《北京人》的男权梦想及其破灭

Male-power Dream and Its Disillusion in A Pekingese

《北京人》是曹禺继《雷雨》、《日出》、《原野》、《蜕变》之后,循着"原始的情绪"和"蛮性的遗留"推演出来的又一部既诗以言志又文以载道、既委曲尽情又神道设教的宗教化的戏剧文本和戏剧化的宗教文本。它以子虚乌有的天堂净土、精神家园的神圣名义,对宗法制男权家庭中一夫二妻的男权梦想进行了挽歌式的虚拟渲染,最终又对这种宗法制男权家庭实施了天诛地灭式的革命性埋葬;对集"妾妇之道"的奴性、母性、神性于一身的愫方,连同不再恪守于"妾妇之道"的瑞贞,网开一面地施以天堂净土式的精神超度和神圣礼赞。

Apart from Thunderstorm, Sunrise, and Transformation, A Pekingese is anotherreligious drama by CAO Yu, which follows ＂ primitive emotion＂ and ＂ savage remains＂ , integrating poetry and idea, emotion and morality. In the sacred name of fictitious heaven and spiritual homeland, the play heightens the male - power dream of one - husband - two - wife system and revolutionarily buries such a family structure. The play offers heavenly spiritual release and sacred psalm to Sufang, who combines feminine servitude, motherhood and goddess, and to Ruizhen, who abandons the feminine principles.