================================================
Feeling master yuan.
Source: Author: Tang Chen release time: 2007-1-1519: 45: 01Editor: Long Binbin hits: 53.
When I first read Mr. Cao Yu's early works, I had an inexplicable love for Yuan Ye. At that time, I wouldn't say anything, and reading the script was mostly just a story. For vilen, I just feel there is a strange charm in it. Later, after reading more relevant theories and comments, I realized that this was the most controversial play in Cao Yu's early works. While many people think this work is unsuccessful, I actually feel a tragic beauty and spiritual shock from it.
The first is the beauty of ancient Greek tragedy. Here, I have to quote the previous viewpoint again: tragic heroes are powerful, and as long as they act, they will have great results. Qiu Hu and Jin in Yuanye are such people. Qiu Hu's revenge is bound to have bloody results. However, just like the crazy Medea, even with the carrot and stick of burning wood and the begging of gold, even knowing that the victim is innocent, she will carry out her will to the end. Gold pursues true love and freedom, which can also be said to be desperate. In order to cover the enemy tiger, she can even charm a disgusting white fool with a runny nose; When the truth was exposed to the big star, she was so confident and fearless; Finally, when she faced the torment of fear with Hu Qiu in the black forest, she had no regrets. The way they love each other is so strange and intense. There are no tender words, and even no sadness of reunion after the disaster. Some just like to beat, scold and burn, and they don't regret burning themselves.
Secondly, the inherent tension beauty of Shakespeare's tragedies. In Shakespeare's tragedies, the greatest tension often comes from the inner conflicts of the characters. Hamlet, like Macbeth, is a little-known Leoline Nast, and also a model of tragic ending caused by inner conflict (as I discussed in the last article). In Yuan Ye, the tragedy of hating tigers is also caused by his inner conflict. On the one hand, it is the deep hatred of killing my father and wife and forcing my sister to die. On the other hand, its chief culprit, Jiao Yan, is dead, and revenge is bound to be condemned for hurting innocent people's conscience. Qiu Hu's final death was precisely because of this condemnation in his heart. That black forest is just his prison.
Revenge is the boundary here. It is interesting to compare the attitudes of hating tigers and gold before and after revenge. Before revenge, Qiu Hu's mind was completely occupied by hatred. Although I was hesitant at first, I was basically desperate. Jin repeatedly thought about Daxing's innocence and didn't want to hate the tiger to hurt the people who had given her infinite pain. However, once the task of revenge was completed, the situation changed a hundred and eighty degrees. Qiu Hu changed from a vengeful fighter to a prisoner tortured by guilt; And Kim can do this without guilt and regret, but strongly comforted him. At first glance, this contrast is like Sartre's The Fly. Hate Tiger is like Electra, but Jin plays the existential hero Orestes, but Cao Yu's perspective is different from Sartre's. However, one detail reminds us that Hu Qiu is not electra. Hu Qiu picked up the chain he dropped when he came in the dark forest, and then "held the chain all the time". This means that he is bound by remorse and guilt and imprisoned in his own prison. But at the last minute, he "turned around and slammed the chain on the distant rail." Electra was swallowed up by revenge because of remorse; Qiu Hu is not like this. His death was not passive. He saved himself by actively choosing death, and walked out of the prison at the last minute and was free. Throwing away the chain is a symbol of getting out of prison. In this sense, Cao Yu's view coincides with Sartre's. In my opinion, the image of the "black forest" and the symbolic meaning of the chain endow Yuan Ye with a metaphysical color and a philosophical beauty.
The beauty of strength, internal tension and philosophy, I think this is the charm of Yuanye.
Some researchers criticized Yuanye from a conservative point of view, arguing that Autumn Tiger and Gold have no characteristics of farmers at all, which is the result of the author's unfamiliarity with rural life. So vilen was judged as a failure. I think this is a prejudice against realism. Although Cao Yu wrote Yuan Ye, it was stirred by the dark social reality, but the shaping of the protagonist obviously experienced the processing of his own mind and poetic structure. His purpose is obviously not to reflect "the struggle between the peasant class and the landlord class in the countryside", and the identities of Qiu Hu and Jin are not true at all. Instead of looking for the shadow of the peasant class in them, it is better to experience their strength and primitive passion from the perspective of people in a broad sense, and to see their struggle with themselves in order to obtain the ultimate spiritual freedom, so that people's dignity and pride can stir in our hearts.
Nanjing University Press has published contributions and Chen's Breaking Free in a Narrow Cage, and analyzed Cao Yu's early plays from the perspective of human feelings. This is closer to Cao Yu's creative motivation than the viewpoint of class theory and social drama, and also provides a better perspective for studying Cao Yu's drama. But the book thinks that Cao Yu's original intention is to express compassion for the desperate situation of human beings (although the book does not deny this despair, but affirms the value of this compassion from the height of philosophy and aesthetics), I disagree. It is a fact that Cao Yu did not put forward a way to get rid of darkness and found a feasible way to get rid of the "narrow cage" in his early plays. However, it cannot be concluded that the author's purpose is only to express this desperate situation, and the author only has compassion in his heart. The key is not the result, but the humanistic spirit embodied in the process. We can't ask Sophocles to tell the audience that fate doesn't exist. You should develop productive forces. After all, it is not the playwright's task to solve problems.
Sometimes I think, there is no such thing as a pessimistic tragedy, or even a "nobody tragedy" of struggle. Because it is a kind of courage to write all this out and face it in front of people; Because of so many difficulties and hardships, human beings still stubbornly exist, reflect and struggle, which in itself is a kind of human dignity.
Tragedy is not a negative style.