《还乡》的原型模式研究

1、廊坊师范学院本科生毕业论文题目：还乡的原型模式研究姓名：赵俊红指导教师：吴秀兰系别：英语系专业：英语教育年级：02接本完成时间2004年5月20日archetypal patterns in the return of the nativebyzhao junhongprof: wu xiulansubmitted to the b.a. committee in partial fulfillment of the requirements of the degree of bachelor of arts in the english department of langfang teac

2、hers college2004/5/20题目：还乡的原型模式研究摘要：还乡是英国维多利亚时代托马斯哈代的一部伟大作品。多年 来倍受关注。传统艺术家大多从它的美学价值、社会意义以及社会历史背景等 方面来研究。但在作品中力图唤回神话世界，找寻激活人类无意识的原型，这 对众多艺术家来说是十分普遍的尝试。这也是本文所要研究的。在还乡中, 哈代突破了对原型单一方面的运用，而对某些原型进行了演变，使那些文学和 神化典故具有多层意义：既有哀婉和同情，又有讽刺和嘲弄，从而形成了一个 从环境、人物到结构的完整原型系统。哈代通过描写荒原对人的命运的影响, 揭示了环境与人冲突产生的悲剧。他择取了以古希腊悲剧为原型

3、的结构模式, 通过对女主人公形象的提升，对小说布局的规范等种种戏剧手段实现了古希腊 悲剧形式与小说完美的结合。关键词：原型；环境；人物；结构title： archetypal patterns in the return of the nativeabstract： the return of the native, an english novel in victorian time, has been arousing discussions for centuries. the traditional critics tended to analyze it in terms of th

4、e aesthetic values, social impacts or historical background. it is the general endeavor for most of the artists in their artistic creation, to have a mythological insight and to pursue the archetypes that can stir the collective unconsciousness of human beings. in the novel, some archetypes are expl

5、ored at different levels; some are developed to include antithetic meanings of the esteem or sympathy, and irony or mockery. therefore in this work, hardy has constructed a complete archetypal system from the environment, main characters to the structure, which provokes different meanings and effect

6、s. and most important of all, through this well-designed system, hardy manifests his understanding on man and nature, the heroic and realistic, and his contribution to rejuvenating the ancient dramatic form of the greek tragedy in the novel of the 19th century.key words： archetype; environment; char

7、acters; structurecontentsi. introduction 6ii. archetypes embodied in the environment 61. egdon heath as a jungian archetype 62. egdon heath as a displacement of demonic vegetable world 9iii. archetypes embodied in the main characters 111. eustacia vye as a promethean heroine 112. clym yeobright as a

8、 christ figure 13iv. archetypes embodied in the structure 151 eustacia vye as the stately heroine 152. heath folk as greek chorus 17v. conclusion 18notes 20bibliography 21i introductionthe return of the native, published in 1878, is generally agreed to be thomas hardys most representative work. &quo

9、t;hardy started his career as a novelist with the publication of the work, desperate remedies in 1871. being the starting point of his wessex series of tragedies, the return of the native signifies a new turn of hardy's artistic creation from the patrol comedies to complex tragedies.'4 ij it

10、 is the general endeavor for most of the artists in their artistic creation, to have a mythological insight and to pursue the archetypes that can stir the collective unconsciousness of human beings- however, as a victorian writer, hardy has gone far ahead of his contemporaries in this attempt.in the

11、 creation of this "first tragic and important novel'： hardy on the one hand devises the tragic theme with forceful and ruthless tones instead of simple and light touches; on the other hand devises his use of various greek, christian and pagan allusions so as to build a mythological world ag

12、ainst the background of the egdon heath.l2j from the norman legends, celtic barrows, ancient seasonal rituals and the archetypal images of the characters, we can find that those motifs and incidents with pronounced mythological flavors constitute the texture of this tragic novel, and mythological qu

13、ality becomes an organic part in the narration of the work. frye explains the term "archetype as "a typical or recurring image a symbol which connects one poem with another and thereby helps to unify and integrate our literary experience.131 in the novel, those literary, religious and myth

14、ological allusions and references correspond to this definition.ii. archetypes embodied in the environment1. egdon heath as a jungian archetypeit is significant that hardy devotes the entire first chapter to the description of egdon heath, and what even more significant is the way he describes it:a

15、saturday afternoon in november was approaching the time twilight and the vast tract of under closed wild known as egdon heath embrowned itself moment by moment. overhead the hollow stretch of whitish cloud shutting out the sky was as a tent, which had the whole heath for its floor.t4the initial view

16、 of the egdon heath helps to unfold its main features- first it is an "unenclosed wild", which suggests autonomy without any restriction of social standard then comes the visual effect of a self-sufficient cosmos brought about by the two metaphors “tent” and “floor". and the personifi

17、ed use of "embrowned itself9 encourages the reader to identify the heath with human beings; it is a strong organic unity, which may bear an active life form.in the first chapter the heath is said to be eternally waiting and “unmoved" in its ancient permanence. the storm is "its lover&

18、quot;. it has a "lonely face” and its characteristic vegetation gives it "antique brown dress： in short, with these descriptions, hardy gives animation and a personality to egdon. apart from the human appearance and a human name, "haggard egdon'the heath is seen in a variety of ma

19、n's moods and feelings accordingly to season and temperament.weather and the heath's seasonal changes accord with human mood and situation in passages of poetic overtones, from the large scale to the small. theprincipal effect of the scenes is to emphasize the mental state of the characters.

