论“悲剧性”的多重色调——兼论“悲剧在中国戏剧中是否缺席”的话题

The Several Shades of Color in the “Nature of Tragedy”:A Discussion about “Tragedy's Being Absent or Not from Chinese or Even Other Oriental Plays”

中西方学者关于"悲剧在中国乃至东方戏剧中是否缺席"的历史"控辩",之所以至今未能"结案",在于双方都没能抓住问题的根本——"悲剧性"是单一形态的还是多样态的。不同的"悲剧"形态存在着相通处——"悲剧性",其情感特质包括了:伤感(哀而不怒)-悲愤(怒而不争)-悲壮(争而不胜)-崇高感(虽败犹胜,乐缘未来)-英雄感(苦争终胜),整体上形成了"悲剧性"的情感色谱。一部"悲剧"是上述诸色调悲剧性的单一或杂多的显现,这使"悲剧"作品既具有"家族相似性",又呈现出不同样态。在"悲剧性"视野里,"悲剧在中国乃至东方戏剧中是否缺席"是个伪问题。

The historical debate between scholars from the East and the West about＂tragedy＇s being absent or not from Chinese or even other Oriental plays＂has not been settled yet, because scholars from both the East and the West fail to capture the essence of the problem. They fail to tell whether the＂nature of tragedy＂is of a single or multiple forms of existence. The＂nature of tragedy＂is shared by different forms of tragedy, and its special emotional spectrum may encompass sorrow, indignation, solemnity, sublimity and heroicity. A tragedy may present one or more of these different shades of tragic nature, making a tragic play at once possess certain＂familial similarities＂and show some specific features of its own. From the perspective of the＂nature of tragedy,＂＂whether tragedy is absent from Chinese or even other Oriental plays＂is actually a pseudo-problem.