论有岛武郎和鲁迅对易卜生的受容——以留学和归国为介点

On Arishima Takero's and Lu Xun's Acceptance on Ibsen

日本"白桦派"作家有岛武郎在美国留学时通过勃兰兑斯的作品初识易卜生,留学日本的鲁迅几乎在同一时期通过日本文坛的介绍了解了易卜生。留学时期有岛共鸣于《布朗德》中的"all or nothing"思想,鲁迅则更偏爱《人民公敌》中的个人主义精神。回国后,二人均将对易卜生的关注转向《玩偶之家》为代表的女性解放题材创作。文章以留学和归国两个时期为节点,对两位作家的易卜生接受进行比较研究。

Norway playwright Ibsen, a modern realistic drama founder, has a far-reaching impact on the literary world. The Japanese writer Arishima Takero knew Ibsen through the works of Blond in USA. During the same period Lu Xun learned Ibsen through Japanese literature introduction when studying in Japan. The former resonated with the thought ＂all or nothing＂ in Blond while the latter favored individualism in Everyone＇s Foeman. Later both of them paid attention to A Doll＇s House. This paper carries out a comparative study of the two writers＇ acceptance on Ibsen.