Artistic characteristics of creation

Shakespeare is a "giant" in Renaissance drama. His drama creation not only has profound ideological content, but also has exquisite artistic skills and unique artistic style, which occupies an extremely important position in the history of world drama development. Marx appreciated Shakespeare's dramatic art very much and called him "the greatest dramatic genius of mankind". When analyzing and criticizing La Salle's play The Root of Bauhinia, Marx and Engels warned people not to forget realism for their views and Shakespeare for Schiller. So, what is the mystery of Shakespeare's drama creation? Why does it have an artistic charm that never declines? This is closely related to its distinctive and unique artistic characteristics.

Shakespeare created thousands of characters in many types of dramas (including comedies, tragedies, historical inspirations and legendary dramas), which enriched the figure gallery of drama art. From noble king ministers to ordinary people, their personalities are different: their faces are different. Even people of the same class, such as Emperor Caesar, Richard III, Henry IV, Henry V, Macbeth, King Lear, etc. Shakespeare's characters have the same characteristics as rulers, but also have different personalities. It can be said that none of them are exactly the same or similar. As far as a series of vivid female images in Shakespeare's works are concerned, Juliet, Portia, Cordelia, Desdemona, O 'filia and so on. The words kindness, sincerity and enthusiasm can by no means be summarized. As for some recognized excellent art models, such as Hamlet, Othello, Shylock, Faustef and so on. Everyone has his own side and is ready to come out at any time. Take Shylock in The Merchant of Venice as an example. He is not a single vicious miser or an old-fashioned usurer, but is endowed with rich thoughts and feelings and complex personality characteristics by the author. Pushkin, a Russian critical realist writer, pointed out that "the miser in Moliere's works is just stingy-nothing more; Shakespeare's Sherlock is very stingy. Alert, vengeful, good to my daughter, witty, etc. " In particular, when Shakespeare analyzed Shylock's crazy greed for money, he also described his revenge caused by being humiliated by Christians with compassionate brushstrokes. His complicated inner world is not only caused by the intensification of personal hatred between Shylock and Antonio, but also involves the long-standing contradiction between Jews and Christians in Europe, which has specific social reasons.

"Vivid and rich plot" is another distinctive artistic feature of Shakespeare's plays. As early as 1859, Engels regarded the perfect integration of "greater ideological depth and conscious historical content" and "vivid and rich plots of Shakespeare's plays" as the direction and road of future drama development. In order to portray the characters' personalities, reflect the complicated social picture and enhance the rich flavor of real life, Shakespeare followed the principle of realism, breaking the strict boundaries of tragicomedy in ancient Greece and Rome, and was not bound by the "three unifications" of classical drama. He often deliberately designs and arranges more than two storylines in his plays (as many as four clues in A Midsummer Night's Dream), which develop in parallel or zigzag, contrasting and complementing each other. The tragedy Hamlet has many clues and complicated contradictions. As far as revenge clues are concerned, there are three lines: the thrilling struggle between Danish prince Hamlet and MacClaudius, the emergence of feudal kingship, and the blind revenge behavior of Fortinbras and Laudis Jr. to vent their personal anger and revenge. Among them, the former is the main line and the latter is the sub-line, which is subordinate to the main line and promotes the development of the main line plot.

Drama plot and character are complementary and dialectical unity. You can't meet people without borrowing things, because people are difficult, so you can't talk about things. The two are printed at different levels. The last two clues in Ha are motivated by selfish desires and confined to the interests of individuals and families. Hamlet's revenge is not only for killing his father, but for reorganizing Gan Kun, cracking down on evil forces and combining revenge for his father with reforming society. Therefore, the contrast of the three lines not only fully shows Hamlet's character, but also highlights the profound social significance of his revenge, reflecting the diversity and complexity of contradictions in real life.

The plot clues of "Ha" drama are numerous but not chaotic, complicated but not miscellaneous, with clear priorities, appropriate weight and clever and reasonable arrangement, which greatly enhances the effect of the drama.

Character language with distinctive personality. The language of characters in Shakespeare's plays is vivid and colorful. Seeing people by hearing their voices completely conforms to their personality characteristics, and achieves the combination of personalization and visualization, and the blending of philosophy and lyricism.

