哥哥小说十篇

哥哥小说篇1

关键词：澳洲哥特 Monsieur Caloche 哥特空间 父权制

《珈洛什先生》是澳大利亚著名女作家杰西・费福勒的作品，被玛丽劳德称为澳大利亚最著名的女作家的作品。小说描写了一位毁容的法国女性乔装打扮成男子，逃到澳洲企图寻找一份安身立命的工作。然而事与愿违，在残酷的异域环境以及老板博格的压迫下，最终以死亡告终。小说除了人物的塑造精准细致外，文章中充斥的对哥特式空间的描绘、对恐怖神秘氛围的营造，也值得读者的关注。本文基于对哥特小说理论的了解，试分析《珈洛什先生》中体现的本土澳大利亚哥特式空间图景以及小说中哥特式女主人公“他者”形象的塑造。

一、哥特式空间

哥特小说是以引进的形式进入澳大利亚的，但是它很快又适应了澳洲本土的风土人情，产生了独具特色的澳大利亚哥特小说。由于澳洲哥特缺少英国哥特小说植根的土壤以及古老的欧洲“城堡文化”和历史风景（Gelder，1998：379），因此在澳洲哥特小说中就鲜明地体现了这种异质的哥特式空间，澳洲广袤的沙漠、浓密的丛林甚至繁华都市中狭窄阴湿的街道都为澳洲哥特提供了展现其魅力的地点环境，从而营造出一种“奇异的忧郁”（Clark，1976）情调，传达出人物内心的焦虑、不安、彷徨的复杂心态。与英国哥特小说中的“幽闭症”相对应的，澳洲哥特中则体现的是“旷野恐怖症”，主公人跑到外部旷野空间下，感触的仍然是一种歇斯底里的恐怖感和忧郁感。

在《珈洛什先生》中，小说一开始就指出，故事发生的地点是在Flindes Lane街的Bogg公司大仓库里。而Flindes Lane是澳大利亚墨尔本中心商业区的一个狭窄街道，氛围黑暗。之后镜头聚焦于公司内部员工对珈洛什异质形象的好奇与猜疑。珈洛什是在公司走廊里等待面试，应聘Bogg公司职位的。而此时的窗外，炙热的北风肆略，狂卷着街上的被烘烤的垃圾和灰尘，这对于此时焦急而忐忑不安等待面试的珈洛什先生而言，无疑又增加了其焦虑、恐惧的心理。之后除俩人的谈话发生在屋内外，视线转移至屋外的牧场。珈洛什不忍老板的鞭打和歧视，愤然离去，逃往黑暗茂密的澳洲丛林中。在澳洲哥特小说中，旷野空间既是自由、解放的象征，又代表了压迫与抑制（龚静，2012：48）。小说中的牧场和丛林，对于珈洛什先生来说，一方面是其摆脱老板的威慑，寻求自身自由和解放的空间寄托；另一方面，牧场和丛林本身又代表了压迫与抑制，空荡的外部空间、黑暗的丛林环境传达出一种神秘、恐惧的力量，压迫与抑制着主人公的生存处境，也注定了珈洛什最后暴死荒野的悲惨结局。

二 、哥特式他者形象的塑造

哥特小说当中的哥特式他者形象包括多种，比如地理他者、种族他者、记忆他者等等。本篇文章重点从种族他者和记忆他者的角度分析《珈洛什先生》中体现的种族身份、女性作为弱势群体在父权制权威中扮演的双重身份。

一方面，作为法国裔外来者，异质环境下的种族身份，让她在澳洲寻找工作时多次受挫。小说一开始，作者描写珈洛什的容貌用了“soft eyes，smooth lips，supple hands and even row of small French teeth”等， 这里形容词软的、顺滑的、酥软的、整齐的等词都指出了珈洛什“先生”不同于他人的女性形体特征。之后，小说中指出法国政府没有抓住所有的反叛者，珈洛什先生就是其中一例。参加面试时，自己的紧张状态引起同事的怀疑，因她怕介绍信出问题，暴露自己的真实身份而惴惴不安。经历了公司老板的猜忌怀疑以及无情的讽刺羞辱后，她跑到丛林里没有再出来，最后暴死荒野。珈洛什先生的悲惨命运其实也是殖民时期澳大利亚本土人所经历的创伤写照。澳大利亚在历史上曾作为英国的殖民地和流犯地，对待移民的态度也长期怀有敌意。他们想洗刷掉自己身上与生俱来的耻辱，缓解作为流民的悲痛和不堪。受这种背景的影响，他们对于到本土澳大利亚来求职的人也一直是怀疑的目光，文中珈洛什先生所遭遇的就是这样的待遇。老板像一条残酷的猎犬，用怀疑鄙视的眼光和言语命令她，而她则像是一条可怜的小哈巴狗，一直受到老猎犬的欺凌（Couvreur，2000：83）。无奈之下，选择了逃跑以对抗强大的父权制权威，挽救自己的女性的尊严。

另一方面，作为女性，尤其是毁了容的女性，当时是没有资格进入公司工作的，社会对女性的歧视是她选择女扮男装的其中一个原因。面试时，博格用他眯缝的小眼睛打量她，眼里射出精明怀疑的光，宽宽的食指尖敲着桌子，发型则丢弃了传统的中分形式，一副老谋深算的经理模样。与珈洛什的交流，也充满了蛮横与不屑，其强势行为与珈洛什的低声下气、呜咽、怯懦形成鲜明的对比。最后，竟丝毫不顾自己的身份，不满珈洛什的行为而鞭打她。从精神到行动上的一系列行为表征，都体现了男权社会下对女性的虐待和无视。然而，女性又不是逆来顺受的，天生具有反抗精神并以梦魇的形式悄然遣返。小说中，珈洛什先生对以博格为代表的男权社会做了如下的反抗。首先表现在她敢于换装的行为，决定去面试。其次，在与博格的交流中，近乎隐忍和失语的表达（华燕，2012：53）。再次，死后对博格身心造成的巨大震撼。博格第一次找到暴死荒野的珈洛什，看到她那处女的时，立刻感觉自己前额处，永久地印了一条滚烫的红色印记。之后，小说中提到，仿佛一夜之间，人们的本性发生了革命性变化，心胸狭窄的恶棍变成了心胸开阔的慈善家。小说结尾，马修・博格患肝病而死，并且死后留了一大笔的钱，捐给了在法国南部的一家医院，以作为建设和维修费用。我们无法认为这是珈洛什的报复行为。但博格在珈洛什死后的表现，在某种程度上，确实体现了珈洛什先生以梦魇的形式悄然遣返并造成了实际性的后果，体现了哥特式女主人公的反抗精神。

三、总结

《珈洛什先生》作为澳洲哥特小说当中的其中一部中篇小说，在某种程度上呈现了澳洲哥特小说不同于传统英美哥特小说的特点。文中，独特的哥特式空间以及女主人公在异质环境下的哥特式他者形象的塑造，使得这部作品在澳洲哥特小说研究中一直占有重要的地位。

参考文献

[1] Couvreur，J.Monsieur Caloche.In Mary Lord，The Penguin Best

Australian Short Stories，Australia：Penguin Books Australia

Limited，2000.

[2] Clarke，M.Adam Lindsay Gordon.Queensland：University of

Queensland Press，1976.

[3] Gelder，K.Australian Gothic.In David Punter，A New Compan

ion to the Gothic.UK：Blackwell Publishing Ltd，1998.

[4] 龚静.舶来与本土化：澳大利亚殖民主义时期哥特式小说

研究[J].西华大学学报，2012，31（3）：45-48.

哥哥小说篇2

关键词：志怪小说 哥特小说 鬼怪形象

“鬼”是不存在的，但对“鬼”的想象和臆造却是一个带有世界性的文学文化现象。任何国家、民族，在历史上都无一例外地有过对鬼魂、冥界的种种设想，可以说，这是每个民族的历史长卷中都有的一页。中国历史记载中有大量“鬼”留下的痕迹，英国“鬼”之记录也毫不逊色。虽然在主流文化中都尽量回避，但中英两国像许多国家一样，关于鬼的传说、故事、小说都数不胜数。英国哥特小说与中国六朝志怪小说就是其中颇为典型的各具自身民族特色的鬼怪小说。本文将对六朝志怪小说和哥特小说中鬼怪形象特征进行分析。

一、从鬼怪类型方面

在志怪小说中，情鬼、女鬼形象比较多，恶鬼形象虽然有表现，但与情鬼相比，并不是志怪小说的主导特色，故在此略而不论。除了属于接续“在世姻缘”类的情鬼形象外，大量存在的则是幻化为人形或借托梦方式而与人相识相恋的情鬼形象。《搜神记》里的《汉谈生》、《搜神后记》里的《李仲文女》、《徐玄方女》都是描写女情鬼寻求复生、渴望爱情幸福的故事。《汉谈生》里的那个女鬼夜半来到谈生住处，主动与他作夫妻，并生下一子。不幸的是，谈生因好奇未能履行三年内不以灯火照之的诺言，致使妻子求生不得而与之惜别。《李仲文女》写李仲文女儿的鬼魂托梦表达对青年子长，自相爱乐，故来相就的炽热心愿。但同样好景不长，梦幻一场。《徐玄方女》则写女鬼借托梦方式与自己所钟情的马子相爱，待依马子死而复生后，两人遂为夫妇，幸福相伴。《搜神记》中的《阿紫》、《张福》、《猪臂金铃》等，《幽明录》中的《紫鹊女》、《淳于矜》、《费升》、《庚崇》、《常丑奴》、《戴渺》等，都大胆地张扬着对的要求与享受。巧化妇人的狐狸阿紫将王灵孝带进墓苏，大行“云乐无比”之事，《张福》中那个容色甚美的女子，以“日暮畏虎，不敢夜行”为借口来主动委身于张福，《雌鹊女》写一甚丽女子唱歌苏琼作“桑中之欢”，遂“尽欢”①。《东阳丁哗》写一姿形端媚之妇人，在丁哗面前“放琵琶上膝抱头，又歌曰‘女形虽薄残，愿得忻作婿谴蜷观良规，千载结同契。”声气婉媚，令人绝倒，“便令灭火，共展好情。”②在这些作品中，都是女子积极主动，她们或以美人，或以歌言相调情，来获得性满足，而且作者在描写中毫不回避，而是极力渲染带给她们的、陶醉感与幸福感。作者借助鬼怪这一异类，尽情表达了对两情相悦的自由幸福爱情的追求与渴望，同时也在虚构怪异的艺术世界里解构了中国封建礼教传统，对封建时代没有父母之命媒约之言、不具备门当户对而私自结合的所谓“淫奔”、“野合”给予了充分的肯定。因此，志怪小说中的女性情鬼形象“实乃封建时代不堪礼教束缚，追求人性解放的钟情女子形象”，“这种钟情女鬼形象，形成了中国鬼灵文学区别于西方鬼灵文学的一个特色。这个艺术特色乃是中国特有的儒教意识造成的，是对儒教意识的逆反。”③

哥特小说中则恐怖的骼骸和恶鬼形象比较多。作为开启哥特小说先河的《奥特朗托城堡》，其最大价值就在于以一系列难以置信但令人恐怖的鬼怪形象，如身着曾服四处游荡的骼骸、滴血的雕像、变成活人的画像、阿方索的幽灵等，在当时读者中引起了巨大的轰动效应。不过，这些鬼怪幽灵作为冤魂的象征和惩罚邪恶、预示复仇的物化存在而参与情节，其后的几部作品在鬼怪形象的塑造上显然有了突破。神秘的印度人、少女努隆尼哈瓦塞克，少女马蒂尔德修道士，都是以人形出现的鬼怪形象或称为魔鬼形象，而怪物弗兰肯斯坦则是一个由人创造的具有人的思想情感和欲望要求的魔鬼形象。在这些形象中，前三者的特征是诱惑他人作恶堕落，后者则是因欲望未被满足而穷凶极恶，连连杀人，他们均象征着欲望、罪恶和惩罚。

