| 英文摘要 |
In her art as in her personal life Carson McCullers experienced great tidal movements involving changes of scene, of friends, and of emotional direction. Yet she never really deviated from her main theses: that love drives men, but in vain, and that, in loving, the individual seeks to integrate himself into a larger whole. Where Reflections in a Golden Eye, as an effort to elucidate these ideas, represents regression (Tseng 3 9-59), The Ballad of the Sad Cafe marks a new, if limited efflorescence. This third novel explores the dark ground separating the lover and the beloved, and divides the illusion and the cold reality, as does none of her other books. The Ballad of the Sad Cafe also emobodies McCullers' pessimistic view of love because she sees lover and beloved coming 'from different countries' (Ballad 18). |
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