In what aspects does Yu's view of female tragedy innovate?

When it comes to tragedy and comedy, people may naturally think of Lu Xun's famous proposition: "Tragedy destroys valuable things in life, and comedy tears worthless things to people." ①

Almost none of the female tragic characters in Cao Yu's works are heroic models of "sacrificing one's life for righteousness", and some of them are not even so-called positive characters. Cao Yu developed and shaped another type of tragic characters. Compared with the hero of heroic tragedy, Cao Yu, the two female tragic figures, are both small people and gray figures in society. We can say that Cao Yu's female tragedy is the tragedy of little people and the tragedy of gray characters.

He has a unique eye, and found the "real tragic factor" with profound social significance from the gray living area that others know nothing about, and found the flash of human soul with beautiful eyes, thus describing the thrilling tragedy through the fate of Fan Yi, Chen Bailu and others. In the words of the great Florence poet, the tragedy of these characters is nothing more than: "Our only sorrow is to live in a hopeless desire." This "wish" is a person's pursuit of love, freedom, life and happiness, and it is the spiritual requirement of the highest value body in society. This "wish" is the "valuable thing" in these little people and gray people. Their tragedy is what Mr. Lu Xun said: "Tragedy destroys the valuable things in life for people to see." Its profound significance lies in this. In Thunderstorm, Fan Yi was tortured in a feudal autocratic family. In pursuit of personal happiness and love, she suffered the pain of being abandoned by Zhou Ping. This double tragedy was caused by Zhou Puyuan's feudal autocratic rule. In her soul, people's rebellious emotions are high, desperate to pursue, desperate to resist and retaliate, and willing to burn their lives to white heat, from which we hear the painful call of the human soul. When she tore up the hypocritical veil of Zhou Puyuan, a decadent and sinful family, she often tore up her face; When she destroys her sinful family, she is also destroying the happiness of others; When she demands her own freedom, she is also damaging the freedom of others. In the development of Fan Yi's tragic fate, it truly depicts the essence of bourgeois egoism's pursuit of freedom, and also writes the tragedy of bourgeois women's pursuit of individual liberation.

In terms of artistic achievements, Cao Yu created two typical female tragedies, Fan Yi and Chen Bailu, and successfully created female tragic images with certain typical significance, such as Lu Shiping and Fang Lu, adding a number of exquisite and dazzling tragic images to the People's Gallery of modern literature. This is Cao Yu's contribution to modern literature. However, the significance of this group of Cao Yu-style tragic images in China's tragic literature goes beyond this. The female tragic figures in Cao Yu's works have developed tragic figures and types, and broadened the scope of China's tragic artistic expression.

Judging from the development of tragic characters, ancient Greek tragedies are heroic tragedies. For example, the tragic protagonists in King Oedipus and Prometheus Bound are both ideal heroes, and Shakespeare's tragic protagonists in the Renaissance are superman. In Ibsen's view, man is himself, you, me and him. This makes drama closer to real life and is the development of drama. /kloc-at the end of 0/9th century, Chekhov did not write "angels" and "bad guys", Ivanov, seagull, uncle Vanya, three sisters, etc. But the tragic hero is a "redundant person", a nobody and a gray figure. Chekhov's dramatic characters are an important contribution of playwrights in the history of drama development.

In a word, Cao Yu's tragedy, with the unfortunate fate of being oppressed and suppressed, wrote a lingering and unforgettable grief, aroused people's deep compassion and determination to fight against the dark society, and guided us to know beauty, pursue beauty, hate ugliness and oppose ugliness. At this point, he and Guo Moruo's lofty, majestic and tragic tragedies lead to the same goal. Just as human temperament is divided into masculine and feminine, tragic art also has masculine beauty and feminine beauty. Guo Moruo's tragedy embodies masculine beauty, while Cao Yu's tragedy belongs to feminine beauty, both of which are beautiful. The key to Cao Yu's artistic interpretation of tragedy lies in writing the profound spiritual pain of tragic characters.

Although Cao Yu has made great achievements in shaping the tragic image of women, there are still some shortcomings. For example, in Thunderstorm, there are too many entanglements in the relationship between blood and sex, and too many coincidences in the description of the fate of several female characters, which to some extent dilute and blur the sociality of female tragic images. Obviously, the author doesn't know enough about the root of the tragedy he wrote, so the more entangled the contradiction, the more difficult it is to get rid of it. Finally, Sifeng could only be electrocuted, while Shi Ping and Fan Yi stayed and went crazy, not through class struggle. In Peking Man, the author's attempt was to write out the internal and external reasons for the collapse of this feudal family, which was very important at that time. However, under the semi-feudal and semi-colonial social conditions in China, the work only describes the discord between Weng and his daughter-in-law in economic and family arrangements, and obviously has not yet tapped into the essence of the problem. At the same time, the younger generation described in the works is also a vulnerable group. From beginning to end, sapanwood and ruizhen didn't take any initiative to resist. They walked out of the Tseng family because they had to, and they could not see the trend of joining the revolution. Cao Yu later said: "I didn't get to the bottom of my writing, and I didn't make clear the basic roots of these evils." ④

Looking at Cao Yu's portrayal of female tragic images and his ideological development, we can see that revolutionary democracy has always dominated the writer's world outlook; In his creative practice, he used realistic methods to observe, analyze and summarize social life, which made his works have a strong anti-imperialist and anti-feudal spirit. The author is good at concentrating all kinds of dramatic conflicts in his works, which shows his outstanding talent in refining life materials. He is also good at depicting female tragic images in various ways from the tense plot development; There are also refined and implicit language, which also reflects their mental state. He created a tragic image of women.