道家思想对奥尼尔后期作品的影响
摘要
被誉为“美国戏剧之父”的奥尼尔，其作品得到了国内外许多学者的关注。对奥尼尔的研究涉及到对奥尼尔戏剧作品的总体评价、各个创作阶段的作品及其艺术成就、戏剧创作手法、作品中的妇女形象，以及奥尼尔的悲剧意识等等各个方面。相对来说，从东方影响的角度来研究奥尼尔的评论却为数不多。对奥尼尔的东方主义的研究虽然只是奥尼尔研究的一个很小的分支，其重要性却是明显的。东西方一些学者曾经就东方影响进行过研究，但作为东方思想的一个重要流派——道家思想对奥尼尔的影响研究却多被忽略。尽管奥尼尔自己也曾指出他对道家思想的兴趣远远大于其它东方思想，但这方面的研究论著甚少。为弥补这一缺憾，本文从奥尼尔后期的三部作品入手来考察道家思想对奥尼尔的影响。这三部作品分别是《送冰的人来了》、《进入黑夜的漫长旅程》和《月照不幸人》。
道家要义在于道的自然守一，见素抱朴，少思寡欲，清静无为。道家是对自性及客观世界都视为虚幻的哲学，提倡内心平静和谐，反对充满矛盾冲突的物质世界。造生万物的道和揭示这个世界永恒变化规律的阴阳论是道家的基本思想。道家的最高人生理想是实现“天人合一”，超脱个人自身的诸多局限，还人以自然的本来面目。
道家思想对奥尼尔的影响可以从外部和内部两方面来进行考察。对于奥尼尔而言从外部的考察主要涉及其家庭背景的研究。爱尔兰人的神秘天性，天主教幻想的破灭以及不幸的童年都是促使奥尼尔把兴趣转向东方思想的重要因素。之后，青年时期的奥尼尔对老庄著作进行的深入阅读，使他对道家思想有了深刻而全面的理解，并为其晚年能够在道家思想的慰籍下度过艰难的岁月铺设了道路。他后期的这三部伟大作品可以说是在道家思想的影响下创作完成的。这三部作品的创作地点“大道别墅”以及在此创作期间对中国文化思想兴
趣浓厚的妻于对奥尼尔的影响都是从旁的有利见证。
外部的考察必不可少，内部的研究却至关重要。作者将重点放在对奥尼尔
这三部后期作品的文本分析上，从作品的题材、风格、角色的人生态度和价值
观以及主题等几个方面来考察道家思想对其后期创作的影响。这三部剧作在题
材上都属于怀旧剧，是作者垂暮之年对自己父母、兄长、及亲密朋友的深切怀
念。晚年的奥尼尔返回到自己创作生涯的最初时期，体现了道家“复归其根”
的思想。从风格上对奥尼尔早、中、后期作品进行的对比分析表明，道家提倡
的“返朴归真”是此三部作品风格的主要特点。“无为”、“不争”、“人生如梦”、
“天人合一”的道家思想，强调人应少私寡欲，清静无为，对世界的认识应抱
持虚幻的态度，认为人与自然，人与外物，主体与客体之间的关系不是对立。
隔离的，而是一体、合一的。这种从道家思想折射的人生态度在这三部作品的
主要人物身上都得到了充分展示。生与死、爱与恨、过去与观在的主题是奥尼
尔后期作品一个主要特点。生死、爱恨、过去、现在这些对立面之间虽有看似
不可调和的矛盾与冲突，在奥尼尔后期的这三部剧作中却充分展示了这些对立
面之间的互相渗透、互相转化的协调关系，从而体现了道家思想中阴阳学说的
主旨。
本文从内部与外部两方面考察了道家思想对奥尼尔后期创作的影响，从而
得出的结论是《迭冰的人来了》、《进入黑夜的漫长旅程》和《月照不幸人》这
三部剧作无论是在题材、风格、主题还是在角色对人生的态度上都明显受到道
家思想的影响，进而证明了从道家思想影响入手研究奥尼尔的必要性。
The critical studies of Eugene O'Neill range from general discussions of his work to discussions that focus on his theatrical techniques, his tragic vision, his sensitivity to the impact of black and immigrant minorities in American life, and the treatment of women in his plays. The study of Eugene O'Neill from the angle of Oriental influence is a comparatively less explored area. A minor branch as it is, it is yet significant in O'Neill criticism. Although O'Neill's Orientalism has been studied by some critics in both the East and the West, few monographs at home and abroad have specifically discussed the influence of Taoism, a particular school of Eastern philosophy, which, as O'Neill asserted, appealed to him more than other schools of Oriental thoughts. In order to compensate for this limitation, the present thesis sets out to provide a relatively thorough study of Taoist influence on O'Neill's art. The author focuses on the three plays O'Neill created in the last but the greatest path of his writing car
eer - The Iceman Cometh, Long Days Journey into Night and A Moon for the Misbegotten - to examine the influence of Taoist principles.
