• <tr id="yyy80"></tr>
  • <sup id="yyy80"></sup>
  • <tfoot id="yyy80"><noscript id="yyy80"></noscript></tfoot>
  • 99热精品在线国产_美女午夜性视频免费_国产精品国产高清国产av_av欧美777_自拍偷自拍亚洲精品老妇_亚洲熟女精品中文字幕_www日本黄色视频网_国产精品野战在线观看 ?

    Chinese Cultural Influence on Hannah Jelkes in The Night of the Iguana*

    2018-11-13 05:51:57WANGXudingShantouUniversity
    國際比較文學(xué)(中英文) 2018年1期
    關(guān)鍵詞:參考文獻

    WANG Xuding Shantou University

    Abstract: This paper explores the Taoist influence on Hannah Jelkes in The Night of the Iguana by Tennessee Williams, who creates Hannah Jelkes and Maxine Faulk as binary oppositions in the play. If Maxine metaphorically stands for physical reality, Hannah clearly represents spiritual reality, thus “in a pitched battle between the spiritual and the physical,” Maxine is fighting mainly for the physical Shannon while Hannah is fighting chiefly for the spiritual Shannon, who is the fulcrum of the play. Williams creates Hannah as a spiritual savior whose appearance is serene and saintly, whose manner is refined and poised, and whose behavior is kind and compassionate. Hannah’s dramatic function in the play is to save Shannon from his spiritual limbo, and her ways of helping him are not only spiritual but also multidimensional, and all her ways indicate the important influence of Chinese Culture in general and Taoism in particular. With her acquired Taoist concepts, Hannah is able to help Shannon to endure his mental suffering, to turn his misery inside out, to see the cold reality, to fight against his haunting “spook,” to face the hard external world, and to finally come to terms with life. Thus Hannah’s saintly appearance, her courageously poised manner,her unfaltering fortitude, her kind behavior, her compassionate actions and her serenely educational talks to help Shannon all can prove the important influence of Chinese culture and Taoism that help frame the larger dramatic structure and the main development of the play.

    Keywords: Hannah Jelkes’ dramatic function; The Night of the Iguana;Tennessee Williams; Chinese Taoist influence

    The influence of literary works upon literary works is perhaps the most convincingly demonstrable type, and perhaps aesthetically the most interesting.

    In an interview, Tennessee Williams highly praised Hannah Jelkes: “She’s a very, very modest person, Hannah, and in that case, to me, a very beautiful person. I mean Hannah, the part of Hannah Jelkes in The Night of the Iguana, almost is a definition of what I think is most beautiful spiritually in a person and still believable.”Williams’ high praise of Hannah clearly reveals that he bestows high values on her personality, and those values represent Williams’ own ideals.No wonder Signi Falk considers Hannah as Williams’ spokesperson: “Williams seems to speak through Hannah.”Indeed Hannah has a beautiful spirit, and in the play Williams creates her as a spiritual savior in three dimensions: she has a saintly image, a refined and poised manner, and a kind and compassionate heart.

    In the larger dramatic structure of the play, Hannah Jelkes and Maxine Faulk are binary oppositions. If Maxine metaphorically stands for physical reality, Hannah clearly represents spiritual reality, but both characters are created for the same dramatic end: to save Reverent Larry Shannon. Maxine tries to help him from a realistic perspective and Hannah attempts to save him from a spiritual perspective. Thus Hannah’s dramatic function in the play is to save Shannon from his spiritual despair. Although Hanna tries to help Shannon in many different ways, all her ways of helping him are not only spiritual but also philosophical, and all her ways indicate the important influence of Chinese culture in general and of Taoism in particular.

    Williams makes it clear that Shannon faces both external trouble and internal affliction, and the latter is tougher than the former. Thus the central dramatic development of The Night of the Iguana is twofold: saving Shannon from his external troubles and helping him sooth and pacify his internal affliction, as he has neither means nor power to save himself without outside help.While Maxine’s help is worldly with the open purpose to convince Shannon to stay with her,Hannah’s help is more “fantastic” or spiritual with human compassion rather than with any hidden agenda. In the play Maxine’s way of preventing Shannon from “going to swim out to China,” his metaphorical gesture of committing suicide,is to order her two hired young Mexican swimmers to catch him, “bring him back and tie him up” in the hammock (93). Thus Maxine’s help is mainly realistic while Hannah’s help is multidimensional in spiritual terms.

    Shannon’s external trouble derives from “sexuality and guilt” as Williams said in an interview, and his sexual problems not only get him “defrocked” by the Church, but also entrap him into a vicious circle of guilt that continually haunts him like a gnawing ghost that finally drags him down to a moral quagmire. In addition to his sexual problems, he is also expropriated of his last job as a tour guide, then he really comes to “the end of his rope” (24), as he does not have any financial means to survive in the material world like the tied-up iguana. Thus Maxine,the embodiment of physical representation in the play, is endowed with the dramatic function of saving Shannon from both his sexual problems and financial trouble, all of which are solved at the end of the play when Shannon finally agrees to stay with Maxine.

    Metaphorically contrasted to the materiality is the dramatic motif of spirituality embodied in Hannah whose help to Shannon is, therefore, mainly psychological and spiritual. Shannon’s great spiritual conflict is: “He is torn between belief and disbelief, between sexuality and guilt.”The root of his “disbelief” is a “crisis in faith” that “springs from his conception of … a vengeful God,”who is “represented like a bad-tempered childish old, old, sick, peevish man” (55–6);therefore, he once shouted to his parish audience in his preaching: “All your Western theologies,the whole mythology of them, are based on the concept of God as a senile delinquent” (55). Yet,Shannon still believes in his own “personal idea of God” (56); that is why he has been struggling to go back to the Church since he was locked out by his church ten years ago: “I want to go back to the Church and preach the gospel of God as Lightning and Thunder” (57). Nevertheless he has never found his God; rather, he is completely lost in a spiritual limbo and becomes desperate.“In the midst of his spiritual crisis, the Christian minister is saved, ironically, not by Christ, but by Hannah Jelkes.”Indeed, it is Hannah who saves Shannon from his spiritual despair with her Oriental cultural experience and Taoist philosophy.

