《榆树下的欲望》之原型解读Word格式文档下载.docx
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《榆树下的欲望》之原型解读Word格式文档下载.docx
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EugeneO’Neill(1888-1953),agreatAmericanplaywright,wasborninaBroadwayhotelroomonOctober16,1888,anddiedofpneumonia,November27,1953.HewasthesonofIrishimmigrantactorJamesO’Neill.AfterbeingsuspendedfromPrincetonUniversity,from1907to1911,hewenttomanycountriesanddidmanyjobssuchasprospector,sailorandmanuallaborer.Thenhewentbackhomeandbecameanactorinhisfather’scompany.Hedecidedtodevotehimselftowritingplaysafterhisexperienceatasanatoriumwherehewasrecoveringfromtuberculosisandreadmanyfabulousplaysoffamouswritersin1912-1913.O’Neillwrotenineone-actplaysandtwofull-lengthplaysinaburstofcreativeenergybetween1913and1914andwentonwritinguntilhisendoflife.
Hehadthreeperiodsofmarriagesanddivorcedtwice.HewasmarriedtoKathleenJenkinsfrom1909to1912andhadason,EugeneO’Neill,Jr.HemetAgnesBoulton,asuccessfulwriterin1917andtheymarriedin1918,inwhichperiodtheyhadtwochildren,ShaneandOona.O’Neillsufferedaseverediseaseandlosthisabilitytowriteinhislast10years,andthelastwife,Carlotta,destroyedmanydraftsofuncompletedplaysathisrequest.OnNovember27,1953,O’NeilldiedintheSheratonHotelattheageof65.Hislastwords“Iknewit.Borninahotelroom,andGoddamnit,diedinahotelroom”[1],leftusnumerousgreatworksandendlessregrets.
EugeneO’Neill’sfirstpublishedplaywasBeyondtheHorizon,whichopenedonBroadwayin1920andwasawardedthePulitzerPrizeforDrama.HisfirstmajorbreakwasTheEmperorJones,whichcommentedontheU.SoccupationofHaitithatwasatopicofdebateinthatyear’spresidentialelection[2].Andhiscomedy,Ah,Wilderness!
whichwastheonlyrenownedone,wasare-imagingofhisyouth.HewonPulitzerPrizefourtimesandwonNobelPrizeinliteraturein1936.Afteraten-year’spause,hisnowfamousplayTheIcemanComethwascreatedin1946.EugeneO’NeillwasalsoapartofthemodernmovementtogettheclassicalheroicmaskrevivalfromancientGreektheaterandJapaneseNohTheaterinsomeofhisplays,suchasTheGreatGodBrownandLazarusLaughed[3]
Numbersofhighestprizesandcommentsinliteratureandmanyotherawardsprovedhowgreathisworksare.EugeneO’NeillwasgenerallyregardedastheforemostAmericanplaywright.Hebrokeanumberofoldmoldsandhelpedtotransformthetheaterintoanartwhichwasseriouslyrelatedtopeople’slife.Hisworksnotonlyhaveagreatvalueofartbutalsohaveaprofoundandlastingsocialmeaning.HewasthefounderoftheAmericandrama,andnoplaywrightofsuchimportancehademergedbeforehim.O’Neill’smanyworks,BeyondtheHorizon,AnnaChristie,StrangeInterlude,LongDay’sJourneyintoNightandsoon,willbehandeddownfromagetoage.
1.2ABriefIntruductiontoDesireundertheElms
DesireundertheElmsisatragedy,createdbyEugeneO’Neillin1924andpublishedin1925.Itwasthelastoneofhisnaturalisticplaysandthefirstoneinwhichhere-createdthestarknessofGreektragedy.Thereisafilmversionproducedin1958andanoperaticsettingbyEdwardThomas.IthasbeenplayedinBroadwayandmanyfamoustheatersintheworld.
Characters:
EphraimCabot
Simeon
Peter
Eben
AbbiePutnam
YoungGirl,TwoFarmers,TheFiddler,Asheriff,andotherfolksfromtheneighboringfarms
Theentireplaytakesplacein,andmainlyoutsideoftheCabotfarm-houseinNewEngland,in1850.EphraimCabot,a75-year-oldman,takesoverhisex-wife’sfarmandabandonsittohisthreesons,whohatehimbutsharehisgreed.Ebenisthebrightestsiblingandfeelsthatthefarmishisbirthright,asitoriginallybelongedtohismother.Hebuysouthishalf-brothers’sharesofthefarmwithmoneywhichwasstolefromhisfather.Histwobrothers,PeterandSimeonheadofftoCaliforniatoseekGold.Later,theoldCabotreturnswithanewyoungwife,AbbiePutnam,whoisverybeautifulbutmarriedhimonlyforfortune.Cabothopesthathisnewyoungwifecouldgivebirthtoababyboytoinheritallhisbusiness.SinceCabotistooold,Abbieflirtswithhisyoungestson,Eben,andtheyhaveasonbutletCabotbelievethatthechildishis,inthehopeofsecuringherpositionandherfuturetothefarm.Atthesametime,atrueloveisdevelopingbetweenthem.Thetruthcannotbecoveredforever,soEbentellshisfatherthewholething,butatthesametime,CabotalsotellsEbenthat,AbbietakesadvantageofEbentohaveasontoinheriteverything,whichmakesEbenfurious.InordertoshowhertruelovetoEben,Abbiekillsherownson.Ebenhastogotothepolicestationtoreportthathehimselfalsotakespartinthekilling,andgoestojailwithAbbietogether.
