，时而又流经肥沃富饶的乡村。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /> 但巴凯利的这部作品缺乏结构上的平衡，对原始材料的艺术加工处理不够，因而缺乏区分主次的全局性安排，而且，由于过多地拘泥于尊重历史真实，使小说中的政治历史事件的追述过长，次要的插叙所占用的篇幅也过多，从而偏离了正题。另外，作者往往随自己的写作灵感的冲动而过多地对历史环境与人物加上第一人称的评论和解释，致使作品在强调历史背景的真实性和可靠性的同时，却忽略了作品结构的严谨性，从而给读者有一种松散、冗长的感觉。<br /><br /><span style="color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman'"><strong>【X手工录入，转载请注明转自黑蓝及录入人】</strong></span></span>[此帖子已经被作者于[lastedittime]1218598441[/lastedittime]编辑过]
作者: 录入小组 时间: 2008-8-13 09:50
<span style="font-size:10.5pt;color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><strong>第三节<span style="mso-spacerun:yes"> </span>埃利奥·维托里尼</strong></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><br /><img alt="" src="http://farm4.static.flickr.com/3069/2758250305_7abec2e961_m.jpg" border="0" /><br /><br />（Elio Vittorini，1908-1966）<br /><br /><b style="mso-bidi-font-weight:normal"><span style="color:red"><font color="#000000">一<span style="mso-spacerun:yes"> </span>生平与创作</font><br /></span></b><br /><span style="mso-spacerun:yes"> </span><b style="mso-bidi-font-weight:normal"><span style="color:#993366">埃利奥·维托里尼</span></b>1908年生于西西里岛的锡腊库扎。父亲是铁路职工，母亲是希腊人的后裔。1924年，他中断了技校学业，离乡背井，外出谋生，先是在一家建筑公司当会计和建筑工，后又在一家杂志社当校对和排字工。1927年</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">—</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">1938年，维托里尼在佛罗伦萨与进步文学杂志《索拉利亚》（Solaria）派的文人有接触。1931年，在该杂志上陆续发表了一些短篇小说，后结集为<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《小资产阶级》</i></b>。这是一部借主人公的回忆、梦境、想象和幻想，采取类比、推理和内心反省的手段，表达了小资产阶级渴望摆脱平庸的世俗生活，企图超越常规、逃避现实，寻找一种更为真实的生活的心态。（165缺）*****************************************************************************************************************************************************<br /><b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">的城市》</i></b>于1969年出版。<br /><br /><span style="color:red"><strong><font color="#000000">二<span style="mso-spacerun:yes"> </span>《索拉利亚》</font><br /></strong></span><br /> 1926年法西斯统治在意大利确立，墨索里尼取缔了所有反对派的报刊，扼杀新闻自由，对进步人士采取了高压政策，意大利全国笼罩着法西斯恐怖，迫使一大批文人移居或逃亡国外；文学艺术创作也受到窒息，拒绝为法西斯政权歌功颂德的持不同见解的文人精神上十分压抑。在这种历史背景下，1926年1月在佛罗伦萨由阿尔贝托·卡罗奇创办了《索拉利亚》文艺月刊，该刊宣称没有什么特别的政治纲领，其宗旨就是推荐和发表有一定文学价值的作品。这样，它就为当时的青年文人提供了一块相互沟通思想并交流创作成果的文学园地。<br /> 《索拉利亚》杂志自1926年创刊直至1936年被勒令停刊，共发行了90期，它对整个意大利文坛有着十分重大的影响。1934年三四月间法西斯当局以</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">伤风败俗</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">和</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">有碍道德风尚</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的罪名查封了《索拉利亚》，受到指控的两篇小说是《将军的女儿》（<b style="mso-bidi-font-weight:normal">费拉契尼</b>）和《红色石竹花》（<b style="mso-bidi-font-weight:normal">埃利奥·维托里尼</b>）。<br /> <b style="mso-bidi-font-weight:normal">《索拉利亚》提倡文学的多面性和广泛性，反对传统的文学观念，是一种纯文学性的刊物，它不带任何政治倾向，不涉及历史和哲学这方面的问题，也不涉及文学和社会现实的关系，以及文学与政治与民族之间的关系，所以它能在当时的历史环境中长期生存。《索拉利亚》提倡小说要反映人的不同经历，即认为小说要具有充实的内容和广泛的题材，并要有一定的感召力；《索拉利亚》接受《巡逻哨》派文人注重技巧和表现形式的文艺观点，但对他们舞文弄墨，把自己紧箍在追求高雅的文学形式中的倾向持有异议。《索拉利亚》一方面开创了一种以随笔、杂文和回忆录为体裁的创作形式，一种以抒情的方式、集幻想与精神道德于一体的小说体；另一方面又开创了以美国和欧洲文学为楷模的新的现实主义文学路子。</b><br /> 《索拉利亚》所提倡的文艺观点，吸引了佛罗伦萨文艺界中大批的反法西斯力量；在它长达10年的生命中，一直有明显的欧洲文学倾向；后来由于以维托里尼和帕维塞为代表的作家特别致力于对美国文学的研究和介绍，使它超越了欧洲中心论。从此，美国文学也变成了令人感兴趣的目标，成了整整一代意大利反法西斯文人的神话般的楷模。<br /> 《索拉利亚》派文人的作品，富有诗一般的意境，具有浓厚的抒情色彩，带有一种超现实的魔幻般的神秘色彩；为了超脱法西斯专政下严酷的社会现实，回忆和追叙成了作品的主要表现形式。其代表作有<b style="mso-bidi-font-weight:normal">卡洛·贝尔纳里</b>（1909-）的《三个工人》（1934），小说是以反映当时工人们的困苦生活为题材的。作者在1965年重版序言中论述道：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">通过回忆的手法，追溯童年时代诗一般的往事，是逃遁法西斯的绝妙的手段。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">最后的出路被堵截了，许多青年文人只能采取隐逸的手法，冲破一切形式上的传统模式，以一种也许是比较造作的然而缺是与法西斯格格不入的语言与自己的良知对话。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><span style="mso-spacerun:yes"> </span>这种崇尚追述回忆、怀旧抒情的艺术风格是意大利当时的代表作家，如埃利奥·维托里尼（1908-1966）、<b style="mso-bidi-font-weight:normal">切萨雷·帕维塞</b>（1908-1950）和<b style="mso-bidi-font-weight:normal">科拉多·阿尔瓦罗</b>（1895-1956）共同具有的特点。<b style="mso-bidi-font-weight:normal">他们都擅长通过回忆和抒情的手法，赋予小说以一种童话般的神秘色彩，迂回曲折地流露出与法西斯相对立的政治立场，淡漠于人物、情节和历史环境的描述，而着力于渲染气氛，描绘人物的精神和心理状态，开拓神秘的意境，故作品富有诗一般的韵味。法国作家普鲁斯特（1871-1922）和英国作家乔伊斯（1882-1941）对《索拉利亚》派的文人具有决定性的影响；但他们作品中的那种悲剧性的色彩和人性论的艺术倾向，使作家与现实之间产生了隔阂，使其作品成为仅</b></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">供少数人欣赏的尖端文学，在广大民众中没有很大反响。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span></b><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><span style="mso-spacerun:yes"> </span>然而，《索拉利亚》所倡导的文艺思想和艺术风格，却开创了30、40年代意大利小说创作的全盛时期。30年代形成的隐逸派，就是在《索拉利亚》这块文艺园地中找到了其存在和发展的土壤和气候的。<br /><span style="mso-spacerun:yes"> </span>《索拉利亚》派的一些文人，后来各自探索了自己独特的创作风格，显示了更明确的政治倾向性和社会性。如：<b style="mso-bidi-font-weight:normal">莫拉维亚的</b>《冷漠的人们》（1929）揭露了资产阶级的腐朽没落；维托里尼的《西西里会话》（1941）揭示了落后愚昧的社会和迷失方向的人类的痛苦；<b style="mso-bidi-font-weight:normal">西洛内</b>的《丰塔玛拉》（1933）和《面包与葡萄酒》（1937）反映了南方贫困地区农民的抗爆斗争和对未来抱有的希望以及法西斯的暴行；<b style="mso-bidi-font-weight:normal">阿尔瓦罗</b>的《阿斯帕罗蒙特山区的人们》（1930）则展现了意大利南方山区牧民世代所过的贫苦生活。这些优秀的小说从各种不同的角度反映和揭示了意大利社会中未曾被人发掘过的阴暗面，是意大利30年代文学中的代表作。<br /><br /><span style="color:red"><strong><font color="#000000">三<span style="mso-spacerun:yes"> </span>《综合工艺》</font></strong></span><br /><br /> 该杂志1945年9月29日创刊于米兰，它以周刊杂志的形式延续到1946年4月6日；从1946年5月1日以后改为月刊，1947年12月停刊。埃利奥·维托里尼始终是该杂志的主编。新现实主义作家勃朗卡蒂和帕拉托里尼也曾是该杂志的积极合作者。<br /> 由埃利奥·维托里尼倡导主办的《综合工艺》杂志，是一本涉及面十分广泛的综合性杂志，它既有文学性，又有浓厚的政治色彩，是战后意大利的第一份反映政治和哲学、科学和文学、经济和文化的综合性刊物。它不仅刊登了许多外国作家如海明威、萨特、马雅可夫斯基、布莱希特和莱辛等的作品，还发表过有关菲亚特汽车公司、蒙特卡蒂尼温泉和伊利工业建设集团公司等的调查报告，还刊载了关于天主教和学校教育情况的报道。为了打开人们新的文化视野，该杂志还别开生面地发表了一些关于埃及、中国、苏联、美国和佛朗哥统治下的西班牙的报道和特写。<br /> 在该杂志创刊号上，刊有维托里尼撰写的一篇题为《一种新文化》的重要文章。<b style="mso-bidi-font-weight:normal">维托里尼在文章中尖锐地指出，传统的旧文化对于饱受痛苦的人们只是一种安抚，那是一种非社会性的文化，它没有力量和手段使人类免受痛苦。他提出，要为一种新文化而斗争，要创立一种直接涉及和影响现实社会体制并能产生实际效果的新文化。他认为，旧文学</b></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">因为它那种安抚告慰性，所以没能阻止法西斯的可怕统治</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，而新文学则应是</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">一种能解除人类痛苦，有助于消灭剥削和奴役，并能鼓励人们战胜艰难困苦的文化</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。他主张创立一种有能力改变社会制度和现实的新文化，要培养一代新文人。</span></b><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /> <b style="mso-bidi-font-weight:normal">维托里尼认为，过去的文化</b></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">之所以称之为资产阶级的文化，只是因为它是资产阶级的一种自我批判。这些作品的出发基点是资产阶级为自己的这种存在而感到羞耻和绝望。所以，尽管它描绘了资产阶级的罪恶，但仍有其革命性，就像18世纪许多英国、法国的文学作品，尽管它们反映了贵族社会的罪恶同样有其革命性一样</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。</span></b><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /> 为了实现新文化，维托里尼不能回避与其它政治力量之间的关系，尤其是与意大利共产党的关系。维托里尼就政治和文化之间的关系，就艺术家的独立自主与艺术在特定的历史时期里必须追随一条明确的政治路线等有关文化政策纲领的问题上，与意大利共产党的机关月刊《再生》（Rinascita）展开了激烈的辩论。他主张文学不能从属于政治，艺术家不能仅仅</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">为革命而吹短笛</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，文学的任务在于解放</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。<br /><span style="mso-spacerun:yes"> </span>《综合工艺》杂志由于与意大利共产党在路线上的不一致，于1947年12月停刊了。尽管它的寿命短暂，但在文学艺术界和出版界要求创立一种新文化、开辟新的文化天地的呼声很高。人们在重新认识法西斯为什么会产生，在重新估价自由党的领导作用和文化对社会所负的责任。文化上的觉醒还体现在人们对马克思主义思想的兴趣上，由于左派政党的存在和活动，使人们对一谢列政治、艺术和文化问题重新进行反思，并展望新的前景。1947年意大利共产党奠基人安东尼奥·葛兰西作品的问世就是一种标志。<br /><br /><b style="mso-bidi-font-weight:normal"><span style="color:red"><font color="#000000">四<span style="mso-spacerun:yes"> </span>《西西里的谈话》（1941）</font></span></b><br /><br /><span style="mso-spacerun:yes"> </span>《西西里的谈话》是一部具有抒情风格并富有象征意义的小说，是维托里尼最成功的一部作品。曾于1938-1939年在《文学》杂志上以《名字和眼泪》为题连载。<br /><span style="mso-spacerun:yes"> </span>小说的主人公西尔维斯特洛是个对现实感到绝望的年青的知识分子。他心里怀着一股</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">无明火</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，离开了米兰，回到了他阔别多年的故乡西西里岛。在那儿他作了一次想象中的旅行。那长满仙人掌的山峦之中还回荡着前不久大屠杀的枪声。故乡的秀丽风光和与母亲的谈话重又把他带回到遥远的童年时代；他想起了常在铁路沿线低矮的木棚房里给他讲希腊神话和《哈姆雷特》的父亲，以及总以为自己是个骑着马的国王的外祖父。西尔维斯特洛通过与沿途所遇到的西西里人的促膝谈心，了解30年代末期生活在</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">堆满枇杷和瓦砾</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的西西里岛上的人们如何在饥饿与疾病中熬煎，如何在充满痛苦的人世间挣扎和与命运搏斗：望着成筐成筐的滞销的柑桔而兴叹的种植者</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">小小的个子，黑黝黝的脸膛儿，缩着双肩，脸上的表情那么神秘莫测，又那么绝望</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，给人留下了极为难忘的印象。沿街吆喝磨剪刀、菜刀和镰刀的磨刀人，因疟蚊猖獗病魔缠身而挣扎在死亡线上的穷人，对社会现状牢骚满腹的赶车人，专横跋扈的警官等人物形象，都栩栩如生。主人公对那些心灵蒙受耻辱、受病魔和饥饿折磨的西西里普通人寄予了深切的同情。一个深夜，主人公西尔维斯特洛在梦幻中与死在西班牙内战中的兄弟的那席谈话，感人肺腑地揭示了法西斯专政的残酷，揭示了所谓捍卫</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">祖国</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的英雄主义</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">神话</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的假面，是法西斯使那些手无寸铁的普通人为实现这些</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">神话</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">而去充当炮灰，含恨默默死去的。<br /><span style="mso-spacerun:yes"> </span>故事的背景是1936年7月西班牙爆发的那场内战。那场内战震撼了世界，也激起了青年作家的无比愤慨。当时报纸上法西斯们的疯狂叫嚣和鼓吹，是建立在那些含恨而死的人们的沉默基础之上的。作者愤怒地谴责了这场残酷战争给人们带来的深重灾难：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">每个铅印的字，说的每句话，树立起的铜像的每一毫米中，都浸透着人类永恒的痛苦和耻辱。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><span style="mso-spacerun:yes"> </span>作品在一开始就抒发了作者的这种愤慨情绪：<br /><br /><span style="mso-spacerun:yes"> </span></span><span style="font-size:10.5pt;font-family:仿宋_gb2312;mso-hansi-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><span style="mso-spacerun:yes"> </span>“我有一股无明火。我自己也说不清那是一股什么怒火……应该说，那是一股为迷失方向的人类而冒出来的怒火……雨，报纸上以醒目的标题刊登的大屠杀的消息，我那浸透了雨水的破旧的鞋子，沉默不语的朋友们，我的生活像是一场隐约的梦，不是希望，而是寂静。”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><br /> 作者正是通过展现30年代末意大利南方贫困、落后的社会画面，表达了他为受欺凌的人民和为迷失方向的人类而感到的痛苦，并意识到有一种责任感，向人类展示这痛苦的世界。这就是《西西里的谈话》创作的出发点和背景。<br /><span style="mso-spacerun:yes"> </span><b style="mso-bidi-font-weight:normal">作者认为更可悲的是，无人为这遭受蹂躏和折磨的世界哭泣并与之分忧，人人都只关心自己的命运，正如作者在小说里所描写的那样：</b></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">这太可怕了：这绝望中的寂静。