    Williams creates Hannah’s spiritual function mainly in three ways: first Hannah’s saintly image invisibly but obviously affects Shannon in a spiritual sense; then Hannah’s unyielding and enduring lifestyle also has a spiritual impact on Shannon, and later Hannah’s various ways of helping Shannon are compassionate attempts to save Shannon from his spiritual despair. More specifically, Williams first bestows a saintly appearance on Hannah to attract Shannon’s selfpreoccupied attention, and by doing so he carefully creates Hannah with the qualities of a spiritual savior. When Hannah first appears in the play, Shannon is “suddenly pacified by her appearance”which “suggests a Gothic cathedral image of a medieval saint, but animated” (18). As a spiritual savior, Hannah appears to be “l(fā)ike a guardian angel” (79) and “l(fā)ike a medieval sculpture of a saint” (91). More importantly, Shannon twice calls her “Miss Thin-Standing-Up-Female-Buddha”(98, 99). Shannon’s remark clearly reveals that Hannah’s spiritual function has a Chinese religious dimension that is of course spiritual, as the female bodhisattva who is called “Guanyin” in Chinese is a very popular goddess in Chinese culture. These statements clearly suggest that Hannah is a spiritual being, and her spiritual power to help Shannon is important for the dramatic development of the play. Further, Hannah’s generous, gentle and kind behavior not only attracts Shannon from his gloomy self-preoccupation like a bright spark but also moves him to tears. When Hannah shows her kind intention to help him, he is deeply moved: “he has tears in his eyes” (76). When Shannon asks for a cigarette, Hannah gives him the only two cigarettes she has “without a sign of reluctance” (76), Shannon voluntarily praises her: “I’m going to tell you something about yourself.You are a lady, a real one and a great one [original italics]” (75). Hannah’s kind behavior effectively helps him release his spiritual anxiety. Clearly Williams’ main dramatic strategy is to develop Hannah’s spiritual qualities and give them a distinct function in the larger dramatic structure that enables her to help Shannon “l(fā)ive beyond despair and still live”in multifarious ways.

    In the play Hannah’s first spiritual influence on Shannon is suggested in the scene when Hannah courageously pushes her grandfather’s wheelchair uphill in the hot and humid tropical weather, and her unyielding and enduring spirit certainly impresses Shannon. It is a striking spiritual example for Shannon to learn to endure hardships in life. Then, by doing a sketch of Shannon, Hannah helps him open his mind’s eye to see the truth that life is not always a long endless dark tunnel where Shannon fails to find any hope. With her artistic observation, Hannah sees Shannon’s spiritual misery while sketching, and Hannah’s sketch is a psychological reading of his mental agony. “In the figure of Hannah, we see illustrated an existential faith in the power of human beings to create meaning through art and to bring salvation to others by means of the healing power of art”. It is during her sketching of him that Shannon tells her, “I was … locked out of my church” (54) ten years ago. This is the root of his crisis in faith that has been torturing him for a long time. Although he has struggled to go back to the Church in the last ten years, he has miserably failed, and his failure painfully gnaws his soul. From the beginning to the end, Hannah’s sketching is also a metaphorical healing process for Shannon to gradually turn his troubled inside out so that he may see some possible hope in his life. Thus with her own experience of “drawing to an inside straight” (75), Hannah succeeds in helping Shannon to release his internal agony first by touching his heart with her refined and kind manner, and then by sketching his inside misery out. The whole process makes Shannon see through the real nature of his spiritual suffering and prepares him to face the challenges of life.

    Then, Hannah pacifies Shannon’s mental disturbance with some sedative “poppyseed tea”that she brews with “a little alcohol burner, a spiritual lamp” (109), and she tells Shannon “after you’ve had a full cup of the poppy-seed tea … you’ll be able to get the good night’s sleep you need” (112). Her way of calming Shannon down with the poppy-seed tea served with “sugared ginger” is a common practice of Chinese herbal medicine, and the “spiritual lamp” is obviously a pun on brewing the poppy-seed tea while lighting or brightening Shannon’s spirit up. Shannon recognizes the value of Hannah’s Chinese medical practice although he humorously jokes about the bitter taste of the poppy-seed tea: “Great Caesar’s ghost …. The oriental idea of a Mickey Finn, huh?” (112). The “oriental idea” is Chinese, as the Chinese proverb goes: bitter medicine cures sickness; unpalatable advice benefits conduct, and Hannah has acquired her “oriental idea”in her extensive travels in China with her grandfather Nonno.

    Moreover, Hannah helps Shannon to survive his despair or “spook” with an Oriental concept of “endurance”: “Yes. I can help you because I’ve been through what you are going through now.I had something like your spook—I just had a different name for him. I called him the blue devil”(104). When Shannon asks her, “How’d you beat your blue devil?” She replies: “I showed him that I could endure him and I made him respect my endurance…. Endurance is something that spooks and blue devils respect. And they respect all tricks that panicky people use to outlast and outwit their panic” (104). The Chinese have a historical reputation for endurance which derives from the Taoist philosophy of wu wei, a way of taking the consequences when they come, or accepting the inevitable, or letting nature take its own course. In Hannah’s own terms: one can beat the “blue devil”“just by … enduring” (105). Williams clearly suggests that the idea of endurance is Oriental or Chinese just as the poppy-seed tea is Oriental by letting Shannon ask Hannah to clarify it, “Like poppyseed tea?” (105) right after Hannah explains her endurance theory which also reflects Lao Tzu’s teaching of endurance to some extent: “One who does not lose his place will endure long. One who dies but does not perish will live long.”“Heaven will last, / earth will endure. / How can they last long? / They don’t exist for themselves / and so can go on and on. So wise soul / leave self behind / move forward and setting self aside / stay centered. / Why let the self go? /To keep what the soul needs.”“Peace: to accept what must be, / to know what endures…. / To know what endures / is to be openhearted … / following the Tao / the way that endures forever.”In other words, one can endure long if one does not lose one’s original nature, if one can follow the law of nature with an open heart, or if one can accept the inevitable consequences when they come—“to accept what must be.”More importantly, one can endure long when one can “l(fā)eave self behind /move forward and setting self aside.”Metaphorically speaking, Hannahs’ sketching of Shannon is her attempt to help him “move forward” by “setting self aside.”Indeed this is more or less what Hannah means to beat “the blue devil”“just by … enduring” (105), and this is Hannah’s effective tactic to tackle her own “blue devil” and her effectual education for Shannon to survive his “spook.”