二、在鬼怪世界与人的关系的表现上

六朝志怪小说也大异于英国哥特小说。前者所展示的主要是一个鬼怪与人融为一体的和谐理想的世界。即中国人一向把冥间看成是人人都要去的一个熟稳的异乡，一如人间那样充满着温馨的人情味，并且完全将人们现实中的生活，甚至是人们在现实中难以实现的生活理想熔铸于其中。因此，中国六朝志怪小说里的鬼怪形象也是多具人情，和易可亲，忘为异类。这是中国六朝志怪小说最重要的特色。志怪小说侧重描写鬼怪对人的正常的追求，虽然常常颇具诱人性，但均在可理解的合理范畴内，温情可爱，人情味十足，是典型的以鬼怪写人，寄寓着作者对合理的人性要求、欲望的肯定，以及对不合理却居于主流地位的封建礼教、价值观念和行为规范的叛逆。简而言之，志怪小说中的鬼怪形象主要是表达爱情理想与生活理想的载体。

而后者表现的则主要是一个鬼怪与人对立的世界，界限十分明确。它常常被哥特小说家用来揭示人性的丑陋与邪恶。这种表现与西方人对死亡的看法有关。西方基督教是一神教，其中设有“天堂”与“地狱”，但“天堂”与“地狱”的观念，纯粹是宗教生活的一个象征符号，明确而且抽象地成为善与恶的神圣疆界。善人死后入天堂，有罪孽的人死后下地狱。这种赏罚全由冥冥之中的上帝来判决。特别是有罪孽之人死后的鬼魂，在阴森恐怖的地狱里备受折磨，形同骼骸一般，十分可怕。基督教的地狱观念把人对死亡的恐惧强化到了极点。这使人一想起死亡，一想到地狱，便毛骨悚然，不寒而栗。在欧洲的民间传说中，死亡也是非常可怕的事情。泰纳谢在《文化与宗教》中指出，象征着作为超自然物的死的最流行也最典型的想象是“骼骸”。这种最阴郁的想象乃是起于对死亡的恐怖。欧洲传说中的鬼正是这种“骼骸”般的死人的再现，而且相信死人变成的鬼普遍都是凶恶的，因此，鬼怪是最令人恐怖的异物。哥特小说则重在描写鬼怪的作恶行为，其诱惑性常常无限膨胀人的贪婪与野心，最后陷入于痛苦和死亡的境地，惊心动魄，恐怖骇人。简而言之，哥特小说中的鬼怪形象是上帝的工具，起警告、引诱或者惩罚的作用。其倾向是对世纪西方古典主义、理性主义主流思想文化传统的反动，弥漫着鲜明强烈的非理性色彩。

三、在社会功能与审美感情上

在社会功能方面，六朝志怪小说与英国哥特小说两者都有力地表现了因果报应观念，劝惩倾向极为鲜明，充满着惩恶扬善的思想精神，而决不能认为中国的鬼怪小说表现了这一点，英国哥特小说在内的西方小说则只是表达一种恐怖而已，也不能说欧洲鬼怪小说不像中国小说那样具有现实意义。同样，在审美感情上，除了志怪小说具有哀婉的情调、哥特小说主要表现对神秘的恐怖外，它们又都是借鬼怪来反映社会与人生，都是对人所面临的生存困境的揭示，所以又具有审美价值上的共通性。作家通过塑造姿态各异的鬼形象为人类社会自身提供了一面镜子。这面镜子具有放大功能，在它的反射下，人间美好的事物变得更美好，丑恶的变得更丑恶。通过它，作者抒发了孤愤之情，揭露了社会的不公，嘲讽了庸者的愚蠢，展示了美好的想象，表达了在其他文体中不能表达的思想。

四、鬼怪形象在小说中的地位及其作用方面

鬼怪形象是人类形象思维和宗教观念共同作用的产物。作为艺术表现，这是一个可以让丰富神奇、瑰丽迷人的想象力尽情自由驰骋的领域。既然志怪小说与哥特小说都是鬼怪小说，那么鬼怪形象自然都是它们的作者着力表现的重要内容之一。不过，相比较而言，在鬼怪内容表现的丰富多彩性方面，哥特小说远不及志怪小说，而且鬼怪形象在两种小说里的地位及其作用也大不相同。志怪小说多以鬼怪描写为主体，其中尤以女性情鬼形象居多，这与我国儒家礼教思想对女性的苛刻禁锢与压抑有很大关系，它们常常构成作品情节主干与思想主题。哥特小说则一般不以鬼怪形象作为作品的主要形象。作为作品情节的重要组成部分，它们的主要作用除了为小说中的人物活动营造怪异的环境、神秘的气氛、恐怖的感觉外，还通过幻想让人物使用魔术与恶魔、幽灵发生关系，“并借他们的帮助来达到贪婪、野心和的目的。”④因其强调作用于人的心灵感受，所以又“常常与心理分析搅在一起，渲染罪恶与惩罚的心理效应，其中不乏非理性的因素和畸形的心理状态。”⑤

注释：

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②鲁迅.古小说钩沉.鲁迅全集.第8卷.人民文学出版社，1973年，第418页.

③马悼荣.中西宗教与文学.岳麓书社，1991年，第268页.

④布克哈特.何新译.意大利文艺复兴时期的文化.商务印书馆，1979年，第516页.

⑤梁工等主编.比较文学概观.河南大学出版社，2000年，第247页.

参考文献：

［1］安德鲁・桑德斯著.高万隆等译.牛津简明英国文学史.人民文学出版社，2000年.

［2］干宝.搜神记.汪绍楹校注.中华书局，1979年，202，203页.

［3］梁工等.比较文学概观.河南大学出版社，第2000页.

［4］刘仲宇.中国精怪文化.上海人民出版社，1997年，第372-381页.

［5］泰纳谢.张伟达译.文化与宗教.中国社会科学出版社，1984年，第32页.

［6］陶潜.搜神后记.汪绍楹校注.中华书局，1981年，24，25，27页.

哥哥小说篇3

    [Key Words] Wuthering Heights; Female Gothic novel; devilish characters; nightmares

    【摘 要】 《呼啸山庄》是19世纪英国女作家艾米莉·勃朗特的惟一的一部小说,也是世界文学园地中的一朵奇葩,其中展现了大量的哥特色彩。本文立足于欧美文学中的哥特传统研究《呼啸山庄》的创作,作家艾米莉在人物形象和意象等方面都借鉴了哥特传统并有所突破;她凭借超乎寻常的想象力,将现实与象征、恐怖、神秘等哥特手法完美地结合在一起,给陈旧的形式注入了激烈情感和活力,达到哥特形式与激情内容的完美统一。笔者试图从一个新的角度——女性哥特来挖掘出《呼啸山庄》中尚未被挖掘出的一些新的意蕴和内涵。同时也希望通过展示魔鬼式人物和梦魇的超现实主义描写,使我们能够从女性哥特的角度解读这部小说。

    【关键词】 《呼啸山庄》;女性哥特小说;魔鬼式人物;梦魇

    1.  Introduction 

    Emily Bront? is an English woman writer of superb talent during the Victorian Age. She is well known for her only novel Wuthering Heights, a strange and powerful book, said by many to be the finest novel in the English language. Yet shortly after the desolate and shocking masterpiece comes out, it is attacked and blamed to be flooded with morbid psychology and paganism. “Anyone who did read it was repulsed by the brutality and violence of the characters”[1] and by the fact that it differed so much from the romantic novels of the day. They do not want realism as Emily depicts it, and they do not want wild, fierce antiheroes like Heathcliff-who is more like a villain-or willful, passionate heroines like Catherine Earnshaw. And that is the reason why she is kept away from the mainstream of the nineteenth century literature, and do not receive her fair fame until the coming of the twentieth century. Both Emily and her works are mysterious and unique. There are various approaches applied by the critics to study Wuthering Heights from the aspects of the theme, the writing technique, love and revenge, and so on. However, there is hardly any attempt to research Wuthering Heights by combining its Gothic context with the feminist viewpoint. In view of this blank, the author is trying to reread this work as a Female Gothic novel mainly based on the following three faCETs: Firstly, in the history of English literature the early Gothic novels originated in the latter half of the eighteenth century. It was opportune that the whole story happened, developed, and ended in the period from 1771 to 1802. At that time, the English Gothic novels were catching on like fire throughout the country. With the development of Gothic novels people gradually forgot the early Gothic novels. Yet from the Bront? sisters’ Jane Eyre and Wuthering Heights we can still find the Gothic features evidently. Secondly, since the Industrial Revolution in the second half of the eighteenth century, the class structure and people’s way of living in English society had undergone radical changes. People then were tired of the old living mode and expected something novel and pleasing, which formed the social basis for the production of Gothic novels. Finally, there are countless cultural ties between Wuthering Heights and its author. “Stronger than a man, simpler than a child.”[2] Charlotte Bront? uses these words to describe her. Emily is the truly free spirit of the family, one who could not live away from her beloved extensive though dangerous and bleak moors-Haworth. Her father is of Irish stock and famous for his fluent speech and imagination. He plays a very important role in shaping Emily’s character and genius - “the temperament of the Irish - melancholy, passionate, proud, restless, eloquent, and witty – and the Methodist religious fervor and enthusiasm shown by the followers of John Wesley.”[3] Besides “environment also played its part in creating the uniqueness of Emily Bront?. The village of Haworth was very isolated and intensely Yorkshire and the people living there were in strong contrast to the Celtic temperament. They were blunt, practical, stubborn, sparing of speech, vigorous, and harsh to the point of brutality.”[4] The product of the moors exalts the spirit of Emily and fills her soul with the love of liberty. Another factor that influences Emily’s character is her brother, Branwell, the one to whom Emily has always been closest. Branwell’s falling prey to drink and drugs almost makes Emily’s heart broken. Because of his death, Emily never leaves the house again and insists on keeping up her regular round of duties. A few months after Branwell’s death, Emily dies at the age of thirty.

    In conclusion, Emily Bront? “used the stark Yorkshire setting, not to create suspense and horror, as in the typical Gothic novel, but as a natural part of her story.”[5] On one hand, she carries on the Gothic tradition in her creation of the novel. On the other hand, she has not just employed the mode but promotes some improvements in this old tradition. She used the skill of Female Gothic in her writing of the novel. In the following, the author is trying to make a study on Wuthering Heights from the aspects of the devilish characters and the terrifying nightmares.

    2.   From Gothic novel to Female Gothic novel

    In studying Wuthering Heights from the aspect of a Female Gothic novel, no one can ignore the definition of this term Gothic. To do so, however, one is likely to fall into the trap of ambiguity, for there is no definite and comprehensive way to expound it. As time goes by, the connotation of this term gradually expands from its original meaning into broader sense.

    “The word Gothic originally referred to the Goths, an early Germanic tribe, then came to signify ‘Germanic’, then ‘medieval’.”[6] And the members of this tribe win fame because of their valiance and truculence during the battle with Romans. Although after around 7A.D.the Goths vanishes from history, they had indirectly added new meaning to the word Gothic that is then used to denote a style of architecture that originates in France and flourishes during the Medieval Period. The major characteristics of Gothic buildings are embodied by “the use of the high pointed arch and vault, flying buttresses and intricate recesses, which spread through Western Europe between the twelfth and sixteenth centuries”. [7] As a result, the Gothic architecture is usually deemed to be mysterious and frightening, representing the inhumane and the Dark Ages. Today Gothic is erroneously considered crude and barbaric. 

