《庄子》对王尔德风俗喜剧之影响和共通性  

The Influence Zhuangzi on Wilde’s Folk Comedy and Commonality of the Two

作　　者：周若雯 周德波[2] Zhou Ruowen;Zhou Debo(Institute of Japan,Liaoning University,Shenyang 110000,China;School of Liberal Arts,Liaoning University,Shenyang 110000,China)

机构地区：[1]辽宁大学日本研究所,辽宁沈阳110000 [2]辽宁大学文学院,辽宁沈阳110000

出　　处：《黑河学院学报》2023年第12期178-181,188,共5页Journal of Heihe University

基　　金：国家社科基金一般项目“晚清传教士报刊的‘辅教’问题研究”(21BXW025)。

摘　　要：19世纪,《庄子》在继《老子》后陆续被翻译成多种语言,在欧洲传播。唯美主义代表人物王尔德在阅读了英国汉学家翟理斯的《庄子》译本后,对其极为赞赏。他在后续创作了一系列的风俗喜剧,这些剧作实际与他的唯美主义文论一定程度上并不相符,但却与《庄子》有着千丝万缕的关系。尤其在思想上,王尔德喜剧和庄子的“无为”与“齐物”十分契合,并都有着幽默的文风,创作了典型的“仁人”形象来讽刺与批判社会。During the 19th century,Zhuangzi was translated into multiple languages after Laozi got spread throughout Europe.The representative fi gure of aestheticism,Oscar Wilde,highly praises British sinologist Giles’translation of Zhuangzi after reading it.Oscar Wilde subsequently creates a series of genre comedies,which are not in line with his aesthetic literary theory to a certain extent,but closely related to Zhuangzi.Especially in terms of ideology,Wilde’s comedies,by creating typical images of“benevolent people”to satirize and criticize society with a humorous writing style,are highly compatible with Zhuangzi’s“doing nothing”and“unity of things”.

关 键 词：庄子 王尔德 风俗喜剧 仁人形象 

分 类 号：I247[文学—中国文学]