    Further, besides the “poppy-seed tea” and endurance, Hannah also applies the Taoist concept of emptiness to help Shannon to fight his “spook.” As Shannon is too selfpreoccupied with his own personal trouble to notice anything outside himself in the external world, he is trapped in a bottomless pit of his own making. So how to save Shannon from his spiritual abyss becomes the main dramatic concern of the play, and Hannah’s important role in Williams’ dramatic strategy is to help Shannon come to terms with life with her own personal experience of surviving her “blue devil” by looking out of herself for the light at the far end of the “l(fā)ong black tunnel.” Her personal experience is a good example to illustrate the Taoist concepts of endurance and emptiness:

    But I was lucky. My work—painting and doing quick character sketches—made me look out of myself, not in, and gradually, at the far end of the tunnel that I was struggling out of I began to see this faint, very faint gray light—the light of the world outside me—and I kept climbing toward it (107).

    Obviously Hannah’s lesson for Shannon to learn is a philosophical idea that in order to endure hardships in life, one needs to empty oneself within. Hannah’s experience clearly indicates that only by turning one’s attention away from the self—self-interests, self-conflict,self-suffering, or self-preoccupation, can one endure spiritual agony and hopefully discover“the light of the world outside,” and can one finally save oneself from the dark despair in a philosophical sense. Hence the “l(fā)ight of the world outside” is certainly the hope of life,and the opposite is despair—the sign of the “l(fā)ong black tunnel that you thought would be neverending” (107). But Hannah makes it clear that “the light of the world outside” is not God as she clearly confesses: “I was … far from sure about God” (107). Then what is it and where does it come from? Hannah’s answer is that the light comes from endurance rooted in self-emptiness, for one can discover it only after enduring the “l(fā)ong black tunnel” in despair and the fountain head of endurance is self-emptiness.

    Self-emptiness is an important Taoist philosophical concept, as Lao Tzu discusses it many times in The Tao Te Ching. In Chapter Four, Lao Tzu starts, “The way is empty, / used, but not used up.”In her translation of Lao Tzu: Tao Te Ching, Ursula K. Le Guin gives a subtitle to Chapter Five “Useful Emptiness,” and translates the conclusion of the chapter like this: “Heaven and Earth / act as a billows: / Empty yet structured, / it moves, inexhaustibly giving.”In Chapter 6, Lao Tzu praises emptiness as the spirit of the valley and metaphorically compares it with“the mother of all things”: “The spirit of the valley never dies; / It is called the mysterious female.”“The valley is an analogy of emptiness; its spirit indicates the function of emptiness”and the mysterious female “is the mother of all things,”and“is called the root of Heaven and Earth.”In Chapter Sixteen, Lao Tzu emphatically begins, “Be completely empty. / Be perfectly serene.”Lao Tzu’s teaching simply suggests that only by being completely empty within, can one achieve perfect peace or serenity in the soul. Peace and tranquility are exactly what Shannon really needs in his spiritual crisis, and what Hannah tries to teach him is to acquire them by emptying one’s self. In Chapter 28, Lao Tzu claims: “Knowing the honor and keeping to the mean, one will be the valley of the world. Being the valley of the world, one’s constant virtue is complete; one returns to simplicity”Wu annotates his translation of the chapter: “‘Valley’ means that the mind is empty of desires.”In Chapter 41, Lao Tzu metaphorically regards valley as supreme virtue:“Supreme virtue looks like a valley.”Wu further annotates: “Those who have great virtue act humbly; they are like the valley that symbolizes inner emptiness of desire.”In short, emptiness is indeed an important Taoist principle, and Lao Tzu talks about it no less than 26 times in The Tao Te Ching: 虛 5 times, 沖 2 times, 淵 3 times, 谷 16 times.

    In the play, Shannon’s external problems are tough, but his internal agony and misery are tougher. If Maxine is designated to help him with his external problems, Hannah is surely assigned to save him from his spiritual despair. From the beginning of the play, Williams gradually build up Shannon’s inner suffering and misery that make him so deeply self-preoccupied that he can hardly notice anything outside of himself. It is the kind and compassionate Hannah who helps Shannon turn his self-preoccupation out for the sake of emptying his inner suffering and agony. Even the self-preoccupied Shannon can see her kind effort: “I’m going to tell you something about yourself.You are a lady, a real one and a great one …. It isn’t a compliment, it’s just a report on what I’ve noticed about you at a time when it’s hard for me to notice anything outside myself” (75). Hannah also frankly reveals Shannon’s desperate inner struggle: “Just been so much involved with a struggle in yourself that you haven’t noticed when people have wanted to help you” (76). Even the stage instruction at the end of Act Two metaphorically implies what Shannon needs is to empty his internal self and to reach out for the external horizons beyond himself:

    Shannon lowers his hands from his burning forehead and stretches them out through the rain’s silver sheet as if he were reaching for something outside and beyond himself. Then nothing is visible but these reaching-out hands. A pure white flash of lightning reveals Hannah and Nonno against the wall …. A clear shaft of light stays on Shannon’s reaching-out hands till the stage curtain has fallen, slowly. (78)Shannon’s metaphorical gesture of “reaching for something outside and beyond himself”is another example echoing Lao Tzu’s Taoist teaching that calls on any “wise soul / [to] leave self behind / move forward and [to] set self aside.”“Shannon’s reaching-out hands”are also a symbolic gesture of not only turning his burning agony out for the rain to cool it off, but also reaching out for his God, who is the “Lightning and Thunder” in his mind, as he told Hannah earlier: “I want to go back to the Church and preach the gospel of God as Lightning and Thunder”(57). Yet ironically Shannon’s idea of “God as Lightning and Thunder” (57), the “pure white flash of lightning [only] reveals Hannah and Nonno against the wall”; “nothing [else] is visible.”This clearly suggests that Hannah and Nonno, rather than God, are Shannon’s spiritual saviors. Both Hannah and Nonno save Shannon from his spiritual agony and suffering with Taoist philosophy instead of Christian beliefs. All these textural references suggest that Shannon can be saved only by emptying his deep self-preoccupation of suffering and agony, and it is Hannah who is able to help Shannon with her Taoist theory and practice that derive from Lao Tzu’s and Chuang Tzu’s teachings. Indeed both Hannah and Nonno are Shannon’s saviors, as both teach him “how to live beyond despair and still live”with their Taoist theory and practice. For ten years, Shannon has been searching for his God but desperately failed, yet he has finally found Hannah and Nonno who help him beat his “spook.” This is exactly why George W. Crandell claims: “As several critics point out, however, Shannon’s spiritual quest leads not to God, but to acceptance of the human condition.”

