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Author: HE construction
Fu Guangming is not only an accomplished scholar in the field of modern literary research, but he is also unique in the field of Chinese Shakespeare in the 21st century; This is not only related to his independent translation of Shakespeare’s complicated drama, but also to his completion of “The World Shakespeare: Research monographs such as” Shakespeare’s Dramatic World, “” Shakespeare’s Dreams: The World of Comedy. of Shakespeare “and” Shakespeare’s Black History: A Journey into the “Archetypal Story” of Shakespeare’s Drama “are inseparable. The latter went back to the roots and examined” Romeo and Julia “,” The Merchant of Venice “,” Dream Midsummer Night “,” All Joy “,” Twelfth Night “,” Hamlet “,” Othello “,” Lear King “and” Macbeth “》 And nine other Shakespeare classics based on the” prototype stories “, Through an interesting and simple text comparison, it not only reveals the little-known historical origin of Shakespeare’s drama, but also shows readers how Shakespeare “borrows immortality” which makes the charm so extraordinary.
“Shakespeare’s Black History: A Journey into the” Archetypal Story “of Shakespeare’s Drama” by Fu Guangming Oriental Publishing Center
As well-known contemporary scholar Song Binghui said, Fu Guangming’s translation explains, “It brings us fun, comfort, and surprise,” “not only meets the expectations of contemporary readers, but also instills the spirit of translators and interpreters.” The continuation and expansion of the classics. “In fact,” The Black History of Shakespeare: A Journey to the “Archetypal Story” of Shakespeare’s Dramas “is not only fun and eloquent,” Dark Shakespeare “and other types of Shakespeare, but it also focuses on key themes and continues and expands Shakespeare Research space In the author’s opinion, “The Black Story of Shakespeare: A Tour of the” Archetypal Story “of Shakespeare’s Drama” at least reflects, but does not limit, the continuation and expansion of the classics: Steyr’s criticism of Shakespeare gave Tolstoy “exasperation” to be played by the bottom of the pot Second, the characters in Shakespeare’s pen were played three-dimensionally and in abundance, reflecting compassion.
Centennial Echo of Tolstoy’s Criticism
Since the 19th century, whether in English literature or in the pantheon of world literature, Shakespeare has been an insurmountable existence, surpassing times, races, and countries. However, Shakespeare also underwent cold treatment in the early 20th century and was violently denied. For example, Fu Guangming said in the article “Shakespeare in Two” Cyclonus “:” It can be said that the Shakespearean drama activated the German “Cyclonus” movement. “But” it is a pity that the “May 4 Cyclonus” is new Hu Shi, the standard bearer of the cultural movement, does not see it that way. “Hu Shi disagreed with Shakespeare, believing that it was difficult to compare it with Ibsen and others , and had a low opinion of Hamlet. Lu Xun, another representative of the May 4 Movement, recognized Shakespeare’s status, but was not very interested in it. Although Shakespeare’s name has entered Lin Zexu’s field of vision , Guo Songtao, Zeng Jize, Yan Fu, and others since 1842, and church schools such as St. John’s University attached great importance to the adaptation and performance of Shakespeare’s plays and teaching of translation, there was no Sha until 1921. The complete translation of the play “Hamlet.” It is not difficult to see that, as the core of Western literature, the late introduction of the plays of Shakespeare and Shakespeare are not valued by the characters of the “Movement of 4 May “, what not supports the translation of a large amount of Western literature into China during the “May 4th Movement”. In this sense, Fu Guangming’s concern for the different Shakespearean encounters in the two “Cyclone” movements is widely implicated.
If Hu Shi simply thought that Shakespeare was “useless” in China during the May 4 period, then Tolstoy denied Shakespeare. To deny Shakespeare, Tolstoy wrote “About Shakespeare and his drama” in more than 40,000 characters (Chinese translation) in the early 20th century. Tolstoy “thinks that Shakespeare can not only be considered a great genius writer, or even the most mediocre writer”, an important entry point is “selected one of Shakespeare’s most respected tragedies” King Lear “” As a target for criticism . During the May 4 Movement, in 1920, Hu Yuzhi once featured Tolstoy’s article in “Oriental” magazine. Hu Yuzhi agreed with Tolstoi. It is worth noting that Lu Xun was deeply influenced by Tolstoi, and his thoughts and writing style were called “Tony’s Theory (Tolstoy and Nietzsche-Editor’s Note), Wei Jin’s Article” is proof. Shakespeare’s encounter with China during the May 4 Movement has nothing to do with Tolstoy, and it is worth digging and investigating. Unfortunately, for a long time, Shakespeare’s domestic camp lacked sufficient attention or response to Tolstoy’s “On Shakespeare and His Dramas”, and national scholars intentionally or unintentionally lacked Shakespeare’s studies during the May 4 Movement. .