深信人类已迷失了方向，却没有勇气逆其道而行之，没有与迷失方向的人类同归于尽的愿望。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">但维托里尼的主导思想不是接近现实，而是接近真理。</span></b><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><span style="mso-spacerun:yes"> </span>作者那种</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">无明火</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，表明他为寻求真理有一种难以抑制的激情。这种对</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">被凌辱的人类</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的体察又转化为一种解放人类和社会的决心和信念。透过对现实社会的认识，表达了渴望建立一个更有人性的人类社会的心愿。作者笔下的主人公与</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">母亲们</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的对话，谈到了他们的耻辱，他们的无辜；作者笔下的那个买柑桔的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">小个子西西里岛人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">维护着生活的真理，因为正是他们揭示了世界的虚伪，他们的痛苦的人生经历正是人类必须获得拯救的实证，就像在战争中一样，往往正是</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">战败者</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">才是掌握了赢得明天胜利武器的人。<br /><span style="mso-spacerun:yes"> </span>但作者的思想并非简单地停留在反映法西斯蹂躏下的意大利南方的西西里，还深入地挖掘作为</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的普遍和绝对的意义。法西斯对某些社会阶层的迫害是</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">非人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">对</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的虐待，因为在作者看来，世上的人可分为</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">和</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">非人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">两种，就像他在《西西里的谈话》中所写的那样：<br /><br /> </span><span style="font-size:10.5pt;font-family:仿宋_gb2312;mso-hansi-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“也许不是所有的人都是人；而且不是整个人类都能算是人类。有人笑就必然有人哭。但笑的人和哭的人都同样是人；那个笑的人也曾患过病，他也是病人；但他笑了，因为另一个人哭了……看来，不是所有的人都是人。一个人迫害别人，而另一个人受人迫害。你们把一个人杀死了；但被杀的人才更像个真正的人。因此，一个病人，一个挨饿的人，才更像是人；因饥饿而濒临死亡的人，才更接近于人类。”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><br /> 这</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">与</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">非人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的主题在维托里尼的作品中是个永恒的主题，在其1945年出版的以《人与非人》为题的小说中，这一点体现得尤为明显，更为透彻地阐释了反压迫、争自由的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">所遭受的痛苦，充分地抒发了他对</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">所从事的斗争和对未来所寄予的殷切希望。<br /><span style="mso-spacerun:yes"> </span>为了逃避法西斯当局的查禁，作者采用影射的手法，隐晦曲折地表达内心的怨愤和不满。在法西斯主义甚嚣尘上的年代里，几乎没有人敢这样揭示当时人们极端绝望的心理和无可奈何的精神状态。<br /><span style="mso-spacerun:yes"> </span><b style="mso-bidi-font-weight:normal">全书用神秘、象征的手法来反映现实，其记叙的材料凿凿有据地反映了西西里岛当时的社会现状，真实地反映了法西斯战争和抵抗运动的历史面貌，但作者把记叙的内容抽象化了，并进一步升华成具有普遍意义和绝对意义的象征性的东西。</b><br /><span style="mso-spacerun:yes"> </span><b style="mso-bidi-font-weight:normal">作品中描述的那些对社会现实不满的人物，是一些真正有</b></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">道德觉悟的阶层</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，而作者对在贫困中煎熬的西西里及其风土人情的考察，是一种对迷失方向的人类的考察；作者笔下的西西里象征着蒙受凌辱的人类和受难的天下劳苦大众，他们的悲惨命运隐喻着整个人类社会中</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">与</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">非人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">、</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">善人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">与</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">恶人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">、</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">正义</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">与</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">暴力</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">之间永恒的冲突所造成的悲剧。正因为如此，《西西里的谈话》中所塑造的人物都没有名字，他们是以各自的外貌特征和心理状态，不同衣著和职业技艺来相互区别的，他们都是</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，但不是具体个别的人，而是属于某个社会阶层的人。所以，他们有的叫</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">长胡子的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，或</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">没胡子的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，有的叫</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">牛嘴</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，有的叫</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">黑狗</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">红手绢</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">满脸凶相者</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">或简单地以母亲、祖父、叔叔的身份出现。正像作者自己所谈到的那样：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">《西西里的谈话》中的主人公不是作者自己，作品所描写的西西里岛也是随意选定的，只是因为叫起来比波斯和委内瑞拉更好听些。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /></span></b><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><span style="mso-spacerun:yes"> </span>但由于小说的特定时代背景和采用影射隐喻的手法，致使小说虽有明显的反法西斯立场和感情，以及对暴力和流血、对法西斯专政及社会贫困现象的怨愤，但其对现实的鞭挞却缺乏一种锐气。不过，从另一方面来看，作品的这种广泛的蕴含和多钟的含义，使其所反映的这些特定时期中的事件更富有多层次的深刻的意境。<br /><span style="mso-spacerun:yes"> </span>另外，维托里尼这种对有历史内涵和现实性的题材的改造、提炼和升华，使作品具有一种抒情诗般的风格，因此《西西里的谈话》被称作是一部乡情浓郁的抒情性小说。小说的不少篇章中词语的重复，突出了词语的音响效果和诗一般的旋律，构成了维托里尼作品的那种独特的声情并茂的风格，从而使其作品具有一种独到的艺术感染力。<br /><span style="mso-spacerun:yes"> </span>主人公西尔维斯特洛与渡轮甲板碰到的那个卖柑桔的西西里人的对话，充分体现了维托里尼作品这种表现风格：<br /><br /> </span><span style="font-size:10.5pt;font-family:仿宋_gb2312;mso-hansi-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“……<br /><span style="mso-spacerun:yes"> </span>在凛冽的寒风中，他一面绝望地吃着柑桔，手指上满是柑桔的汁液，一面看着坐在他脚边的妻子，她不想吃柑桔。<br /><span style="mso-spacerun:yes"> </span>‘柑桔挺有营养的’，我说道，‘您能卖给我几个吗？’<br /><span style="mso-spacerun:yes"> </span>小个子的西西里人咽下嘴里的柑桔，在外套上擦净自己的手。<br /><span style="mso-spacerun:yes"> </span>‘真的？’他大声说道。他朝箩筐俯下身去，把手伸到盖着的帆布底下，从里头掏出五、六个柑桔来。<br /><span style="mso-spacerun:yes"> </span>‘那是为什么？’我问道。‘柑桔那么难卖出去吗？’<br /><span style="mso-spacerun:yes"> </span>‘卖不出去，’他说道，‘没有人要。’<br /><span style="mso-spacerun:yes"> </span>传来了列车长的吹哨声，火车鸣笛了。<br /><span style="mso-spacerun:yes"> </span>‘没有人要……我们自己掏往返的旅费，我们没有面包吃，柑桔没有人要……没有人要。<br /><span style="mso-spacerun:yes"> </span>火车徐徐开动了，我纵身跳上车门。<br /><span style="mso-spacerun:yes"> </span>‘再见，再见！’<br /><span style="mso-spacerun:yes"> </span>‘没有人要……没有人要……好像柑桔里有毒似的……该诅咒的柑桔。’<br /><span style="mso-spacerun:yes"> </span>……”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><br /></span><strong><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt">【</span><span style="font-size:10.5pt;color:black;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt;mso-fareast-font-family:宋体"><font face="宋体, MS Song">X</font></span></strong><strong><span style="font-size:10.5pt;color:black;font-family:宋体;mso-ascii-font-family:'times new roman';mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-font-kerning:1.0pt">手工录入，转载请注明转自黑蓝及录入人】</span></strong>[此帖子已经被作者于[lastedittime]1218599111[/lastedittime]编辑过]
作者: 录入小组 时间: 2008-8-13 10:52
<span style="font-size:10.5pt;color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><strong>第四节<span style="mso-spacerun:yes"> </span>切萨雷·帕韦塞</strong></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><br /><img height="210" alt="" src="http://www.comune.torino.it/torinoplus/files/Image/portrait/portrait-07.jpg" width="150" border="0" /><br /><br />（Cesare Pavese，1908-1950）<br /><br /><b style="mso-bidi-font-weight:normal"><span style="color:red"><font color="#000000">一<span style="mso-spacerun:yes"> </span>生平与创作</font><br /></span></b><br /><span style="mso-spacerun:yes"></span><span style="font-size:10.5pt;color:#993366;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><strong> 切萨雷·帕韦塞</strong></span>是意大利新现实主义的代表作家和诗人。1908年出生在意大利北方皮埃蒙特大区古奈奥省的一个名叫圣多·斯坦法诺贝尔波的村庄。长期来，帕韦塞被人看成是农民的儿子，但实际上他出身于一个小资产阶级家庭，父亲曾在都灵当法院文书。他在都灵上中学和大学期间，经常回到故乡度假，因而故乡的风土人情在他记忆中留下了不可磨灭的印象，乡村与城市的交（175缺页）******************************************************************************************************************************************************<br /><br />为写作背景。<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《美丽的夏天》</i></b>叙述了贫民姑娘齐尼娅的初恋；<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《山坡上的魔鬼》</i></b>描述了富家子弟波利如何遭受肺病的折磨和毒品的摧残；<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《三个孤独的女人》</i></b>的主人公克莱丽是个对未来充满美好憧憬的姑娘，但都灵社会上人与人之间的虚伪关系和腐朽堕落，使她从梦中清醒过来，最后，青年工人培科乔的爱情使她重新获得了生活的勇气。<br /><span style="mso-spacerun:yes"></span>1950年发表的<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《月亮与篝火》</i></b>（获斯特雷加奖）是帕维塞的代表作。主人公安圭拉在美国侨居多年后重返故里，与童年时代好友的叙谈，使他百感交集，昔日的神话和梦想都破灭了，于是他再次踏上了去美洲的旅途。<br /><span style="mso-spacerun:yes"></span>在帕维塞死后以<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《生活的本领》</i></b>（1952）为题发表的日记中，更充分地抒发了他对童年的留恋和对故乡的怀念之情，以及他内心的孤寂和对生活的绝望的心理。他在一篇日记中写道：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">您在我书中发现的那种对过去平静生活的回忆和思恋，是以我清苦的一生为代价而换得的，为此，今天我晕倒在地上了。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">（8月21日给友人的信）<br /><span style="mso-spacerun:yes"></span>1950年8月27日，帕维塞在都灵一家旅馆的房间里自杀了。这是他对人生的悲观失望和感到生活空虚所导致的结果。帕维塞的自杀，正是一个处于严重精神危机之中的艺术家的悲惨命运的写照。<br /><span style="mso-spacerun:yes"></span>帕维塞是一位在战后意大利文学界占有特别重要地位的作家。他的作品，不仅标志着意大利一种</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">新文学</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">的开始，而且在1930年至1950年的整整20年期间，对意大利文坛具有决定性的影响。<br /><br /><b style="mso-bidi-font-weight:normal"><span style="color:red"><font color="#000000">二<span style="mso-spacerun:yes"> </span>诗歌创作<br /></font></span></b><br /><span style="mso-spacerun:yes"></span> 诗集《令人疲惫的劳动》（1936）表现了异乡游子的孤寂和渴求摆脱精神空虚的那种对故土的神往。从异国神话的破灭，到故土神话的破灭，说明了人就是处在一种永远难以摆脱孤寂状态的现实生活之中。<br /><span style="mso-spacerun:yes"></span>诗集描述了一个青年人怎样从小山村来到了大城市都灵。诗人笔下的大城市都灵变成了人的生命成熟的象征，年青人来到这里，担负起对人类社会的责任，建立了与他人的关系，摆脱了大城市生活对他的各种诱惑，变成了一个富有理智的青年。