    One of the Taoist examples that Hannah uses to educate Shannon to overcome his despair and courageously and tranquilly face life and death is the inspiring story of the old penniless dying at “the House for the Dying” in Shanghai (107). The fearless, peaceful and serene manners of those old penniless dying Chinese obviously mirror Taoist philosophical concepts of endurance,emptiness and natural acceptance, and they are indeed good examples to prove Lao Tzu’s teaching: “Peace: to accept what must be, / to know what endures…. / To know what endures / is to be openhearted … / following the Tao / the way that endures forever.”Facing death, these old penniless dying Chinese have peace and tranquility simply because they know death is “what must be,” and they have opened their hearts to accept death simply because they “know what endures is to be openhearted.” They follow the Tao, so they will be able to endure till death comes to take their lives. In their peaceful manners, there are no shadows of fear, despair, agony, or “spook,”or “blue devils.” They can do this, as they are able to empty their worldly selves, and their behavior clearly reflects Lao Tzu’s teaching: “Practice emptiness ultimate. / Maintain tranquility sincerely.”The moral of Hannah’s story of the dying old Chinese also teaches Shannon to live his life naturally rather than to throw his life away recklessly by “going to swim out to China,”his metaphorical gesture of committing suicide. Hannah urges that like those old dying Chinese,Shannon should learn “to accept what must be,”“to know what endures” with an open heart.

    Some critics, such as Glenn Embrey,Judith J. Thompsonand Signi Falk, have recognized that Hannah’s noble virtues are closely connected with Oriental culture, but none of them realize that such noble virtues are mainly related to Chinese culture and Taoism. Signi Falk claims:“Hannah… in her work and acquaintance with the Orient has learned that the deepest religion lies not only in the perception of another’s suffering and in a willingness to ease his pain but also in the peace that comes with the acceptance of the inevitable.”But Falk does not realize that “the deepest religion” in the play is Taoism as I have analyzed earlier. Indeed Hannah’s most important way of helping Shannon is not only her Oriental experience gained in her extensive travels in China but also her effective Taoist moral: “Accept whatever situation you cannot improve” (115).It is obviously Taoist because it strikingly echoes Lao Tzu’s teaching: “to accept what must be,”and Chuang Tzu’s teaching: “To realize that nothing can be done about them and to accept them as fated is excellence in its highest form.”It does not only effectively sum up her own Oriental experience but also convincingly reflects the inspiring story of the old dying Chinese in the House for the Dying in Shanghai. Hannah’s main purpose of telling Shannon this Taoist moral is of course to teach him to “accept whatever situation [he] cannot improve.” The situation that Shannon cannot improve in his life is the miserable fact that he comes to “the end of his rope”(24). On the one hand, he has desperately failed to go back to the Church even though he has been trying hard to do it for ten years, while on the other hand, he cannot even survive financially after his last tour guide job is expropriated. He is completely broke, as he openly confesses: “Right now I don’t have my fare back to Houston or even to Mexico City” (87).

    When Shannon asks Hannah: “well, you know we—live on two levels, Miss Jelkes, the realistic level and the fantastic level, and which is the real one, really….” Hannah replies: “I would say both.” Shannon asks again: “But when you live on a fantastic level as I have lately but have got to operate on a realistic level, that is when you’re spooked” (69). After that Hannah tells him: “Mr. Shannon, you’re not well enough to travel anywhere with anybody right now” (117),Shannon reluctantly retorts: “You mean that I’m stuck here for good? Winding up with the …inconsolable widow?” Hannah says: “We all wind up with something or with someone, and if it is someone instead of just something, we’re lucky, perhaps … unusually lucky” (117). Hannah’s philosophical advice surely hints that he should accept the inevitable situation that he cannot improve in life. More specifically he should accept Maxine who can help him in realistic terms, as he has no other way to survive, and he is “unusually lucky” because he ends up with someone who honestly and earnestly tries to “wind up with” him. This is Hannah’s effective catalyst that finally helps him get rid of his despair and begin to face life by accepting the inevitable human condition,just as George W. Crandell rightly confirms: “Acceptance of the human condition and courage in the face of despair are Williams’s affirmative responses to the apparent meaninglessness of life.”The Taoist concept of accepting the inevitable human condition also logically results in the dénouement of the play: Shannon’s final acceptance of Maxine that naturally leads to their union at the end of the play.

    In his reading of The Night of the Iguana, George Hendrick concludes: “The Oriental themes become hopelessly confused.”Hendrick reaches such a conclusion simply because he reads the play merely from a traditional Christian perspective which blindly denies the“Oriental themes” in the play. However, through the above careful examination of Hannah’s personality from a Chinese Taoist perspective, we can naturally see that the “Oriental themes”definitely do not “become hopelessly confused”; rather, they are very clearly and systematically developed. Hannah is the most important character in the larger dramatic structure and the development of the play. Her saintly image, her refined manner and her kind and compassionate heart make her a noble spiritual savior who saves Shannon from his spiritual despair. All Hannah’s multifarious ways of helping Shannon show that she is indeed influenced by Chinese culture, especially by Taoism. Thus Hannah distinctively functions within the center of Williams’ Chinese Taoist themes on which the larger dramatic structure is built and according to which the main dramatic actions develop.

