从歌德到莎士比亚——郭沫若的史剧理论与实践

From Goethe to Shakespeare——Guo Mo-ruo's Theory and Creation of Historical plays

郭沫若是个深受外国戏剧浸染的中国现代史剧作家。郭氏自称早期的浪漫主义史剧创作主要是受歌德的影响,但由于他对歌德的借鉴是基于对歌德的一种误读,实际上更接近于“席勒式”的纯主观的浪漫主义。40年代以后,郭氏的史剧理论与实践发生了向莎士比亚式的客观性的转变,可是由于当时的历史语境和主流话语的导控,其表现手法又在很大程度上偏离了莎士比亚。纵观郭氏后期的史剧创作,唯有《孔雀胆》是从精神实质上接近于莎士比亚的作品。本文试图从郭沫若的史剧观念与创作的衍变入手,论述歌德和莎士比亚对郭沫若的史剧理论与实践的不同影响,从中探寻中国现代剧作家接受反应的一些经验教训。

Foreign drama exerts considrable influence on Guo Mo-ruo, the modern Chinese dramatist. Although Guo acknowledged Goethe＇s influence on his early historical play creation, owing to his misread- ing of Goethe＇s works, his means of artistic expression is actually closer to Schiller＇s simple subjective Romanticism. In the 1940s, however, both Guo＇s thoery and practice concerning historical plays seem to favor the Shakespearean style of objectivity. But due to specific historical context and the guidance of the mainstream thoughts of that time, Guo＇s dramatical creation shows a divergence from Shakespearean spirit to quite a large degree. Among his later historical plays, only the ＂ Peacock Bile＂ displays a spiritual similarity to Shakespeare. This essay attempts to expound the different influences of Goethe and Shakespeare on Guo Mo - ruo, which, hopefully, may reveal some valuable experience of acceptance reaction of modern Chinese dramatists.