霍罗尼莫的悲恸与愤怒——《西班牙悲剧》的悲剧内涵  

Hieronimo’s Grief and Wrath: The Tragic Connotation of The Spanish Tragedy

作　　者：冯伟[1] Feng Wei(School of Foreign Languages,Northeast Normal University(Changchun 130024,China))

机构地区：[1]东北师范大学外国语学院

出　　处：《外国文学研究》2022年第1期140-150,共11页Foreign Literature Studies

基　　金：国家社科基金重点项目“早期现代英国戏剧的情感共同体建构研究”(20AWW008)。

摘　　要：由托马斯·基德首创的"基德式复仇剧"对《哈姆雷特》等早期现代英国悲剧作品产生了难以磨灭的影响。基德在《西班牙悲剧》中以"戏中戏"的方式,生动展现了一个复仇者如何从无辜受害者蜕变为马基雅维利主义式恶棍的全过程。然而单纯将复仇解读为"野生的裁判"、理性失控,或片面强调早期现代的复仇伦理困境,都在相当程度上低估和忽略了情感因素在早期现代英国剧场所扮演的重要角色。复仇的目的不仅在于"以牙还牙"式的惩罚,而是要让仇敌"感同身受"到复仇者本人曾经经历的巨大悲恸和绝望。《西班牙悲剧》在早期现代英国剧场所取得的巨大轰动效应与该剧对于悲剧主人公的悲恸和愤怒两种人类基本情感的表述再现密不可分。The “Kydian revenge tragedy”, initiated by Thomas Kyd, had a profound impact upon Hamlet and the other early modern English tragedies. By adopting the “play within the play” mode in The Spanish Tragedy, Kyd reveals, vividly, the entire process of how a revenger degenerates gradually from an innocent victim into a Machiavellian villain. However, if we either simply define revenge as “wild justice” and the loss of rationality or place a one-sided emphasis on the ethical dilemma of revenge in early modern period, we would, to a great extent, underestimate and overlook the key role of the emotional factors in the early modern English theater. The sensational effect of The Spanish Tragedy on the early modern English stage can be ascribed to its representation of the tragic hero’s grief and wrath, the two basic emotions of humankind.

关 键 词：托马斯·基德 《西班牙悲剧》 悲恸 愤怒 

分 类 号：I561.073[文学—其他各国文学]