    Bibliography 參考文獻

    Adler, Thomas P. “The Search for God in the Plays of Tennessee Williams.” Renascence 26 (1973): 48–56.

    Brown, Cecil. “Interview with Tennessee Williams.” In Conversations with Tennessee Williams. Edited by Albert J. Devlin.Jackson: University Press of Mississippi, 1986.

    Crandell, George W. “The Night of the Iguana.” In Tennessee Williams: A Guide to Research and Performance. Edited by Philip C. Kolin. Westport, Conn.: Greenwood Press, 1998.

    Devlin, Albert J., ed. Conversations with Tennessee Williams. Jackson: University Press of Mississippi, 1986.

    Embrey, Glenn. “The Subterranean World of The Night of the Iguana.” In Tennessee Williams: 13 Essays. Edited by Jac Tharpe, 65–80. Jackson: University Press of Mississippi, 1980.

    Falk, Signi L. Tennessee Williams. Revised Edition. Boston: Twayne, 1978.

    Hendrick, George. “Jesus and the Osiris-Isis Myth: Lawrence’s The Man Who Died and Williams’s The Night of the Iguana.” Anglia 84 (1966): 398–406.

    Hirsch, Foste. A Portrait of the Artist: The Plays of Tennessee Williams. Port Washington. New York: Kennikat Press, 1979.

    Laozi. Lao Tzu: Tao Te Ching. Translated by Ursula K. Le Guin, Boston and London: Shambhala, 1997.

    Shaw, Joseph T. “Literary Indebtedness and Comparative Literary Studies.” In Comparative Literature: Method and Perspective. Edited by Newton P. Stallknecht and Horst Frenz, Carbondale, NJ: Southern Illinois University Press,1961, 58–71.

    Thompson, Judith J. Tennessee Williams’ Plays: Memory, Myth, and Symbol. New York: Peter Lang, 1987, 2002.

    Ware, James R. The Sayings of Chuang Tzu. New York: Mentor Classics, 1963.

    Williams, Tennessee. The Night of the Iguana. New York: New Directions, 1962.

    Laozi. The Book of Lao Tzu: The Tao Te Ching. Translated by WU Yi. San Bruno, CA: Great Learning Publishing Co.,1989.