在作者笔下，都灵是人们意想中的高效率的工业化城市，这里的人们拼命从事令人厌烦的劳动，在社会表面繁荣的背后，则是油成群的失业者、流浪汉、醉鬼、妓女、小偷和流氓构成的阴暗画面。这位青年到处都能遇上生活在世上而感到孤寂的人和与现实格格不入的人：<br /><br /><span style="mso-spacerun:yes"></span></span><span style="font-size:10.5pt;font-family:仿宋_gb2312;mso-hansi-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><span style="mso-spacerun:yes"></span> “从家里出逃穿过一条大街<br /> 这是一个孩子才做的事，<br /> 可这个成年人却整天在街上转悠，<br /> 他不再是孩子了，<br /> 也不是从家里出逃。<br /><br /> 夏天的午后<br /> 广场上一片空旷<br /><span style="mso-spacerun:yes"></span> 一直到太阳快下山了，<br /> 这个人沿着一条陌生的林荫大道来到这里<br /> 停下不走了。<br /> 何必要独自呆着呢，<br /> 这样不是更加孤寂吗？<br /> 而他却总是在那空荡的广场和街道上转悠。<br /> 得叫住一个女人，<br /> 跟她说话，决定与她一起生活。<br /> 否则就是一个人自言自语。<br /> 因此有时候夜里过来个醉鬼<br /> 跟他攀谈<br /> 对他讲述一生的设想。”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><span style="mso-spacerun:yes"></span> （《令人疲惫的劳动》）<br /><br /> 在诗集《令人疲惫的劳动》中，作者描述的形象，常常不是年青人就是老年人，即那些生活的局外人和与现实生活的节奏不合拍的人。但这两种人孤寂的含义却不相同：青年人富于幻想，他们所感到的孤寂是一种充满希望的孤寂，老年人则是一种绝望的无聊赖的孤寂。青年人是因为还没有成熟而感到孤寂，而老年人则是因已失去了成熟的年代而感到孤寂。青年人用爱情来解脱孤寂的心理，老年人则借酒销愁。他们的共同点就是都想从生活的羁绊中挣脱出来，他们不会劳动，不懂得严格的劳动条例，也不了解劳动是令人厌烦的，使人疲惫的。他们都是为了摆脱贫困的生活境遇而背井离乡来到城市，但城市里的生活犹如监狱的生活，还是那么令人感到孤寂，这就是人的可诅咒的命运。<br /><span style="mso-spacerun:yes"></span>从农村来到城市，意味着从历史传统进入到现实社会，城市成了人战胜命运后的成熟和理性的象征；但城市给人的孤独又使人思恋农村故土的山山水水和一草一木。作者在诗集中用很大的篇幅描写了农村的自然风光，表现了身居城市的现实生活的局外人对故土的思念，展示了城市与农村的内在矛盾：<br /><br /> </span><span style="font-size:10.5pt;font-family:仿宋_gb2312;mso-hansi-font-family:宋体;mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">“世界的色彩变了。<br /> 再也见不到那耸入云霄的群山<br /> 和那层层缭绕的云雾；<br /> 再也见不到那清澈水底的卵石。<br /> ……<br /> 鲜红的太阳消失了，<br /> 泥土的芳香消失了，<br /> 那自由自在行走在大路上的<br /> 无忧无虑的人们不见了。<br /> ……<br /> 而今<br /> 人们的四肢感到异常的沉重，<br /> 平静的黎明疲惫地<br /><span style="mso-spacerun:yes"></span> 迎来了一个阴雨天。<br /> 那灰暗的海滩似乎认不得这个年青人了，<br /> 而原来只须他顾盼一眼就能认辩。<br /> 大海也不再倾听他的呼吸。<br /> 忍气吞声的人们紧抿着嘴唇<br /> 面对大地强作微笑。”<br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><span style="mso-spacerun:yes"></span> （《令人疲惫的劳动》）<br /><br /> 从艺术角度来看，诗集《令人疲惫的劳动》一反过去几十年中隐逸派诗人那种只表现个人主观世界的内向风格，开创了一种客观性和直感性很强的叙事式的诗歌体，这在30年代意大利诗坛上是独树一帜的。帕韦塞开创了一条与隐逸派截然不同的诗歌路子。他认为，原来的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">意大利散文是一种疲惫的对话，而诗歌是一种痛苦的默想</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。而他创作的内容充实的叙事诗，则深刻地反映了普通人生活的世界</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">——</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">下等饭馆、农村的山坡、夕阳下城市的街道和贫穷的郊区。这是与许多传统诗人的那种</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">唯我论</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">创作思想的一种决裂。<br /><span style="mso-spacerun:yes"></span><b style="mso-bidi-font-weight:normal"><span style="mso-spacerun:yes"></span>帕韦塞诗歌中的这种现实主义精神并不是一种纯粹的自然主义，那家乡的山丘和树叶，那郊区的街道，那贫苦百姓的惨淡的生活，只是启示他进行诗歌创作的出发点。</b>帕韦塞的诗风格很独特，诗句往往很长，节奏缓慢，像是一种表情委婉的行板，又像是一种古老的抒情叙事的小曲，读来像是一种来自生活又高于生活的人与人之间的谈话：<br /><br /><span style="mso-spacerun:yes"></span></span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体"> “</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">他在世界上转了二十个年头了。<br /> 出走时，我还是一个被女人抱在怀里的小孩，<br /> 人们都说他已经去世了。<br /> 后来我听女人们谈起他，<br /> 像是寓言故事一样；<br /> 但年迈的老人们都是早已把他淡忘。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /> ……<br /> </span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">战争结束了，很少有人返回家乡，<br /> 我表哥回来了。他很有钱。<br /> 乡亲们低声说道：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">‘</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">最多一年之后，他<br /> 会花得精光，还得去周游世界。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">’</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /> 人就这样绝望地死去。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /> 这是诗集中的第一首诗《南方的海洋》。全诗描写一个从远方归来的游子，他离开故乡已经20年了，他既听到大海召唤他去冒险游历，又听到了故土的召唤，到40岁成家立业后又回到了家乡。<br /><span style="mso-spacerun:yes"></span><br /><b style="mso-bidi-font-weight:normal"><span style="color:red"><font color="#000000">三<span style="mso-spacerun:yes"> </span>小说创作</font></span></b><br /><br /><span style="mso-spacerun:yes"></span> 对童年时代神话的向往和表现人生的孤寂，是贯串帕韦塞整个文学创造的两个占主导地位的主题。<br /><span style="mso-spacerun:yes"></span> 在其小说创作中，也充分抒发了那些远离故土移居异乡或是漂泊四海的人对故乡的思念和留恋，以及他们那种依然向往和憧憬童年时代的美好生活的心理。无论游子的处境如何孤独，也无论与现实生活如何格格不入，</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">故乡</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">始终是唯一能使他摆脱孤寂心理并排除其所面临烦恼的一种慰藉。这种深厚的乡情就像长篇小说《月亮与篝火》中的主人公安圭拉在抒发自己对故乡的怀念之情时所谈到的那样：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">有一个故乡，就意味着你不是孤单一人，它使你意识到，在那些人们身上，在农村田间作物中，在大地里，蕴含着某种你想象不到的东西。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">对往事的回忆和对童年时代生活过的故土的思念，是对现实生活的一种超脱，</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">童年蕴含着一切，也蕴含着未来的魅力……童年时代生长的地方，都重新回到每个人的记忆之中；童年时代发生过的事，能把人们连接在一起，即使他们流落在天涯海角，都能从他们身上辨认出这种神秘的印记。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><span style="mso-spacerun:yes"></span><b style="mso-bidi-font-weight:normal"> 帕韦塞认为：</b></span><b style="mso-bidi-font-weight:normal"><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">现代艺术就是回复到童年。要揭示事物本质的内涵，就得发掘它最纯真的形式，而回忆童年，就能真正发现事物的内涵。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">因为童年时代象征一切事物的本源，它是没有时空限制的；为了揭示和证实我们社会存在的实质，就需要借助于神话和象征。这种有时看来是非理性的东西，却能使事物存在的意义升华到一种固定的、更深层次的高度，这对未来具有决定性的不可磨灭的作用。童年以它特有的神奇性首先体现了事物的真实性，而作家的任务就在于</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">第二次</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">认识这种真实，有了一定生活经历的成年人回到童年生活中去，以发掘现实生活中具有象征性并带有普遍意义的东西。这种象征性地重新获得已失去童年时代的认识事物的过程，是一种神话般的非理性的途径，这也是帕韦塞文艺观点中颓废倾向的来由。</span></b><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><br /><span style="mso-spacerun:yes"></span> 每个人在童年时代都曾有过神话般的幻想，而现实生活往往驱使人们不幸地脱离童年时代生活过的世界，这就使人在陌生的现实生活中感到孤寂。揭示人生的孤寂，就是帕韦塞创作中的另一个主题。现代人与现实世界只有一种表面的关系，没有一个与本身的存在目的休戚相关的交流接触，这就是人们为什么感到自己是生活的局外人，感到生活的重负，觉得生活空虚的原因所在。帕韦塞作品中所抒发的孤独感有种悲剧性的格调，这是其他一些有代表性的现实主义文学作品中所不常见的。帕韦塞的孤独不是那种因自己出身于小资产阶级而感到自己与众不同的清高和孤芳自赏，他的孤独是因为可悲地意识到自己无能为力正视生活，无法继续生存下去了。正像他在日记里所写的那样：</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">生活中一切的一切，就在于怎样摆脱自己的孤独处境而与他人交往，思想上得以沟通。</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">帕韦塞一生都在孜孜不倦地寻求这种接触和沟通，但他始终没能实现这种宿愿，而最后承认了这种探索的失败。<br /><span style="mso-spacerun:yes"></span> 长篇小说《月亮与篝火》（1950）的主人公是个可怜的弃儿，他从小生长在山村里，由一家农户抚养成人，人们都管他叫安圭拉。他成人后，因为自己是个没有父母的弃儿，精神上忧郁苦闷，同时，对沉重的农业劳动和贫困的农村生活感到十分厌倦。于是，他离开了农村，到美洲去谋生。安圭拉在国外挣了钱发了财，但异国的生活并不像他想象的那么美好，他思恋家乡，决心回到自己生长的故土。40岁的安圭拉在相隔20年之后，真地回到了故乡，他看到的山村面貌依然如故，他遇上了儿时的好友努托，这使他回想起了他们在一起度过的时光。但故乡的许多事物变了，许多人也变了。他原来的好友努托已不再跟着乐团去周围村庄吹单簧管了：他已届中年，成了一个木匠，与少年时的努托判若两人。家乡经历了战争，人们投入了抵抗运动，很多人已不在人世了，他幼年时认识的姑娘桑塔也参加了反法西斯的斗争，但因被人误认为是法西斯的间谍而被游击队员浇上汽油活活烧死了。<br /><span style="mso-spacerun:yes"></span>战争给人们带来了贫困。由于劳累和贫困，佃农瓦利诺变成个惨无人道的人，在极端绝望中，他杀死了自己的亲人，并放火烧了自家的房子，最后自己在葡萄园里自尽了，唯一幸存下来的是他的儿子钦托，一个下肢残废的瘸子。从钦托的不幸遭遇中，安圭拉仿佛看到了20多年前的自己。安圭拉童年时代所熟悉的很多人也都结局悲惨。他带着孤寂回归家乡，而寻找到的仍然是孤寂和死亡。<br /><span style="mso-spacerun:yes"></span> 《月亮与篝火》是帕韦塞的最后一部长篇小说，被认为是帕韦塞最成熟的代表作。小说描绘了农民的生活和农村的风光：从小熟悉的牛奶场和农村集市，那牛尾巴的拍打，鲜美的汤味儿，打谷场上的树干，以及和乡亲们的对话，都充分体现了乡土之情。这种接近与体察下层百姓疾苦并与他们的思想感情交融在一起的风格，（183缺页）**********************************************************************************<br /><br /><span style="mso-spacerun:yes"></span>在了，现实变得那么残酷；回想起童年时曾看过的一种篝火，那是农民为了</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">唤醒沉睡的大地</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">而点燃的篝火；而现今，虽然有另一种篝火，但那是游击队员用汽油烧死莫拉的小女儿桑塔时点燃的篝火，还有佃农瓦利诺放火焚烧自己的家时放到火。这意味着在神话般的童年时代就存在的土地上，同神话本身一样，也不能给人以生的希望。历史与现实使作者和主人公共同意识到</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人要使自己变得成熟就要长大，而长大就得出走别离，这就意味着衰老和逐渐走向死亡</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">，而回到故土，只是使主人公痛苦地嗅到死人的骨灰味儿罢了。<br /><span style="mso-spacerun:yes"></span>但主人公安圭拉的重归故乡，并不单纯是为了沉浸在对往事的回忆之中，也不是为了挽回已失去的美好的童年时光，而是出于一种信念，即为了在自己生长过的土地上寻找原来的存在，不仅要竭力回忆过去，还需要</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">挖掘现实</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">。作者以极其严肃的态度指出，无论是城市还是乡村，现实生活对人们都是同样的残酷。家乡的葡萄园、房产和人们，与过去一样又不一样。战争过去了，但战争夺走了很多人的生命，给原来贫困的山村造成了新的贫穷。时代变了，但历史还在重演。从表面看来，一切都依然如故，四季轮换交替，家乡的春夏秋冬没变，许多故事像传奇一样在重演：从在火灾中幸存下来的男孩钦托身上，安圭拉似乎看到了养母莫拉的三个女儿。她们都先后不幸地死去了，这是一种超越时空的一成不变的人生规律，它与一成不变的大自然及对死者的永恒的回忆构成了一种永恒的联系。这里提出了大地与死亡之间的一种新的关系，即</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">人类的殉难牺牲</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">是生命与大地母亲实现沟通并融为一体的手段，大地从中获得了新的肥沃力，一切都在变更中保持着原状。死亡就是生命变成大地，它是永恒、反复而又一成不变的：死亡是一种最高形式的归宿，是故乡的真正含义所在，是生命存在形式的一种象征。<br /><span style="mso-spacerun:yes"></span> 在艺术表现风格上，小说《月亮与篝火》最充分地体现了帕韦塞的</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">“</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体">古典风格的乡土气息</span><span style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体">”</span><span>，再加上采用了带有地方色彩的口头语言，这就使其作品构成了一种独特的风格，既不是机械地模拟，也不是自然主义的平铺直叙，极富艺术感染力和委婉动人的魅力。因此可以说，《月亮与篝火》堪称是20世纪意大利文学中的一部杰作。<br /><br /><strong>【</strong></span><span><strong><font face="宋体, MS Song">X</font>手工录入，转载请注明转自黑蓝及录入人】<br /><br /></strong><font color="#008000" size="4"><br /><strong>【阅读推荐】<br /><br /><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:12.0pt;mso-font-kerning:1.0pt"><font face="楷体_GB2312" color="#000000" size="3">【阅读推荐】帕韦塞：城市</font></span></strong><br /><br /><strong>【他山之石】<br /><br /></strong><span style="font-size:10.5pt;font-family:仿宋_gb2312;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:宋体"><font color="#000000"><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37034&page=1"><font face="楷体_GB2312"><strong>帕韦塞：你也是爱</strong></font></a><br /><br /><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37033&page=1"><font face="楷体_GB2312"><strong>帕韦塞：晨星</strong></font></a><br /><br /><a href="http://www.heilan.com/forum/dispbbs.php?boardid=5&id=37032&page=1"><font face="楷体_GB2312"><strong>帕韦塞：你，三月的风</strong></font></a></font></span></font></span>[此帖子已经被作者于[lastedittime]1218887091[/lastedittime]编辑过]
作者: 录入小组 时间: 2008-8-13 12:34