    With the passing of time, Gothic is endowed with a new connotation. Around the early eighteenth century, Gothic develops into a genre in literary realm. In particular, “the term Gothic has also been extended to a type of fiction which lacks the exotic setting of the earlier romances, but develops a brooding atmosphere of gloom and terror, represents events that are uncanny or macabre or melodramatically violent, and often deals with aberrant psychological states.”[8] The attempt to define Gothic writings usually follows the method named by Eugenia DeLamotte in Monthly published in 1801. In such kind of works, “some writers set their stories in the medieval period; others set them in a Catholic country, especially Italy or Spain. The locale was often a gloomy castle furnished with dungeons, subterranean passages, and sliding panels; the typical story focused on the sufferings imposed on an innocent ghosts, mysterious disappearances, and other sensational and supernatural occurrences.”[9] Though the plots and themes of Gothic writings are different specifically, they focus on the depiction of a series of weird and simulative events such as murder, revenge, violence, rape and incest, thus endowing the whole work with an atmosphere of suspense, mystery and sense of fear. With its artificial over-ornamentation, its unbridled imagination, its notorious fame of seducing degeneration and corruption, Gothic writings are severely criticized and rejected by mainstream literary genres. “In the history of western literature, there are seas of schools of fiction having made strong impacts. Flourished during the end of the eighteenth and early nineteenth century, the English Gothic novel is one of the schools that exerts a tremendous influence and owns considerable uniqueness.”[10]

    The trend of begetting moral degeneration and emotional over-indulgence brings Gothic novels an alternative name “black novel”[11] which has been keeping Gothic novels on the border zone of the development history of the world fiction. Receiving general disapproval, Gothic novels are treated with indifference and left out in the cold in both western and Chinese literary criticism circles. People have been inclined to pay attention to the negative faCET of Gothic novels while fail to notice their moral instruction as the positive side. Although in Gothic novels the thick black atmosphere spread all over the place; and although “the principal aim of such novels was to evoke chilling terror by exploiting mystery and a variety of horrors”, [12] behind the seemingly deliberate black and irrational content there hides inside the substantial and profound rational content. Gothic novels never cease portraying combats between the bright and the black, the good and the beautiful. By advocating and seeking the essence of human natures, Gothic novels rightly shock and awaken people by its unique description of complicated and eccentric plots, the mysterious atmosphere and the bloody scenes.

    In 1764,the English writer Horace Walpole inaugurates the Gothic novels with his The Castle of Otranto: A Gothic Story in his Gothic castle under the setting of Middle Ages. The novel is flooded with evil, violence, and murder in cold blood. And it becomes the forerunner of the English and western Gothic novels. Set in medieval Italy, The Castle of Otranto tells a story about usurpation, conspiracy and morality. The story ends with the good promoted while the evil punished. The novel paves the way for the developing of the Gothic novels: there are secret passages and mysterious abbey, the villainous usurper and the virginal heroine, the upright hero, the display of sadistic and masochistic emotions and the unbridled sexuality and sensuality. It exhibits its rebellious and excessive qualities. The portrayal of unanimated characters and brash plots, the eerie and horrible settings and scenery, the depiction of the institution of cavalier, however, brought it long-term criticism. With the publication of The Castle of Otranto the real history of the word Gothic begins from eighteenth century. And it mainly refers to the following three meanings: barbarous, medieval, and supernatural.

    From then on, a large number of Gothic novels come out with the theme sticking to the exploration of human nature and passions in forms of indulgence and irrational excess around 1790s. Examples of Gothic novels are William Beckford’s Vathek (1786), Ann Radcliffe’s The Mysteries of Udolpho (1794), and Matthew Gregory Lewis’ The Monk (1796). The latter two works are considered to be the most outstanding and influential works among the large number of the Gothic novels during Gothic decade. Ann Radcliffe is one of the most famous female novelists whose works touch upon the typical Gothic traditions. By inheriting and developing major features of her predecessors, she attaches much importance to female figures in Gothic novels, endowing her works with new characteristics and preserving their distinct ingredients. Therefore, she is highly praised for the initiatory emphasis on women and their situations within Gothic context besides her great contribution to Gothic traditions. There are typical gothic features, such as ruined castles and abbeys, isolated passageways and dark forests in her novel, as well as some unique features, which cannot be found in male Gothic novels. To some extent, she starts the tradition of the so-called Female Gothic.

    Female Gothic, the variant of modern Gothic, first comes out from Ellen Moers’ Literary Women. She defines Female Gothic as “the work that women writers have done in the literary mode”.[13] Getting flourished in the late eighteenth and early nineteenth century, Female Gothic novels usually focus on a female protagonist who is chased and tormented by villainous gothic figures with unfamiliar settings and horrible landscape as the background. “No Gothic novel is without its suffering heroine, who is both ‘sexualized’ as an object of desire and ‘victimized’ by a powerful aggressor who is also a potential rapist. The first task of feminist criticism was to articulate the problem of the abuse of the female in Gothic fiction and to explore the ways in which female novelists subverted or reinscribed the cultural norms of female sexualization and victimization. ”[14] The Female Gothic aims to socialize and educate its female readers by criticizing patriarchal dominion and serves as an expression of female independence. It “not only marks the introduction of gendered perspective into Gothic studies, but also opens up a new space for feminist literary studies.”[15] In a word, Female Gothic is a form of literature, which expresses the inner secret resistance, fantasy, and terror of the female. Women are under the oppression of men for a long time, and it is high time that women writers should subvert male dominated literary discourse and establish their own writing tradition.

    Applying Gothic genre as a platform, the Female Gothic writers are inclined to express their own understanding on women’s conditions and communicate with readers, especially the female. The prominent representatives of Female Gothic novels include Jane Austin’s Northanger Abbey (1818), Mary Shelley’s Frankenstein (1817), and Charlotte Bront?’s Jane Eyre. Emily Bront?’s employing of Female Gothic “should have an air of being infected by Hoffmann too is not surprising in a contemporary of Poe’s; Emily is likely to have read Hoffmann when studying German at the Brussels’s boarding school and certainly read the ghastly supernatural stories by James Hogg and others in the magazines at home.”[16] Emily “grows up by reading Mary Shelley, Hoffmann, and James Hogg’s Gothic novels.”[17] In Emily’s Wuthering Heights there can be found here and there the influence of the Gothic tradition. In the following, this thesis will analyze Wuthering Heights from Female Gothic perspectives, basically focusing on its devilish characters and terrifying nightmares.

    3.  Analysis on the embodiment of Female Gothic in Wuthering Heights

    3.1 Devilish characters of Female Gothic 

    3.1.1 Heathcliff: a poor inhuman monster

    3.1.1.1 Tenant Mr. Lockwood’s impression on Heathcliff

    In Gothic novels, the shaping of the characters is a commonly used vehicle for giving expression to the gothic ingredient. This is particularly true of Emily’s Wuthering Heights. When we open this book, we can see various terrifying characters. The first character is the hero Heathcliff. He seems to be an inhuman monster. Being a son of the storm, his behavior is flooded with Gothic color: cruel, imperious, and he stoops to anything to get what he wants. What’s more, the love between Catherine and him goes beyond the common limit and is quite abnormal compared with love in other works of her age. The entire action of the story takes place within the two houses-Wuthering Heights and Thrushcross Grange and on the moors lie between. The principal character, Heathcliff, around whom all the action revolves, emerges as starkly as Wuthering Heights. He may be thought of as the personification of the house. There is an analogy between his appearance and his character and that of the Heights itself. 

    When Mr. Lockwood, the tenant of Thrushcross Grange, pays his visit to Wuthering Heights, curious about the brooding quality and crumbing, menacing appearance of the Heights and the inscription over the door- the date ‘1500’and the name ‘Hareton Earnshaw’, Mr. Lockwood would like to ask his landlord about this, but Heathcliff proves to be unsociable, inhospitable, and brusque. 

    “The ‘walk in’ was uttered with closed teeth, and expressed the sentiment, ‘Go to the deuce’: even the gate over which he leant manifested no sympathizing movement to the words; and I think that circumstance determined me to accept the invitation: I felt interested in a man who seemed more exaggeratedly reserved than myself.”[18]

    This is the first appearance that Emily displayed to us. And the first impression of the hero Heathcliff adds the color of mystery and implies to the readers that the man is bound to have a long story. By the brief portrayal of the hero, she creates suspense for the whole story, which embodies the Gothic tradition.

    During Mr. Lockwood’s staying at the Heights, he found a diary. The entry regarding the degrading life Heathcliff was forced to lead by Hindley throws some light on the character of Heathcliff as Mr. Lockwood now finds him. For the first time we sympathize with Heathcliff in his anguish, although we are still ignorant as to its cause. Heathcliff has been revealed as a man capable of great emotion, as well as cruelty. The scene still is in the Heights. Declaring that the room is haunted, Mr. Lockwood decides to spend the rest of the night elsewhere. As he is about to leave the room, the odd and horrible thing happens:

    “I obeyed, so far as to quit the chamber; when ignorant where the narrow lobbies led, I stood still, and was witness, involuntarily, to a piece of superstition on the part of my landlord which belied, oddly, his apparent sense. He got on to the bed and wrenched open the lattice, bursting, as he pulled at it, into an uncontrollable passion of tears. ‘Come in! Come in!’ he sobbed. ‘Cathy, do come. Oh, do-once more! Oh! My heart’s darling! Hear me this time, Catherine, at last!’ The specter showed a specter’s ordinary caprice: it gave no sign of being; but the snow and wind whirled wilding through, even reaching my station, and blowing out the light.”[19] Heathcliff is alarmed when he hears that Catherine has appeared to Mr. Lockwood; obviously, he believes that her spirit haunts Wuthering Heights and is trying to come to him from beyond the grave. This element arouses the interest and curiosity of the reader and embodies Gothic color a step forward.

    3.1.1.2 Crazy revenge on his enemies

    With the birth of his son Hareton and the death of his wife Frances Hindley’s final disintegration commerces. This is consistent with the moral weakness he has shown previously. He concentrates his venom on Heathcliff, whom he brutalizes and in whom he tries to stamp out the feeling of worthiness that old Mr. Earnshaw had engendered. Heathcliff, in turn, delights in seeing his enemy destroy himself. It is consistent with Heathcliff’s nature that he encourages his enemies to destroy themselves by their won inner flaws. And readers anticipate conflicts and trouble in the future. From this point of view, he behaves quite cruel and revengeful. To fulfill his revenge on Hindley, he turns little Hareton into a brute with no love or respect for his father, and he has ended his education – just as Hindley did to him. When Heathcliff reappears after Catherine’s marriage, thinking she might show him where his evil ways are leading him, Nelly pays a visit to the Heights. Seeing little Hareton outside the gates, she identifies herself and says she has called to see his father, Hindley. Hareton does not recognize her as his former nurse and greets her with a hail of stones and curses. Nelly asks him who taught him such things and he answers “Devil daddy.”[20] He says his father cannot abide him because he swears at him. He says the curate no longer comes to teach him and it is Heathcliff, whom he loves, who has taught him to swear. Furthermore, he is determined to brutalize Hareton as himself was brutalized. This is evidented by the incident of Hareton’s hanging the puppies. So far, Heathcliff has succeeded in revenging Hindley’s insult on the next generation. His cruelty is easy to feel. 

