| The popularity of the Anti-Japanese Literature and Art trend in the 1930s and 1940s was a manifestation of the concrete actions taken by the majority of writers and artists at the juncture of national survival.The background of war changed the mentality and choice of Chinese literati.The creation of literary and artistic was closely related to ideology,showing the characteristics of serving political propaganda.Chen Quan was no exception.With the rapid changes of the times,his works increasingly relied on the art form of drama.For him,drama was not only a tool for propaganda for the War of Resistance Against Japan,but also an important carrier of self-voicing.Many modern dramas represented by Wild Rose were born under such background.The core of these works was the drama concept of "Romantic Tragedy" emphasized by Chen Quan.For Chen Quan's dramatic works,the concept of "Romantic Tragedy" has a strong ability of interpretation.It reflects the writer's personal life outlook and choice,and also provides a new way of thinking for the Anti-Japanese Literature and Art.In the first chapter of this article,to explain the origin and formation of the "Romantic Tragedy" drama concept,Chen Quan's drama career is roughly divided into three stages,namely the exploration period,the maturity period and the settlement period.The benefits of staging are that you can observe Chen Quan's works and theoretical profiles of each period from a dynamic perspective,distinguish their adaptations and original works,discover the author's concerns and tendencies,and understand the background and specifics of the "Romantic Tragedy" concept from the fact which performed.Although the term "Romantic Tragedy" appeared in the maturity period,its background was in the early stage,and its conclusion was in the later stage.Examining the inheritance relationship and consistent trends and characteristics between the three periods is helpful for a deeper interpretation of the concept of "Romantic Tragedy".The second chapter is the core of this article.This chapter focuses on the specific connotation and variation of the concept of "Romantic Tragedy".As a high-level summary of Chen Quan's drama theory,although the term "Romantic Tragedy" was proposed in response to the reality of China,its fundamental source was almost all Western literary theory and philosophy,not traditional Chinese culture.The selection and combination of Western resources was Chen Quan's personal choice.Through the dismantling and integration of the meaning of "tragedy" and "romantic",the complex and stable connotation of "Romantic Tragedy" is revealed.Among them,the concept"Der Pantragismus" of the German dramatist Hebbel was particularly far-reaching,and Chen Quan borrowed his understanding of the times.The concept of "Romantic Tragedy" as the deep logic of Chen Quan's works was unambiguous.He did not faithfully reflect it in the works,but made a slight change,greatly narrowing the choice of the protagonist of the drama to the group of "hero".This approach was dangerous.It led to self-contradiction in the view of "Romantic Tragedy",which was internally inconsistent.This was also the fundamental reason why Chen Quan was easily misread.The renewal of knowledge provides the possibility of unraveling the misreading of Chen Quan.With the help of the contents of the first two chapters,the last chapter attempts to have a sympathetic understanding of Chen Quan's drama works.On the one hand,the chapter puts aside ideological struggle,reinterprets the drama Wild Rose through the analysis of the image of the traitor Wang Limin,examines the way that author's philosophical concepts and theories of drama entered into the work,and discusses the author's artistic purpose;On the other hand,since Chen Quan's dramatic concepts and works had practical significance,it is particularly necessary to reintegrate them in the category of Anti-Japanese Literature and Art.Chen Quan's unique concepts and works not only impacted the existing characteristics and conclusions of Anti-Japanese Literature and Art trend,but also enriched the specific connotation of the trend.Chen Quan's joining again calls for a re-examination of Anti-Japanese Literature and Art. |
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