<p class="MsoNormal" style="margin:0cm 0cm 0pt"><b style="mso-bidi-font-weight:normal"><span style="color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">第五节 伊涅亚齐奥</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="color:red;mso-bidi-font-size:10.5pt"><font face="Times New Roman">•</font></span></b><b style="mso-bidi-font-weight:normal"><span style="color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">西洛内</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="color:red;mso-bidi-font-size:10.5pt"><br /><br /><img src="http://farm4.static.flickr.com/3127/2758366483_cd920c749b_o.jpg" border="0" alt="" /><br /><br /></span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(Ignazio Silone l900—1978)<br /><br /></font></span></b><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-bidi-font-size:10.5pt">一 生平与创作</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="font-family:楷体_gb2312;mso-bidi-font-size:10.5pt"><br /><br /></span></b><b style="mso-bidi-font-weight:normal"><span style="font-family:楷体_gb2312;mso-bidi-font-size:10.5pt"> </span></b><b style="mso-bidi-font-weight:normal"><span style="color:#993366;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">伊涅亚齐奥</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="color:#993366;mso-bidi-font-size:10.5pt"><font face="Times New Roman">•</font></span></b><b style="mso-bidi-font-weight:normal"><span style="color:#993366;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">西洛内</span></b><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">原名塞孔多</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">•</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">特兰奎利</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(Secondo—Tranquilli)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1900</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">5</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">月</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">日出生在意大利阿奎拉省的一个名叫佩希那</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">•</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">德依马尔西的偏僻小镇。西洛内的母亲是个终日纺纱织市的劳动妇女，小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《一个可怜的基督教徒的遭遇》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1968)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">中的女主人公贡切塔就是他母亲的化身。他父亲是个小土地主。</span><rtx wst="on"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1915</font></span></rtx><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年，西洛内刚满</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">15</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">岁那年，除了离家在外的一位兄弟以外，全家因一次强烈的地震几乎全部丧生，西洛内是从瓦砾堆下营救出来的唯一的幸存者。从此，他中断了高中学业，投入了政治活动。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 西洛内幼年上过教会学校，受过天主教思想的熏陶，但到了青年时代，他目睹教会的腐败和黑暗，就毅然背弃了宗教。西洛内的思想比较激进，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">17</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">岁时就在社会党的青年机关报《先锋报》任编辑，后又任社会党青年团总书记，还主办《先锋周刊》，并在被法西斯行动队多次纵火焚烧过的《劳动者》报社工作。</span><rtx wst="on"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1921</font></span></rtx><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年西洛内脱离了社会党，参加共产党，坚定地与意大利共产党的创始人之一安东尼奥</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">•</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">葛兰西站在一边，在党内担任要职。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1926</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年以后，法西斯独裁政权的白色恐怖迫使西洛内转入了反法西斯的地下斗争。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1927</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年西洛内与帕米罗</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">•</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">陶里亚蒂</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1893</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">——</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1964)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">一起赴莫斯科，代表意大利共产党参加共产国际会议。在此期间，西洛内的兄弟却被法西斯警方诬告为凶杀犯而被捕入狱，不久即死于狱中。兄弟的惨遭迫害更坚定了西洛内反法西斯的政治立场。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1930</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年西洛内因对斯大林在若干重大间题上的做法与意大利共产党有分歧而脱党，后来他流亡到瑞士，在那里积极组织流亡者和侨民开展各种政治活动，并且开始了他的文学创作生涯。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /><span style="mso-spacerun:yes"><font face="Times New Roman"> </font></span></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">西洛内创作的小说与他一生的经历一样，具有浓厚的政治色彩，无情地揭露法西斯政治的欺骗性、局限性，以及法西斯统治对人的自由和尊严的侵犯和亵渎。<b style="mso-bidi-font-weight:normal">他的作品既有对人类自由的向往．又有相当浓厚的宗教意识，体现了独特的人性论和人道主义思想，具有鲜明的人民性和明显的伦理道德论的现实丰义倾向。</b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 西洛内的第一部长篇小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《丰塔玛拉》</i></b>先是用德语写成，于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1933</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年在瑞士的苏黎世发表，在意大利文坛引起极大的反响。小说描述了</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1929</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年至</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1930</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年法西斯统治下的意大利南方穷苦农民所遭受的痛苦和灾难，表达了作者对法西斯的仇恨和对农民的深切同情。作品具有新现实主义的创作风格，一方面揭露了土地主勾结当地的教会势力，依仗法西斯政权，肆意霸占农民的水源，非法损害当地农民权益的罪恶行径，讴歌了主人公敢于挺身而出追求自由、维护正义的大无畏精神；另一方面又描述了南方农民的愚昧和落后，揭示了他们面对强暴却逆来顺受和听天由命的精神状态：他们横遭欺凌、却不敢坚持斗争，对未来缺乏信心，他们的斗争既盲目又软弱无力。全书象是一部纪实文学，故事平铺直叙，没有景致的描写，也没有人物的心理分析，只有人物之间的对话。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 西洛内的第二部长篇小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《面包和葡萄酒》</i></b>创作于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1935</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">至</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1936</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年期间，是作者流亡在瑞士时完成的。小说描述了法西斯统治下的知识分子面对残酷的社会现实所感到的困惑和茫然，以及他们在争取人类解放和维护正义的斗争中的悲观情绪。由于法西斯当局的严加查禁，当时要得到这部小说是要冒一定的风险的。有几家出版社在瑞士秘密出版了意大利文的版本，当时是内走私商贩装在背囊里偷运到意大利境内的，小说在许多读者中间争相传阅，有的其至通宵达日一口气把它读完。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1955</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年此书更名为<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《葡萄洒和面包》</i></b>重版。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 西洛内创作的<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《雪地下的种子》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1941)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">和<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《狐狸与茶花》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1960)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">也深受读者欢迎。这两部小说都是以流亡在国外的侨民生活和斗争为题材，以维护人的自由和尊严为主题的。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> </span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1940</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年西洛内从瑞士回到意大利后定居在罗马。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1946</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年意大利共和国成立后，被选为制宪议会的议员。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> </span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">50</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年代问世的小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《一把黑荣》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1952)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，描述了一位老游击队员在战后年代中的思想苦闷和精神危机；另一部小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《路加的秘密》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1957)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">则描述了一位敦厚善良的农民因受人诬告无辜服刑</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">40</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年的悲惨遭遇。主人公路加从未为开脱自己而向法庭申辩，而是默默地为自已倾心爱慕的女人保守着秘密，以自己身陷囹圄为代价维护着心灵深处蕴藏着的爱。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 西洛内小说中的人物形象往往不甚鲜明，多半是通过人物的个人经历直接反映人物所处的社会历史环境，故作品情节比较平淡，缺少文采，读来令人感到有些单调。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 西治内的评论作品有《论法西斯》</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1934)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，《独裁者的学府》</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1938)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，《失败的上帝》（</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1947)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">等，鲜明的政治倾向性是其共同的特点。《安全之路》</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1965)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">是一部自传体的回忆录。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /><br /></span><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">《面包与葡萄酒》</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1936)<br /><br /></font></span></b><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 主人公彼得罗·斯皮纳出生在意大利市南方山区，在当地的一所神学院求学，他学习勤奋，才华出众，并富有正义感，立志毕业后当一名神甫。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">20</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年代初意大利社会处于剧烈的动荡木安之中，目睹社会的黑暗．教会的腐败，思想相信仰发生了急剧的转变，他成了一个无神论者，舍弃了当神甫的志向，毅然离开家乡，投身于社会主义运动，去寻求“跟家乡的面包和葡萄酒不一样的东西”。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 在斗争实践中，斯皮纳逐渐锻炼成为—个坚定的反法西斯战士。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">l927</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">午．斯皮纳被法西斯当局逮捕后流放到利伯利岛。一年后他潜逃至法国，后又被迫流亡到瑞土和比利时等国。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1935</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年，斯皮纳从比利时乔装偷偷返回意大利，法西斯当局悬赏通缉他，致使斯皮纳不得不在荒郊野外的一所马厩里隐蔽起来。由于长期在国外颠沛流离，斯皮纳染上了严重的肺病，亲友们找到他在教会学校时的一位同窗好友努齐奥来给他看病。努齐奥医生见到憔悴不堪的</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><p></p></span></p><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">期皮纳，伤感地回忆起学生时代共同度过的岁月。为了不落入法西斯的魔掌，努齐奥劝他乔装成神甫，去南方山区躲避逃生。