淺析中英文學(xué)悲劇作品不同結(jié)局的根源

1、PAGE PAGE PAGE 23畢業(yè)論文題目：淺析中英文學(xué)悲劇作品不同結(jié)局的根源Title: Preliminary Analysis on the Roots of Different Endings Between Chinese and British Tragic Literature2009年5月20日AcknowledgementsFirst and foremost, my appreciation goes to my affectionate parents, and the rest of my family. Throughout the development of

2、this paper, they have been there always giving me continuous support, encouragement and understanding. Their love and support encourage me to pursue progress all the time.I would like to extend my sincere thanks to all other teachers who gave me lectures during the past three academic years as well.

3、 I have benefited so much not only from their courses and lectures but also from their constant encouragement.Finally, my deepest gratitude and respect go to my supervisor, LuYimiao. It is for her constant encouragement, critical instructions, her great care and precious advice and suggestions that

4、this paper appears in the present form. AbstractThere are completely contrary characteristics in the endings between Chinese classical tragedies and British ones: the Chinese ones mostly have a “happy ending”, with a view to satisfy the psychological goal of the audiences justice sense; while the Br

5、itish ones mostly have a miserable ending, with a view to make the audiences experience the strong sublimity sense. The discrepancy between them is a kind of cultural phenomenon with its profound cultural origin: the cultural origin of justice sense in the Chinese tragedies could be traced back to t

6、he iterative universal movement concept and traditional ethical moral concept in the Chinese culture and its particular geographical environment; while the sublimity sense in the British tragedies is closely associated with its civilized history. There are great discrepancies in the cultural concept

7、 on the tragedies between the two peoples, which is a complicated historical phenomenon that not only relies on the survival environment, habitude features and age characteristics of a nation, but also the cultural mentality and the overall cultural quality of each nation. This paper starts with the

8、 endings of Chinese and British classical tragedies, analyze the different endings between them, and furthermore analyze the cultural origin which causes the different endings. Key words: Chinese and British tragedies; different endings; happy reunion; destruction; cultural origin摘 要中英古典悲劇在結(jié)局處理上有截然相

9、反的特點(diǎn)：中國(guó)古典悲劇大多是以“大團(tuán)圓”來(lái)收?qǐng)?，意在滿足觀眾正義感的心理需要；英國(guó)古典悲劇則大多以悲慘結(jié)局收尾, 意使觀眾體會(huì)到強(qiáng)烈的崇高感。中英古典悲劇結(jié)局區(qū)別的本身是一種文化現(xiàn)象，有其深刻的文化淵源：中國(guó)古典悲劇的正義感的文化淵源可追溯到中國(guó)文化中無(wú)往不復(fù)的宇宙運(yùn)動(dòng)觀和傳統(tǒng)的倫理道德觀，及其獨(dú)特的自然地理環(huán)境；英國(guó)古典悲劇的崇高感則與其文明史分不開。中英民族的悲劇文化觀差異很大。這種差異的形成，是一個(gè)極其復(fù)雜的歷史現(xiàn)象。它不僅取決于一個(gè)民族的生存環(huán)境、氣質(zhì)特征、時(shí)代特點(diǎn)。更重要的是取決于各個(gè)民族的文化心態(tài)和整體文化素質(zhì)。筆者擬從中英古典悲劇結(jié)局入手，分析中英古典悲劇的不同結(jié)局，并進(jìn)一步分析

10、造成中英古典悲劇結(jié)局不同的文化淵源。關(guān)鍵詞：中英悲??；不同結(jié)局；大團(tuán)圓；毀滅；文化淵源Contents TOC o 1-2 u Introduction1. British Tragic Literature31.1 Ending Classification of British Tragic Literature31.2 Major Characteristics of British Tragedy Endings6. Chinese Tragic Literature72.1 Ending Classification of Chinese Tragic Literature72.2

11、Major Characteristics of Chinese Tragedy Endings9. Comparison between Chinese and British Tragedy Endings93.1 Happy Reunion93.2 Destruction103.3 Reunion Ending versus Tragic Ending10. Root of Different Endings between Chinese and British Tragedy114.1 Great Influence on Tragedy from Different Culture

