Alice Childress’s Wine in the Wilderness (1969) is reminiscent of the Pygmalion myth in Ovid’s Metamorphoses in several ways, particularly in terms of the theme of the male artist’s love of his female creation. This paper presents an intertextual critique comparing the Pygmalion myth of Ovid’s epic poem with Childress’s Wine in the Wilderness. Wine in the Wilderness allows for an especially unique comparison due to the inclusion of black feminist thought as defined by Patricia Hill Collins regarding the means to resist and understand oppression as intersectional, rather than one-dimensional (18). In Wine in the Wilderness, Bill Jameson represents Childress’s black Pygmalion, and he creates a triptych on the subject of black womanhood. Coincidentally, or intentionally, the images of black women in the triptych can be illustrated by three women in the Pygmalion myth. Disgusted at the shamelessness of the Propoetides, Pygmalion sculpts an ivory statue of the perfect woman and then falls in love with it. Venus grants Pygmalion’s wish to bring the figure to life, so Pygmalion marries his ideal woman and later has a daughter named Paphos (Ovid 231–232). The three women in Bill’s triptych are personified by Propoetides, the ivory maiden, and Paphos. The first painting is titled Black Girlhood, which portrays “a charming little girl in Sunday dress and hair ribbon” (Childress 185). This innocent and charming girl mirrors Paphos, the perfect daughter of Pygmalion’s perfect woman. The second painting is Wine in the Wilderness, which is Bill’s ideal woman, like Pygmalion’s ivory maiden. Bill calls her “Abyssinian maiden” (185) or “African queen” (186), and he describes her as “Mother Africa, regal, black womanhood in her noblest form” (185). The third painting remains empty, but Bill intends to draw “the lost woman” to illustrate what society has made of black women (186). Similar to the Propoetides, the lost woman is “close to the bottom” and is “ignorant, unfeminine, coarse, rude ... vulgar ... a poor, dumb chick” (186). Bill’s fondness for his Abyssinian maiden also resembles Pygmalion’s affection for his ivory maiden. Several similarities exist between the play and the myth,

中文翻译：

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荒野中的葡萄酒：爱丽丝·柴德里斯的黑皮格马利翁

Alice Childress 的《荒野中的酒》（1969）在几个方面让人想起奥维德的变形记中的皮格马利翁神话，特别是在男性艺术家对女性创作的热爱这一主题方面。本文将奥维德史诗中的皮格马利翁神话与柴德丽丝的《荒野之酒》进行比较，提出了一种互文批判。由于包含了帕特里夏·希尔·柯林斯 (Patricia Hill Collins) 定义的黑人女权主义思想，将抗拒和理解压迫的手段视为交叉而非一维的，因此《荒野中的葡萄酒》可以进行特别独特的比较 (18)。在《荒野之酒》中，比尔詹姆森代表柴德雷斯的黑色皮格马利翁，他创作了一幅关于黑人女性主题的三联画。无独有偶，或有意，三联画中黑人女性的形象可以用皮格马利翁神话中的三个女人来说明。皮格马利翁对 Propoetides 的无耻感到厌恶，雕刻了一个完美女人的象牙雕像，然后爱上了它。维纳斯实现了皮格马利翁让这个形象栩栩如生的愿望，所以皮格马利翁娶了他理想中的女人，后来有了一个女儿，名叫帕福斯（Ovid 231–232）。比尔三联画中的三位女性分别是象牙少女 Propoetides 和帕福斯。第一幅画名为《黑人少女时代》，描绘了“一个穿着周日礼服和发带的迷人小女孩”（Childress 185）。这个天真迷人的女孩，就像皮格马利翁完美女人的完美女儿帕福斯。第二幅画是《荒野中的酒》，是比尔理想中的女人，就像皮格马利翁的象牙少女一样。比尔称她为“阿比西尼亚少女”（185 年）或“非洲女王”（186 年），他将她描述为“非洲母亲，高贵的黑人女性”（185 年）。第三幅画仍然是空的，但比尔打算画“迷失的女人”来说明社会对黑人女性的看法（186）。与 Propoetides 相似，失落的女人“接近底层”，是“无知、没有女人味、粗鲁、粗鲁……粗俗……一个可怜的、愚蠢的小鸡”（186）。比尔对他的阿比西尼亚少女的喜爱也类似于皮格马利翁对他的象牙少女的喜爱。戏剧和神话之间存在一些相似之处，与 Propoetides 相似，失落的女人“接近底层”，是“无知、没有女人味、粗鲁、粗鲁……粗俗……一个可怜的、愚蠢的小鸡”（186）。比尔对他的阿比西尼亚少女的喜爱也类似于皮格马利翁对他的象牙少女的喜爱。戏剧和神话之间存在一些相似之处，与 Propoetides 相似，失落的女人“接近底层”，是“无知、没有女人味、粗鲁、粗鲁……粗俗……一个可怜的、愚蠢的小鸡”（186）。比尔对他的阿比西尼亚少女的喜爱也类似于皮格马利翁对他的象牙少女的喜爱。戏剧和神话之间存在一些相似之处，