于是，斯皮纳化名为堂·保罗在山区的一个只有</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt">40</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">多户人家的偏僻荒凉的村子里隐居起来。通宵宗教礼仪和天主教教义的这位当年神学院的高材生就以神甫的身分出现在村里，那里</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt">30</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">多年来一直没有本堂神甫。他阅读着努齐奥大夫不时地寄给他的宗教书籍和各种剪报，吃着土豆和豆角，耳闻着山涧的流水声和凄厉的风声，带着孤寂和沮丧的心情思念着故乡的“面包和葡萄酒”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt"> 村里好奇而又纯朴善良的男女老少不对地来探访这位来自异乡的“神甫”，斯皮纳与他们逐渐有了沟通，经常与他们谈论到信仰和社会改革等问题。村民们渐渐对斯皮纳感到亲切并十分敬重他。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt"> 村里有位叫克丽斯蒂娜的姑娘，她出身于破落的地主家庭，家有</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt">90</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">岁的奶奶，年迈的双亲和姨妈，还有一个游手好闻整天在外浪荡的兄弟。克丽斯蒂娜生性温良，又上过修女学堂．有一定的文化素养，对各种社会问题都有自己的独到见解。自从她与斯皮纳相识后，就精心照看和护理斯皮纳。在相万促膝长谈中，俩人心中萌生了炽热的爱情。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt"> 斯皮纳结交了一些村里的年青人。其中有一位律师的儿子蓬佩奥思想极端，是“二次革命”的信徒，认为“现代战争能促进国家社会主义，能有助于消灭私有制”，后来他狂热地追随军国主义，志愿从军去非洲前线充当法西斯侵略战争的炮灰。另一位拉手提琴的青年名叫乌利瓦，在一次反法西斯集会中被法西斯警方逮捕，</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt">10<br /><br /></span><span style="font-size:10.5pt;color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">（缺</span><span lang="EN-US" style="font-size:10.5pt;color:red;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt">189</span><span style="font-size:10.5pt;color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">页）</span><span lang="EN-US" style="font-size:10.5pt;color:red;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">弟弟来通报说，警方巳发现厂斯皮纳的真实身分。这样，斯皮纳就不得不在一个寒冬的夜晚仓皇出逃，他拖着病弱的身体，在白茫茫的雪地上艰难地朝群山走去，在暴风雪来临之前，他得越过山岭逃出国境。当克丽斯蒂娜发现斯皮纳出逃后，就收拾好他的一些衣物，悄俏地上山去追赶他。她一边在雪地上跌跌撞撞地奔跑着，一边声嘶力竭地呼唤着斯皮纳的名字，然而斯皮纳已消失得无影无踪了。暴风雪来临了，在沉沉的黑夜中，她那凄厉的呼唤声回荡在死一般寂静的山谷里。一群恶狼闻声向她扑来，克丽斯蒂那惊恐万分，她跪倒在雪地上，合上双眼，个停地在胸前划着十字，然后就软瘫在白皑皑的雪山坡上了。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt"> 《面包与葡萄酒》的丰人公斯皮纳虽然对法西斯嫉恶如仇，但由于疾病和叛徒告密，他不得不长年隐居在山区，他感到精神空虚，终日无所作为。读者从斯皮纳身上可以看到当时人们向往自由和正义的心态，以及因对强暴时的那种无可奈何而又无能为力的处境。再次落人法西斯魔掌的青年莫里卡，他向往真理和博爱，但得到的却是歹土们用尿壶、笤帚和皮靴子对他的粗暴凌辱。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt"> 小说的题名颇富有象征意义。山村里的一位老人意味深长地说：“面包和葡萄洒是领受圣体时用的，麦子和葡萄正是在经过人的踩踏和碾轧之后才制成，‘面包和洒’的，它们象征着人的躯体和血液。”本来为了寻找“与家乡的面包和葡萄酒不一样的东西”而流落他乡的主人公，在异乡流亡中不仅时时怀念家乡的“面包和葡萄酒”，更深感游离公群体之外生活的孤寂和空虚，进而理解到了人们只有坚实有力地团结在一起才有希望战胜强暴和罪恶，而个人孤军奋斗则必然导致失败。后来，斯皮纳独自走在茫茫的雪地上消失得无影无踪，等待着他的依然是孤寂或是死亡……</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt"> 小说文笔流畅，通俗易懂。作者认为，“在文风方面，叙述故事的最高的才智和最聪明的办法就是想方设法采用最简单的表现手法。”</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt">(1969</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">年《葡萄酒与面包》再版前言</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt">)</span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">。这种朴实的风格，也是此书能在中外广大读者中间久经流传的重要原因。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /><br /></span><strong><span style="font-size:10.5pt;color:black;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:zh-cn;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">【倾水涸泽手工录入，转载请注明转自黑蓝及录入人】</span></strong>
作者: 录入小组 时间: 2008-8-13 14:08
<p class="MsoNormal" style="margin:0cm 0cm 0pt"><b style="mso-bidi-font-weight:normal"><span style="color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">第六节</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="color:red;mso-bidi-font-size:10.5pt"><span style="mso-spacerun:yes"><font face="Times New Roman"> </font></span></span></b><b style="mso-bidi-font-weight:normal"><span style="color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">阿尔贝托·莫拉维亚</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /><br /><img alt="" src="http://farm4.static.flickr.com/3092/2758523923_4c151b63ea_m.jpg" border="0" /><br /><br /><font face="Times New Roman">(Alberto Moravia</font></span></b><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，</span></b><rtx wst="on"></rtx><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1907</font></span></b><rtx></rtx><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">——</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1990)<br /></font></span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="font-family:楷体_gb2312;mso-bidi-font-size:10.5pt"><br /></span></b><b style="mso-bidi-font-weight:normal"><span style="color:black;font-family:宋体;mso-bidi-font-size:10.5pt">一 生平与创作</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="font-family:楷体_gb2312;mso-bidi-font-size:10.5pt"><br /></span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span></b><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><span style="mso-spacerun:yes"><font face="Times New Roman"> </font></span></span><b style="mso-bidi-font-weight:normal"><span style="color:#993366;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">阿尔贝托·莫拉维亚</span></b><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">原名阿尔贝托·平凯尔勒</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">出身于罗马的一个富裕的资产阶级家庭，父亲是建筑师和画家。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">9</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">岁时因患骨结核病而卧床疗养达</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">9</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年之久。少年时期的莫拉维亚就与病魔作顽强的斗争，骨结核引起的疼病使他难以忍受，有几次竞疼得晕倒在上学的路上，但他仍以非凡的毅力坚持念完初中，毕业考试时是由一位校工抱他进入考场的。上高一时，入学才两个月便因旧病复发而中断了学业，长期的疾病折磨使他失去了接受正规教育的机会。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> </span><rtx wst="on"></rtx><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1923</font></span><rtx></rtx><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年由于家庭医生的错误诊断和治疗，莫拉维亚持续高烧，双腿剧烈疼痛，在死亡线上挣扎。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">l 924</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年母亲坚持请一位骨科专家诊治，用牵引术解除了剧痛，并逐渐治愈了他的骨结核病，于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1925</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年秋出院。长年的病痛经历在莫拉维亚的心灵里留下了深深的烙印，小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《病人的冬天》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1935)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">描述了他九年患病期间在体质和精神上所受到的痛苦折磨。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 莫拉维业的父亲有一个私人团书馆，收藏了不少欧洲各国的古典名著。美拉维亚在疗养期间，刻苦自学，掌握了法语、英语和德语，能够阅读原文经典名著；他博览群书，从中吸取了创作灵感，开拓了视野，不仅使他才思敏捷、想象力丰富和学识渊博，而且对事物有深透的洞察力，对人生有真切的体验；他几乎读遍了所有的名家名作．从维尔加、曼依尼、哥尔多尼，到莫里哀、莎士比亚、乔伊斯、卡夫卡等的作品，还有弗洛伊德的精神分析学，他都博览通读。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 这种读书破万卷的刻苦自学精神，形成了莫拉维亚的个人性格，是他成为举世瞩目的天才作家的重要因素。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 莫拉维亚自幼就生活在一个温暖家庭的小天地之中，他有一个兄弟，两个姐妹，在他治病疗养期间，家里人对他都关怀备至；然而当时他生活的罗马城，却是那么冷漠、惨淡和令人难以捉摸。脍炙人口的长篇小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《冷漠的人们》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1929)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">是莫拉维亚于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">I 925</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年秋后在意大利东北部波尔扎诺休养期间写成的。每天清晨他都坚持卧床写作，以致后来早起写作就成了他终身不变的习惯了。“开始我并没有什么确切的写作提纲，也没有明确的目的，”但他首次品尝到了写作的乐趣，“象是突然找到了一团线的线头，一牵头，整个线团就令人惊异地展开了。”</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">《回忆‘冷漠的人们’》．</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1945)<br /></font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 《冷漠的人们》是一部剖析上流社会中资产阶级家庭生活内幕的小说，全书犹如一幅笔锋尖刻的面卷，展示了罗马社会中产阶级家庭中两天之内发生的故事。当时法西斯统治给意大利社会带来了空前的灾难。法西斯专政从思想上、精神上和文化上引导人们步入歧途，诱惑人们学会虚伪和庸俗。那个时期的文人们或屈服于法西斯文化的蛊惑而随波逐流，或陷入绝望而沉默；整个社会都陷入严重的精神危机，人们迷恋物质亭受，崇拜金钱，追求高消费，祟尚权力，贪图性生活享受，羡慕虚荣，这就使人们的社会价值观念发生了急剧的变化。《冷漠的人们》正是反映了</span><rtx wst="on"></rtx><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1920</font></span><rtx></rtx><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年至</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1926</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年期间法西斯主义形成发展过程中人们的这种精神危机。此书于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1929</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年由作者自筹资金出版之后．使当时墨守成规的意大利文坛为之一振，也轰动了整个欧洲文坛，同时也标志着莫拉维亚同法西斯文化和法西斯思想之间产生不可调和的矛盾的开端。《冷漠的人们》问世后不久，果然遭到了法西斯当局的查禁。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> </span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1928</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年至</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1935</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年期间，莫拉维亚又着手创作他的第二部小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《错误的野心》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1935)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，作者力图把此书作为当时社会的缩影，在表现手法上竭力模仿俄国作家陀思妥耶夫斯基的《白痴》</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1868)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，但莫拉维亚用</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">6</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年工夫创作的这部小说情节杂乱，人物关系错综复杂，而且与第一部小说的主题大同小异。此书出版之所同样遭到了当局的查禁。此后，由于墨索里尼发动了侵略埃塞俄比亚的战争，国内—片混乱，莫拉维亚停止了写作，并于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1936</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年第一次来中国访问。同年</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">10</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">月．墨索里尼对外投靠德国，并与之结成了罗马—柏林轴心国。随后西班牙内战爆发，法西斯对犹太人实行种族迫害，意大利社会矛盾口趋尖锐。由于莫拉维业的父亲是犹太人，所以他也难免不受到牵连，后来他回忆说：“</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1936</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年至</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1943</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年是我一生最倒霉的时期，至今回想起来还毛骨悚然，“所以我多次出国，以逃避那充斥谎言、恐怖和随波逐流的政治气氛。”为了逃避法西斯的控制和查禁，莫拉维亚就采用多种多样隐晦曲折的隐喻或借喻、幽默或嘲讽的创作手法来表达自己的思想感情。<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《懒人之梦》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1940)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">就是一部富有超现实主义色彩的幽默小说。