从爱尔兰争取民族独立到汤姆·墨菲作品所展示的20世纪五六十年代,爱尔兰的属下阶层一直被民族身份的宏大叙事所裹挟,他们真正的声音被淹没,成为社会精英表达自身欲望和兴趣的傀儡。墨菲的首部多幕剧《黑暗中的哨声》以五六十年代爱尔兰经历的重大变革为背景,反映出爱尔兰的劳工阶层无论身处后殖民时期的爱尔兰还是后帝国主义时代的英国,都注定无法融入主流社会,深刻地揭示了属下阶层在爱尔兰从农业化到工业化转型时期的迷惘和错位。卡尼父子笃信的英雄主义曾是民族主义国家神话的中心,而现在却被排除在外,这集中体现了叶芝式史诗英雄形象在现代社会范式中的困境。作为阶级化的属下,他们微弱的声音被忽视,暴力成为唯一的表达途径。墨菲通过这部作品再现了属下真实的生活和困境,讲述被主流叙事所掩盖的属下故事。 From Ireland’s national independence to the 1950s and 1960s as demonstrated by Tom Murphy’s work, Ireland’s subordinates have been held hostage by the grand narratives of national identity, their true voices submerged and become social elites expressing their own desires and Interest puppet. Murphy’s first multiplayer play, The Whistle in the Dark, was a time of major change in Irish experience in the 1950s and 1960s, reflecting Ireland’s working class both in post-colonial Ireland and post-imperialist Britain Destined to be unable to integrate into the mainstream society and profoundly reveal the subtleties and misplaced subordinates in Ireland from the period of agrarianization to industrialization. The heroic beliefs that Carney and his son once believed were the centers of nationalist myths and are now excluded. This epitomizes the predicament of the Yeats epic heroine in the paradigm of modern society. As a member of their class, their feeble voices are ignored and violence as the only means of expression. Through his work, Murphy reproduces his real life and dilemma, telling the stories to be covered by mainstream narratives.