20、 when eustacia vye, the heroine in the return of the native, first comes into view on the top of the ancient rainbarrow, she is in consonance with the surrounding settings. her figure is to be regarded aesthetically as a perfect, delicate, and necessary finish and a satisfaction of an "architec

21、tural demand. such unity of the outer scene with the thought and feelings of the beholder is also paralleled in "the chaos of the world without" and the chaos of eustacia's mind when she stands desperately for the last time on rainbarrow in the "terrible and dark" stormy nigh

22、t.the same compatibility appears at the moment when clym yeobright, the hero in the novel, realizes that he is committed to marrying eustacia vye. egdon displays a different picture. everything before them was on a perfect level. "the sun, resting on the horizon line, streamed across the ground

23、 from between coppercoloured and lilac clouds, stretched out in flats beneath a sky of pale soft green” and during the first few days after their marriage, while eustacia is happy, the otherwise gloomy heath is described as "gorgeous". but once the marriage proves imperfect, the horrible h

24、eat and dryness set in, echoing eustacia's inability to be renewed, and indicating her frustration, which leads her across the heath to attend the frantic dance with wildeve.egdon isolates men from a recognizable social order or adaptable time scheme. it is the center of the primitive, the envir

25、onment where the ancient customs survive and paganism prevails. paganism is humankind instinctual response to the world around it and grows out of an intimate relationship with nature processes. it has no specific deities, and the earth is metaphorized as great goddess, who represents essentially al

26、l that exist. far from being academic and learned, paganism is the innate knowledge of the folk who work on the land and tend animals, who themselves are limited by the cycle of the seasons. the heath people are by and large pagans in their understanding of life. this is their own religion, while ch

27、ristianity to them is largely a social issue or the basis gossip- almost nobody manages to frequent the church in the novel and even on christmas, the folk do not attend services. hardy emphasizes the fact that the egdon folk who do observe the holiday most typically do so by drinking with each othe

28、r at home. whereas they exhib让 little christian sense, they have a profound sense of the sacredness of the natural world. consequently, rituals become a way of affirming their connections with nature. most of their rituals have to do with seasonal changes and human rites of passage. the november bon

29、fires, the maypole dancing of early summer, all lie in their ritual significance. the mummers play, originating in a vegetative rite of summer's overcoming winter, has connotation for the seasonal myth. on that account, such ancient rituals enacted by the heath people prove plainly how deeply th

30、e timeworn and unchanging land where they live influences their customs and religious orientation.2 egdon heath as a displacement of demonic vegetableworldapart from existing as a jungian psychological archetype, egdon heath in the return of the native can also pertain to the demonic imagery under t

31、he archetypal meaning. of his five imageries discussed in anatomy of criticism. frye points out that opposed to apocalyptic symbolism which stands for what man desires, the demonic world is the world of nightmare and confusion; the world that desire totally rejects- egdon heath, with its hostility a

32、nd harshness, falls into the demonic vegetable world. first, egdon heath itself has been many times juxtaposed with the terrible underworld of the ancients. this identification is established immediately in the first chapter where, portrayed as a "titanic form' the heath suggests tartarus,

33、the gloomy foster home of rebel-gods- soon afterwards, egdon is called upon to evoke the limbo of dante imagination -christian hell. this image is expounded in the setting of the novefs third chapter, where the fires that flare in the darkness suggest the inflammable landscape of the christian hell

34、latter stilh the heath provokes a reference to "homercimmerian lanct, the dark region at the outer rim of the world and traditional location of the entrance to hades besides the attribute of the grim underworld of the greek and christian imaginations, egdon is “a near relation of the night"

35、;. being the friend of the wind, lover of the storm, ally or imminent darkness, the heath is potent with various “flight and disaster. furthermore, the heath's characteristics of the timelessness and hostility toward civilization are set against humanity temporality and progress. throughout the

36、work, hardy employs references to past events and classical texts in order to create a sense of humanity primeval conflict with the nature order, as represented by egdon heath 一 the great inviolate place had an ancient permanence which the sea cannot claim, the fields changed, the river, the village

37、s, and the people changed, yet egdon remains. through the heath timeless aspects, hardy expresses the insignificance of human problems and nature indifference to them.so here in this unfriendly or apathetic environment which cares nothing for human needs and longings, men are no more than the meanin

38、gless "never-ending and heaven -laden throngs55 of ants. with a face that suggests "tragic possibilities9', the heath possesses a superb force which takes its inhabitants under control. the fate of the main characters depends on their relation to the heath: those who accept their envir

39、onment survive; those who reject it are destroyed.apparently, the opposition between the return to the heath and the escape from it turns out to be the central thread of the plot and sets the tone for the fates of all the major characters in the work. however, whatever the return or escape, egdon ma

