《画中情思》与《安娜·卡列尼娜》中爱而不得的悲剧女性形象研究

Abstract

"Love in Painting" and "Anna Karenina" are both masterpieces of tragic literature. In the works, the two tragic female images of Gilati and Anna are described in detail and vividly. Through the tragic fate of the two protagonists, Expose the hypocrisy of their times. The protagonists Gilati and Anna in "Love in Painting" and "Anna Karenina" both adhere to the principle and truth of "love first", awaken in love and die in love. There are both similarities and differences in the expression of tragic images. The same thing is that they were all born in noble families, but the noble birth did not make them get the happiness they deserve. On the contrary, it is precisely the restraint of noble families under the influence of feudal traditional thinking that makes them have no autonomy in pursuing love and obtaining a happy marriage; secondly, they are affected by foreign ideas in the background of the old and new eras, and their consciousness gradually awakens. , full of passion, began to have new requirements in terms of emancipating individuality, pursuing true love and marriage happiness; thirdly, because traditional feudal absolutism still occupies a dominant position in the development of society, it is invisible while pursuing individual liberation and freedom of love. There is another powerful force suppressing them, and their hearts are contradictory and complicated; fourth, in terms of longing for love, pursuing true love and happy marriage, because they insist on the truth of "love first", they cannot court, and finally extinguished in the burning of love. The light of life. The differences are mainly manifested in: first, there are differences in the personalities of the characters portrayed by the authors; second, there are differences in the images of the characters; It is precisely because of similarities and differences that it is feasible and valuable to analyze and compare the tragic female images of the two heroines in these two works. The combination of "Love in Painting" and "Anna Karenina" is like a mirror of Thailand and Russia in this era. Through the comparative analysis and induction of the tragic female images of Gilati and Anna in these two works, so as to see the essence through the phenomenon, we will find the similarities and differences between Thailand and Russia in the background of the alternation of the old and new eras. In order to expose the disadvantages of society, at the same time, it can also play a certain role in supplementing and confirming the in-depth interpretation of literary works.

《画中情思》和《安娜·卡列尼娜》都是悲剧文学的代表作，作品中分别对吉拉蒂和安娜两位悲剧女性形象进行了细致生动的描绘，通过两位主人公的悲惨命运，揭露了她们所处时代的虚伪性。《画中情思》与《安娜·卡列尼娜》中的主人公吉拉蒂和安娜，都坚持“爱情至上”的原则与真理，在爱情中觉醒，也在爱情中消亡。其在悲剧形象的表现上既有相似又有不同，相同之处在于，一是都出生于贵族家庭，但高贵的出生并没有使她们获得应有的幸福。相反，恰恰是封建传统思想影响下的贵族家庭的约束，使得她们在追求爱情与获得幸福婚姻方面都没有自主权；二是处在新旧时代交替背景下的她们受到外来思想的影响，意识逐渐觉醒，富于激情，在解放个性、追求真爱和婚姻幸福方面开始有了新的要求；三是由于传统封建专制主义在社会的发展中仍占据着主导地位，在追求个性解放、爱情自由的同时无形中又有一股强大的力量在压制着她们，内心矛盾且复杂；四是在渴望爱情，追求真爱与幸福婚姻方面，因坚持“爱情至上”的真理，求爱而不得，最后在爱情的燃烧中熄灭生命的光芒。不同之处主要表现在:一是作者刻画的人物性格存在差异，二是塑造的人物形象存在差异，三是追求爱情至上的方式存在差异；四是爱而不得，选择结束生命的方式不同。正是因为有同有异，所以对这两部作品中的两位女主人公进行悲剧女性形象方面的分析和比较研究才既可行又具有价值。《画中情思》和《安娜·卡列尼娜》结合在一起，如同是这一时代下泰国与俄国的一面镜子。通过对这两部作品当中吉拉蒂和安娜的悲剧女性形象进行比较分析与归纳整理，从而透过现象看本质，就会发现泰国与俄国处在新旧时代交替背景下的相似和不同之处，以此揭露社会存在的弊端，同时，对深入解读文学作品也能够起到一定的补充和印证作用。