Schiller was deeply influenced by Kant's philosophy in his later years, thinking that the power to transform the world came from "internal moral laws", and abstract concepts such as bravery, kindness and public morality were often used to shape his "heroes" in his later works.
Kant and Schiller had a heated debate about the relationship between the special and the general in their works. When talking about Shakespeare, he pointed out: "Shakespeare did not make this desire come from the inside, but activated it through external opportunities." Kant's admiration for Shakespeare embodies his creative principle of "from special to general".
The concepts of "Shakespeare" and "Xi Schleswig" appeared in Marx's "Going to Fiji? La Salle (London,1April 859 19), and Engels also wrote a letter to La Salle on May 18 of the same year, both of which were written at the request of La Salle to comment on his play Flantz? Feng? Qi Jingen ".
These two letters are regarded as the most important realistic documents of Marx and Engels, among which Engels applied the word "realism" to the field of literature and art for the first time. Marx and Engels said in the letters, "You should be more Shakespearean, but I think your biggest shortcoming is that Xi Schleswig successfully turned the individual into the spokesman of the spirit of the times" and "You should not forget realism for the sake of thinking and Shakespeare for Schiller".
Marne's criticism involves three aspects:
First, La Salle misunderstood the objective process of history, did not see the historical role played by the representatives of farmers and urban revolutionaries, and attributed the power to transform the world to the embodiment of perfect human nature-Ji et al.
Second, the characters are too abstract, and Ji and others become the direct embodiment of wrathall's personal moral ideal. Engels thought that we should pay more attention to Shakespeare's significance in the history of drama development and realize the combination of typology and individualization-shaping typical characters;
Thirdly, there is a lack of detailed description. Lassard's preference for Schiller has caused "too many people to recall themselves in some places". I hope Lassard can describe more realistic scenes and life details in his works-providing a Faustian background; Engels also specifically mentioned the relationship between ideological tendency and real representation in his letter, that is, the perfect integration of "ideological depth" and "historical content" with "vividness" and "richness" of Shakespeare's plays must be realized.
These two letters first appeared in Ferdinand, German version 192 1? Merlin mentioned La Salle's third volume of letters and manuscripts in Schiller and the Great Socialist. According to Merlin's explanation, it is because of the interest of Marx and Engels that they don't like Schiller very much, but like Shakespeare.
Russian version published in 1925. In Marx's On Art, Luna Charles base explained these two concepts by using Lenin's "reflection theory" and thought that "Xi Schleswig" was a graphic art creation technique. "The author first studies a certain era in theory, summarizes some principles of this era for himself, and then designs characters suitable for it".
Shakespeare's creation embodies the principle of realistic reflection theory. In his book Luna Charles Key on Drama, he hopes that writers can comprehensively and convincingly reflect our life today.
Lukacs specially discussed these two letters in the book "Literary Theory and Marxism in the19th Century". He believed that Marx and Engels' attitude towards aesthetic realism was closely related to their universal world outlook and political inclination: "Marx carefully and completely pointed out the connection between Lassard's abstract didactic idealism and his political opportunism within the framework of aesthetic discussion."
Lukacs pointed out that Shakespeare was used to deal with Schiller because Lassall "can't understand the unity of generality and particularity in image and plot as the unity of individual and society, personal destiny and class historical destiny because of his starting point."
Lukacs further extended Marne's words, arguing that Marx used Shakespeare's plays to oppose Lassall's Hegelian view of tragedy, which made the tragedy historic.
Regarding the concept of tragedy, David, a British Marxist art theorist? Ryan analyzed this problem from the perspective of historical materialism. He quoted Jameson's original words: "The character of Bauhinia root does not typically reflect the real historical dilemma, and the situation in the play does not provide a real model of the various forces active at that time." He pointed out that La Salle was wrong to "regard the objective' tragedy' as an individual phenomenon".
Compared with Ryan, Lukacs' understanding has obvious proletarian political tendency. He thinks that the historical drama Xi Schleswig marks a pure bourgeois understanding of the bourgeois revolution.
The two letters of Marx and Engels were understood by Marxist theorists in China in the early 1920s. The earliest introductory translation appeared in the unnamed series, 1925, published by Beixin Bookstore in August, and one of them was Ren Guozhen's translation of The Debate on Soviet-Russian Literature. This book contains three articles, and one of them, Understanding the Art of Life and Today, mentions these two concepts.
The earliest translation of the original text appeared in the second issue of Literature Popular published in Shanghai in June 1935+0 1. During the Anti-Japanese War, Ouyang Fanhai retranslated according to Japanese, and included Marx and Engels' Literary Theory (Guilin Reading Life Publishing House 1939 16544).
Qu Qiubai systematically expounded these two concepts earlier in his article "Marx and Engels and Realism in Literature" (1932). In his view, Ma and En advocated "Shakespeare" and opposed "Xi Schleswig" in the hope that literature could reveal real social motives and historical class conflicts, rather than just writing subjective remarks; Qu Qiubai's subjectivization and realism have specific connotations: "Idealization of subjectivism-misinterpreting the extreme process of objective class struggle" and "Realism-exposing the internal contradictions in the development of capitalism".
