诗意掩映下的中西梦想典型的精神指向分析——以易卜生和曹禺典型“梦想”为例

A Comparative Study of Ibsen′s and Cao Yu′s "Dreams"

易卜生和曹禺都以诗情勃发的激情在各自的剧作中塑造了一系列的"寻梦者"形象,来表达对现实的反抗以及对自我与他人拯救的理想情怀。他们梦想的指向旨趣迥异:易卜生坚持不懈地叩问人的生命之终极问题,他的梦想都指向人的最终的精神向往;而曹禺在诗意掩映下的梦想却都指向物质的或者现实的、世俗的归宿。虽然曹禺深受易卜生及其他西方剧作家和西方思潮的影响,而传统文化和宗教的积习却使曹禺在实质上选择了一条与易卜生迥异的审美之路,他们的典型"梦想"意象实际是中西两种精神指向的文化显现的代表。

Both Ibsen and Cao Yu have delineated a series of ＂dream-seekers＂ in their respective plays with poetic passions to express their revolt against social reality as well as their ideal of self-salvation and rescuing others.However,their dreams differ in orientation and aims： Ibsen persists in inquiring into the ultimate life with his dreams pointing to the ultimate spiritual goals of humans,whereas Cao Yu focuses on the material,earthy or mundane things in his dreams in the disguise of poetic passions.Though deeply influenced by Ibsen and some other Western playwrights and thoughts,Cao Yu did choose an aesthetic path different from that of Ibsen because of traditional culture and religion.As a matter of fact,their specific images of ＂dreams＂ represent two different culture-oriented spirits.