    What’s more, his attitude towards Isabella is not only very cruel but also very imperious. Edgar is his enemy, too. Once he declares he will “crush his ribs in like a rotten-hazel-nut”.[21] Because of his hatred for Edgar, he takes advantage of Edgar’s sister, Isabella. When he finds Isabella has fallen in love with him, he encourages her to run off with him even though he does not love her at all. He does so only for the Linton property and the revenge on Edgar. But after her marriage to him, she receives no love or pity from him, but indifference and distain. The desperately unhappy Isabella sends a letter to Nelly saying “Is Mr. Heathcliff a man? If so, is he mad? And if not, is he a devil?”[22] Emily Bront? uses Isabella’s letter to let us know about the state of affairs at Wuthering Heights and about Heathcliff’s abusive treatment of Isabella. When she defends her brother, Heathcliff retorts that she looks like a slut. He hints that she is losing her mind and says he will not let her outside the house for fear she would disgrace him. He has become more and more imperious to her. “You’re not fit to be your own guardian, Isabella, now; and I, being your legal protector, must retain you in my custody, however, distasteful the obligation may be. Go upstairs, I have something to say to Ellen Dean in private. That’s not the way: upstairs, I tell you! Why, this is the road upstairs, child!”[23] He reveals how he has humiliated her and that she ran off with him even after he hanged her little dog. He declares Isabella will never leave him, even if he were to set her free. Isabella denies this and says Heathcliff would never allow her to leave. Her only wish is to see him die. Heathcliff says she is raving and pushes her out of the room. After Catherine’s death, in Heathcliff’s presence, Isabella reminded Hindley that Heathcliff was responsible for all their miseries, and that but for him, Catherine would still be alive. As she spoke slightly of Catherine, Heathcliff threw a dinner knife at her, which leaves a wound under her ear. She would no longer take him as a human being. Heathcliff succeeds in the major part of his plan for vengeance: he is in possession of the Heights and Hareton, formerly belonging to his enemy, Hindley. Once again playing on the weakness of his enemy, Heathcliff appeals to the pity and sensitivity he senses in Cathy, Catherine’s daughter, and wrings her heart about Linton’s deteriorating condition. He stoops to anything to get what he wants. Making use of Cathy’s loyalty to her weakling cousin Linton, Heathcliff’s son, he baits the trap for her marrying to his son so as to master the property of Thrushcross Grange. Heathcliff is a real monster. He disowns his son and tortures him in defiance of his poor health. To have Cathy married to Linton as quickly as possible, he always find all sorts of excuses to leave the house leaving the young couple stay alone so as to create more time to live together. Eventually, Cathy gets doubted about the meetings while Linton insists not telling her the reason. When Cathy decides to leave, Linton stops her and begs her to save him. “But leave me, and I shall be killed.”[24] He hints she can do this by consenting to something, what, he will not reveal. He dares not because he dreads his father. The villainy of Heathcliff, culminating in the illegal act of kidnapping Cathy and Nelly, would be sheer melodrama, if it were not for the genius of Emily Bront? in creating wholly consistent characters. We believe Heathcliff would act in this manner. He has reached a point of crisis. Even when Edgar is dying, Heathcliff refuses to let Cathy go back home to see him for the last time. To get his property, he bribes the lawyer and succeeds putting the property into his own picket.

    3.1.1.3 Feminized Female Gothic hero

    Although the hero Heathcliff is depicted to be a typical devilish character in Gothic novel, he is not the same as those in traditional ones. His nature is softened by his endless love to Catherine and his giving in at last.

    Heathcliff comes back to avenge himself on Hindley and then kills himself after three years disappearance. However, having seen her again, he knows he can do nothing to hurt Catherine and is abandoning his vow of revenge. Encounts Catherine he becomes full of tenderness. In particular on the spot of Catherine’s deathbed, though still a monster-like man, his affection to Catherine is engraved on his bones and heart.

    “On my approaching hurriedly to ascertain if she had fainted, he gnashed at me, and foamed like a mad dog, and gathered her to him with greedy jealousy. I did not feel as if I were in the company of a creature of my own species: it appears that he would not understand, though I spoke to him; so I stood off, and held my tongue, in great perplexity.”[25] Here Emily uses the rhetoric of hyperbole to describe the soul-stirring scene, displaying the crazy, brutal, mysterious, and terrifying love between the hero and heroine.

    At the end of the story, on the surface it would appear that the old tragedy might be reenacted by the young people of the second generation at Wuthering Heights and Thrushcross Grange. However, while Cathy, Linton, and Hareton show some of the characteristics of their parents, these traits have been modified, and there is hope for a happier solution to the problems presented. Emily has ingeniously designed Hareton, another Heathcliff, whose life is much luckier than Heathcliff; and the same relationship that existed between Heathcliff, Catherine, and Edgar is being repeated between Hareton, Cathy, and Linton. However, the new generation receives a much better ending, and to some extent, a happy one.

    Heathcliff is a feminized Female Gothic hero who deserves our sympathy. He has a gloomy childhood, spends most of his life in the dark of revenge, and thus never leads a relaxed life, especially after Catherine’s death. He has been obsessed by the feelings of Catherine’s presence night and day. He feels haunted and thaws himself. His revenge has turned to ashes. After his death, there are changes at Wuthering Heights. The gate is open and flowers fill the yard. The sun is setting and the moon rising symbols of a new regime. The flowers that Cathy and Hareton plant after uprooting Joseph’s blackcurrant bushes are blooming. The old order of vengeance and retribution as represented by Heathcliff and old Joseph, has passed and has been replaced by the spirit of love. All these are the bright sides of this novel and evidently embody Emily’s making use of Female Gothic.

    3.1.2 Catherine Earnshaw’s split personality

    Another key character in Wuthering Heights is the heroine, Catherine Earnshaw. The free spirit of Emily Bront? is epitomized in Catherine, who, as a child, could ride any horse in the stable, and in later years rides roughshod over everyone who tries to stand in her way. Beautiful, wild, arrogant, and willful, Catherine is a fitting companion for the arrogant and vindictive Heathcliff. Her love for him and the moors is the ruling passion of her life. While she may appear heartless when she chooses to marry Edgar Linton, she is na?ve enough to think that by so doing she will be able to lift him from the degradation into which he has been thrust by Hindley.

    There is one occasion showing Catherine’s wildness. When Nelly refuses to leave her and Edgar in the room alone, Catherine tries to push her out of the room and pinches her arm, leaving an ugly mark. When the baby Hareton complains about “wicked Aunt Cathy”,[26] she shakes him until his teeth rattle, and Edgar tries to intervene. She denies she pinched Nelly, but Nelly shows Edgar the mark. Livid with fury, Catherine boxes Edgar’ ears. Edgar is horrified to see this other side of Catherine, capable of telling lies and becoming violent. Emily uses the description of Female Gothic to show that the nature of human beings has two sides. No one is perfect and one is bound to have his or her ugly side. Although she is married to Edgar, she is clear that her love for Heathcliff is remembered with deep gratitude. “if the wicked man in there had not brought Heathcliff so low, I shouldn’t have thought of it. It would degrade me to marry Heathcliff now; so he shall never know how I love him; and that not because he’s handsome, Nelly, but because he’s more myself than I am. Whatever our souls are made of, his and mine are the same; and Linton’s is as different as a moonbeam from lightning, or frost from fire.”[27] Here Emily employs the image of the Nature to symbolize the differences between Heathcliff, Catherine, and Edgar’s nature. In the world of Emily, there is no distinction between the good and the evil. Catherine’s love for Heathcliff is unparalleled. “My love for Linton is like the foliage in the woods: time will change it, I’m well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Heathcliff! He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.”[28] The extraordinary love hardly appears in any Gothic novels, in which the love is always condensed or mentioned casually. Compared with the ordinary Gothic characters, the hero and heroine in Emily’s Wuthering Heights own more true feelings and fresh vigor. Catherine’s mixed and conflicted attitude towards her marriage splits and tears her. The anguish verging on collapse and the ravings in morbid state differ from the old Gothic tradition and pave the way for Gothic novels. Emily Bront? observes people from the angle of the feminist portrays her characters from the aspects of Female Gothic, and therefore brings us the shock of supernatural strength as well as the vivid portrayal of the hero and the heroines. The further research for the psychology of the Gothic characters develops the shallow horror-making technique in the old Gothic novels and so softens the primitive, pure terror to some extent. It leaves the readers more room to develop their own thought and enhances the depth of thought and the aesthetic awareness in Gothic novels. 

    3.2 Terrifying nightmares

    The terrifying and mysterious atmosphere forms in the nightmare of Mr. Lockwood. Nowhere else in the book is Emily Bront?’s genius so vividly revealed as in this part. Here, past and present, dream and reality, are melded into a coherent whole. All references tie in together: the books Lockwood finds and reads in the bedroom, the names that are mentioned, and finally, Lockwood’s unbelievably vivid dreams.

    “I muttered, knocking my knuckles through the glass, and stretching an arm out to seize the importunate branch; instead of which, my fingers closed on the fingers of a little, ice-cold hand! The intense horror of nightmare came over me: I tried to drawback my arm, but the hand clung to it, and a most melancholy voice sobbed, ‘Let me in-Let me in!’ … Terror made me cruel; and finding it useless to attempt shaking the creature off, I pulled its waist on to the broken pane, and rubbed it to and fro till the blood ran down and soaked the bedclothes; still it wailed, ‘Let me in!’ and maintained its tenacious grip, almost maddening me with fear.”[29] It is here that Emily introduces the supernatural into the story. Catherine is the only ghost in Mr. Lockwood’s nightmare. The nightmare is a masterpiece of suspense. 

    Nightmare is the common vehicle used in Gothic novels. Most Gothic novels are inspired by dreams. This is particularly true of Emily’s Wuthering Heights. There is one occasion when Edgar confronts Catherine and tells her she must choose between him and Heathcliff, she flies into a rage, locks the door and for two days she remains there, touching no food. Her psychic conflicts rise to the climax. “Tossing about, she increased her feverish bewilderment to madness, and tore the pillow with her teeth … ‘That’s a turkey’s,’ she murmured to herself; ‘and this is a wild duck’s; and this is a pigeon’s’…Bonny bird; wheeling ever our heads in the middle of the moor …This feather was picked up from the heath, the bird was not shot; we saw its nest in the winter, full of little skeletons. Heathcliff set a trap over it, and the old one dare not come.”[30] Catherine’s appalling hysteria and these ravings seem to show that she is in the state of delirium. Actually, the daydream-like surrealistic description unfolds her psychic state of struggle against anguish and fantasy. Her heart has drifted away to the old good days when she and Heathcliff are together. This passage of Catherine’s disordered ravings suggests the heroine has suffered severely from the anguish just right for the occasion. By applying this vehicle, what Emily Bront? feels like expressing is not only to create an atmosphere of terror but also to establish the emotion suspense, and then set up a unique structure for the whole story, which embodies the color of Female Gothic at the same time. 

    4.  Conclusion  

    It is common that many critics take Gothic novels as black novels. In particular, they hold high prejudice to those who write in this style. There is no doubt that Emily Bront? is regarded as a writer out of the mainstream of the novels in the 19th century. Her style is clear and simple but charged with tremendous vitality. She does not write for moral and social effect as Charles Dickens does. She writes for the rhythm of her sentences and the exact choice of word conveys her meaning explicitly. The style is so condensed, like that of a poet that every word must be read, or some vital point will be missed. The smaller object or snatch of conversation has some part in the whole structure. For her, the use of Gothic is not just to produce a terrifying atmosphere and make readers sick like the Gothic novels, but set up a more perfect structure and then show us the complicated psychology of the characters. By portraying the devilish characters and the terrifying nightmare, Emily Bront? finds a new way to express feelings—Female Gothic. She pays more attention to the nature of protagonists and holds that there is no definite borderline between the good and the evil. Her boundless imagination and realistic depiction serve better for the portrayal of the characters. Inheriting Gothic tradition in her writing, she develops it from her own angle. Her only novel Wuthering Heights is a good embodiment of her Female Gothic technique. The novel may be considered as a great lyric poem for it abounds in imagery. Emily Bront?’s writing is also most effective when depicting the passionate and violent characters of Heathcliff and Catherine, for she has uncanny ability to translate feelings into words. In her descriptive passages she paints a vivid picture of the wild bleakness of the Heights, and the cloying ease and luxury of Thrushcross Grange. Emily Bront? has input the lively energy into the English Gothic novel and therefore speeded the development of the English novels.

