艺术和人生的艰难调和——解读田汉早期戏剧创作中的莎乐美情结

A Difficult Compromise between Art and Life: Salome's Influence on Tian Han's Early Dramas

田汉素以创作现实主义和革命文学著称于中国现代文坛,但他早期的戏剧作品却富含"为艺术而艺术"的唯美主义风格。在1930年发表《我们的自己批判》一文对"唯美、感伤"的小资产阶级文学进行清算之前,田汉的戏剧创作活动受到了西方唯美—颓废主义思潮的强烈影响,其中王尔德的《莎乐美》对其影响最大。从1921年将《莎乐美》翻译成中文至1929年作为导演将其搬上中国话剧舞台,以及在这十年间所创作的戏剧作品,都证明了田汉对唯美—颓废主义经典形象的莎乐美所怀有的一种特殊情结。从这种莎乐美情结中可以解读出田汉早期戏剧创作中在"为艺术而艺术"和"为人生而艺术"两种诗学之间的艰难调和。

Though Tian Han is well-known for his realistic and revolutionary works in modern Chinese literature, ＂art for art＇s sake＂ can be found in his early dramatic works. Before 1930, when he declared in his Our Self-criticism that he would give up the aestheti- cism and sentimentalism of ＂capitalist literature＂, his works were strongly influenced by the Western thoughts of Aestheticism and Decadence, especially by Oscar Wilde＇s Salome. A complicated complex of Salome can be found in his translating Salome and putting it on the Chinese stage. His dramas during this decade manifest his efforts to balance art for art＇s sake and art for life＇s sake.