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在古希腊戏剧中享有典范地位的《俄狄浦斯王》在西方古典文学中占据着重要位置。作为中国现代文学史上的典范作品,《雷雨》也超越了中国古典戏剧的种种传统樊篱,并借鉴《俄狄浦斯王》的原欲母题,开创了中国现代经典戏剧的新内涵。这两部作品虽然创作的地域、时代、社会和文化氛围不同,但都具有直逼人性的震撼力。追根溯源在于其不仅具有天然相似的创作技巧,而且具有人类普适性却高度禁忌的异质文化原始母题。《俄狄浦斯王》尽管首创戏剧创作中的原始母题,但《雷雨》并不是对其简单的模仿,而是结合中国特定地域、时代、社会和文化的再创造。两部作品尽管均为原始母题,但文化内涵完全异质。本文试图以此为视角,对两部经典作品的异质文化内涵展开探讨。
The king of Oedipus, which enjoyed exemplary status in ancient Greek drama, occupies an important position in Western classical literature. As a model work in the history of modern Chinese literature, Thunderstorm also surpassed the traditional barriers of Chinese classical drama and borrowed the original motif of “Oedipus the King” to create the new connotation of modern Chinese classical drama. Although these two works are different in geographical, historical, social and cultural atmosphere, they all have the power of being human. Tracing back to its origins is that it not only has the natural similarity of creative skills, but also has the universal universal taboo of highly heterogeneous cultural original motif. Although Oedipus was the first original motif in drama creation, Thunderstorm is not a simple imitation of it, but a re-creation of a particular region, era, society and culture in China. Although both works are original motifs, their cultural connotations are completely heterogeneous. This article attempts to use this as a perspective to explore the heterogeneous cultural connotation of the two classic works.