论价值重构时代的福丁布拉斯形象
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摘要
伊丽莎白一世时代的英国,市场经济的自由如点石成金的魔杖,创造了一个日不落帝国。同时,这个帝国被后人用伟大来描述时,莎士比亚是最光辉的名字。伟大帝国的光荣在《哈姆莱特》中变成了丹麦王宫的幽暗。以往学者们关注哈姆莱特形象的思想深度,忽视了沉默无语而善于行动的丹麦王子福丁布拉斯。两位王子都有着"复仇"的使命。"复仇"对于哈姆莱特来讲,激发的是思想和批判的力量,他是价值重构时代的旧体制中倡导美德和理想的文化焦虑者。对他而言,"复仇"是思想和道德批判的话语表达方式。福丁布拉斯是一位马基雅弗利主义者,他具有对时代的全局性洞悉和把握能力,"复仇"只是他能够拥有一支大众武装力量的合法性政治话语表达方式。他满足人民生存需求而达成了新的社会稳定和平衡。这个形象表达了莎士比亚站在历史的分水岭上,对贵族阶级分化选择的现实主义思考。莎士比亚赋予福丁布拉斯以行为话语为特征的政治表达方式,与哈姆莱特极具魅力的思想和道德话语的喧哗形成鲜明对照。莎士比亚在哈姆莱特的话语喧哗中,用死亡否定了文艺复兴以极端个人主义为终极的思想基础;而福丁布拉斯建立的新的国家权力基础的指向是明确的,那就是在"圈地运动"中失去一切的人民。莎士比亚两便士的戏剧证明,顺应民众、平衡利益、和平发展的君主立宪制在英国不是没有思想基础的。
In the time of Queen Elizabeth 1 in England, market economy like the Midas touch wand created"an empire on which the sun never sets"whose greatness would often be shown in the works of Shakespeare. Hamlet is the best example. Scholars used to put more attention to the protagonist Hamlet than to the Prince of Denmark Fortinbras even though both of them take the mission of revenge. However, revenge means differently to these two princes. To the former, revenge is kind of moral criticism since Hamlet, a representative suffering from a cultural anxiety in the era of value reconstruction, advocates virtues and ideals whereas to the latter, revenge is simply a kind of legitimately political discourse with the mass armed forces because Fortinbras is in nature a Machiavellianist who has a profound understanding of the age, striving to meet the common people's requirements for social stability. In a way, the image of Fortinbras reveals Shakespeare's realist consideration of increasingly divided nobility at a new defining moment in the history, making a sharp contrast to that of Hamlet, a spokesman of charming thoughts and moral discourse.In the discourse of Hamlet, it is the subject matter death that uproots the individualism, the foundation of Renaissance, while Fortinbras has, through the establishment of a new state power, a well-defined goal, that is to do good to the people who have lost everything in the Movement of Enclosures. Shakespeare's play, two pence, reveals that constitutional monarchy was not without ideological basis because it complied with the public and advocated a peaceful development.
In the time of Queen Elizabeth 1 in England, market economy like the Midas touch wand created"an empire on which the sun never sets"whose greatness would often be shown in the works of Shakespeare. Hamlet is the best example. Scholars used to put more attention to the protagonist Hamlet than to the Prince of Denmark Fortinbras even though both of them take the mission of revenge. However, revenge means differently to these two princes. To the former, revenge is kind of moral criticism since Hamlet, a representative suffering from a cultural anxiety in the era of value reconstruction, advocates virtues and ideals whereas to the latter, revenge is simply a kind of legitimately political discourse with the mass armed forces because Fortinbras is in nature a Machiavellianist who has a profound understanding of the age, striving to meet the common people's requirements for social stability. In a way, the image of Fortinbras reveals Shakespeare's realist consideration of increasingly divided nobility at a new defining moment in the history, making a sharp contrast to that of Hamlet, a spokesman of charming thoughts and moral discourse.In the discourse of Hamlet, it is the subject matter death that uproots the individualism, the foundation of Renaissance, while Fortinbras has, through the establishment of a new state power, a well-defined goal, that is to do good to the people who have lost everything in the Movement of Enclosures. Shakespeare's play, two pence, reveals that constitutional monarchy was not without ideological basis because it complied with the public and advocated a peaceful development.
引文
[1]布鲁姆,雅法.莎士比亚的政治[M].潘望,译.南京:江苏人民出版社,2009:4.
[2]刘安军.哈姆莱特的禁忌:莎士比亚与传统[J].郑州师范教育,2012(3):45-48.
[3]莎士比亚.莎士比亚全集:五[M].北京:人民文学出版社,1994.
[4]刘安军.作为文化资本的莎士比亚戏剧的传统与永恒[J].贵州师范大学学报:社会科学版,2015(4):104-110.
[2]刘安军.哈姆莱特的禁忌:莎士比亚与传统[J].郑州师范教育,2012(3):45-48.
[3]莎士比亚.莎士比亚全集:五[M].北京:人民文学出版社,1994.
[4]刘安军.作为文化资本的莎士比亚戏剧的传统与永恒[J].贵州师范大学学报:社会科学版,2015(4):104-110.
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