However, in stark contrast to China, the West has always attached great importance to this Tolstoy article. Back in 1947, the famous writer Orwell wrote the long essay “Lear, Tolstoy and the Alchemist” to satiate and refute Tolstoy. In his opinion, the main reasons for Tolstoy’s criticism of Shakespeare are: “First, perhaps there is a Lear who cannot be seen deep inside Toon’s heart, because Toon himself is like Lear; second, perhaps So soon As Toon read to Shakespeare, he hid a kind of jealous jealousy and even jealousy in his subconscious mind. ” Importantly, by carefully reading King Lear’s text, by analyzing King Lear who has experienced two emotions, and by examining Toon’s terminology and arguments, Orwell concluded that “Toon’s” view of Shakespeare is based on the arbitrariness. Based on “.
For Orwell’s reasons, Western critic Bloom agrees. But unlike Orwell, Bloom realized that “Tolstoy’s cry has deep moral bigotry and all his own authority for aesthetic honor,” and “Tolstoy’s” This tragedy of unethical and non-religious disgust from the bottom of my heart “makes sense. This is because Tolstoy saw precisely that Shakespeare as a playwright was neither a Christian nor a moralist.” In this regard, Bloom distinguished himself, although “Tolstoy was later than Shakespeare or anyone else. Sincerity,” but Tolstoy criticizes that “The problem with Shakespeare is that he is not interested in the truth.” Not only is it not necessarily exhaustive, but it is also difficult to link Shakespeare. This is because “sincerity is not an inevitable path to truth, imaginative literature is truth and meaning. Furthermore, Bloom believes that” Although Tolstoy has an outraged argument against Shakespeare, his own art is based on Shakespeare’s feelings about the characters, which is reflected in his two outstanding novels and the famous deceased In the tale “Haji Murat”, it can be seen that, compared to Orwell, Bloom is well aware of the standards of “morality” and “truth” of Tolstoy, although these standards cannot simply measure Shakespeare. At the same time, Bloom also noted Tolstoy’s artistic heritage and Shakespeare’s development.
Unlike Orwell’s refusal of Tolstoy through careful reading of the texts, and Tolstoy’s refusal of the text, and Bloom’s skillful use of the “influence anxiety” theory to criticize “Tolstoy’s defective magicians “, Shakespeare by Fu Guangming The black history of the” Journey “of the” prototype History “of” Shakespeare “has a unique approach, taking the bibliography as the nucleus, taking advantage of the points that Tolstoy accused Shakespeare of” plagiarizing “the works of the predecessors, and the quality of Shakespeare’s dramas is not as good as the original. By researching the changes in the story, reading the text, and comparing the details one by one, I responded to Tolstoy’s critique in detail. For example, in response to Tolstoy’s criticism of Shakespeare’s “Lear Lear”, Fu Guangming compared the two texts of the old play “The True Chronicle of King Lear and his Three Daughters” with Shakespeare’s “Lear Lear” in old and new. “King Lear asked about the” motivation “of children’s filial piety, Cordelia’s marriage, the” additional role, “the difference between the stormy scenes and the ending, and in making the text itself “speaking” to “appear” the absurdity of Tolstoy’s criticism, Step by Step, made Tolstoi’s criticism unbreakable and collapsed. In this sense, Fu Guangming’s textual analysis can be described as a combination of textual research and reading textual, which is “live and alive” and vigorous, and forms a complete chain of refutation with Orwell and Bloom’s criticisms, Tolstoy’s critique is perfectly answered in terms of detailed text reading, theoretical interpretation, and philology. r that because Fu Guangming’s exposition was based on a literary investigation of textual rheology, his unreasonable accusation of Tolstoy can be described as an inferior tie.
At the same time, Fu Guangming mainly compared Shakespeare’s dramas to “prototype stories” and used texts to recount Shakespeare’s reference to “prototype stories” with facts, showing the difference between Shakespeare’s dramas and “prototype stories”. The transformation highlights the “shaky place” of Shakespeare’s drama, the place where “numerous Shakespeare fans are intoxicated and obsessed”, and “borrowed immortality” stands proudly at the center of world literary classics. It’s not hard to see that the “prototype story” continues through Shakespeare’s reference, transformation, and innovation, regenerates itself, responds to the expectations of generations of readers, and instills the spiritual life of Shakespeare and countless Sha fans. In this sense, the excavation Fu Guangming’s “prototype stories” is not only an investigation into the origin of Shakespeare’s dramas, but also an expansion of the different temporal and spatial aspects of Shakespeare’s dramas, so these “prototype stories” borrow the dramas Shakespeare’s “behind the scenes” audience The originality, uniqueness, richness and diversity of Shakespeare can be eden “clarify”.
