朵丽丝·莱辛笔下的茱蒂斯和方方笔下的华蓉都是大龄未婚的知识职业女性,符合我国目前倍受关注的“剩女”形象的标准。两人都因为单身一直面临着来自周围朋友和同事的压力,也都同样的在内心深处渴望真纯的爱情。但两人在寻爱之旅上表现出了鲜明的差别:茱蒂斯任何时候都主动且遵循自我内心,而华蓉则表现得矜持且顾虑重重。这种差别有着深刻的社会文化背景原因。朵丽丝·莱辛借助茱蒂斯形象所作出的独特表达对我们正确看待理解“剩女”问题有着深刻的启示意义。 Judy Dursley’s writings and Huarong Fang Fang’s works are all unmarried intellectual career teens, which is in line with the current “left women ” image standards in our country. Both are constantly pressured by their friends and colleagues around because they are single, and they all love the same deep love of pure love. But the two showed a sharp difference in their search-and-love journey: Juting was pro-active and self-centered at any time, and Huarong was reserved and worried. This difference has a profound social and cultural background. The unique expression made by Doris Lessing with Jutys’ image has profound implications for our correct understanding of the issue of “leftover women.”