12、s124.2 Different Reactions to Society from Different Tragic Spirits19. Conclusion21Bibliography23. IntroductionThe concept of “Tragedy” is the western specialty, and derived from the fete for the Bacchus in the ancient Greece, which is called tragoidia in the Greek, namely the “song of goat”. The tr

13、agedy had held the main status of literature since the very beginning, and was considered as the “topmost poem” all the while. It was Aristotle who has first explored the artistic features of tragedy and established the theoretical foundation of tragedy. He defined the tragedy in his “Poetics” as: “

14、the tragedy is an imitation to a serious and integrated action with a certain length; its medium is language, having various euphonies to be used in each part of drama respectively; its imitating mode is to express by right of actions of character, but not adopting the narration; edifying this kind

15、of emotion by right of arousing mercy and fear.” This is the first integrated definition of tragedy in the western countries, which points out the imitation object, imitation medium, imitation mode and imitation purpose of tragedy. After him, Hegel, Nietzsche and Schopenhauer all made the investigat

16、ions in dept for the tragedy. “The tragedy ends with the miserable endings, while the comedy ends with the pleasant endings”, Martin Aserlin believes that this is still a method to distinguish tragedy and comedy which seems flimsy but is commonly applied in his “Drama Anatomy”. The main aesthetic fe

17、ature of tragedy is “misery”, thus it could not be called “tragedy” with tribulation and destruction (it not only refers to the death of tragic characters, but also includes the wreckage of ideal in the spirit world of tragic characters and so on). However, the aim of tragedy is not to simply reappe

18、ar the tribulation and destruction to make people sad, but to affirm the tragic characters and the authors tragic spirit through the destruction of valuable things in order to purify peoples soul and inspire the audience to bravely and directly face the life. Therefore, the drama only with miserable

19、 endings could not become the tragedy. The tragedy is always having a tragic ending, but the tragic ending is not certain to be miserable. The tragedy ending embodies the inevitable destruction of tragic characters or their spirit world in the conflict of tragedy, and shows the ending of tragic spir

20、it at the same time. Cultural differences between west and China manifest in many social aspects, and classical tragedies are no exception. Although many forerunners have done a lot of research, the study in this field still has a lot of blank spots, one of which is that there is no research on the

21、root of distinguished endings between these two tragedies from the perspective of cultural origin in its literary tradition. The thesis starts with the definition of tragedy, adopting a way of parallel study and comparing the endings of these two tragedies. The author of the thesis thinks that Chine

22、se classical tragedies have a happy reunion while British classical tragedies have miserable ending with destruction as a result of different cultural origin and development. . British Tragic LiteratureThe British tragic literature representative is Shakespeare. Willima Shakespeare (1564-1616) is on

23、e of the most remarkable playwrights the world has ever known. He was born in Stratford-upon-Avon in April of 1564. From about 1590 to about 1612, Shakespeare was in the prime of his dramatic career and his plays came out one after another. He wrote more than 37 plays in many kinds of forms, includi

24、ng history plays, comedies, tragedies and legend plays. Shakespeares dramatic tragedies begin his second period (beginning with “Hamlet”, through “Othello”, “King Lear”, and “Macbeth”). These plays were quite different from those of the poets early period, not only because he had grown more mature b

25、ut also because the English society had undergone much fundamental change in the transition from Elizabethan England in the last decades of the 16th century to the new regime of James I in the early years of the 17th century. Shakespeares great tragedies and his “dark” tragicomedies, written in the

26、very first decade of the 17th century, naturally reflect that age of social and political unrest rather than the poets own life of “tragic gloom” as suggested by some critics. 1.1 Ending Classification of British Tragic LiteratureAs for the British classical tragedies, the tragic endings could be di

27、vided into the following three ones: 1.1.1 Othello, Romeo and Juliet and HamletThe first kind is the destruction of numerous tragic characters, and the typical works are Othello, Romeo and Juliet and Hamlet by Shakespeare. (1) Othello Othello, a dark-faced Moor, serves as a capable general in Venice

28、 and wins the love of a beautiful, strong-minded girl Desdemona, daughter of a senator. Her father objects to her secret marriage with the Moor, but Othello is just then much needed as commander to lead troops to a war with the Turks, and so the senators protest is overruled by the duke and Othello

29、goes to war on the island of Cyprus, accompanied by his new bride. After their arrival there, the Turks have already met with destruction in a sea storm and the war is over, but one of the officers under Othello, the villain Iago, hates the general for placing another man Cassio above him as lieuten

