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时隔2000年,悲剧艺术在英国迎来了第二次高峰,其主要代表人物是全世界家喻户晓的莎士比亚。莎翁虽然不如三位古希腊大师那样高产,但他所有12部悲剧都能够流传后世,其中最为人称道的是《哈姆莱特》、《麦克白》、《李尔王》和《奥瑟罗》。纵观这四大悲剧,我们不难在其中发现一个共同点,即现有基督教伦理秩序与新兴城邦国家个性解放之间的冲突。以往的文学批评似乎过于看重莎翁对文艺复兴新人的歌颂。事实上,他对普遍人性的看法相当悲观,或者至少有褒有贬。我们在其作品中看到的更多是对世袭王权崩塌的惋惜以及对家庭伦理丧失的嗟叹。
After 2000, tragedy art ushered in the second peak in Britain, its main representative is the world-famous Shakespeare. Although not as productive as the three ancient Greek masters, Shakespeare all 12 of his tragedies can be handed down to later generations, most notably Hamlet, Macbeth, King Lear and Othello ". Throughout these four tragedies, it is not difficult for us to find one thing in common: the conflict between the existing Christian ethical order and the liberation of individuality in the emerging city-states. Literary criticism in the past seems to place too much emphasis on Shakespeare’s praise of the Renaissance. In fact, his views on universal humanity are rather pessimistic, or at least praise and derogatory. What we see in his work is more a regret for the collapse of the hereditary monarchy and a sigh for the loss of family ethics.