40、nipulates both. clym abandons paris and his position and returns to egdon which he had known and loved since infancy, and becomes a schoolmaster of the poor. but egdon wears out his ardor, dashes his hope, making him dumb and disillusioned. while eustacia, the uncompromised heroine is destined to be

41、 devastated completely. she strolls for her life and tries her best to run away, to head for a live of luxury in paris, yet all but in vain. the heath extinguishes her fierce passion. sorrow is constant to her, so constant that she is propelled into the abyss of despai匚 besides the tragic ending of

42、the hero and the heroine, other characters that refuse to adapt to the heath are ruined, too. damon oildeve, host of the quiet woman, has been in a high social position before. he feels that he has been destined for better things in life; therefore, he looks with contempt at the heath villagers. wil

43、deve never succeeds in adjusting himself to his circumstances. hardy speaks of him as the typical "man of sentiment always yearning for the remote. so he is no less unreconciled to his existence than eustacia, and no less tragic than she is, as a result.therefore, egdon heath, with all its feat

44、ures of the demonic world, suggests a baleful tragic-force, and the characters of novel naturally suggest its tormented inhabitants-iil archetype embodied in the main characters1. eustacia vye as a promethean heroinein the image of eustacia vye, hardy furnishes her extravagantly with lots of greek m

45、ythology and allusions to the history, legend, and literature of an exotic antiquity. eustacia has a common link with the promethean fate in spite of their differences. the promethean passion of novel particularly concentrates itself in the image of eustacia. with her “flammable" soul, she goes

46、 against tradition and defies egdon in ever-possible way.the clash between man and heath issues in the theme of promethean resistance, which has its focal point on the heroine of the novel. eustacia everywhere evokes the image of the promethean heroine in the work. we know that eustacia spends her e

47、arly years in budmouth, a seaside resort of fashionable society and considerable sophistication by comparison with egdon. she comes to settle down with her grandfather on the heath after her mother's death; which can be likened to the descent of prometheans from heaven. her pursuit of luxurious,

48、 romantic life is completely suppressed by egdon heath. in this sense, eustacia shares with prometheus, the anger and frustration suffered by the intelligent mind and energetic body restricted to an unvarying, unchallenging isolated existence.eustacia knows nothing of the history of the heath and sh

49、e has not learned its tongue. she refuses to do it. she says that she hates nature and cannot endure the heath. in her mind the heath is a hell. hence eustacia is very much a prisoner in her world, which she roams restlessly night and day, longing for freedom love. this is a striking displacement of

50、 the iconography of prometheus chained to mountain in the causasus. eustacia herself once complains to wildeve about her unwillingness to be where she is: "tit my cross, my misery. and will be my death： it is notonly a statement of her bitterness, but also an announcement of her determination n

51、ever to be reconciled to the heath. thus she is in a permanent state of rebelliousness against herself, her environment and her fate.eustacia's promethean rebellion has its physical analogue in fire imagery, which is never more emergent than when she commends the attention of the novel. on the o

52、ccasion of guy fawes day, eustacia's bonfire is the biggest and brightest of all, and is removed from the others, indicating her prominent feature as the tartan hero. furthermore the color of her soul is fancied as 4cflame-like' but such inner warmth is wasted on egdon. in addition to these

53、scattered images involved with fire, the contrast between eustacia's fiery nature and the coldness of the natural setting appears repeatedly in the novel. for instance, returning home from her first meeting with clym, eustacia is in a state of high elation "warmed with an inner fire55 while

54、 the air is "charged with silence and frost'5 when she goes to the village festival, her beginning to dance had been steeped in arctic frigidity by comparison with the tropical sensations here. even in the final death scene, the pool in which eustacia dies is defined as a “ boiling caldron5

55、apart from the underlying metaphors concerned with fire and heat, most of eustacia's actions are the expressions of rebellion, from her hedonist passion, pagan faith, to the various unconventional ways of believing and doing things.2. clym yeobright as a christ figurethroughout the novel, clym i

56、s associated with christian figures: john the baptist, st. paul, and most significantly christ himself. being the grandson of a clergyman, clym has christianity blood he properly first appears on the scene atchristmas and at the end of the novel he works as an itinerant preacher, shortly before his

57、third birthday. as a child, clym was widely recognized for his knowledge of the bible; the association with the boy jesus teaching in the temple is apparent here. the term "missionary is fused with clym; he has a strong sense of martyr's mission. both the heath folk and his mother are doubt

58、ful of his plan to be a schoolmaster; they view it as impractical as well as less desirable than his business career in paris. in short, from the very first clym finds opposition to his plan, but he persists. at the end of the novel, his eyesight fails, his mother and his wife die, but he still pers

59、ists in the same view of mankind and will not complain of the injustice of his lot. though his original plan has been considerably reduced in scope, he becomes a preacher to carry out his mission.except from these christ parallels, the altruism and ascetics also deeply disclose clym，s christ archety

60、pe -rooted in his religious quality. while eustacia is all pagan self -assertion and passion. clym has chosen the different way of self -denial and devotion to the good of others. holding on to this belief, clym throws up his good career, because he wants to do something useful with his life. he could not live for his own ease and pleasure in a world "groaning a