何琳

【摘要】在凱瑟琳曼斯菲爾德平生最后一部作品《金絲雀》中，內(nèi)心獨(dú)白手法得到淋漓盡致的發(fā)揮。主人公娓娓道出心靈深處最真實(shí)的情感體驗(yàn)，傳遞出了滲入靈魂的孤獨(dú)意識，表現(xiàn)主題的同時獲得了強(qiáng)烈的藝術(shù)感染力，堪稱“絕響”。通過解讀這部作品的突出敘述技巧內(nèi)心獨(dú)白，可以進(jìn)一步探究該手法展現(xiàn)主題時的藝術(shù)感染力，并深刻把握曼斯菲爾德的創(chuàng)作思想與現(xiàn)代風(fēng)格。

【關(guān)鍵詞】內(nèi)心獨(dú)白 “金絲雀” 孤獨(dú)

【Abstract】Leaded by the entire inner monologue through the whole story， Katherine Mansfields last novel ，The Canary has artistically showed the characters sonorous solitary feeling without any mention of the word “l(fā)oneliness”. Then an interpretation of the interior monologue applied in The Canary and its relationship with the core theme will lead to a further exploration of Mansfields narrative techniques and modernist art.

【Key words】Interior monologue；The Canary；Solitariness

Writers in the 20th century who attempted to capture the total flow of their characters' consciousness commonly used interior monologue which represents a sequence of thought and feeling. Robert Humphrey ever gave an accurate definition of it in his Steam of Consciousness in the Modern Novel： “It is the technique used in fiction for representing the psychic content and processes of character， partly or entirely unuttered”. It turns the character into a "reflector" and creates the illusion of immediate presentation of inner experience. Therefore the reader is more ready to accept everything presented from the reflector's point of view as reality， and tends to put his sympathy on the reflector.

Katherine Mansfield， a innovator incorporating the modernist into short story writing， applied interior monologue to reveal characters inner world， which advanced the short story as an art form. The Canary， her last story， uses the first-person oral monologue toward an unseen audience to tell the experience of an isolated boarding-house keeper. The nail on the wall arouses the monologue that is concentrated on the canary which the woman breeds. She begins her telling with her memories ： "You see that big nail to the sight of the front door？ I can scarcely look at it now and yet 1 could not bear to take it out”， through which it is clear that she is highly agitated. Her loneliness is implicit in her attachment to a sensitive and emotional bird， but she is absolutely isolated.Her desperate needs for"something" to love for company and “someone”for communication would be extravagant hopes. The woman feels the bird's company so intensely that “it almost seemed to me the knives sang too， as I subbed them bight on the board”. Once she has a nightmare she can't get over. She thinks it unbearable， having none to communicate with. Only in the bird's company does she find comfort. She wishes to demonstrate to herself that she is not alone in the world. But the bird dies. All returns to vacancy， which has permeated the woman's interior monologue “the big nail formerly for a cage， but now it is the vacant cage for the bird that dies”. With its death， the spiritual pillar of her life collapses， so does her desire and love. Nothing can cover up the woman's bitter loneliness in her heart. The woman invites audience to her monologues， but none responses.

Conclusion： The Canary is just a representative work of monologue. Through the monologue the narrator tells the readers the details of the bird's life， how it was obtained， how to make its master entertained， how sad when it died and how lonely the narrator is. But what Mansfield wants to show is something bigger： in the society she lives， she is completely lonely； she needs spiritual bailment. Through the little canary， the readers can see a tragedy behind the reality. In the cold world， people have to depend on the small animals. The sweet songs just hide the tears in the human heart. Mansfield is a substantial and leading figure in twentieth-century culture.She transformed the short story in English and contributed in essential ways to Modernist literature. With her innovative talents and stylistic brilliance， she advances the short story as an art form during her short career， critically influencing its renaissance in England.

References：

[1]Katherine Mansfield， Katherine Mansfield's Selected Stories. Ed. Vincent O'Sullivan. USA： W.W. Norton&Company， Inc. 2006： 312.

[2]Robert Humprey， Steam-of-Consciousness in the Modern Novel. Berkeley： University of California Press，1955： 4

[3]馮宗璞.試論曼斯菲爾德的小說藝術(shù)[M].北京：中國社會科學(xué)出版社，1995.

[4]王素英，在孤獨(dú)與死亡中寫作——談凱瑟琳·曼斯菲爾德的創(chuàng)作 [J]，社會科學(xué)論壇（學(xué)術(shù)研究卷），2007，7.