Treat That Cao Yu Accepted And Sublation Of O’neal From The Mother And Son Image

Cao Yu is the most important playwritter in our modern theatrical circles, while Eugene O’Neill opened the first of its kind of modern American drama. On macro level, they have a similar pursuit on the concept of drama, the figure sculpture and creative skill; microscopically, they are both a poet essentially, and suffering from the emotional trauma in the loss of maternal love and marriage trouble. They both are influenced by the ancient Greek tragedy and ancient masters such as Henrik Ibsen. Their own life experience are rooted in their own work, and they invariably reveal people’s living predicament especially spiritual predicament, even concerning about the living status of the little people in community. They have created a group of the gray figures and images of women with distinctive personality. At the same time, they also keep asking the mysterious power in the universe that dominates people’s destiny, and writing the constant destiny of the tragic doom that no one could get over with, no matter how they struggle. Similar pursuits highlight the strong comparability between the two writers.Based on summing up the results of previous studies, the paper intends to make use of the combination of parallel research and impact studies, setting the writer-made-up image, alternative mother and son,as basis points. The paper divide specifically both Cao Yu and O’Neill’s image of Alternative Mother as well as Child into three different types. Particularly, the wild mother who acts with courage, the weak mother who abandons herself, the horrible mother with twisted human nature and an ideal child indulged in the fantasy,the evil son who rolling in the deep, cowardly and incompetent weak one. On the basis of analying the personality of alternative mother and son, the paper explores its spirit essence and tragedy roots. By analying the similarities described in the image of Mother and Child in Cao Yu and O’Neill’s work, on the one hand, the paper draws out the similarities between two playwrights on the ethos and culture aesthetic; on the other hand, based on cultural codes embodied in characters in the plays, digging out the national originality of the characters shaped by Cao Yu, discovering how does Cao Yu achieve localization in the process of accepting foreign cultural influences, further questioning the contemporary significance of Cao Yu.