剧本<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《假面舞会》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1941)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">是莫拉维亚</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1937</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年至</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1938</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年隐居在一位公爵夫人的别墅里创作的．无懈可击地反映和嘲讽了意大利</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">l 938</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年—</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1941</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年间的社会现实。该剧本在出第二版时又横遭法西斯当局的查封和没收。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1941</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年是莫拉维亚在思想上和艺术创作上进一步成熟的一年，他与法西斯专政从感情上也更加势不两立了。同年，莫拉维亚与女作家艾尔莎·莫兰持结为伉俪，婚后过着颠沛流寓的艰苦生活，被法西斯当局视作敌对分子，他的名字也被警方作为“颠覆分子”列入了黑名单，迫使他四处潜藏或流落他乡。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 中篇小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《阿戈斯蒂诺》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1944)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">是莫拉维亚在德国占领意大利的</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">9</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">个月期间在南方卡帕里岛避难之时创作完成的。作品描述了少年阿戈斯蒂诺在发现自己的母亲与情人的恋情后的惆怅和失落惑。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> </span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1943</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年法西斯政权倒台后，意大利国内形势急剧恶化。</span><chsdate wst="on" year="2008" day="10" islunardate="False" isrocdate="False"></chsdate><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">7</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">月</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">10</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">日</span><chsdate></chsdate><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">英、美联军在西西里登陆，</span><chsdate wst="on" year="2008" day="25" islunardate="False" isrocdate="False"></chsdate><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">7</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">月</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">25</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">日</span><chsdate></chsdate><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">国王下令逮捕墨索里尼，意大利国土遭到严重轰炸。当时莫拉维亚正在罗马。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">9</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">月</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">8</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">日以后，形势更趋紧张，莫拉维亚与妻子莫兰特决定逃往那不勒斯，但通往南方的交通线都被德国人切断和破坏了。莫拉维亚夫妇半路<span style="color:red">（缺</span></span><span lang="EN-US" style="color:red;mso-bidi-font-size:10.5pt"><font face="Times New Roman">194</font></span><span style="color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">页）</span><span lang="EN-US" style="color:red;mso-bidi-font-size:10.5pt"><br /><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">态也日趋恶化，这在莫拉维亚这个时期陆续发表的一系列作品中的主人公身上有更为深刻的体现：如，<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《违命》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1949)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">的主人公路加因偶然发现了他父母亲在偷偷清点珍藏在一个保险柜里的财物，致使他父母亲在自己心目中的形象顿时一落千丈；当他意识到自己与外界的关系得通过对金钱和财物的占有来实现时，就又无法适应这充满着铜臭味的世界。于是他就一反常态地“违抗”现实生活，先是不好好学习，后来又故意把亲友送的礼品和书籍都付之一炬，甚至还以绝食来“违抗”父命；他一再“逆”着现实生活而行，后来终于病倒住院。在长时间的昏迷中，一位精心护理他的护士对他产生了恋情，女性的温存使他逐渐回到了现实，但接踵而来的人际之间的新的矛盾又使他与现实生活产生了新的危机。再如，<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《鄙视》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1954)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">中的主人公里卡尔多，他本是个贫困潦倒的电影评论家，为了满足追求物质享受的妻子的欲望，购置一套体面的住房，就与一位电影制片商合作，因成功地把《荷马史持》改编成电影而获得一大笔酬金，他的家庭生活优裕多了，但他发现妻子对自己却比以前更冷漠了，总是无缘无故地拒绝他对她的温存表示，金钱不仅没有挽救他与妻子的感情，反而使他屡遭妻子的冷遇，并受到难以言喻的“鄙视”。小说以里卡尔多妻子之死作为故事的结局，充分体现了作者对人生所持的悲观主义的世界观。<b style="mso-bidi-font-weight:normal">莫拉维亚笔下的人物往往都是与自身命运抗争的斗士，他们都力图征服现实，但往往又无力面对客观现实，因而感到人生的空虚和孤寂、贫乏和荒谬，从而产生“冷漠’或者说是“麻木’的心态。</b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 进入</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">60</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年代以后的莫拉维亚进一步探索现代社会中人的异化问题。随着社会经济的进一步发展，整个社会顶临着一场深刻的变革，然而人们物质生活水平的提高并不能排除诸多的社会矛盾和人们精神生活的空虚，经济上山现的奇迹与精神上的危机同时并存；整个社会道德水准的低下，以及人与人之间存在的令人作呕的肮脏交易，使人们难于从生活中寻求到赖以生存的精神支柱。莫拉维亚这一时期的作品，从揭示现代人在世间所感到的“冷漠”，进而发展到揭示现代人对人生感到“烦闷”的心态。长篇小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《愁闷》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1960)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">的主人公迪诺从与现实格格不入，发挨到觉得客观存在的一切事物都巳失去了真实的意义和效用了，于是他把与情人的性爱作为他与外部世界保持联系的唯一的桥梁，但后来他连情人也无法掌握与左右了。一旦意识到世上的一切事物都并非他自己所想象的那样真实、纯洁和实际时，他的精神崩溃了，他想以自杀结束自己与现实的矛盾。他从对生活感到“厌烦”，发展到对自身的存在也感到“厌烦”了，从而以放弃人生来结束在无穷的矛盾和冲突中对人生真谛的痛苦的探索。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> <b style="mso-bidi-font-weight:normal">莫拉维亚这一时期的创作有了一个重大的转折，正如作者自己所述，“我进入了一个转折；也许我也厌烦生活了”</b></span><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(</font></span></b><b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">《新论题》</span></i></b><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1959)</font></span></b><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">短篇小说集<i style="mso-bidi-font-style:normal">《机器人》</i></span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1962)</font></span></b><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，<i style="mso-bidi-font-style:normal">《东西就是东西》</i></span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1967)</font></span></b><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，以及长篇小说<i style="mso-bidi-font-style:normal">《注意》</i></span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1965)</font></span></b><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">等集中反映了</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">60</font></span></b><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年代意大利知识界人士精神上和道德上的危机。</span></b><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">这段时期，莫拉维亚还频繁去国外旅游，先后到过苏联、中国、西班牙、印度等国、写有游记《印度之一瞥》</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1962)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，《中国的文化大革命》</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1967)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">等。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1965</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年以后，莫拉维亚还从事戏剧创作，创作<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《世界就是如此》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1966)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">曾在威尼斯现代戏剧观摩演出大会上公演。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"> <p></p></span></p><p></p><p></p><p class="MsoNormal" style="margin:0cm 0cm 0pt;text-indent:21.75pt"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">足足花了</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">4</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年工夫，经过</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">5</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">次修改，于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1971</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年问世的小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《我与他》</i></b>描写的是代表现代人的“我”和拟人化了的男性生殖器“他”之间的对话和较量。小说情节荒唐怪涎，笔法幽默谈话，进一步揭示了现代社会世态的炎凉，人们精神上的颓废苦闷和极度悲观失望的心态。有人力图从性行为中求得精神超脱，似乎“性”在现代社会中变成了沟通“个人与社会之间关系的一种启迪人的春药”。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">《新闻报》，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">l 990)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">然而，当人们最终痛苦地发现“性”不仅不能使人们达到心态平衡，反而更加剧了人心态的不平衡时，就陷入了一种更大的痛苦，即真正陷入了以任何方式都无法摆脱的精神危机之中。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"> <p></p></span></p><p></p><p></p><p class="MsoNormal" style="margin:0cm 0cm 0pt;text-indent:21.75pt"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">以</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1968</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年意大利学生运动为背景的长篇小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《内心生活》</i></b><span style="color:red">（缺</span></span><span lang="EN-US" style="color:red;mso-bidi-font-size:10.5pt"><font face="Times New Roman">197</font></span><span style="color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">页）</span><span lang="EN-US" style="color:red;mso-bidi-font-size:10.5pt"><br /><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">人们对现实生活的思考，揭示人生的荒谬，反映人们对生活的绝望。<b style="mso-bidi-font-weight:normal">莫拉维亚这种把“性”作为文学手段来揭示人与现实格格不入的绝望心态是有其独到之见的，他认为“‘性’变成了文学创作的课题，无须借助象征与比喻来加以掩饰。</b>经过多少世纪之后，如今人们可以直接了当地、露骨地、现实地、粗俗地在文学作品中来表达‘性’了，只要作品本身需要。”</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(</font></span><b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">《作为目的之人》</span></i></b><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1964)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">所以，如果把作者的这种创作手段简单地视为消极的颓废的，就未免过于片面了，尽管在莫拉维亚的不少作品中，有关“性”的过多的描绘和渲染确实令人感到乏味，并曾引起评论界激烈的争论。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 最后一部小说<b style="mso-bidi-font-weight:normal"><i style="mso-bidi-font-style:normal">《观望的人》</i></b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1985)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">中的女性西尔维亚，为了霸占公公的家产而出卖肉体和灵魂，从而使她在家庭中处于掌管和操纵一切的地位。当人们精神上堕落时，性行为就失去了其本身的魅力和神秘性，也不再是满足欲望和带来欢乐的代名词了。作品通过父、子、儿熄之间的三角关系，提示人们对现实生活应抱的态度：不能用暴力去破坏和毁灭现实，而是应以理性的目光去观察，去思索其因果关系，从而得出合乎情理的判断。