    猜你喜歡
    參考文獻
    Heterologous expression of the Haynaldia villosa pattern-recognition receptor CERK1-V in wheat increases resistance to three fungal diseases
    Eurydice’s Face:the Paradox of Mallarmé’s Musical Poetics*
    Kidney health for everyone everywhere—from prevention to detection and equitable access to care
    Effect of low high-density lipoprotein levels on mortality of septic patients: A systematic review and meta-analysis of cohort studies
    SINO-EUROPE SYMPOSIUM ON TRADITIONAL CHINESE MEDICINE & HERBAL MEDICINE-MARKET OVERVIEW ®ULATION POLICY
    A prediction method for the performance of a low-recoil gun with front nozzle
    The Muted Lover and the Singing Poet:Ekphrasis and Gender in the Canzoniere*
    Where Does Poetry Take Place? On Tensions in the Concept of a National Art* #
    The serum and breath Raman fingerprinting methodfor early lung cancer and breast cancer screening
    Study on the physiological function and application of γ—aminobutyric acid and its receptors
    東方教育(2016年4期)2016-12-14 13:52:48
    av专区在线播放| 成年女人看的毛片在线观看| 99re6热这里在线精品视频| 精品一区二区三卡| 亚洲人成网站高清观看| 欧美成人精品欧美一级黄| 免费看日本二区| 秋霞在线观看毛片| 国产亚洲精品久久久com| 色播亚洲综合网| 天天躁日日操中文字幕| 日日摸夜夜添夜夜爱| 在线观看国产h片| 麻豆国产97在线/欧美| 高清av免费在线| 国产国拍精品亚洲av在线观看| 我的女老师完整版在线观看| 中文欧美无线码| 天天一区二区日本电影三级| 不卡视频在线观看欧美| 91狼人影院| 成人一区二区视频在线观看| 国产一区有黄有色的免费视频| 欧美成人午夜免费资源| 国产爽快片一区二区三区| 超碰97精品在线观看| 国产人妻一区二区三区在| 51国产日韩欧美| 狂野欧美白嫩少妇大欣赏| 久久国内精品自在自线图片| 美女cb高潮喷水在线观看| 一本一本综合久久| 大香蕉97超碰在线| 热99国产精品久久久久久7| 国产人妻一区二区三区在| 一区二区三区乱码不卡18| 最后的刺客免费高清国语| 美女视频免费永久观看网站| 欧美3d第一页| 欧美 日韩 精品 国产| 欧美成人午夜免费资源| 91精品国产九色| 欧美 日韩 精品 国产| 欧美成人午夜免费资源| 国产色爽女视频免费观看| 波多野结衣巨乳人妻| 精品少妇黑人巨大在线播放| 91精品一卡2卡3卡4卡| kizo精华| 十八禁网站网址无遮挡 | 日韩,欧美,国产一区二区三区| 日本熟妇午夜| 久久久久久久久久人人人人人人| 九九在线视频观看精品| 看免费成人av毛片| 亚洲av免费高清在线观看| 男人和女人高潮做爰伦理| 在线观看国产h片| 美女xxoo啪啪120秒动态图| 亚洲,一卡二卡三卡| 美女内射精品一级片tv| 99久久精品国产国产毛片| 国产精品一区www在线观看| 免费在线观看成人毛片| 成人亚洲精品av一区二区| 亚洲国产精品国产精品| 国产高清三级在线| 亚洲av中文字字幕乱码综合| 中国美白少妇内射xxxbb| 大香蕉久久网| 高清午夜精品一区二区三区| 你懂的网址亚洲精品在线观看| 成年女人看的毛片在线观看| 亚洲精品日韩在线中文字幕| 精华霜和精华液先用哪个| 亚洲av免费在线观看| 97在线视频观看| 久久6这里有精品| 国语对白做爰xxxⅹ性视频网站| 观看免费一级毛片| 亚洲欧美清纯卡通| 亚洲四区av| 一级黄片播放器| 中文字幕免费在线视频6| 亚洲图色成人| 午夜免费男女啪啪视频观看| 国产一区二区三区综合在线观看 | 国产黄色视频一区二区在线观看| 最近2019中文字幕mv第一页| 久久99热6这里只有精品| 日本三级黄在线观看| 亚洲在线观看片| 亚洲av中文字字幕乱码综合| 免费看光身美女| 美女脱内裤让男人舔精品视频| 中国美白少妇内射xxxbb| 人妻制服诱惑在线中文字幕| 国产淫语在线视频| 伊人久久精品亚洲午夜| 在线天堂最新版资源| 男女边摸边吃奶| 精品国产三级普通话版| 亚洲av福利一区| 久久影院123| 性插视频无遮挡在线免费观看| 下体分泌物呈黄色| 爱豆传媒免费全集在线观看| 天天躁夜夜躁狠狠久久av| 亚洲欧美日韩无卡精品| 国产欧美另类精品又又久久亚洲欧美| 久久久精品94久久精品| 欧美成人a在线观看| 国产老妇伦熟女老妇高清| 美女视频免费永久观看网站| 久久久久久久亚洲中文字幕| 熟女av电影| 日本免费在线观看一区| 2022亚洲国产成人精品| 草草在线视频免费看| 自拍欧美九色日韩亚洲蝌蚪91 | 精品人妻一区二区三区麻豆| 精品久久久噜噜| 尾随美女入室| 一级毛片黄色毛片免费观看视频| 2021天堂中文幕一二区在线观| 国产成人91sexporn| 欧美另类一区| 王馨瑶露胸无遮挡在线观看| 亚洲人与动物交配视频| 亚洲精品国产av蜜桃| 欧美97在线视频| 国产精品.