    References

    [1]Janet C.James. Cliffs Notes on Bronte’s Wuthering Heights[M]. Lincoln: Cliffs Notes, Inc.,1979 P7

    [2]Charlotte Bront?. 《埃利斯·贝尔与阿克顿·贝尔生平纪略》. 转引自杨静远 勃朗特姐妹研究[M]. 北京:中国社会科学出版社,1983 P21

    [3]同[1]P6

    [4]同[1]P6

    [5]同[1]P7 

    [6]Abrams.M.H.  A Glossary of Literary Terms[M]. 北京:外语教学与研究出版社,2004 P110

    [7]同[6]P110

    [8]同[6]P111

    [9]同[6]P111

    [10]李伟昉. 黑色经典英国哥特小说论[M]. 北京:中国社会科学出版社,2005 P1

    [11]P.Brunel, Cl.Pichois, A.M.Rousseau. 什么是比较文学[M]. 北京:北京大学出版社,1989 P126

    [12]同[6]P111

    [13]Ellen Moers. Literary Women[M]. 转引自林斌. 西方女性哥特研究——兼论女性主义性别与体裁理论[J]. 外国语,2005(2) P72

    [14]John Richetti. Columbia History of the British Novel[M]. 北京:外语教学与研究出版社,2005 P225

    [15]林斌. 西方女性哥特研究——兼论女性主义性别与体裁理论[J]. 外国语,2005(2) P71

    [16]Q.D.Leavis. Collected Essays[A]. Ed. G.Singh. Great Britain:Cambridge University Press,1983,Vol.I P232

    [17]Gerin, Winifred. Emily Bront?[M]. 转引自邓颖玲. 论艾米莉勃朗特对哥特传统的发展[J]. 外语教学,2005(4) P85

    [18]Emily Bront?. Wuthering Heights[M]. Columbus: The McGraw-Hill Companies, Inc., 2000 P1 

    [19]同[18]P21

    [20]同[18]P81

    [21]同[18]P85

    [22]同[18]P100

    [23]同[18]P112

    [24]同[18]P198

    [25]同[18]P119

    [26]同[18]P52

    [27]同[18]P59

    [28]同[18]P60

哥哥小说篇4

关键词: 女性哥特小说 《黄墙纸》 第一人称 叙事视角 疯癫叙事者

一、引言

女性哥特小说是一种独特的文学样式。自从艾伦・摩厄斯1976年在她的著作中提出“女性哥特”一词之后,众多女性批评家们竞相提出各自的见解,对女作家笔下的哥特小说进行多角度的阐释和分析,并对女性哥特是否应当成为一个独立文学样式进行了激烈的讨论。

在这类小说中女主人公都被囚禁在神秘而让人快要窒息的房子中,并被迫害、追捕。这类小说首先以房子为主要意象,象征女性被束缚受压抑的地位,比主流小说更注重逼真的心理刻画。此外,这类小说质疑社会制度和价值观,认为其束缚女性发展独立的人格。女性在父权社会所处的从属地位,决定了她们的活动范围和生活内容有限,缺乏自我发展空间。

美国作家夏洛特・帕金斯・吉尔曼的《黄墙纸》正是这样的女性哥特小说。小说取材于作者的亲身经历,描写了一位没有姓名的知识女性“我”,因患有轻微的精神抑郁症而被丈夫关进一间糊有黄色墙纸的婴儿室里进行“疗养”而最终导致精神崩溃的过程。它通过刻画一位被禁锢的疯妻子的形象和心理,挑战当时社会指定的女性的从属地位。

《黄墙纸》又有别于传统的女性哥特小说,具有独特的颠覆性和隐蔽性。吉尔曼通过独特的叙事话语向父权社会发起了挑战。故事场景由传统的哥特式地窖变成了阁楼。与传统女性哥特小说中不管清醒与否都以叙事者口中他者身份出现的女性人物不同,吉尔曼塑造了一个被关在阁楼里的疯女人这样一种极具哥特特征的形象,并以这个疯癫叙事者的口吻,通过独特的叙事话语表达了作者反抗父权压迫的内心世界。小说的隐蔽性则多表现在吉尔曼一反传统的书写形式上。她有意地运用了日记体。所有这些都生动地将一个疯女人的内心痛苦展露无遗,使读者更真实地体会到了黄墙纸所代表的父权对女性的压制。

二、“我”,独特的第一人称叙事视角

传统哥特小说中,叙述者往往是男性,被叙述者是女性,因此充分表现的是男性意识,女性意识和经验或被歪曲或被抹杀。如果改用女性视角来叙述故事,女性的意识和人生体验就能得到更多的体现。吉尔曼在《黄墙纸》中,就是以一位女性为叙述者,从第一人称经验视角展开叙述。

1.第一人称经验视角的采用对父权制话语发起了挑战。它将象征男性权威的丈夫放逐到叙事的边缘,赋予女性主人公以自我言说的机会,在叙述主体和读者之间建构了一条潜在的对话渠道。实际上,任何一部作品,可以说都渗透着作者的思想感情,或多或少地可以说是作者自身的某种情感交流、思想对话,同时这种交流和对话当然也包含着读者的参与。在这部小说中,“我”以第一人称叙述者的身份,不仅讲述了故事,而且讲述的是“我”自身参与、并在其中作为主人公的故事。由于第一人称经验视角的作用,叙述者和读者之间展开了潜在的对话和交流。“我”可以尽情地倾诉自己内心最深处的种种情感与体验,种种隐秘与渴望,叙述内心最细微的思想波动,无须任何顾忌。“我”所讲述的“我”看到、听到、感受过、经历的一切就显得十分真实而可信。而读者能洞察“我”的心理活动,知道“我”是在极度的孤独之中将自己的思想投射到了墙纸上,因此也就可以理解和同情“我”的所作所为。同时,通过第一人称经验视角,读者还可以间接地观察到丈夫和周围人对“我”的行为举止的反应,从而间接地展示“我”的心理逐渐崩溃的过程。读者因为始终和“我”进行潜在的交流,了解“我”的一切心理上和行为上的循序渐进的变化,所以对“我”的最后的行为变化不会感到突然。

2.第一人称经验视角的采用有效地表现了“我”与周围环境的隔阂。“我”虽然是从第一人称经验视角展开叙述,但是仍然可以被看作是一个人物叙述者。因此,“我”的思想、情感、言语、行动都只能在一个人物叙述者的范围内活动,而丝毫不能超越这个范围。也就是说,“我”作为一个人物叙述者,视野是受到严格限制的,“我”无法叙述自己未曾看到、听到,或者未曾经历过、感受过的种种事件。同样,故事中的其他人物也被阻隔在叙述者的心理世界之外,他们也无法了解“我”的思想和秘密,只能通过“我”的言语行动,或从“我”的表情眼神去揣测。这样,“我”的丈夫和“我”身边的人全都被这种叙述方式阻隔在“我”的内心世界之外。他们虽然也逐渐注意到了“我”的异常行为,也开始关注墙纸,但是却难以了解墙纸给“我”的内心带来的巨大压力和对“我”的身心造成的巨大影响。所有这些都说明了一个问题,即在男性中心主义的统治下,女性的人生体验在现实生活中始终难以言说,也难以为“正常人”所理解。

三、“疯女人”,独特的疯癫叙事者

吉尔伯特和古芭把19世纪被禁锢在男性中心主义文学标准中的女性作家的处境比喻为“阁楼上的疯女人”。在传统的男性文本中,女性的形象不外乎两种:天使或魔女。男性主义作家任意地按照自己的标准来赞美或丑化女性。而女性作家却跨越了父权文化为她们设置的界限,向原本只属于男性的写作发起了挑战,悖离了由男性为其预设的身份角色。

通常在某种意义上,疯女人是作者的复本。事实上,在出自女性之手的诗歌和小说中,大部分都虚构出这样一位疯子;只有这样,女性作家才能在她们自身独有的、分裂的女性感情上找到平衡。在《黄墙纸》中,“我”在丈夫眼中的精神异常,实际是隐喻了“我”对男性权威极端的愤怒与反抗。“我”的这种压抑的情绪源于女性作家一直都无法在男性中心主义的文学标准中确认自己和自己作品的价值。因为,按照男性文本提供的女性形象范本,她们所创作出的追求独立个性、向往自由的女性形象显然是不符合标准的。因此,“我”才会陷入对写作的欲望和无法取得成就的失望这一对不可调和的矛盾之中。“我”对自己写作能力的怀疑,对写作这项工作的渴望与冲动,以及写作带给“我”的焦虑,无疑都是处于困境之中的女性作家为自己的处境描摹的复本,使她们内心被压抑的情感,如焦虑、愤怒、恐惧等得以渲泄。

同时,“疯女人”的形象也象征了一种微妙复杂的文学策略。按照吉尔伯特和古芭的说法,这种计策赋予19世纪女性小说以革命性的锋刃。在女性真正建立起能够脱离男性中心主义标准的文本话语模式和文学标准之前,女作家只能套用男性的文本模式。她们采用将计就计的策略来篡改男性文本。这就是说,女性作家一面与男性权威强加给她们的界定建立同一关系,一面又对它暗中修改,塑造出作为主人翁对立面的疯癫形象,让这些疯癫形象充当那些安分守纪的自我的社会替身;在文本中,她们建构起一套对立模式,使用囚禁与逃脱,疾病与健康,以及片断与总体的虚构,实现了解构男性中心主义文学标准的策略,即从正面表现社会可以接受的“天使”,从反面表现自己的秘密欲望的魔女。于是,她们在自己厌弃的形式中找到了一个新的空间。

四、结语

吉尔曼在《黄墙纸》中运用了众多的女性哥特元素,都是小说中传达空间限制主题的哥特意象,揭示了父权社会对女性的禁锢,甚至婚姻也变成令女性窒息的牢笼。女性是丈夫的附属,女性是生儿育女的工具,女性话语权遭到无情的剥夺。更为重要的是任何试图反抗的女性面临被父权社会定为疯癫的危险。本文通过“我”对房间、壁纸等景物疯癫的臆想,再用一种不连贯的、非逻辑性的语言对其再现,营造出一种阴森恐怖的气氛。乍看之下,它与19世纪其它的歌特体小说没什么不同之处。然而,仔细地剥开作者精心用一系列的隐喻所包裹起来的表层文本,读者会发现隐藏在疯癫之下的作者同“我”。通过这个“我”疯癫狂暴的行为,作家使自己那种逃离男性“房间”和男性文本的疯狂欲念得以实现,而与此同时,也正是通过这个复本的暴力行为,这位焦虑的作者才能爆发出那种郁积在胸中的不可遏制的怒火,尽管这种爆发有时甚至会为她带来毁灭性的后果。而在当时的时代背景下,吉尔曼颠覆了传统的女性哥特小说,她笔下的女性要逃出牢笼,只能走向疯癫。

参考文献:

[1]Gilbert,Sandra and Gubar,Susan.The Madwoman in the Attic:The Woman Writer and the Nineteenth-Century Literary Imagination.New Haven:Yale University Press,1979.

[2]Gilman.Charlotte Perkins.The Yellow Wallpaper.Ed.Thomas L.Erskine and Connie L.Richards.New Brunswick:Rutgers University Press,1993.

[3]Gilman,Charlotte Perkins.The Living of Charlotte Perkins Gilman:An Autobiography,introduction by Ann J.Lane.Madison:University of Wisconsin Press,1990.

[4]Hedges,Elain R.Afterword to The Yellow Wallpaper.New York:The Feminist Press,1996.

[5]李靓.《黄色墙纸》中的疯癫含义[J].西安外国语学院学报,2006,14(1):82-85.

