中国语境下的悲剧特征新论

A New Interpretation of the Features of Tragedies in the Chinese Context

从世界文明三态("农耕""游牧"与"海耕")以及世界历史三态("神的时代""英雄时代"与"人的时代")的宏观空间与时间视域,借助希腊悲剧为比较体,能够对元代中国悲剧(《窦娥冤》等)进行重新审视与解读。元代中国悲剧结胎于"农耕"与"游牧"交汇的特定语境:原"农耕"中被边缘化的戏剧经"游牧"的刺激而逆时逢生。在该语境中逆生的中国悲剧衍生了三大"互为"特性:第一,在主题上,演绎着对"人役"(人受人的奴役)的宣诉;第二,在结构上,因"人役"苦难与"役神"(即渎神)情结的背谬张力而构成了"悲身乐尾"的形式;第三,在审美上,对"人役"苦难的舞台宣诉孵化出"力与德"的冲突范式和"怜悯"的审美格调。以上中国悲剧在主题、结构、审美三个层面上的特征一脉相连、互为相生,均是"人役"主线(主调)的多重变奏。

Based on the three world civilization states i. e.＂ agriculture ＂,＂ nomadic culture＂ and ＂ sea culture＂ and the three world historical states i.e.＂ era of gods＂,＂ era of heroes＂ and ＂ era of human＂,compared with Greek tragedies,the paper tries to reinterpret the features of the Chinese tragedies in the Yuan Dynasty. It is found that the Chinese tragedies were born in a specific context,which was the combination of ＂ agriculture＂ and ＂ nomadic culture＂. The marginalized dramas in ＂ agriculture＂ were then ignited by the ＂ nomadic culture＂. It was such a context that derived three features： first,the main themes were about the accusing of＂enslavement from human＂; the second,the paradoxical tension between＂enslavement from human＂and＂enslavement to gods＂contributed the tragedies＇ unique structures of＂ sad body and happy tail＂; the third,the accusing of ＂enslavement from human＂produced tragedies＇ conflict of ＂force and virtue＂and style of＂aesthetic mercy ＂. The above three features interacted each other,and were in fact the variations of＂enslavement from human＂.