Qu Qiubai also believes that Engels' thoughts on "what to do" and "how to do it" involve the dialectical relationship between "typical characters and typical environment", and writers can reveal the truth of class struggle and reproduce the essential laws of social and historical development by portraying typical characters.
Marxism and Literature, edited by Zhou Yang and others, puts these two concepts under the heading of "literary tendency" (the purpose of this book is to cooperate with the publication of speeches). Zhou Yang and Qu Qiubai emphasized the combination of authenticity and tendentiousness, and at the same time highlighted the ideological tendency. A report published by Zhou Yang later also believed that sand, problems and speeches reflected * * *.
Obviously, their views pay more attention to exploring the political connotation of these two concepts. Yang Bing directly pointed out the political inclination of these two concepts in the article "Marx and Engels founded a scientific theory of literature and art for the proletariat", arguing that the purpose of Marx and Engels was to require literature and art to serve the proletarian revolutionary struggle, while the typical one was "referring to the workers in the revolutionary struggle" mentioned in the letter (the theoretical relationship between "sand" and "two combinations" was also discussed in another article). In another article, Wu Yuanmai thinks that Marx and Engels actually want writers to reflect the historical process scientifically under the guidance of the proletarian world outlook, and Engels' view of "perfect combination" is the theoretical forerunner of socialist realism.
Mr. Zhu Guangqian's point of view represents another point of view, emphasizing vivid reflection of reality and opposing creation divorced from abstract formula concepts. This view tends to discuss problems from the perspective of pure literature and art.
In a paper entitled "Marx and Engels on Five Typical Letters", he made an in-depth discussion on these two concepts. He thought that Marx and Engels pointed out that the essence of these two concepts was "whether literature and art should reflect reality or not, and whether they should take the road of realism". He also contacted the original German text and pointed out that Marx and Engels expressed dissatisfaction with Ji's image characteristics in order to emphasize that "typical characters should have distinct and vivid personalities".
In the article "System and Spirit-A Preliminary Study of MarXist Literary Thought", Lu Meilin believes that Marx and Engels put forward the concepts of "sand" and "xi", sharply criticized the idealistic creative tendency of turning words into graphic concepts, and emphasized that literary creation must proceed from real life and create concrete and touching artistic images. Although Lu Meilin also mentioned the problem of "thought". But he specifically pointed out that "realism must be highly artistic", "otherwise it is not art".
In their joint article, Lu Deshen and Zhang Shaokang believe that Schiller actually represents a conceptualization opposite to realism. Zhang Lu emphasized "authenticity" in his article, and thought that only literature and art with authenticity is realistic.
The Basic Principles of Literature, edited by Yiqun, contains the above two basic viewpoints. Principles not only mentions the anti-formulaic significance of these two concepts, but also talks about their relationship with the understanding and educational function of literature.
In addition, the 1995 edition of the History of the Development of Marxist Literary Theory holds that the issue of Shakespeare and Xi Schleswig is about the further deepening of art's grasp of the world. The Basic Principles of Literature also holds that the concepts of "stupidity" and "Xi" involve artistic thinking. This textbook also links this issue with "tendentiousness" and holds that it is the particularity of literature to express a writer's thoughts and feelings through images.
William Shakespeare (English: William Shakespeare,1564-April 23, 65438+April 23, 0665438+April 23, 2006) is often regarded as Shakespeare in China society. At the end of the Qing Dynasty and the beginning of the Republic of China, Lu Xun called Shakespeare a "narrow spirit" in On Moro Poetry (1February 908).
Shakespeare was born and raised in Stratford-upon-Avon. He married Anne Hathaway at the age of 18, and they have three children: Susanna, twins Hamnet and Judith. From the end of 16 to the beginning of 17, Shakespeare began a successful career in London. He is not only an actor and playwright, but also a partner of the Palace Minister Troupe, which was later renamed the King Troupe. In about 16 13, Shakespeare lived in seclusion in Stratford-on-Avon and died three years later.
The period from 1590 to 1600 is the golden age of Shakespeare's creation. His early plays were mainly comedies and historical plays, which reached the peak of depth and artistry at the end of16th century. From 160 1 to 1608, he mainly wrote tragedies. Shakespeare advocates noble sentiments and often describes sacrifice and revenge, including Othello, Hamlet, King Lear and Macbeth, which is regarded as the best example of English. In the last stage of his life, he began to create tragicomedy, also known as legendary drama.
Shakespeare's works handed down from ancient times include 39 plays, 154 sonnets and two narrative poems. His plays have been translated into various major languages, and the number of performances far exceeds the works of all other dramatists.
Schiller was a German romantic poet, playwright and famous aesthetician in the18th century.