30、ant and therefore tries to destroy the Moors happiness by convincing him of Desdemonas illicit relations with Cassio. Othello falls into the trap, kills Desdemona, and finds out the truth at last and kills himself. Iagos villainy is exposed and he is shipped back to Venice to await fit punishment.(2

31、) Romeo and Juliet Romeo and Juliet, a successful romantic tragedy of Shakespeares, eulogizes the faithfulness of love and the spirit of pursuing happiness. The play is one of Shakespeares earliest dramas and has been dated as probably written in 1595. What the author wants to tell us is compactly s

32、tated in the prologue. Two households, the Montagues and the Capulets “from ancient grudge break to new mutiny.” The only solution to this renewed violence is by the deaths of Romeo, son of Montague, and Juliet, daughter of Capulet. (3) HamletPrince Hamlet is depressed. Having been summoned home to

33、Denmark from school in Germany to attend his fathers funeral, he is shocked to find his mother Gertrude already remarried. The Queen has wed Hamlets Uncle Claudius, the dead kings brother. To Hamlet, the marriage is “foul incest.” Worse still, Claudius has had himself crowned King despite the fact t

34、hat Hamlet was his fathers heir to the throne. Hamlet suspects foul play. Finally enraged, Hamlet stabs Claudius with the poisoned sword and then pours the last of the poisoned wine down the Kings throat. Before he dies, Hamlet declares that the throne should now pass to Prince Fortinbras of Norway,

35、 and he implores his true friend Horatio to accurately explain the events that have led to the bloodbath at Elsinore. With his last breath, he releases himself from the prison of his words: “The rest is silence.”1.1.2 King LearThe second kind is that the tragic character gets into the disaster, such

36、 as King Lear. Pointing at a map, Lear tells those in attendance that he has divided his kingdom into three shares, to be parceled out to his three daughters, as determined by their protestations of love. The two elder daughters, Goneril and Regan, exaggerate their love by telling their father that

37、their affection for him exceeds all reasonable expectations. The youngest daughter, Cordelia, tells Lear that she loves him, but only as a daughter should love a father. Lear, angry and disappointed at what he deems a lack of devotion on Cordelias part, divides his kingdom equally between Goneril an

38、d Regan, and banishes Cordelia. Finally, Lear is got into the painful torture and died.1.1.3 Julius Caesar and Macbeth The third kind is that the hellion destroys the valuable people at the beginning, and finally is destroyed by the third party, which is often the tragedy describing the political fi

39、ghtings, such as Julius Caesar and Macbeth.Caesar wins the battle, returns Roman and is killed by Bristle. Anthony begins the fighting and Bristle died at last. Shakespeares Macbeth remains one of his most popular plays. Like all tragic heroes before him, Macbeths greatest lie is to himself. He beco

40、mes blinded to his own ambition. His overbearing pride (or hubris) is so great that he fails to see as he stumbles toward his destiny. Perhaps only when Lady Macbeth commits her off-stage suicide does he begin to acknowledge the truth. “She should have died hereafter,” he comments, and then adds “To

41、morrow and tomorrow and tomorrow/Creeps in this petty pace from day to day/To the last syllable of recorded time”1.2 Major Characteristics of British Tragedy Endings The heroism of tragic spirit of Shakespeare Tragedy is the aesthetical model of the very powerful conquerable sense and resentful sens

42、e of the hero. And the heroism of tragic spirit of Chinese Tragedy is based on the benevolence and charity and even filial duty. . Chinese Tragic Literature2.1 Ending Classification of Chinese Tragic LiteratureAs for the Chinese classical tragedies, the endings could be divided into the following tw

43、o kinds: 2.1.1 Liang Shanbo & Zhu Yingtai（Chinese Romeo and Juliet）, Peacock Flies towards Southeast and Snow in SummerThe first kind is the romantic fantasy endings, and the typical works are Liang Shanbo & Zhu Yingtai, Peacock Flies towards Southeast and Snow in summer(1) Liang Shanbo & Zhu Yingta

44、i（Chinese Romeo and Juliet）The story of Liang Shanbo and Zhu Yingtai is one of the finest works of ancient Chinese folk literature because of its highly thoughtful and artistic content. The story is deeply rooted in the Chinese folk tradition, and it has always been close to the hearts of the ordina