The characters in Shakespeare's plays all have a set of language that conforms to their own personality characteristics, and with the changes of occasions and environments, the language of the characters has also developed and changed. Goethe said in Shakespeare's Naming Day that the audience didn't know the inner evolution of the characters until they spoke, and all the characters seemed to agree together, so we are not allowed to be vague and ambiguous in this respect. Xia Chuangke's language palace is rude, vulgar and sharp, and he often uses disgusting things as examples, while Yaya's language is elegant, beautiful and subtle, just the opposite of Shylock's. Hamlet's language, sometimes mild, sometimes clear, sometimes humorous, sometimes incoherent, depends on his inner contradictions and the development of his ideological character. In particular, the author carefully designed many wonderful inner monologues, which revealed his spiritual world and enriched and deepened his personality characteristics. For example, the famous monologue of "to be or not to be" in the first scene of the third act is a famous poem shining with philosophical light and a wonderful pen to reveal Hamlet's inner mystery. Through this monologue, readers can further understand his profound thinking about the meaning of life, his painful search for revenge and his frank analysis of ideological contradictions. Because of this, Gorky, in his famous paper on scripts, drew a clear conclusion through analysis and research: if you want to describe the character's character with powerful and vivid language, you must learn from Shakespeare.

The background of "Faustev style". If literary works want to create vivid characters with flesh and blood, they must have a free world and a stage for full expression, which is what we usually call a broad social background. The characters in Shakespeare's plays all live in a typical environment under certain social conditions. Characters live and act on the background, and the background depends on the characters and is full of vitality. Engels highly summarized and summarized this feature of Shakespeare's plays, calling it the background of "Faustev style".

Faustev is a character in Shakespeare's historical play Henry IV. He is a deformed product of the disintegration of feudal society, with the dual characteristics of a ruined knight and an adventurer. His special status not only enabled him to keep frequent contact with feudal ruling groups and shuttle between princes and nobles, but also enabled him to linger in restaurants, travel between urban and rural civilians, and go in and out of every corner of the lower class. Satubia naturally linked the aristocratic world with the civilian world with his own actions and activities, which truly reflected the bizarre social relations and magnificent times of Britain in the16th century.

Hamlet reached a new height by using the background of "Faustev". As far as the location of the script is concerned, there are kings, princes, ministers, soldiers, sailors, actors and grave diggers from palaces and castles to suburbs and cemeteries. As far as the content is concerned, it not only effectively exposes the dissolute and shameless life of the upper feudal rulers, but also truly reflects the lives of many lower people. Especially the latter, they lamented the injustice of the world in various ways and fought by various means. There are strict security guards on duty at night, which indicates that "extraordinary changes" will take place in China. Norwegian soldiers are going to the battlefield for a tiny place. Wandering artists were forced out of London, and Minnan people were bullied in the north ... In short, they all participated in Hamlet's struggle with the dark forces in different degrees and ways. This broad background not only provides a place and scope for the people in front of the stage, but also effectively sets off Hamlet's thoughts and personality, so that he can be fully exposed and exposed in his contacts with various characters, highlighting his struggle with special social content and distinctive colors of the times. This is a major breakthrough in Shakespeare's drama creation at that time, and it is also a distinctive artistic feature of his drama creation.

The artistic characteristics of Shakespeare's drama creation are the crystallization of his long-term persistence in exploration and innovation, and the product of the concrete application of his realistic creation principles. He believes that drama creation must face up to reality, face life and keep close contact with the times. In his early comedy A Midsummer Night's Dream, he said, "The best drama is only the epitome of life." Later, in the tragedy Hamlet, the characters clearly declared: "Since its birth, the purpose of drama has always been to reflect nature, show the true colors of good and evil, and show its own evolution and development model to its times." Therefore, famous British critics in the18th century regarded Shakespeare as "a poet who held the mirror of customs and life in front of readers". Obviously, it is not difficult for us to understand that although most of Satubia's plays are old themes, once they have been transformed, produced, processed and innovated by him, they have become a work with Satubia's deep imprint, with distinct real life luster and rich style of the times.

It is under the above premise and conditions that 1859, Marx put forward the important principle of "Shakespeare's Biya" in his letter to Fifi La Salle. This is a highly generalized and scientific summary of Shakespeare's realistic drama creation by revolutionary instructors, pointing out the essence of Shakespeare's drama art, and asking writers to stand at the height of the times, start from the actual needs of real life and social struggle, rather than based on empty concepts, create distinctive characters through concrete and vivid plots and colorful languages, reflect the essence of social life with visual art, and reveal the development trend of the times. Therefore, "Shakespearization" is closely related to Shakespeare's specific artistic skills, but they are not the same concept and cannot be equated. At present, many articles commenting on Shakespeare's plays compare the two, which is inappropriate.