对原始生命力的崇尚——曹禺剧作的贯穿主题问题

The Worship of Primitive Vitality:A Recurring Theme of CAO Yu’s Plays

曹禺在《北京人》中表达了对北京猿人的崇拜,以此为抗战中的中国呼唤原始的强悍力量。而返观《蜕变》,更追溯到《雷雨》《日出》《原野》,可以清晰地发现这种崇拜原始人的思想由来。在清末和民初积贫积弱的中国,崇尚原始的生命力曾经是一种强劲的流行的思想。曹禺是以此为基础理念,站在人类学的层面,从文明延续和发展的角度来创作他的戏剧的。《雷雨》是野性的情绪喷发,《日出》把人类的希望寄托于原始的健康的人,《原野》是对遭受不公的野性的人的探讨,对原始生命力的崇尚贯穿了从《雷雨》到《家》的曹禺主要剧作。

CAO Yu expressed his worship of Peking Primitive Man in his play Peking Man,by which he called for primitive power for China in the war of resistance against Japan.The origin of the worship of primitive men can be clearly seen,if this paper reviews Transformation,and traces it back to Thunderstorm,Sunrise and The Wilderness.In the poor and weak China during the late Qing Dynasty and the early Republic of China,it was once a prevailing idea to advocate primitive vitality.Based on this concept,CAO Yu created his plays with thematic concerns of civilization continuation and development from the perspective of anthropology.Thunderstorm is about the eruption of wild emotions;Sunrise places the hope of human beings on primitive healthy people;and while The Wilderness is a discussion of people suffering injustice.The worship of primitive vitality runs through CAO Yu’s main plays from Thunderstorm to Home.