爱尔兰戏剧中的女性形象在现代中国文学中的转变

From the Kiss of Salome to the Tear of Mothers——The Female Images of Irish Drama Mirrored in Chinese Literature

王尔德在《莎乐美》中,塑造了奔放热情,具备浓厚唯美主义色彩的莎乐美形象。以田汉为代表的中国剧作家,将莎乐美改造为艺术的代言人,与传统和因袭决裂。中文话剧《莎乐美》成为新罗曼主义精神在中国传播的重要标志,开启了中国唯美主义的先锋。与此同时,作为"文学研究会"一员的李建吾的作品,更多受到辛格等人的影响,描写下层妇女的苦难生活,突出"母亲们"面对艰辛命运的抗争,集中刻画民众的生活状况。从莎乐美到流泪的母亲的转变,反映出中国文学在借镜爱尔兰文学形象的同时,注重自身的民族性,与时代氛围、话语主体相契合,把女性声音逐渐纳入民族国家的话语之中。

While Oscar Wilde portrayed a bold, enthusiastic Salome with rich colour of aestheticism, Tian Han and other Chinese writers transformed her into an envoy for art, which meant a break from the tradition. The Chinese Salome turned to be the significant symbol of the NeoRomantic Spirit in China. It was also the pioneer of Chinese aestheticism. Meanwhile, Li Jianwu’s （a member of the Literearture Research Association） works were under the influence of John Millington Synge. He depicted the trials and tribulations of the lower classes, emphasized the fight of those mothers against the torturous fate and focused on the life of the masses. From Salome to those tearful mothers, the Chinese literature, when it mirrored the Irish literary images, highlighted its nationality and echoed the call of the epoch, the subject matter of the discourse in order to combine the female voice into the nationstate discourse.