[6]刘风山.疯癫,反抗的疯癫――解码吉尔曼和普拉斯的疯癫叙事者形象[J].外国文学评论,2007,(4):92-100.

[7]刘慧英.走出男权传统的樊篱――文学中男权意识的批判[M].北京:三联书店,1995.

[8]刘思谦.娜拉言说[M].开封:河南大学出版社,1993.

[9]西蒙娜・德・波伏娃著.陶铁柱译.第二性[M].北京:中国书籍出版社,2004.

[10]肖明翰.英美文学中的哥特传统[J].外国文学评论,2001,(2):48-53.

哥哥小说篇5

今天,童童一下楼就看见了楼上的小哥哥,两个人欢天喜地地玩到了一起。不一会儿,另一个小男孩来了,两个男孩玩起了轮滑,而童童不会,于是就骑车跟着他们。没一会儿,童童因为突然拐弯掉头,不小心蹩倒了那个小男孩。那个小男孩开始指责童童,然后又告诉了小哥哥。于是,小哥哥和小男孩一起指着童童说“讨厌”,童童似懂非懂地看着两个小哥哥,听他们不断说自己“讨厌”。

我叫过童童,让童童坐在我旁边的椅子上。过了片刻,两个小男孩玩累了,其中一个坐在了童童旁边。椅子只够两个大人坐,另一个小哥哥就没坐的地方了。可是,两个小男孩一起挤童童,大叫着让童童让开。童童仍然似懂非懂,不反抗也不反驳,傻傻地坐在那里让小哥哥挤。眼看童童就要被挤出椅子掉在地上了,我连忙抱过童童,让她坐在我的腿上。

为了吸引童童的注意力,我给了她一个玩具。小男孩看到玩具甚是喜爱,向童童要玩具,童童不同意给。小哥哥略带得意地也向童童要,谁知童童也不同意给。这一下又激怒了两个小男孩。为了躲开纠缠,童童带着玩具骑车跑开了。两个小哥哥不解气,跑过去站在童童旁边边跳边叫:“破车!破车……”童童有些慌张地看着两个小哥哥,自己转了几圈后,似乎突然明白了什么,愤怒地大叫一声:“我的车不是破车!”但这样的一句话对两个小家伙无济于事,童童的辩解很快被两个小男孩更高的声音压了下去。

我对童童说:“咱们去游乐场玩吧。”于是,我带着童童去游乐场。童童边走边问我:“妈妈,小哥哥为什么说我的车是破车?”

我问童童:“童童认为自己的车是破车吗?”“不是。”童童回答。

我说:“童童不认为自己的车是破车,那就不是破车。小哥哥说得不对,童童不用太在意。”

童童在游乐场玩了一会儿,两个小哥哥也来到了游乐场。他们玩累了坐在长椅上休息。童童看见两个小哥哥坐下,高兴地跑了过去,坐在了小哥哥旁边。谁知,童童刚坐下,两个小哥哥同时大叫着让童童离开,还边说边推她。

此时,童童似乎才意识到小哥哥不愿意和她玩。我看见童童从椅子上站起来,后退了几步,站在长椅边看着两个小哥哥。当小哥哥又开始撵她走时,她突然转身,有些难过地跑向我,嘴里说:“妈妈,小哥哥不跟我玩。”

我抱起童童,说:“你知道小哥哥为什么不和你玩吗?”童童摇摇头。我说:“那是因为童童现在还太小,还不能够和小哥哥们一起玩轮滑,等童童长大一些,学会了轮滑,小哥哥就愿意和你玩了。”童童点点头。

然后,我又说:“我们每个人都有权利拒绝和别人玩,这很正常。小哥哥拒绝和童童一起玩,童童也可以拒绝和别的小朋友一起玩,妈妈小时候也被小朋友拒绝过呢。”接着,我讲了一个自己小时候被人拒绝的故事。

童童似懂非懂地点点头。为了让童童从不愉快的氛围中走出来,我提议一起去吃羊肉串。童童很高兴,临走时,她主动要求和小哥哥打招呼。看我同意了,童童马上跑过去和小哥哥说:“小哥哥,我要去吃羊肉串了,bye-bye。”两个小哥哥听到童童要去吃羊肉串,马上追着童童说:“给我带一串回来。”童童点点头。

吃羊肉串的时候,童童一边吃,一边不断指着给小哥哥留的羊肉串跟我确认:“这个是给小哥哥的,是吧?”吃完羊肉串,童童迫不及待地带着羊肉串往回走。

为了避免再和小哥哥发生冲突,我对童童说:“童童,给小哥哥羊肉串后,咱们找其他小朋友玩,小哥哥今天喜欢玩轮滑,咱们没法和他们一起玩。”童童点头同意。一到游乐场,两个小哥哥看见高举羊肉串的童童,无比兴奋地跑了过来。

童童高兴地把羊肉串分给了两个小哥哥。然后,我鼓励童童和小哥哥说bye-bye。小哥哥问童童要去哪里,童童说:“小哥哥,我还太小,不能和你们玩轮滑,我去找其他小朋友玩去了,bye-bye。”小哥哥听到童童这么说,出人意料地开始对童童恋恋不舍了,他说:“小妹妹,一会儿我去找你啊。”两个人一步三回头地分了手。

我带着童童和其他几个小朋友一起玩,当童童不想把玩具分给其他小朋友玩时,我就告诉童童要多交几个好朋友,这样自己就不会在被一个小朋友拒绝时难过了。在我的鼓励下,童童把手里的玩具分给了三个小朋友,然后突然大声说:“我喜欢国产的小朋友。”逗得旁边的几位老奶奶大笑道:“这里没有进口的小朋友,都是国产的。”随后,周围的小朋友也纷纷起哄:“我们都是国产的。”

过了一会儿,两个小哥哥从游乐场回来,大家又聚在一起玩。在我大肆渲染童童给小哥哥带羊肉串的经历后,小哥哥大方地同意让童童戴上他的头盔。当在一块玩的一个小朋友脱掉轮滑鞋时,童童突然非要穿上。

在征得那个小朋友的同意后,童童穿上了鞋。我本以为童童是因为好奇才要求穿上的。谁知,童童穿上鞋后,突然大叫着不让我扶,然后说:“妈妈,我会玩轮滑了,我能和小哥哥一起玩了!”然后,她不断扭动身体,尝试甩开我的手。

我这才意识到,原来刚才我告诉童童,小哥哥不和她玩是因为她不会玩轮滑,而此时,她以为只要她穿上轮滑鞋,小哥哥就会和她一起玩了。又一次,童童让我看到了她骨子里的那份倔强,她竟然穿着不合脚的轮滑鞋,摔倒了自己又站起来。看着童童为了这份友谊这么努力,我心疼不已。

好不容易,我说服她把轮滑鞋脱下来。就在我认为今天所有的不愉快都要过去的时候,小哥哥突然愤怒地对着童童大喊大叫,如果不是奶奶拽着,他甚至要冲过来打童童。我吓了一跳,赶紧询问怎么回事。原来,小哥哥的奶奶喜欢童童,没有经过小哥哥的允许,就给童童喝了小哥哥杯子里的水。而童童在喝了哥哥杯子里的水之后,执意还要喝。我知道,童童不是渴了,而是把能喝到小哥哥杯子里的水视为一份友谊的认可。

结果,小哥哥大怒。童童看见小哥哥生气,似乎有些害怕,坐在我的怀里主动要求回家。小哥哥的奶奶不断责骂小哥哥,小哥哥不但不听,反而把所有的不快都推到了童童身上,边哭边大叫:“臭妹妹,都是你,把我的水还给我!你讨厌,讨厌!”

童童看见这种情况,拉着我要回家。小哥哥不依不饶,一定要童童赔水。临上楼的时候,我问童童:“你愿意把水壶里的水倒给小哥哥吗?”童童同意了。于是,我们把一整壶的水倒进了小哥哥的水壶里,小哥哥这才解气地转身离开。

回到家,我心里有说不出的难受。说实话,我真想对童童说:“咱们以后再也不和这个小哥哥玩了。”但话到嘴边,我又硬生生地吞了回去。思来想去,我还是试探地问了问童童:“童童,咱们以后多和不同的小朋友玩好吗?比如,宁宁、果果……”正当我点不同的名字的时候,童童轻声地说了一句:“还有小哥哥。”

这就是孩子,没有怨恨,没有敌意,纯洁得让人心疼,简单得让人无语。我看到,他们可以毫不掩饰地拒绝,也可以在刚刚拒绝后毫无愧疚地索取,更可以在转身之间冰释前嫌。这也时刻提醒我,不能用成人的眼光来评判孩子之间的矛盾,不能用成人的标准来评判孩子的行为。我生怕我的过度反应会影响童童内心的那份纯洁,干预了她内心的那份平静。

哥哥小说篇6

从我蹒跚学步起，哥哥就背着我在这条小路上玩。那时，父母工作忙，我跟哥哥在一起的时候多。每当我被虫子吓哭了，哥哥总是笑嘻嘻地替我抹眼泪，还说：“不怕，看我踩死这个大坏蛋！”说完就一脚踩死了它。而我呢，也总是含着眼泪笑了

光阴似箭，一晃我也上学了。每次放学，不管有多晚，我也要等哥哥从教室里面出来，一块回家。就在这条小路上，哥哥陪我度过了好几个春秋，不知走了多少个来回。

记得有一天早晨，大雨发狂地下着，我说：“哥哥，这么大的雨，不去上学了吧？”哥哥一边拿着雨伞，一边说：“这点雨就吓着你了？快，上来吧！”说着，他蹲下身子要背我。我迟疑地说：“你别背我了——”哥哥笑着打断我的话：“你还怕哥哥背不动你？别说这么小，就是到了100岁，你还是哥哥的第第！”