1.3LiteratureReview
DesireundertheElmsisoneofO’Neill’smostadmiredworksandreflectshisownfamilyconflicts.Inthisplay,thearchetypesintheBibleandGreekmythsrunthroughtheplotsandshowustheeternalproblemsofpeople’slife.O’NeillcreatedafamilywithcomplexloverelationshipsandtheentanglementofdesireinanAmericanfarm.Theplaypresentsthedistortionofhumannaturebecauseofthetemptationofdesireandthegreatpowerofloveandforgiveness.DesireundertheElmstellsusanoldmyththroughanewkindofpeople’srelationship.AlargenumberofplotswithtragedyofGreekstyleandarchetypeinBiblewerebuiltintotheplay.
InTIME,itisdescribedasoneoftheplayswhich,inthelightofmetropolitancriticism,seemmostimportant.DesireundertheElms—EugeneO’NeillbitesbelowthethickskinofNewEnglandfarmerloneliness.Infidelityinthefoothills.[4]
DesireundertheElmsattractedpositiveattention.Theproductionmanagestotranscendtheplay’sflawstotransmitthepenetratingtruthofO’Neill’sunderlyingvision,oftheineradicablehumanneedtopossessandbepossessed.[5]
ThetragicconceptionoflifeinthisplayisconsideredasanendlessstrugglebetweenoppositeimagesoftheselfbyDorisV.FalkinthebookEugeneO’NeillandtheTragicTension.
InthebookContureinTimewrittenbyTravisBogard,EugeneO’Neill’sviewofreligionsandtragedyhasbeenrealized.“afterthelongpoetically-orientedquesthehadconductedthroughtheplaysofthe1920s,seekingaGodtowhichmencouldspirituallybelong,O’NeillatlasthascometoagreewithNietzchethatmanliveinaGodlessworld.”[6]
ChamanAhujapointsoutthedynamicnatureofO’Neill’sworksinthebookTragedy,ModernTemperandO’Neill.Hepointsouttheincompatibilityofyokingmodernismandtragedy,whichisverysignificant.ButhefurtherunderestimatesO’Neill’searlierplaysastragediesandlesssuccessful“muchoftheconfusioninO’Neill’sscholarshipderivesfromthefactthatthecritics,forgettingtheseessentialdistinctions,assumeatragicvisioninanauthorwhosegeniuswasbasicallyironic,i.e.,anti-tragic.”[7]
FengGuojun’sEugeneO’Neill:
anInheritorandReformerofTraditionsoftheAncientGreekTragedyclaimedthatO’NeillbothinheritsanddevelopsGreekTragedyandmakeshisownplaysinmoderntragedy.
CaiyuhuiandGufaliangwriteinthearticleTheCulturalCriticismintheFieldandDesireundertheElmsthattheculturalcriticismofthedramaDesireundertheElmsdirectlypointedtothedesireandabstinencefromsexintheAmericanPuritanismculture.
JiangmengmengpointsoutthedramaisasignificantworkwhichshockedthewholeworldinherthesisVictoryofDionysus:
OnsignificanceoftranscendingtragedyinDesireundertheElms.
1.4TheSignificanceofThisThesis
Religionisaneternalresearchsubjectbecauseofitsinfluencetohuman’slifeandsocialdevelopment.Westernsocietyhasaprofoundtraditionofreligionsandmyths,especiallyChristianandGreekmyths.Peopleareinfluencedinbothdailylifeandspiritfiledbyreligionsandmythswhichpresentedinthecreationofliteraryworks.Onthebasisofthestudieshaddonebefore,wehavetodomorestudiesabouttheinfluenceofreligionsandmythstothesocietyandliteratureinordertokeepupwiththedevelopmentofthenewsociety,economyandcultureintheworldinthe21stCentury.EugeneO’NeillwasanAmericanmodernistwriterwhopresentedthethemesofreligionsandmythsdeliberately.HismainworkDesireundertheElmsshowspeoplehisthinkingaboutAmericanreligionsandhisfocusonhumanbeing’sfate.Atthesametime,itcanberealizedthatthegreatinfluenceofreligionsandmythstoEugeneO’Neillandhisliterarycreation,forwecanseemanyarchetypesofreligionsandmythsinhisplays.
Thestudiesofthetheoryofarchetypesprovidemorematerialstounderstandboththepositiveandnegativeinfluenceofreligionsandmythstoliterature,whichcanbeusedasareferencefortheliterarycreationinChina.ThisthesisinterpretsthearchetypesintheBibleandGreekmythsinDesireundertheElmswrittenbytheAmericanmodernplaywrightEugeneO’Neill.AndalsocombinesitwiththeinfluenceofwesternreligionsandGreekmythstowesternsociety,economyandculture.Intheend,itexplainstheinfluencetothedevelopmentofliterarycreationintheviewofthearchetype.ThethesisiswrittentoanalyzethedramaDesireundertheElmsinaspecialaspectwhichcannotonlygivepeopleadeeperunderstandingofthedrama,butalsoofferawaytocreateliteratureworksbyusingthearchetypesofreligionsandGreekmyths.
Chapter2TheoreticalPerspective-NorthropFrye’sTheoryofArchetype
2.1NorthropFrye’sLiteraryCriticism
NorthropFrye,aCanadianliterarycriticandliterarytheorist,wasthefirstcritictopostulateasystematictheoryofcritici
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