久久久| 欧美精品一区二区大全| 深夜a级毛片| 亚洲av免费在线观看| 超碰av人人做人人爽久久| 国产精品嫩草影院av在线观看| 成人亚洲精品av一区二区| 午夜免费观看性视频| 亚洲欧美日韩东京热| 精品熟女少妇av免费看| 日韩中字成人| xxx大片免费视频| 午夜亚洲福利在线播放| 久久久国产一区二区| 18禁在线播放成人免费| 国产精品三级大全| 色视频在线一区二区三区| 亚洲欧美清纯卡通| 国产视频内射| 成人美女网站在线观看视频| 麻豆成人av视频| 亚洲电影在线观看av| 日本午夜av视频| 亚洲精品国产色婷婷电影| 久久韩国三级中文字幕| 少妇 在线观看| 高清毛片免费看| 日韩一区二区视频免费看| 三级男女做爰猛烈吃奶摸视频| 亚洲av中文av极速乱| 国产男人的电影天堂91| 69av精品久久久久久| 亚洲精品第二区| 免费少妇av软件| 久久久久国产网址| 国产乱人视频| 一本—道久久a久久精品蜜桃钙片 精品乱码久久久久久99久播 | 久久综合国产亚洲精品| 水蜜桃什么品种好| 中文在线观看免费www的网站| 国产伦在线观看视频一区| 精品熟女少妇av免费看| 久久99热这里只有精品18| 久久影院123| 男人爽女人下面视频在线观看| videos熟女内射| 日日啪夜夜爽| 内射极品少妇av片p| 91午夜精品亚洲一区二区三区| 国产精品一及| 欧美性感艳星| 乱系列少妇在线播放| 中文在线观看免费www的网站| 国产成人freesex在线| 男女啪啪激烈高潮av片| 99热网站在线观看| 啦啦啦中文免费视频观看日本| 国产精品一区www在线观看| 中文在线观看免费www的网站| 白带黄色成豆腐渣| 自拍偷自拍亚洲精品老妇| 一级片'在线观看视频| 18禁在线无遮挡免费观看视频| 亚洲欧美日韩另类电影网站 | 最近手机中文字幕大全| 国产爽快片一区二区三区| 91精品一卡2卡3卡4卡| 麻豆久久精品国产亚洲av| 日韩欧美精品v在线| 搡老乐熟女国产| 春色校园在线视频观看| 欧美高清性xxxxhd video| 国产成人精品福利久久| 亚洲自拍偷在线| 免费大片18禁| 狂野欧美激情性bbbbbb| 国产色婷婷99| 国产精品久久久久久久电影| 亚洲美女视频黄频| 精品少妇久久久久久888优播| 免费黄色在线免费观看| 欧美97在线视频| 国产有黄有色有爽视频| 亚洲av成人精品一二三区| 国产成人免费无遮挡视频| 性色av一级| 91精品一卡2卡3卡4卡| 在线观看av片永久免费下载| 国产精品秋霞免费鲁丝片| 校园人妻丝袜中文字幕| 超碰97精品在线观看| 尾随美女入室| 2022亚洲国产成人精品| 国产伦精品一区二区三区视频9| 天美传媒精品一区二区| 日韩一区二区三区影片| 午夜免费男女啪啪视频观看| 久久热精品热| 国产成人福利小说| 久久久久精品性色| 秋霞伦理黄片| 成人亚洲欧美一区二区av| 亚洲美女视频黄频| 天天躁日日操中文字幕| 亚洲精品456在线播放app| 欧美一级a爱片免费观看看| 欧美xxⅹ黑人| 国产国拍精品亚洲av在线观看| 亚洲四区av| 免费黄频网站在线观看国产| 国产白丝娇喘喷水9色精品| 国产精品福利在线免费观看| 麻豆国产97在线/欧美| 久久国内精品自在自线图片| 国内精品宾馆在线| 在线亚洲精品国产二区图片欧美 | 午夜免费观看性视频| av福利片在线观看| 久久精品国产自在天天线| videos熟女内射| 日本免费在线观看一区| 丰满人妻一区二区三区视频av| 一区二区三区乱码不卡18| 久久精品国产鲁丝片午夜精品| 亚洲经典国产精华液单| 国产黄频视频在线观看| 亚洲国产欧美人成| 乱系列少妇在线播放| 国产成人精品一,二区| 国产免费一级a男人的天堂| av又黄又爽大尺度在线免费看| 亚洲精品国产av成人精品| 老女人水多毛片| 欧美xxⅹ黑人| 欧美国产精品一级二级三级 | 亚洲精品成人久久久久久| 午夜福利视频精品| 伊人久久国产一区二区| 黄色日韩在线| 最近最新中文字幕免费大全7| 国产精品熟女久久久久浪| 国产成人精品一,二区| 永久免费av网站大全| 国产一区亚洲一区在线观看| 一本久久精品| 亚洲人成网站高清观看| 你懂的网址亚洲精品在线观看| 亚洲伊人久久精品综合| videossex国产| 精品人妻一区二区三区麻豆| 国产高清不卡午夜福利| 国产一区二区在线观看日韩| 色视频在线一区二区三区| 18禁动态无遮挡网站| 亚洲经典国产精华液单| 国产精品av视频在线免费观看| 国产高清有码在线观看视频| 亚洲人成网站在线播| 国产熟女欧美一区二区| 麻豆国产97在线/欧美| 国产精品一二三区在线看| 免费看不卡的av| 国产精品无大码| 色视频在线一区二区三区| 久久久久久久大尺度免费视频| 日韩一区二区视频免费看| 久久99精品国语久久久| 中国国产av一级| 午夜激情福利司机影院| 人人妻人人爽人人添夜夜欢视频 | 国产成人免费无遮挡视频| 狠狠精品人妻久久久久久综合| 国产白丝娇喘喷水9色精品| 亚洲欧洲国产日韩| 一本久久精品| 亚洲三级黄色毛片| 肉色欧美久久久久久久蜜桃 | 国产日韩欧美亚洲二区| 精品熟女少妇av免费看| 又粗又硬又长又爽又黄的视频| 中文乱码字字幕精品一区二区三区| 秋霞伦理黄片| 婷婷色麻豆天堂久久| 日本av手机在线免费观看| 欧美高清性xxxxhd video| 国产高清不卡午夜福利| 最近最新中文字幕免费大全7| 国产精品嫩草影院av在线观看| 欧美一级a爱片免费观看看| 两个人的视频大全免费| 亚洲国产欧美人成| 久久人人爽人人片av| 欧美激情国产日韩精品一区| 五月伊人婷婷丁香| 亚洲,一卡二卡三卡| 狠狠精品人妻久久久久久综合| 国产毛片在线视频| 97人妻精品一区二区三区麻豆| 91在线精品国自产拍蜜月| 精品亚洲乱码少妇综合久久| 免费观看在线日韩| 大片电影免费在线观看免费| 韩国av在线不卡| 国产精品.久久久| 在线观看三级黄色| 人妻系列 视频| 国产成人freesex在线| 亚洲av男天堂| 成年人午夜在线观看视频| 亚洲丝袜综合中文字幕| 午夜日本视频在线| 欧美性猛交╳xxx乱大交人| 极品教师在线视频| 黄色日韩在线| 亚洲精品乱久久久久久| 亚洲欧美中文字幕日韩二区| 亚洲欧美成人精品一区二区| 免费观看a级毛片全部| 一个人观看的视频www高清免费观看| 亚洲天堂国产精品一区在线| 亚洲av欧美aⅴ国产| 亚洲精品国产成人久久av| 国产爽快片一区二区三区| 肉色欧美久久久久久久蜜桃 | 国产免费又黄又爽又色| 欧美成人午夜免费资源| 国产女主播在线喷水免费视频网站| 久久久精品欧美日韩精品| 亚洲精品国产av蜜桃| 两个人的视频大全免费| 欧美另类一区| 在线亚洲精品国产二区图片欧美 | 国产精品偷伦视频观看了| 国产精品久久久久久av不卡| 国产一区有黄有色的免费视频| 国产精品国产三级专区第一集| 亚洲,一卡二卡三卡| 亚洲天堂国产精品一区在线| 欧美精品人与动牲交sv欧美| 天美传媒精品一区二区| 国产在线一区二区三区精| 久久久久久九九精品二区国产| 国产av国产精品国产| 老女人水多毛片| 日日啪夜夜撸| 国产免费一区二区三区四区乱码| 成年女人在线观看亚洲视频 | 人妻系列 视频| 最近中文字幕2019免费版| av一本久久久久| 