45、ry people. It eulogizes free love, praises women, and spreads the idea of anti-feudalism. For thousands of years it has been popular with the ordinary people because of its profound themes.Shanbo and Yingtai are lovers whose parents are strongly against their marriage because of their different fami

46、ly backgrounds. Despite their parents opposition, the young lovers are faithful to each other. They would rather die than yield to the tyrannous pressures of society. Finally, they become butterflies who can be together forever. (2) Peacock Flies towards SoutheastIn the fold song Peacock Flies towar

47、ds Southeast of the Han dynasty, after they died, Jiao Hanqing and Liu Lanzhi became the mandarin ducks who were flying together. (3) Snow in SummerDou E in Snow in Summer is not only an innocent sufferer but also a typical one to take a stand against the society. She feels victim to the environment

48、, but shows an unbending spirit. Dou E has firm character, and she bears the huge sorrow of being a woman who lies in the lowest level of the society. At three she lost her mother, at seven was torn from her father; then the life of her husband was cut short. For experiencing the miserable life of p

49、art-for-ever, she was lost in endless complaining, and questioned the fate. But Dou E still remained faithful and unyielding during the time when she was accused to be guilty to Zhangs fathers death and when she faced to the cruelty beat by the governor. At the end, in the executioners ground, Dou E

50、 “wait and complain to Heaven”, in the last part of her tragic life, she created a glorious scene of indomitable fight. After she died, her ghost brought a lawsuit against Zhang. 2.1.2 The Orphan of Zhao and Rectitude & Loyalism (清忠譜)The second kind is the real-life revenge, such as The Orphan of Zh

51、ao and Rectitude & Loyalism (清忠譜). The orphan takes vengeance for Zhao family at last and the traitors are eliminated.2.2 Major Characteristics of Chinese Tragedy EndingsCompared with the tragic spirit in western literature, there is no lack of tragic spirit in Chinese literature, which has tremendo

52、us magnificent legends and myths as well. The legend all represents the strong desire of living of the Chinese and the indomitable fighting spirit towards the nature and also the overstepped sense about death. But in the long run of history, the hero in Chinese tragedy, who always pursues the reserv

53、ed comfort in both spirit and action, does not have the fighting will that full of characteristics as the hero in western tragedy. We could see quite often in Chinese tragedy that the hero always bent to fate for setbacks or devastating blow. . Comparison between Chinese and British Tragedy Endings

54、After the brief introduction to Chinese and British Tragedies and their respective features, we will make a comparison between their endings.3.1 Happy Reunion In the Chapter three, this thesis has introduced several Chinese traditional tragedies. Thus we can see that the Chinese classical tragedies

55、are always having the happy reunion as the endings, such as sowing the wind and reaping the whirlwind, the lovers finally become the family dependants, and the dreams really come true. 3.2 DestructionThrough analyzing the Shakespeares several tragedies, we could arrive at the conclusion that the Bri

56、tish classical tragedies are always having the miserable endings, such as either death or destruction, and a good person is drowned and goes through the tries. 3.3 Reunion Ending versus Tragic EndingIn China, most tragedies end up with a reunion ending, which is an important feature of Chinese trage

57、dies. “The reunion ending is called a bright tail of a tragedy.” (Niu Guoling, 1994: 115) Leafing through the Chinese tragic operas, we can find many tragic operas, such as these ones mentioned in Chapter 3, end up with a reunion or happy ending. For instance, the ending of Liang Shanbo and Zhu Ying

58、tai also has a comic and reunion atmosphere. The scene of “being changed into butterflies” clearly demonstrates the reunion feature in the play. After Yingtai throws herself into Shanbos grave, there is a completely change on this scene, which turns from a horrible tragic scene to a happy and romant

59、ic one. By this time, we see that the sun shining over the mountains in all its glory and brilliance, the rainbow appearing over the mountains against the backdrop of a clear azure sky and a pair of butterflies, just like a pair of lovers, arising into the clear blue sky. It is an ideal world that S

60、hanbo and Yingtai continue their true love and become a real couple. In Western countries, “tragic denouement” of the tragedy has been a golden rule since Aristotle. This is because a serious and tragic denouement can arouse the pity and fear, which can effectively purge the audiences emotions. For