哥哥小说篇7

小蟑螂趴在碗柜上偷kui。

那个帅哥哼着小曲儿在洗碗，嗯哼嗯哼，哗啦哗啦。

帅哥洗碗都这么好听吗。小蟑螂爱屋及乌了，帅哥干什么都好看。

小蟑螂黑黑的小脸儿红了。

2

小蟑螂今年一岁多，是三个月前搬到这户人家的。

没办法，上一家的药太厉害了，一下子就把妹妹药死了。

小蟑螂好难过，看着妹妹被纸巾包住，丢进垃圾桶。

小蟑螂再也不敢在那家偷吃东西，饿着肚子逃出来，来到帅哥家。

帅哥大大咧咧，懒得买蟑螂药。帅哥妈妈曾经来帮忙撒药，却不知道撒的都是过期货。

帅哥根本就不怕蟑螂。小蟑螂就住了下来。

3

小蟑螂溜到水槽下的垃圾桶，偷吃里面过期的面包。

帅哥买的面包是蛋奶味的，小蟑螂很喜欢，甜甜的好好吃。

帅哥家的厨房没有蟑螂药。

小蟑螂觉得好开心。

但是帅哥倒垃圾很勤快，如果不抓紧吃掉的话，食物很快就会不见啦。

帅哥还是挺爱干净的。

小蟑螂难过起来，爱干净的帅哥不会喜欢脏乎乎的小蟑螂。

4

帅哥打开电视看节目，看的聚精会神口水喷溅。

帅哥们看球都是这样吗，小蟑螂默默地想，爬到电视柜后面继续偷看帅哥。

外面已经黑了，帅哥又要熬夜了。

不要感冒了哦，睡眠不足的帅哥。小蟑螂担心地晃晃触角。

5

帅哥趁着球赛间隙起身上厕所。

小蟑螂跟过去，从门缝瞄了一眼，脸红的跑掉了。

好大>；o

帅哥洗了手，把一个袋子放进微波炉，不一会儿从里面捧出爆米花。

又是蛋奶味的，帅哥真的很爱蛋奶。

6

小蟑螂看着帅哥高声呐喊的样子陶醉了，不小心从电视柜旁边露出了一对小触角。

刚好被帅哥无意中瞥到了。

小蟑螂吓得扭头逃向厨房。

帅哥吃了一惊，抓起拖鞋丢过去，砸中小蟑螂压断了三条爪爪。

小蟑螂用余下的小爪捂住眼睛缩成一团。

好疼呀。

7

没有东西压住腿了，小蟑螂从爪缝里看过去。

帅哥正举着拖鞋对准小蟑螂，帅哥在犹豫要不要拍下去。

小蟑螂使劲爬起来，拖着断腿刺溜刺溜地逃走了。

身后的帅哥没有追过来。

8

小蟑螂躲在碗柜里不敢出去。

肚子咕咕叫了，可是帅哥还在外面看球，垃圾桶空空，没办法偷东西吃。

虽然小蟑螂很禁饿，但是饿肚子还是好难受，还会联想起在上一家提心吊胆的日子。

来到帅哥家以后，就没有饿过肚子了。

小蟑螂摸摸瘪瘪的小肚皮，又看看断掉的腿。

小蟑螂鼻子酸酸的。

9

小蟑螂听见帅哥关上电视准备睡觉。

小蟑螂等到熄灯了，就悄悄爬出碗柜，一瘸一拐地溜到客厅里。

小蟑螂在客厅的地上找到了几颗爆米花，都散发着蛋奶的香味。

还有帅哥手指头的味道。

小蟑螂开心地爬到爆米花上，这是帅哥遗落的哦。

10

帅哥每天都出入厨房很多次，做饭洗碗拿零食。

帅哥做的饭很香很香，小蟑螂好喜欢偷吃帅哥吃剩的饭。

可惜剩下的饭菜都凉掉了。

小蟑螂多想坐在桌子旁边吃帅哥端来的热热的菜啊。

就像帅哥家常来的美女一样。

11

帅哥夹起一块蛋奶蛋糕，帅哥说，啊——张嘴～

美女张开嘴，帅哥把糕送进美女嘴里，美女幸福地笑了。

小蟑螂躲在角落里，看的好羡慕好羡慕。

小蟑螂也想被帅哥喂蛋糕啊。

不过，虽然帅哥不喂它蛋糕，但是帅哥有用拖鞋打它。

帅哥可从来不用拖鞋打美女。

小蟑螂沾沾自喜，帅哥不对美女做的都对它做呢。

12

吃完饭的帅哥拿牙签剔了剔牙，把牙签丢进碗里。

帅哥把碗筷端去厨房，小蟑螂溜到水管后面，躲在那里偷看帅哥。

帅哥没有马上刷碗，从冰箱里拿了饮料走开，去陪美女了。

帅哥和美女亲亲了吧，小蟑螂想。

小蟑螂爬到案板上，站在帅哥刚刚端回来的碗筷旁边。

13

小蟑螂爬到碗里，拖出碗里帅哥用过的牙签。

小蟑螂嘿咻嘿咻地举着牙签，扎在一块蛋糕渣上。

小蟑螂把牙签转过来，对准自己的小嘴巴，将蛋糕渣送进嘴巴里去。

小蟑螂闭上眼睛想，这样就像帅哥在喂它蛋糕一样。

小蟑螂幸福地笑了。

14

小蟑螂吃的很香，没有想到帅哥和美女突然来到厨房。

美女拿着喝空的饮料瓶，看到小蟑螂，发出大大的尖叫。

小蟑螂吓得丢下牙签，拼命的逃跑，身后的帅哥挥着拖鞋驱赶。

不能再回碗柜啦，会被堵在里面拍死的。

小蟑螂慌不择路地爬上厨房的窗子，顺着敞开的窗缝逃出屋子。

15

帅哥望着窗户说，吓坏你了，又是这只蟑螂。

美女说，快刷碗吧，都招虫子了。

帅哥望着窗户说，我记得这只蟑螂，我在客厅里捉到过它。

美女说，不可能吧，虫子长的都差不多。

帅哥望着窗户说，你说它会掉下去吗，你说它会摔死吗。

美女说，你怎么总说那只虫子。

16

小蟑螂趴在窗户外面，它的小脚可以抓住楼房的墙壁。

小蟑螂觉得眼睛里有湿湿的东西转呀转的。

被赶出了屋子，又没有家了啊。

小蟑螂真的好喜欢这个家，还有家里大大咧咧的帅哥。

小蟑螂难过的哭了。

17

天黑下来了，冬天的晚上天气很冷。

小蟑螂在窗外冻得哆哆嗦嗦，但是舍不得离开住惯了的屋子。

小蟑螂扒着窗户往屋里张望，屋里亮起奶黄色的温暖的灯光。

小蟑螂羡慕地望着美女吃了帅哥亲手做的晚餐。

小蟑螂呆呆地看帅哥和美女接吻，身后的冷风呼呼的刮。

好冷啊，要冻坏了。

18

小蟑螂贴在窗玻璃上，小蟑螂还是不想爬走。

窗玻璃是透明透明的，帅哥的身影很清晰。

小蟑螂看啊看啊，就好像已经穿过玻璃，坐在帅哥身边。

小蟑螂傻乎乎地笑了。

玻璃上渐渐蒙上一层雾气，把帅哥遮挡在大雾后。

于是小蟑螂又看不见帅哥了，只有一道朦胧的人影，在氤氲的眼里浮动。

19

过了很久，帅哥把美女送出门去，瞧着美女走远。

帅哥关上门走向窗户，目送美女顺着楼下的小路回家去。

客厅的窗户，卧室的窗户，厨房的窗户，美女走过一扇扇窗下。

帅哥拉开厨房的窗，把头探出去喊，天黑路上小心啊。

20

小蟑螂冻的昏昏沉沉，小蟑螂听见帅哥的声音。

帅哥要关上窗子，低头就看见了快要冻僵的小蟑螂。

帅哥呆呆地看着它，然后犹豫了一下，把窗口拉的更大。

小蟑螂惊喜地睁开眼睛，感觉到了顺着窗户传出的暖意。

小蟑螂就歪歪斜斜顺着敞开的窗缝爬进屋子。

小蟑螂望着厨房的灯光开心地想，回家了哦。

21

帅哥关好窗，转身走出了厨房。

小蟑螂虚弱地趴在窗沿上，小蟑螂好想要帅哥留下来陪陪它。

可是小蟑螂没有力气爬起来，只好软软地瘫在那里。

过一会儿帅哥回来了，把一块蛋奶饼干推到小蟑螂面前。

小蟑螂看看饼干又看看帅哥，傻掉了。

22

帅哥说，还是住下来吧，怪可怜的，可不许到处乱爬。

帅哥说，我的饭分一点给你，不要带朋友来哦。

帅哥说，真拿你没办法，怎么赶都赶不走。

帅哥说，你这个粘人的小虫子，你听的懂吗。

帅哥说，吃饼干吧……你在偷笑吗，蟑螂怎么也会偷笑。

帅哥说，喂，小傻瓜，眼泪笑出来了啊。

23

帅哥的家仍旧干干净净，整整齐齐，没有垃圾也没有蟑螂药。

帅哥每天早上上班前，会在厨房的案板上留下一块蛋奶饼干。

帅哥每天晚上下班回家，蛋奶饼干就不见啦。

帅哥看看案板上一粒粒的饼干渣，再抬头看看碗柜缝隙里刚刚缩回的一对小触角。

帅哥嘿嘿的笑了，笑的好帅好帅。

24

小蟑螂拖着一块纸巾，嘿咻嘿咻的帮帅哥扫案板。

帅哥走进厨房，用小指头点点小蟑螂的脑袋。

帅哥说，在做家务吗。

帅哥指指碗柜下下面，看，你昨天吃剩的饼干渣还没打扫哦。

小蟑螂脸红了，抱住帅哥的小指头蹭蹭，拖着纸巾跑掉了。

帅哥说，真是奇怪的小虫子啊。

25

春暖花开了，小蟑螂透过窗户看桃花一朵朵的开。

帅哥从食品柜上拿下蛋奶饼干。帅哥一身西装笔挺。

帅哥宣布，我升职了，请你吃两块蛋奶饼干。

小蟑螂趴在饼干上，仰脑袋看帅哥，摇晃一对小小的触角，眨巴黑溜溜的豆眼儿。

帅哥说

，你在卖萌吗。

26

帅哥邀请美女一起庆祝他的升职。

小蟑螂躲在桌子底下，吃帅哥给它的蛋奶饼干。

美女的高跟鞋亮晶晶的。小蟑螂很想像美女一样跟帅哥坐在一起。

小蟑螂听见啾啾的声音。小蟑螂突然好委屈。

小蟑螂也想被帅哥亲亲啊。

27

帅哥的妈妈来帮忙打扫房间，帅哥只好带着小蟑螂窝进了书房。

妈妈问，儿子，平常家里有蟑螂吗。

帅哥一边把蛋奶饼干掰成小块一边说，没有啊。

妈妈问，儿子，你在厨房撒蟑螂药吗。

帅哥一边把小块的蛋奶饼干递给小蟑螂一边说，撒了啊。

妈妈问，儿子，碗柜附近怎么到处都是饼干渣。

帅哥点点小蟑螂的脑袋，小声教训它：小讨厌，吃完又不收拾。

28

夏天的屋子太热啦，小蟑螂被帅哥捏住小触角，拎进了卧室。

帅哥在床头柜上铺了一块面巾纸。

帅哥说，晚上睡在这里吧，这里有凉快的空调。

帅哥说，但是不许爬上床哦。

小蟑螂站在地板上，失落地垂下小脑袋，看着帅哥的脚趾头。

小蟑螂想，帅哥还是在嫌弃脏脏的小蟑螂了。

29

小蟑螂爬到洗手池边，向里面跳。

帅哥发现了，把小蟑螂拎出来。帅哥生气的说，会淹死的。

小蟑螂扭捏着，用小爪爪沾了点洒在水池边缘的水，擦拭小身体。

帅哥愣愣的说，原来要洗澡吗。

小蟑螂边擦边仰起小脸看着帅哥，睁大了黑溜溜的小豆眼儿。

小蟑螂好想对帅哥说，小蟑螂不脏的，小蟑螂想和帅哥一起睡觉觉。

30

立秋的那一天，帅哥和美女分手了。

帅哥是很好的帅哥，美女是很好的美女，谈恋爱有时候就是这样的。

夜里，小蟑螂偷偷爬到帅哥的枕头上。

小蟑螂用小爪爪努力抹掉帅哥眼角的泪珠。

小蟑螂悄悄的对帅哥说，不要难过啦，帅哥还有小蟑螂啊。

帅哥当然是听不见的。

31

帅哥睁开眼，发现了趴在枕头上睡的很香的小蟑螂。

看到枕头上躺着蟑螂，一开始还有点惊悚呢。

不过，这只小东西还真是可爱啊。

帅哥这样想着，戳了戳小蟑螂，看睡眼朦胧的小蟑螂使劲揉眼睛。

帅哥说，不是说了不许上床吗。

32

小蟑螂委委屈屈地爬走，无精打采地回到面巾纸上。

小蟑螂翻着小肚皮上的壳，明明都洗干净的。

小蟑螂满脸幽怨，可怜巴巴地望着帅哥。