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> </span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1986</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年秋，莫拉维亚第三次来中国访问。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> </span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1990</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">9</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">月</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">26</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">口，这位“继皮兰德娄之后的一位深受世界文坛敬重和爱戴的作家”，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">《新闻报》，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1990)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">因心脏突然停止跳动而离开了人世。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 莫拉维亚一生笃信文学，但他从不以文学作为手段来装饰自己，他对文学的信仰体现在他每天清晨的伏案疾书之中，以此来更新和充实他的这种信仰。“每天清晨，你醒来的第一个念头就是如何完美你的创作思想和风格……在你身上体现了一位作家的尊严。”</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">《晚邮报》．</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1990)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">莫拉维亚一生共写了</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">17</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">部长篇小说，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">10</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">部评论集和游记，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">12</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">部短篇小说，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">10</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">部剧作。他的作品被译成</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">37</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">种语言，在世界各国广泛流传。莫拉维亚用千百万页手稿凝聚成的这种对文学的崇高信仰，使他被人们誉为“意大利的巴尔扎克”’“</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">20</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">世纪划时代的伟大作家”，“未获诺贝尔奖的诺贝尔奖获得者”。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 莫拉维亚的葬礼于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1990</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">9</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">月</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">28</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">日上午在罗马市政厅特别布置的灵堂内举行，广大的罗马市民含着眼泪来与这位文学巨匠的遗体告别。棺材是用桃木雕刻制作的，上面没有安放十字架。莫拉维亚的遗体安葬在罗马维拉诺公墓中他家人的墓家内。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /><br /></span><b style="mso-bidi-font-weight:normal"><span style="font-family:宋体;mso-bidi-font-size:10.5pt">二 代表作品</span></b><b style="mso-bidi-font-weight:normal"><span lang="EN-US" style="font-family:楷体_gb2312;mso-bidi-font-size:10.5pt"><br /><br /></span></b><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">．《冷漠的人们》</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1929)<br /><br /></font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 这是莫拉维亚</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">21</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">岁时写成的处女作，比法国作家<b style="mso-bidi-font-weight:normal">萨特</b>的《恶心》早</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">10</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年问世，被视为欧洲第一部存在主义的小说。关于这部处女作，莫拉维亚后来留做过如下的评述：</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> “多年以来我读了许多小说和剧作，我深信艺术的顶峰是悲剧。另外，我觉得小说创作比剧本创作对我更有吸引力。于是，我就着手写一本既具有小说特色，又具有戏剧特色的小说。小说中人物很少，地点环境单一，人物的行为在很短的时间内展开。小说只有人物和情景，完全屏除了评论和分析而达到了纯客观。”</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">《回忆冷漠的人们》，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1945)<br /></font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 小说的主人公卡拉和米凯莱是出身资产阶级的纨绔子弟，姐弟俩终日无所事事，富裕的物质生活使他们失去了对生活的追求，陷入了一种难以摆脱的烦恼。母亲格拉齐亚有一笔可观的财产，使道貌岸然的商人莱奥垂涎三尺，为此莱奥成了格拉齐亚的老情夫，尽管后来他对早已失去姿色的格拉齐亚已不感兴趣。他大胆地邀请她的女儿卡拉上他家幽会，并终于占有了卡拉；莱奥与卡拉之间的恋情不料被莱奥的老情人丽莎发现了，而丽莎在一次与米凯菜的争吵中，盛怒之下道出了卡拉与莱奥的隐秘关系。当米凯莱得知卡拉竞与母亲的情夫发生肉体关系的事实后，对家庭的腐朽和堕落深恶痛绝，立刻拿起忘了上子弹的左轮手枪去找莱奥，并想一枪打死他。但米凯莱想要杀死他母亲的老情夫的企图未能实现，“他听见门铃声在空荡的套间里回响着，里面一片寂静，没有任何动静：‘他没在家。’米凯莱感到十分庆幸．十分轻松。当他准备再按一次电铃时，却已想象着自己如何行走在大街上，如何在市中心自由自在地散心了，他己把进行报复的决心忘得一干二净了……”因为米凯莱生性怯懦，缺乏改造现实的勇气，虽然痛恨腐朽、堕落的家庭中人与人之间的虚伪关系，但在与之抗争的斗争中却认了输。不仅如此，在资产阶级虚荣心的支配下，后来他甚至与莱奥合伙做投机买卖，并受聘在莱奥经营的一家公司任职，屈辱地接受了现实生活的安排。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 年青而又放荡的卡拉深知自己与母亲的老情夫的婚事完全是建立在钱财上，她对莱奥感到厌恶，但她终于委身于他。卡拉把儿时曾经向往过的纯洁无暇的梦境己埋葬在心底，因为在现实生活中那是遥远而无法触及的天堂，建立在唯利是图、尔虞我诈、随波逐流基础之上的现实社会，使她采用实用主义的态度去对待生活，她脑子想到的是“一旦与莱奥结婚，米凯莱就能找到一份差使了”，虽然她深知自己是在“扮演一种虚假而又可笑的角色”，所以后来她任凭莱奥象占有东西那样地占有她，而且对母亲与莱奥之间的那些令人作呕的淫秽举动也司空见惯．麻木不仁了。卡拉原本盼望能改变家庭为自己安排的可怕命运并开创自我存在的新天地的幻想彻底破灭了，从而变得对一切都非常的冷漠和麻木。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 母亲格拉齐亚身上则集中体现了她所从属的资产阶级无法根治的颓废和没落。她是个十足的拜金主义者，以为自己拥有相当可观的物质财富就自觉高人一等，她穷侈极奢，终于沉沦在淫秽的纸醉金迷的天地中借以麻醉自己。她无视儿女对她荒唐行径的怨恨和厌恶，也无视情人莱奥对自己的假意虚情和背叛，对儿子米凯莱精神上的崩溃也全然不放在心上，总之，她对周围的一切都非常地冷漠和麻木。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 八面玲成，左右逢源的伪君子莱奥，以他风流倜傥的仪表，阴险刁滑的手腕，把阿尔登戈·格拉齐亚一家人象耍木偶似的玩弄着，他使那家人一个个都按他的预谋去行事，女人们成为他外表魅力的牺牲品而拜倒在他的脚下，使她们一个个都沉沦在堕落和邪念中不能自拔。他不仅以卑劣的手段占有了阿尔登戈家的母女，还阴险地继续占有着原来的情妇丽莎，而且还用最卑鄙的方式吞噬了格拉齐亚的全部财产。莱奥身上集中了资产阶级的一切恶劣本</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"> <p></p></span></p><p></p><p></p><p class="MsoNormal" style="margin:0cm 0cm 0pt"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">性：唯利是图、迂腐庸俗、投机取巧、虚假伪善、享乐至上。这也是莱奥所依附的那种社会的写照，这种社会原本是富有批判精神的年青人卡拉和米凯莱想唾弃的，结果他们却成了它的牺牲品。莱奥犹如人类“生存竞争”中的一头猛兽，为了获得自身在大自然中的优生权利，他是那么凶残和无情。卡拉和米凯莱尽管鄙视并憎恨莱奥，却又艳羡他的地位和才能，以致在同玩世不恭的劲敌莱奥的殊死较量中，他们都软弱地退缩了。米凯莱对女友丽莎曾这样表白过：“生活的罗网从四面八方包围过来，是那样地错综复杂，那样地令人茫然不知所措．使人看不到远处的希望之光，因为‘根本无法解脱’。”米凯莱失败了，他深深地陷入理想与现实、愿望与行动的矛盾之中，导致他对周围的一切都采取冷漠的态度，这就是现代人所面临的严重的精神危机，而这种无法摆脱的精神危机正是社会各种矛盾日趋激化的必然结果。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 故事以阿尔登戈一家入的彻底失败和代表现实社会的莱奥终获全胜而结束，卡拉与莱奥的结婚，隐喻了现代人与现实社会的同流合污，“在一起睡觉、吃饭、外出旅行的共同生活中，品尝着痛苦和欢乐。”</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 小说的结尾是一场假面舞会，这似乎是人间“喜剧”的最后一幕，仿佛象征着小说中的人物各自在虚伪的假面掩盖下，继续在现实生活中扮演着自己的角色。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /><br /><font face="Times New Roman">2</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">．《罗马女人》</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1947)<br /><br /></font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 长篇小说《罗马女人》是意大利当代文学泰斗莫拉维亚的一部代表作，发表于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1947</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年。全书分上下两集，上集</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">9</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">章，下集</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">11</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">章，共计</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">21</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">章，约</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">30</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">万字。故事发生在意大利法西斯统治时期。罗马姑娘阿特里亚娜因家境贫困．除帮母亲替人续制衬衣外，还在画室当模特儿。她单纯幼稚，美貌动人；但因当模特儿收入微薄，在一位女友的怂恿和策划下，她逐渐沦为妓女。她曾有个未婚夫，名叫吉诺，是个汽车司机，她真挚地爱他，并梦想有朝一日能与他结婚，组成一个幸福美满的小家庭。但后来，她得知已占有她的吉诺早已有了妻室儿女，一直在欺骗着她。这残酷的事实对阿特里亚娜精神上是个极其沉重的打击，她绝望了，堕落了，并俟机对吉诺进行报复。一次，她故意要跟吉诺在他的女主人的卧室幽会，随手偷走了女主人的金粉盒；受到警方怀疑的吉诺竞伪造现场，嫁祸于一个女佣人。阿特里亚娜不忍坑害无辜，向吉诺道出了真情，并交出了金粉盒。没想到吉诺竞托一位名叫松佐涅奥的朋友把金粉盒变卖了，松佐涅奥因首饰商出价太低而行凶杀人．松佐涅奥在与阿特里亚娜作爱后，坦城地道出自己是杀人犯，当阿特只亚娜因欢畅和恐惧而谢绝收取酬金时，松佐涅奥就把那金粉盒送给了她作为纪念</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 面对这一系列复杂而又意想不到的事件，阿特里亚娜茫然不知所措，不得不求救于一直热恋着她的保安局头子阿斯达利塔，让他设法释放那个无享受害的女佣人。她还去神甫那里忏悔，并交出从杀人犯松佐涅奥那里得到的金粉盒。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 后来，阿特里亚娜爱上了一位与现实格格不入的年青大学生贾科摩。贾科库是个富家子弟，但他厌倦舒适安逸的生活，投身于反法西斯的秘密活动，经常参加集会，印制和散发传单。当贾科摩被捕后，阿特里亚娜又不得不求助于她所厌恶的保安局头子阿斯达利塔，求他释放贾科摩。于是，阿斯达利塔亲自与贾科摩进行了一次谈活，一种难以言喻的神秘的力量，一种精神上的崩溃，一种思想上的惶惑，驱使贾科摩道出了他与同伴所从事的一切活动。贾科摩被释放后，始终不能摆脱精神上的自我折磨，他感到无地自容，无法忍受那双重人格在精神上所造成的不平衡，即使是阿特里亚娜那种炽热的恋情，也未能熔化掉积聚在他心头的冰块。最后，为了寻求永久的解脱，他终于以自杀了结了自己的一生。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 保安局头子阿斯达利塔后来被松佐涅奥杀死厂，而松佐涅奥也在警察的追捕中，被当场击毙。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 阿持里亚娜因贾科摩的死而痛苦万分，她决心从此改变自己的生活。她早已有了身孕，怀的却是她最害怕的杀人犯松佐涅奥的。在贾科摩自杀之前，阿特里亚娜为了让其有生存下去的勇气和愿望，曾骗他说孩子是他的。所以，在写给阿特里亚娜的遗书中，贾科摩叫她去投奔他家，并把他一位当律师的朋友的地址留给了她，叫她去找那位律师帮忙，想通过法律的途径让社会承认他们的关系。阿特里亚娜决心带着身孕去找贾科摩的家人，以便开始一种完全崭新的生活。要是生个男孩，她决定取名贾科摩，以寄托她的哀思；要是生个女孩，就取名“欢欢”，因为她希望将要出世的孩子，今后能过上愉快幸福的生活。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 作者在小说中对平民姑娘阿特里亚娜一生的不幸遭遇寄寓了深切的同情，鞭挞了在法西斯统治下意大利社会的腐朽黑暗，并揭示了当时人们精神上的空虚和世态的炎凉。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 作品采用的是第一人称的叙述手法，直接抒发了主人公痛苦、绝望、孤寂、冷漠的内心感受，通篇读来，宛如亲耳听到一位平民女子的倾诉、哭泣、哀怨和呐喊，从而引起读者的共鸣和沉思。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 小说故事情节曲折，人物形象生动逼真，对主人公内心世界的描与和刻画很富有诗意，并充满人生哲理。作者把情节、人物和心理分析三者有机地交融在一起，极富感染力，有独到的艺术效果。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 小说注重心理描写，恰到好处地运用了弗洛伊德的精神分析方法，细腻而又逼真地分析了主人公在充满希望欢乐、怨恨恐惧和悲痛绝望时的各种心理活动。分析的基调低沉抑郁，但合乎情理，富有说服力．并予人以启迪。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 这位同悲苦命运搏斗的女性，在不断地织梦和幻灭当中，看清了自己生活的实质，也认识到那令人痛苦而又毫无意义的现实社会才是个人悲剧的根源。她发现在现实社会里值得同情和怜悯的不只是她自己，而是所有象她一样生活在虚无之中的人们，在现实生活中人们都在诚实地扮演着一种不诚实的角色。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 莫拉维亚笔下人物的心理状态都具有两重性。沦为妓女的罗马姑娘阿特里亚娜痛苦地忍受着身心所受到的摧残，在夜深人静时，她默默祈祷上帝可怜她，但她又有那种诱惑男人上钩的欲望，而且金钱和舒适的生活对她也有着难以抵御的诱惑力；年青的大学生贾科摩背叛了富裕的家庭，投身于改造现实的政治斗争中，但他那根深蒂固的资产阶级世界观，使他的行动和思想都具有双重性，他总是象开玩笑似的在扮演某种角色，一种神秘的意志力的中断，使他出卖了同伴和事业。后来，因无法承受精神上的自我折磨，为了寻求彻底的解脱，终以自杀了结了自己的一生。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 小说富有浓厚的生活气息。那古老阴暗的罗马教堂熙来攘往的大街，喧闹的露天游乐场，顾客盈门的咖啡馆，就象一幅幅舞台背景，向读者展现了罗马当年的人情风貌。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> <b style="mso-bidi-font-weight:normal">莫拉维亚生前多次声称自己是个悲观主义者。他那悲观主义的人生观贯串着整部小说。罗马女人和她的母亲以及她所接触的一切人都被现实生活痛苦地折磨着，熬煎着，他们都只是为了活着而活着的人。</b>作品的结尾是阿特里亚娜按贾科摩的遗书指示，怀着杀人犯种下的根苗，去投奔一个自绝于人生的情人的家庭，这就令人不寒而栗地想象到，等待着罗马女人的仍然是一种更为虚假更为痛苦的人生。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /><br /><font face="Times New Roman">3</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">．