Dickens and the Blacking Factory Revisited
Dickens and the Blacking Factory Revisited
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狄更斯与黑化工厂重温
DOI：
10.1093/escrit/cgv020
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发表时间：
2015
影响因子：
0.2
通讯作者：
Toru Sasaki
中科院分区：
文献类型：
--
作者：
上原 早苗;Sanae Uehara;上原早苗;Sanae Uehara;Sanae Uehara;上原早苗;Sanae Uehara;Sanae Uehara;Sanae Uehara;Sanae Uehara;Sanae Uehara;上原 早苗・前田淑子;上原 早苗;Toru Sasaki;佐々木 徹;Toru Sasaki;佐々木 徹;Toru Sasaki;Toru Sasaki;Toru Sasaki
据了解，查尔斯·狄更斯11岁时，由于家庭经济困难，被送到沃伦的黑色仓库工作。不久之后，他的父亲因债务被捕，一家人搬进了马夏尔西监狱，但年轻的查尔斯不得不独自生活。“我怎么能这么容易就被抛弃，这对我来说真是太棒了，”他承认。[2]他感到“完全被忽视，毫无希望”（AF，第26页）。埃德蒙·威尔逊（Edmund Wilson）有一个著名的观点，即这种经历给狄更斯带来了“一种他一生都在遭受的创伤”。在威尔逊看来，这种心理创伤是小说家创作活动的关键：“对于一个童年被残酷的有组织的社会所摧残的有灵魂的人来说，两种态度之一是自然的：罪犯的态度或反叛者的态度。查尔斯狄更斯在想象中扮演着两者的角色，并继续到他的死亡，把他最热情的感情都投入其中。[3]虽然人们不能轻易同意威尔逊的笼统断言，[4]但不可否认的是，这个伤口对狄更斯的想象力产生了深刻而持久的影响，许多后威尔逊时代的传记作家和以传记为导向的评论家都对这种影响进行了研究。但是，从狄更斯小说的语言中，我们能学到什么呢？尽管他坚决地保密，并公开表示厌恶--“我从来没有......掀起窗帘，然后我放下，感谢上帝......许多年来，当我走近海滨的罗伯特沃伦时，我穿过马路的对面，以避免他们在黑软木塞上涂上水泥的某种气味，
ASISWELLKNOWN, whenhewas11yearsoldCharlesDickens was sent out to work at Warren’s blacking warehouse due tofinancial difficulties in the family. 1 Soon afterwards his father was arrested for debt and the family moved into the Marshalsea prison, but young Charles had to live by himself.‘It is wonderful to me how I could have been so easily cast away’, he confesses. 2 He felt ‘utterly neglected and hopeless’(AF, p. 26). Edmund Wilson famously argued that this experience produced in Dickens ‘a trauma from which he suffered all his life’. This psychological wound, in Wilson’s view, holds the key to the novelist’s creative activities:‘For the man of spirit whose childhood has been crushed by the cruelty of organized society, one of two attitudes is natural: that of the criminal or that of the rebel. Charles Dickens, in imagination, was to play the rôle of both, and to continue up to his death to put into them all that was most passionate in his feeling’. 3 While one cannot readily agree with Wilson’s sweeping assertion, 4 there is no denying that the wound had a deep and lasting impact upon Dickens’s imagination, and this impact has been investigated by a host of post-Wilson biographers and biographically oriented critics. But what is there to be learned from a more particular look at the language of Dickens’s fiction? Despite his resolute secretiveness and avowed revulsion–‘I have never… raised the curtain I then dropped, thank God.… For many years, when I came near to Robert Warren’s in the Strand, I crossed over to the opposite side of the way, to avoid a certain smell of the cement they put upon the blacking-corks, which