【摘要】 哈罗德·品特的剧作《饯行酒》标志着其后期创作中艺术主张的转变,是对文学伦理属性的回归。审讯者的身份使得剧中人物尼古拉斯处处以"权力至上"原则作为唯一的伦理信念和行为准则,从而导致他混淆了"自我"和"强势自我"这两个不同的身份。"强势自我"的伦理选择激活了尼古拉斯身上的兽性因子,并通过一系列非理性的行为表现出来,不仅给维克多一家带来了灾难,也使他本人失去了伦理亲情的眷顾,精神饱受荼毒,成为极权暴力的最大受害者。通过尼古拉斯这一道德范例,品特试图表明,任何为了所谓的公共利益而蔑视乃至随意碾灭个体利益,最终都不免沦为暴政。更多还原

【Abstract】 Harold Pinter’s one-act One for the Road(1983)represents the turning point of his literary claim in his later works,and shows the return of ethical nature of literature.As an interrogator,Nicolas regards the"authority supremeness"as his only ethical belief and principle.The choice of being powerful-self activates his animal factors,demonstrated by a series of irrational behaviors,which not only brings about a disaster to the Victors but also makes himself lose family’s love and become the victim of totalitarian and violence.By the moral exemplum of Nicolas,Pinter tries to manifest that any governing that makes the so-called"public interests"overpower the individual interests would eventually become the tyranny.更多还原