《乔恰拉》〔</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1957)<br /><br /></font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 主人公乔恰拉刚满</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">16</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">岁就出嫁了，但婚后生活很不美满，丈夫是罗马一家食品店的老板，常跟坏女人鬼混，对乔恰拉很不体贴。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">19</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年之后丈夫去世，她继续经营那家食品店，以维持生活，跟她唯一的女儿罗赛达相依为命。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> </span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1943</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年意大利法西斯政权已濒于最后崩溃，又面临德国人占领的威胁，在兵荒马乱的情况下，罗马的食品供应越来越紧缺，到处是饥饿和灾荒。女儿罗赛达已与一个应征人伍的青年人订了婚，乔恰拉为了攒钱给女儿筹办嫁妆，多次冒着被查抄充公的风险去罗马远郊乡村套购食品，然后回罗马私下出售。占领了那不勒斯的盟军巳开始向罗马进军。罗马市民们既惧怕盟军飞机的狂轰滥炸，又担心法西斯分子不借毁灭罗马与盟军背水一战，所以人们纷纷逃难或是忙于抢购、囤积食品。乔恰拉把商店与住房托付给丈夫生前的—位朋友，离开了生活了近</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">20</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年的罗马，乘火车去乡下父母家避难。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 但铁轨被炸坏了，火车停在了半路，母女俩只得徒步前进。她们来到一个空无一人的小镇，居民不知去向，到处是断壁残垣。后来，她们在一个偏僻的村落遇到了一位老农妇，租了一间小屋暂时栖身。一天，法西斯宪兵来抓农妇那两个开小差的儿子时遇见了罗赛达，威胁农妇要把罗赛达交送到法西斯兵营去当差，于是，乔恰拉只得带着女儿匆匆逃离那个农妇家。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 后来，母女俩遇到了一位熟人，把他们带到山区去安身。当地人生活贫困，思想落后，他们只盼着战争尽快结束。一位名叫米凯莱的大学生对法西斯专政的反动实质及其给人类带来的灾难有清醒的认识．他对乔恰拉母女非常关心体贴，后来他成了乔恰拉精神上的依托。但是，有一天，米凯莱遇见了几个饿昏过去的德国兵，他出于人道主义送给他们一些食品和饮水，然而，苏醒过来的德国士兵却强迫米凯莱给他们带路，并在途中枪杀了他。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 乔恰拉闻讯后悲痛万分。母女俩身上的钱也快用完了。当时从过路的人那儿得知，盟军已逼近罗马，罗马的解放已指日可待。乔恰拉就决心带着女儿沿着盟军经过的道路返回罗马。但半路上，乔恰拉与罗赛达在一个废弃的教堂里被盟军的一群摩洛哥士兵轮奸了。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 身心受到摧残的罗赛达失去了一切信仰，人生的幻想也破灭了，她心灰意懒，精神空虚，最后沦为了妓女。乔恰拉日睹女儿的堕落痛苦之极．但她束手无策，无力改变女儿的处境。后来她们路过逃难时留暂时住过的那恢农妇家，农妇的一个儿子答应用做走私买卖的汽车送她们返回罗马。可是汽车又遭强盗抢劫，农妇的儿子被害。这时，公路上出现了盟军的汽车，抢劫汽车的匪徒们仓惶逃跑。乔恰拉竞昧着良心顺手抄走了农妇儿子的钱包。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 乔恰拉母女历尽艰辛，最后终于回到了岁马。罗马城依然是那么美丽、雄伟和庄严，可是许多无数的居民被炸死，到处是轰炸后的废墟瓦砾，她们自己也变成了另一种人了：女儿成了妓女，母亲成了窃贼。然而，乔恰拉却深深怀念着米凯莱，“想起他，就重又燃烧起对生活的激情，她深信她与女儿可以从新开始生活。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> </span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1946</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年莫拉维亚就着手撰写这部小说，但只写了</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">80</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">页就中断了，</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">10</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年之后继续完成，发表于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1957</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年。小说是以作者与妻子莫兰特在德国人占领罗马期间</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1943</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">9</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">月至</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1944</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">5</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">月</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">)</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">逃难到山区的一段亲身经历作为背景的。作者认为主人公乔恰拉的悲剧是战争造成的，启迪人们要觉悟，要直面人世间的残暴和冷酷。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 小说塑造了米凯莱这样一位富有牺牲精神<span style="color:red">（</span></span><span lang="EN-US" style="color:red;mso-bidi-font-size:10.5pt"><font face="Times New Roman">206</font></span><span style="color:red;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">页缺一半）</span><span lang="EN-US" style="color:red;mso-bidi-font-size:10.5pt"><br /><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">心的士兵蹂躏了她们。目睹纯洁无暇的女儿也被糟蹋，乔恰拉心如刀绞．战争给她心灵中留下了永世无法治愈的创伤。荒郊四周的景象一片惨淡，烘托出这一出人间悲剧的凄惨和世道的悲凉。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /><br /><font face="Times New Roman">4</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">．《愁闷》</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">(1960)<br /><br /></font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> <b style="mso-bidi-font-weight:normal">这部小说着力于分析现代人与资本主义新秩序之间的关系。作者在这部小说中揭示了知识分子与新的社会现实之间的冲突，以及由此而导致的严重危机。</b></span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 小说的主人公迪诺是个</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">30</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">岁左右的画家，他出身于罗马的一个资产阶级家庭，母亲是个家产万贯的阔太太，却又是一个对人毫无感情的女人。迪诺对毫无生气的家庭生活感到厌烦，并且逐渐失去了创作的灵感和能力，所以他决心离开母亲的别墅，搬到他租下的一间画室去，以专心致志地从事他的绘画创作。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 在那间画室里．迪诺狂热地投身于创作，但愁闷还是不断地折磨他。有一天，他竟然拿起画刀在画了两个月的一幅油画上拼命地砍起来，直至把画布戳成碎片，以发泄那一直袭扰他的烦闷。生于</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1920</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年的迪诺自幼就感到有一种莫名的愁闷，到了青年时代，风华正茂的迪诺更受到愁闷的折磨。在法西斯专政下的意大利社会中，人与人之间，包括家庭成员之间，都难以相互沟通和容忍，迪诺和他母亲之间有一种病态的依附和被依附的关系，母亲只会以丰厚的家产和优越的生活条件来设法博得儿子的欢心，阔绰的资产阶级家庭养成了迪诺养尊处优的生活习性，但母亲在家里有着至高无上的权力，迪诺对她必须唯命是从。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> </span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">1943</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">9</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">月意大利与英、法联军宣布停战后，正在军队里服役的迪诺就脱下军装逃回了家。可是，母亲还规劝他重新穿上军装去法西斯司令部报到，因为当局发布了公告，勒令所有的士兵都得归队，否则处以死刑。为此，迪诺只好躲在乡下的一位朋友家里，以绘画排遣烦恼。或者说，他幻想通过艺术表现手段来重建自己与现实世界的联系，最后终了成了一名画家。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 二次大战结束后，迪诺回到母亲的别墅里，愁闷重又搅扰着他，他感到生活空虚、无聊，并逐渐省悟到也许是生活太富裕造成的。他隐约地觉察到愁闷与金钱的关系，开始厌恶母亲的别墅以及优越舒适的物质生活，因无法继续作画而离家独立生活。母亲从迪诺身上看到了己故丈夫的影子。迪诺的父亲因为厌烦婚后的生活想邀游世界，他常年在外浪荡．回家来只是为了来取钱，后来在日本海上遇险，与同船几百名乘客葬身于大诲。母亲珍藏着父亲的一本集邮册，上面有父亲生前搜集的各国邮票……</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 但离家出走独立生活</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">10</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年以后的迪诺，还是摆脱不了烦闷的心情，他戳破了画布，毁了自己最后—幅画，并痛下决心不再画了。然而，停止绘画后的迪诺还是终日闪闷不乐，他似乎感到这是缺乏跟外界沟通，也缺少跟自己沟通所致。他不想继续这样活下去，就象他不想终止自己的生命一样。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 在迪诺居住的公寓里，住着一位老画家。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">10</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">年来每天迪诺都看到各种妙龄女子到他的画室里来作裸体模特儿，原来那老画家十分迷恋女色．以画裸体女人为由引诱女性上钩。后来迪诺突然发现经常出入老画家住所的少女总是那一个，她只有</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">l 7</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">岁上下，很漂亮，迪诺在楼道里遇上她时，嘴角总挂着一丝谈谈的微笑。一天早上，迪诺从母亲那里回来时，见公寓楼的大门口停着一辆灵车，原来是老画家突然死去了，前来送葬助有与他分居多年的妻子和儿子。好奇的迪诺进入老画家的画室，在那儿遇到了那位少女，她叫切契丽娅，是来取走自己的东西的。人们对老画家的突然去世议论纷纷，认为他是因为疯狂地爱上了切契丽娅而又不能节制自己而暴死的，尽管姑娘从未爱过他。</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 此后切契丽娅就替迪诺做模特儿，她天天来找迪诺；与切契丽娅的相识似乎使迪诺从烦闷中解脱了出来。切契丽娅的父亲是个商人，她是独生女儿，与父母亲生活在离罗马不远的一个小城里。两个月的交往以后，迪诺重又感到愁闷，因为他发觉自己与切契丽娅的关系一天比一天疏淡和空幻，产生了一种唯有用做爱才能填补的真空，甚至连做爱也不再象原来那么自然而变得做作和荒谬厂，他对她有了一种兽性的占有欲。所以他就从母亲那儿要了一笔</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"> <p></p></span></p><p></p><p></p><p class="MsoNormal" style="margin:0cm 0cm 0pt"><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">钱去外地休养，决心与切契丽娅最后道别。但姑娘没践约，这使迪诺十分苦恼和不安。后来，迪诺发现切契丽娅与另一个男人约会，内心非常痛苦。那人是个电影演员，想推荐切契丽娅当电影明星。出于嫉妒，迪诺暗中监视她的行踪，然而切契丽娅却象变幻莫测的现实生活一样令人捉摸不定，她与两个男人都相处得很好，还大言不惭地说：“我与两个男人都处得很好，这有什么过错</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><font face="Times New Roman">?</font></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt">你们每个人给予我的都不一样。”</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"><br /></span><span style="font-family:宋体;mso-hansi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-bidi-font-size:10.5pt"> 无可奈何的迪诺只得接受这三角恋爱的关系，他曾想用金钱使切契丽娅中止与那个已有妻室的电影演员来往，但无济于事；后来边诺提出要娶切契丽娅为妻，也遭其坚决反对。而与此同时，切契丽娅却约了那位电影演员去外地休假两周，而且不顾病危的老父已不省人事，毅然提着行李箱去与情人度假。颓丧而又绝望的迪诺驾车来到那位电影演员的家。只见他家窗户漆黑一片，他上前去按门铃，也无人回应……他神情恍惚，驱车高速行驶在绿树成荫的</span><span lang="EN-US" style="mso-bidi-font-size:10.5pt"> <p></p></span></p><p></p><p></p><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt">罗马古道上，他加大了油门想超越前面缓缓行驶的一辆大卡车，结果车子撞在了一棵法国梧桐树上……</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt"> 迪诺孤单一人绝望地躺在医院的病床上，整日望着苗外的一棵雪松发呆，医生嘱咐他得卧床一个月。经历了一场人生最严重的危机之后，他的心境反倒比较平静了；他惊异地发现正是他彻底地放弃了切契丽娅，而切契丽娅却反而更加栩栩如生地留在他心里；他对切契丽娅的爱已不复存在，但却以一种新的异样的感情思念着她。迪诺从痛苦的经历中清醒地意识到，切契丽娅与现实生活一样，是无法被占有和掌握的，也是无法被人理解的，人们只能观察现实，思考现实，因为“现实就是现实”。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt"> 作者通过年青画家迪诺与现代社会难以沟通的切身体验，向人们展示了现代人难以超脱的精神危机，而且这种危机不是能用财富、性欲和金钱来解脱的，从而揭示了人的“异化”这一基本社会现象才是给现代人带来一切愁闷和烦恼的社会根源。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt"> 令人难以捉摸的裸体女模特切契丽娅是同样难以捉摸而又赤裸裸的现实生活的化身，她以女性的魅力位迪诺迷恋上了她，却又始终不让迪诺驾驭她和支配她，就象人们无法驾驭和支配现实一样。迪诺的结局与老画家的结局如出一撤，这象征着生活就象一口可怕的陷井，诱惑人们重蹈复辙地陷进入而不能自拔。人们往往既觉得现实生活是那样索然无味，却又始终眷恋着它，正象迪诺与切契丽娅的关系一样，后来只是变成了一种习惯、一种习性，但迪诺却难以摆脱切契丽娅的诱惑，甚至卑贱地乞求她的爱．直到他躺在病床上时，竟然还绝望地期待着切契丽娅外出度假回来后能再回到他的身边。</span><span lang="EN-US" style="font-size:10.5pt;font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-fareast-font-family:宋体;mso-font-kerning:1.0pt"><br /></span><span style="font-size:10.5pt;font-family:宋体;mso-hansi-font-family:'times new roman';mso-ansi-language:en-us;mso-fareast-language:zh-cn;mso-bidi-language:ar-sa;mso-bidi-font-family:'times new roman';mso-ascii-font-family:'times new roman';mso-font-kerning:1.0pt"> <b style="mso-bidi-font-weight:normal">作者在表现现代人“愁闷”的心态这个主题时很富有哲理性，用深刻的笔触无情地赤裸裸地揭示了现代人与现实社会之间的痛苦关系．作者不仅挖掘了主人公产生“愁闷”心态的根源是“人与外界关系的中断”，并指出艺术、金钱、爱情、性欲、婚姻都难以使人解脱“愁闷”，唯有寻求与现实建立正常和健康的关系，才能使人的心态平衡，而这却往往又是现实生活难以给予人们的。</b></span><span><br /><br /><strong>【倾水涸泽手工录入，转载请注明转自黑蓝及录入人】<br /><br /><br /><font color="#008000" size="4">【G宝盘下载】<br /><br /><a class="gbp:link_name" href="http://www.heilan.com.gbaopan.com/files/74ad2209f0634eaea9a546036f1a3e73.gbp" target="_blank"><font color="#0063dc" size="3">[意大利][阿尔贝托·莫拉维亚][莫拉维亚文集（下卷）].rar </font></a><br /><br /><a class="gbp:link_name" 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