日日啪夜夜爽| av网站免费在线观看视频| 精品少妇久久久久久888优播| 国产高清三级在线| 中文欧美无线码| 日韩免费高清中文字幕av| 国产又色又爽无遮挡免| 少妇丰满av| 国产老妇伦熟女老妇高清| 欧美人与善性xxx| 18禁裸乳无遮挡动漫免费视频 | 亚洲精品久久久久久婷婷小说| 日韩欧美精品免费久久| 欧美高清成人免费视频www| 亚洲国产av新网站| 在线免费观看不下载黄p国产| 精品酒店卫生间| 国产精品三级大全| 亚洲av不卡在线观看| 国内精品美女久久久久久| 最近中文字幕高清免费大全6| 高清在线视频一区二区三区| 婷婷色麻豆天堂久久| 一级毛片我不卡| 99久久精品一区二区三区| 久久国产乱子免费精品| 中文乱码字字幕精品一区二区三区| 搞女人的毛片| 午夜激情久久久久久久| 国产精品蜜桃在线观看| 成人毛片60女人毛片免费| 亚洲欧美日韩卡通动漫| 亚洲av成人精品一区久久| 午夜福利在线在线| 最后的刺客免费高清国语| 日韩在线高清观看一区二区三区| 亚洲伊人久久精品综合| 久久久久国产精品人妻一区二区| 成人亚洲欧美一区二区av| 精品少妇久久久久久888优播| 国产欧美日韩一区二区三区在线 | av线在线观看网站| 欧美潮喷喷水| 欧美日韩综合久久久久久| eeuss影院久久| 亚洲熟女精品中文字幕| 免费不卡的大黄色大毛片视频在线观看| 免费av毛片视频| 亚洲va在线va天堂va国产| 国产成人aa在线观看| h日本视频在线播放| 亚洲内射少妇av| 午夜精品国产一区二区电影 | 狂野欧美激情性xxxx在线观看| 熟妇人妻不卡中文字幕| 亚洲av中文av极速乱| 精品久久久精品久久久| 久久这里有精品视频免费| 七月丁香在线播放| 婷婷色av中文字幕| 欧美日韩一区二区视频在线观看视频在线 | 黄色日韩在线| 听说在线观看完整版免费高清| 国产色爽女视频免费观看| 纵有疾风起免费观看全集完整版| 大片免费播放器 马上看| 国产精品人妻久久久久久| 五月玫瑰六月丁香| 成年av动漫网址| 国产精品成人在线| 五月天丁香电影| 欧美区成人在线视频| 午夜免费鲁丝| 赤兔流量卡办理| 国产成年人精品一区二区| 国产精品蜜桃在线观看| 午夜日本视频在线| 国产精品熟女久久久久浪| h日本视频在线播放| 人妻制服诱惑在线中文字幕| 国产亚洲91精品色在线| 亚洲国产精品国产精品| 哪个播放器可以免费观看大片| 最近2019中文字幕mv第一页| 一级毛片黄色毛片免费观看视频| 国产av国产精品国产| 久久这里有精品视频免费| 成人国产av品久久久| videos熟女内射| 亚洲熟女精品中文字幕| 人妻系列 视频| 成人毛片a级毛片在线播放| 欧美xxxx黑人xx丫x性爽| 99re6热这里在线精品视频| 国产高清国产精品国产三级 | 又爽又黄a免费视频| 欧美bdsm另类| 成人二区视频| 亚洲精品久久久久久婷婷小说| 亚洲av免费高清在线观看| 人人妻人人澡人人爽人人夜夜| 观看美女的网站| 秋霞伦理黄片| 欧美精品国产亚洲| 亚洲图色成人| 国产精品国产三级专区第一集| 18禁在线无遮挡免费观看视频| 中国美白少妇内射xxxbb| 2018国产大陆天天弄谢| 久久久久久久久久久丰满| 少妇人妻一区二区三区视频| 午夜激情福利司机影院| 制服丝袜香蕉在线| 欧美xxxx黑人xx丫x性爽| 久久精品国产亚洲av涩爱| 亚洲国产欧美人成| 国产成人a区在线观看| 少妇人妻久久综合中文| 女的被弄到高潮叫床怎么办| 交换朋友夫妻互换小说| 毛片女人毛片| 99久久九九国产精品国产免费| 精品一区在线观看国产| 久久久a久久爽久久v久久| av国产免费在线观看| 最近2019中文字幕mv第一页| 三级国产精品欧美在线观看| videossex国产| 久久久久久久久久久免费av| 嫩草影院新地址| 国产精品不卡视频一区二区| 夫妻午夜视频| 青春草视频在线免费观看| 国产男人的电影天堂91| 最近最新中文字幕大全电影3| 亚洲伊人久久精品综合| 成人鲁丝片一二三区免费| 蜜臀久久99精品久久宅男| 男人爽女人下面视频在线观看| 国产精品久久久久久久电影| 久久午夜福利片| 国产白丝娇喘喷水9色精品| 69av精品久久久久久| 国产一区二区三区综合在线观看 | 永久网站在线| 国内精品宾馆在线| 在线天堂最新版资源| 一级毛片我不卡| 老司机影院毛片| 亚洲国产最新在线播放| 国产毛片a区久久久久| 超碰av人人做人人爽久久| av在线亚洲专区| 麻豆国产97在线/欧美| 亚洲丝袜综合中文字幕| 中文精品一卡2卡3卡4更新| 国产色爽女视频免费观看| 久久久久久伊人网av| 国产在线一区二区三区精| 久久久久久伊人网av| 涩涩av久久男人的天堂| 亚洲国产av新网站| 别揉我奶头 嗯啊视频| 九九久久精品国产亚洲av麻豆| 国产91av在线免费观看| 五月伊人婷婷丁香| 特大巨黑吊av在线直播| 日本午夜av视频| 男人狂女人下面高潮的视频| 欧美日韩在线观看h| 干丝袜人妻中文字幕| 2022亚洲国产成人精品| 久久久久性生活片| 神马国产精品三级电影在线观看| 国产精品国产三级国产专区5o| 91久久精品电影网| 国产亚洲精品久久久com| 一级毛片黄色毛片免费观看视频| 能在线免费看毛片的网站| 一个人看的www免费观看视频| 69人妻影院| 国产一区二区三区综合在线观看 | 欧美区成人在线视频| 男男h啪啪无遮挡| 大香蕉久久网| 黄色怎么调成土黄色| 国产探花极品一区二区| av国产精品久久久久影院| 久久久久国产网址| 91精品伊人久久大香线蕉| 成人亚洲精品一区在线观看 | 777米奇影视久久| 欧美97在线视频| 麻豆国产97在线/欧美| 另类亚洲欧美激情| 免费大片18禁| 免费看光身美女| 亚洲高清免费不卡视频| 欧美区成人在线视频| 亚洲欧美清纯卡通| 日本黄大片高清| 黄色视频在线播放观看不卡| 久久精品人妻少妇| 天堂俺去俺来也www色官网| 国产精品偷伦视频观看了| 香蕉精品网在线| 日韩精品有码人妻一区| 亚洲av在线观看美女高潮| 丰满人妻一区二区三区视频av| 日韩视频在线欧美| 精品久久国产蜜桃| 91精品一卡2卡3卡4卡| 嫩草影院新地址| 成人免费观看视频高清| 欧美日韩国产mv在线观看视频 | 亚洲第一区二区三区不卡| 男人和女人高潮做爰伦理| 久久久久久九九精品二区国产| 97精品久久久久久久久久精品| 欧美精品人与动牲交sv欧美| 久久久久性生活片| 日本午夜av视频| 亚洲精品一区蜜桃| 国产成年人精品一区二区| 亚洲丝袜综合中文字幕| 在线观看国产h片| 国产午夜精品一二区理论片| 综合色丁香网| 国产成人精品福利久久| 精品久久久精品久久久| av网站免费在线观看视频| 日本黄色片子视频| 成人国产麻豆网| 国产日韩欧美亚洲二区|