帅哥叹了口气，点一点小蟑螂的脑门。

帅哥说，在乱想什么呢，我是怕睡熟了压坏你呀。

33

又是一个冬天，帅哥带上帽子，出门欣赏雪景。

临走前，帅哥捏起小蟑螂的一对小触角，把它放在帽子的毛绒球上。

小蟑螂抱住暖和的毛绒球，看天上的雪花飘落。

帅哥自言自语，帅哥说，雪花从天上落下来，以后我们每个人都会回到天上呢。

小蟑螂突然更紧的抓住了毛绒球，抓的很紧很紧。

34

帅哥堆了一个大大的雪人，有两道浓黑的眉，就像帅哥的眉一样。

小蟑螂堆了一只小小的雪蟑螂，有两颗溜黑的眼，就像小蟑螂的眼一样。

帅哥站在雪人边上，小蟑螂站在帅哥肩上，欣赏一大一小两个作品。

小蟑螂突然抓住帅哥的耳朵，挂在帅哥的耳垂上。

帅哥觉得痒痒，扑哧的一声笑，把小蟑螂抓下来，放在手心里。

帅哥点一点小蟑螂的脑门，说，小调皮。

小蟑螂郁闷地揉揉脑门。本来想要偷亲帅哥一下的啊。

35

帅哥突然说，小虫子，你要是个人多好呀。

小蟑螂仰起小脸，呆呆地看着帅哥。

帅哥看着手心里的小蟑螂，帅哥说，你要是个人，咱俩

就可以说说话。

小蟑螂也好想跟帅哥说话啊。

帅哥看着手心里的小蟑螂，帅哥说，你要是个人，咱俩就可以在一起。

小蟑螂也好想跟帅哥在一起啊。

帅哥突然皱起眉头说，如果你是个男孩子该怎么办。

小蟑螂紧张地竖起两根小触角。

帅哥突然又笑了，那也无所谓啊。

36

小蟑螂站在帅哥的胸口上，在黑暗里盯着帅哥帅帅的睡颜。

小蟑螂爬到帅哥的下巴上，脸红着低下小脑袋。

小蟑螂在帅哥微张的下嘴唇上轻轻亲了一下。

被蟑螂亲亲会很恶心的，只好趁着帅哥睡着啦。

帅哥帅哥，小蟑螂好喜欢你，小蟑螂不想离开你啊。

半拉的窗帘，月光洒进来，映着掉落在帅哥下巴上的小水滴，晶莹透亮。

36

一年就这么过去了，春天又来了的时候，帅哥找不到小蟑螂了。

帅哥打开碗柜，帅哥掀开面巾纸，帅哥用手电照垃圾桶……

帅哥觉得，小蟑螂可能出去玩啦，小蟑螂是那么的调皮。

帅哥照例每天去上班，照例每天在案板上放一块蛋奶饼干。

帅哥照例每天下班回家，照例想要收拾案板上的饼干渣。

案板上没有饼干渣，案板上有一天天堆积起来的很多块蛋奶饼干。

37

帅哥爬上床，把一块面巾纸铺在枕头边。

帅哥躺在床上，盯了面巾纸一会儿，合上眼睛。

半夜帅哥翻身，手无意中压上了面巾纸。

帅哥赶紧抬起手说，压疼了吧，我就说不要……

语声夏然而止，他忘记纸上已经很多天没有一个小家伙在睡了。

38

这一天的晚上有一场流星雨。

帅哥一个人坐在草地上，身边少了一个小小的身影。

帅哥望着满天坠落的星光，闭上了眼睛。

听说，虽然是一场流星雨，也只能达成一个愿望。

帅哥想了想，低头许下一个愿。

39

第二天白天帅哥去上班，帅哥的妈妈又来帮忙打扫房间。

第二天晚上帅哥下班，坐到桌前跟妈妈一起吃妈妈做的菜。

妈妈说，儿子，厨房里有蟑螂了，你真的好好打扫了吗。

帅哥嗯了一声，夹菜的手却顿住了。

妈妈说，儿子，我在冰箱的后面的旮旯里找到了一只死掉的蟑螂。

帅哥嗯的一声，放下了筷子。

妈妈说，儿子，以后一定要注意卫生。

帅哥抬头对妈妈说，妈，蟑螂能活多长时间。

两年吧。

……妈，那只死掉的蟑螂呢。

我扔了。

……

哦。帅哥说。抬手擦了一把湿乎乎的眼睛。

======================================================

番外《流星雨》

1

流星甲说：刚才有个人向我许愿。

流星乙说：刚才有只蟑螂向我许愿。

流星甲说：……现在还真是什么事都有啊。

流星乙说：是一只快死掉的蟑螂，躲起来不想让喜欢的人看到呢。

流星甲说：那个人许愿要一只蟑螂平平安安地出现在他家。

流星乙说：那只蟑螂许愿要继续活下去，和喜欢的人活的一样长。

2

流星甲说：向我许愿的是个好人，所以我现在要去实现他的愿望啦。

流星乙说：向我许愿的是只蟑螂，蟑螂家族做了很多坏事，所以愿望要打折。

流星甲说：你想怎么打折呢。

流星乙说：我虽然让它活下去，但却要让它再也当不成蟑螂，再也享受不到做蟑螂的快乐。

流星甲说：那你想让它变成什么呢？

流星乙沉思一会儿说：变成人吧，做人最累了。

3

帅哥的妈妈吃完饭就回去了。

帅哥关上门，一个人坐在沙发上发呆。

以后就没有一只小虫子分享他的蛋奶饼干了。

以后就没有一只小虫子傻傻地逗他开心了。

他转瞬即逝的一年，竟是它的半辈子。

帅哥不能再想下去了，帅哥站起身，向卧室走去。

4

厨房里突然咣当一声响。

帅哥扭头往厨房跑去。

哥哥小说篇8

小白兔正在路上散步，小松鼠急急忙忙的走过来。小白兔说：“松鼠弟弟，你为什么这么急啊？”小松鼠说：“小猫哥哥不小心掉进小池里了，我正忙着找鹅姐姐和鸭哥哥来帮忙呢！”小白兔说：“我来帮你找鹅姐姐和鸭哥哥吧！”小松鼠说：“那我呢？”小白兔说：“你就在这里等我。”

小白兔说完转身就跑了，不一会儿，小白兔就把鹅姐姐和鸭哥哥找到了。小白兔、鹅姐姐和鸭哥哥很快就回到了小松鼠等待的地方。小白兔焦急地问：“松鼠弟弟，猫哥哥掉进了哪个小池里？”小松鼠来不及回答就带着小白兔、鹅姐姐和鸭哥哥来到小池边。

鹅姐姐和鸭哥哥不约而同地跳下了水，他们两个很快排成了一条小船，让猫哥哥爬了上来。猫哥哥激动地说：“谢谢你们！太谢谢你们了！”小白兔、松鼠弟弟、鹅姐姐和鸭哥哥他们为自己救了猫哥哥感到骄傲，高高兴兴地走了！

哥哥小说篇9

在我小小的房间里挂着六条由一千只鹤组成的美丽的彩虹。

自从小哥哥回日本治病一直到现在，整整五年了。我不知道小哥哥的日本名，他和他的中国保姆——我的邻居阿婆住在一起。小哥哥比我大五岁，。我还是一个整天调皮出了圈的小不点。

春天，我和小哥哥一起在大院子里种向日葵。调皮的我见小苗长得那么慢，就把小苗都拔起了一大截。当小苗一棵棵倒下的时候，我抹着眼泪准备挨小哥哥说时，小哥哥却笑着说：“洋洋，真聪明，知道拔苗助长了。”

“小哥哥，我们捉蛐蛐去！”夏天的夜晚我提着瓦罐，小哥哥手拿着手电筒。虽然小哥哥常常没跑一半，就累得气喘呼呼，可他嘴里还喊着：“洋洋，当心石头！”在月亮撒下的光环下，小哥哥的脚摇摇晃晃、踉踉跄跄……

秋天，我和小哥哥在纷纷扬扬的落叶间，玩“拔老根儿”的游戏。我的叶柄总是被小哥哥把断，急得直哭。小哥哥在下次玩时，故意把自己的叶柄拔断，还说：“小哥哥输了，还是洋洋的老根儿厉害。”我便破涕为笑了。

冬天，我和小哥哥玩“卖冰棍”的游戏。倔强的我硬要当“卖冰棍”的，小哥哥只好“津津有味”地吃着我卖的“冰棍”。

一年四季，我和小哥哥过得真是愉快。可有一天，妈妈告诉我‘小哥哥生病了，要回日本了’。我便和妈妈一起去医院看他。在小哥哥的病床上，有许多七色斑斓的纸。我对小哥哥说：“小哥哥，我要上学了。”“嗯，洋洋真聪明。那小哥哥把这个作为上学的礼物送给你，好吗？”“鹤”我叫道。“在日本，每个孩子在上学前，爸爸妈妈或哥哥、姐姐要用各种颜色的纸为他折一千只鹤，然后在上学的前一天用线穿好，挂在屋里，那是一种美好的祝愿……”

小哥哥喘着气说着。“那一定很好看，一定像彩虹。小哥哥，等雨停了，看完彩虹再走好吗？”

哥哥小说篇10

我挥挥手，向身后的豆蔻年华不舍的告别，再往前走，我想，肯定会多一些什么吧？我伏在桌子上，脑袋枕着手臂，我听到了“嚓嚓”的声音，不用抬头，我也知道，那是哥哥送给我的生日礼物：一只白色的米奇的手表，里面银白色的秒钟在不知疲倦的旋转，一格又一格，这就像是手表的心跳声，不转动的手表便没有了生命力，我很不经意的想起了我的哥哥和我无邪的童年。

童年里，除了爸爸妈妈，就是哥哥伴我最多了，哥哥总是喜欢让不满一岁的我骑在他的肩膀上，我拍着手高兴地哈哈大笑，哥哥虽然累的不得了，却也是微笑的。也许，哥哥离开我太久了，当他说他是看着我长大的时候，我却没有什么反应，这应该会让他伤心吧。因为我在空间日志里说，我的生日过的不开心，我想要一个亲哥哥说说话，他回答说：我不是你的亲哥哥吗?!真是的 伤心呐~~~明年我在家过五一 给你办个大大的生日PARTY 看到这里，我开心的笑了，在我眼中，哥哥就是个大英雄，时时在我身边，保护我，逗我开心。

等我记事时，几乎是很少看见哥哥了，他以优异的成绩考上了北京的一所大学。在上一个五一的时候，哥哥回家看我们，我很高兴地仰着头看着高我一个头的哥哥，想起来以前的那件傻事。

第一次剪指甲，我很小心很小心，把眼睛凑得近近的，生怕剪了肉，这下可好，肉没有剪到，指甲却跳到我的眼睛里去了。我忙大叫哥哥。我做在小椅子上，哥哥蹲下身来，小心的查看我的眼睛，哥哥叫我睁开眼睛，因为眼睛疼，所以很难睁开。忽然，一阵风吹过我的眼睛，我慢慢的睁开了眼睛，哥哥快速的将指甲拿了出来，我想哭，可我不会在哥哥面前哭，他说过，我要坚强，就像小时候，我摔倒了，哥哥让我自己站起来一样。哥哥问我没了事吧，我说没事了。可是哥哥却拉着我的小手，走进洗手间，用毛巾敷了我的眼睛好久。我开始后悔我的不小心，耽误了哥哥太多时间，因为那时候，他在写毕业论文啊。

这个五一，哥哥好不容易回趟家，我也好不容易放了假，可因为哥哥要去长沙办事情，我还没有和哥哥相处超过一上午。那天下午，我要去学校了，哥哥却还没回来，我失望的背好书包，开门，这时，哥哥气喘吁吁的出现在我的眼前，我高兴地叫着哥哥。哥哥说，要送我去学校。我坐在车上，没说什么，可我总能听到哥哥爽朗的笑声，他在讲述我的童言，和他发生地事情。我说过，不想在哥哥面前哭泣的，但是这次泪水却在我的眼里打转。我转过脸去，望向窗外的景色，这么快就到学校了。哥哥替我拿出书包，没有像爸爸或者妈妈那样每次都会叮嘱我要好好学习，他只是说：“开心点，暑假我带你去北京看鸟巢。”我答应了一声，转身走向学校，过了一会，我回头，哥哥还站在那里看着我。