Continued and expanded the classic Shakespeare characters
In Bloom’s opinion, Shakespeare has long been at the center of Western literary classics. One important reason is that his characters are “endless”. Shakespeare’s dramas not only feature rich and diverse characters, but the character’s character is “complete and complex” and “live.” Sherlock is an example. Ever since the story of “The Merchant of Venice” was introduced to China in 1903, “The Merchant of Venice,” including Sherlock, has been a relatively familiar character. However, some scholars pointed out in 1999: “Sherlock has long become synonymous with ‘stingers’.” At the same time, China has treated Sherlock from a sociological perspective. Published in 1937, “The Merchant of Venice”, I commented that, as far as “racism” is concerned, “Sherlock represents the oppressed class, Anthony represents the oppressed class”, “Sherlock” published half a century later. He considers him as “a defender of human rights”. Since then, many national investigators have regarded Sherlock as “stingy and greedy,” but have also viewed him as a victim of “racial discrimination.”
Unlike his sociological criticism, Fu Guangming carefully inspected the prototype story of “The Merchant of Venice” and carefully compared the Jewish merchants in “The Ten Conversations”, Mai Kai Shi De, “The Ballad of Grutus”, “The Differences Among the Jews in the Speaker, the Jewish businessman Barabbas in the Jews in Maltese and the Jewish businessman Sherlock in The Merchant of Venice. On the basis of detailed data verification and careful text analysis, he stated that “Shakespeare is better than others to explore the richness and depth of human nature, “and noted that” Shakespeare artistically opposed Sherlock to other characters. It provides a historical and broad and historical background, “and he even thinks that” Sherlock as an artistic image is diverse, complex, wonderful and profound “,” Sherlock as a Venetian businessman was first recognized as a person, followed by the Jews. “His hatred for Antonio is based on his” Jewish national self-esteem. “What is even rarer is that he specifically pointed to Shylock’s defense at the end:” In fact, it is not the last regrettable dignity left by the helpless and defeated Shylock. at this time”.
According to Fu Guangming’s thinking, in Shakespeare’s pen, Sherlock’s “complexity” is reflected in his “stinginess”, a living person, a person with dignity, a person who has always maintained national and religious dignity, and has been Following business rules, but subject to time and race constraints, his “fate is sourrier, and comedy laughter also holds tears.” For example, he advised his daughter that he would not be happy to marry people of different religions, which made sense at the time. Is this because even high-ranking Venetians married to Moro Othello have been convicted since the time of marriage, not to mention that Jewish women with low political status and low legal status marry white Christian men? Perhaps those of us today, on the one hand, prejudge against “stingy” Sherlock, and then deny its other aspects, on the one hand, did not consider Sherlock’s plight as a Jew. Because “bad” is “universal like the emotion in the character’s character,” “it can resonate with people,” because Sherlock is an individual, “he has a unique personality.” Unfortunately, due to various reasons, many people’s understanding of Sherlock is overly simplistic or Facebook, ignoring its multiple aspects, ignoring the subtle racial discrimination and judicial injustice that exists within it. This repentance may be related to our “presupposition”. Among the “presets” of many of us, Antonio and others are on the “justice” side, and Sherlock is on the negative side. Our “presupposition” ignores Sherlock as an “individual” and Sherlock, who has encountered various injustices. Consciously and unconsciously use “colored glasses” like Antonio and others, so that a simplified good and an evil are formed. Views and points of view of good and evil. Under the guidance of “presupposition,” we not only ignore Sherlock’s complexity and helplessness, but we also cover the fullness and diversity of Shakespeare’s drama. It is not difficult to see that, compared to other researchers, Fu Guangming realized that Sherlock’s versatility and complexity were not due to class, resistance, and other sociological criticism, but to how literary works can best express the character of the characters. How do readers best capture the character’s personality and other considerations, and out of humanity’s compassion? It is undeniable that for classical characters in literary and artistic works, readers often recall their “dominant feelings”, such as Hamlet’s revenge, as Sherlock’s stinginess, as Jia Baoyu’s extraordinary, as Ah Q’s “The “spiritual victory method”, but the reason why they are classic characters, because they not only have “dominant emotions”, but also have other characteristics, they have “multiple complexes and depths. Only in this way can they be” living “people “having essentially” truth “and having affinity and attraction. In this sense, Fu Guangming’s knowledge of Sherlock is insightful. These insightful ideas abound in” The Black Story of Shakespeare: A Journey into the “Archetypal Story” of the drama of Shakespeare. “
If Shakespeare “gets rid of class constraints and is not limited by class views,” he expresses sympathy for the sufferings of the people, shows the awakening of “human feelings” and “reflects” his contemporary “other kind. character image. ” This transcends time and space and becomes “an inexhaustible Shakespeare”. Then, Fu Guangming’s interpretation of Sherlock and other figures, based on restoring history and restoring the scene, not only reflects the compassion of intellectuals beyond class and race, but also vividly. The text vividly describes ” Shakespeare, the endless talk “and the charming Shakespeare for the reader, which is a masterpiece. (The Jian Committee)
[[[[Publisher: Zhang Yiwen ]