Taoism stresses spontaneity, simplicity, passivity and the suspicion that the self and the objective world are illusions. It emphasizes unity, peace and the spiritual rather than division, struggle and the material. Taoism points out the indefinable Tao, which regulates natural processes and nourishes balance in the universe and suggests yin/yang dynamic that explains the constant process of transformation and symbolizes the hidden, rhythmic unity of countless oppositions. Taoist philosophy deals with the pursuit of perfection, with the union of an individual human being with nature.
Driven by the need to resolve the inner conflicts that resulted from his dualistic vision, O'Neill turned to Taoism. His Irish Heritage, Catholic school background and miserable childhood all contributed to this turn. The spiritual odyssey he began at an early age turned out to be a lifetime. His considerable reading in Taoism in the 1920s, together with the influence of his third wife, Carlotta, an ardent student of Chinese culture and thought, enabled his accurate and deep understanding of Taoist
principles, and in turn helped him endure his last lonely suffering years. "Tao House" , the name O'Neill gave to the residence where he produced these three last and greatest plays is a good indication of his interest in Taoism at the time.
Taoist element is evident in these final tragedies. Firstly, by examining the style and subject matter of the three final works in comparison with those of the plays O'Neill wrote in the early and middle periods, the present author intends to prove that Taoist view - "return to the root" and "return to simplicity" - has found its clear expression in the late plays. Secondly, O'Neill's interest in "the force behind" which is shown frequently through the words by his characters of these plays reveals the influence of the Tao, the basic concept of Taoism, on O'Neill. Thirdly, Passivity on the part of all the main characters is shaped by another principle of Taoism - "Wu Wei". Fourthly, the dynamic polarity - yin and yang helps O'Neill develop a dynamic vision of reality and harmonize the thematic oppositions between life and death, love and hate, past and future in the late plays. Fifthly, the theme of the pipe dream represents another major connection of O'Neill's late plays to Taoism. In the three works, Chua
ng Tzu's view of life as a dream or an illusion is shared by O'Neill's characters. Lastly but equally importantly, the union of an individual human being with nature pursued by Taoists is reached by Edmund, the protagonist in Long Days Journey into Night, who, in fact, is O'Neill himself. Although the experience of being united with the universe is transitory, O'Neill, a western writer, brought up against a dualistic western background, finally, through Edmund, found internal peace and satisfaction.
Derived from the detailed analysis of these three
道家要义在于道的自然守一，见素抱朴，少思寡欲，清静无为。道家是对自性及客观世界都视为虚幻的哲学，提倡内心平静和谐，反对充满矛盾冲突的物质世界。造生万物的道和揭示这个世界永恒变化规律的阴阳论是道家的基本思想。道家的最高人生理想是实现“天人合一”，超脱个人自身的诸多局限，还人以自然的本来面目。
道家思想对奥尼尔的影响可以从外部和内部两方面来进行考察。对于奥尼尔而言从外部的考察主要涉及其家庭背景的研究。爱尔兰人的神秘天性，天主教幻想的破灭以及不幸的童年都是促使奥尼尔把兴趣转向东方思想的重要因素。之后，青年时期的奥尼尔对老庄著作进行的深入阅读，使他对道家思想有了深刻而全面的理解，并为其晚年能够在道家思想的慰籍下度过艰难的岁月铺设了道路。他后期的这三部伟大作品可以说是在道家思想的影响下创作完成的。这三部作品的创作地点“大道别墅”以及在此创作期间对中国文化思想兴
趣浓厚的妻于对奥尼尔的影响都是从旁的有利见证。
外部的考察必不可少，内部的研究却至关重要。作者将重点放在对奥尼尔
这三部后期作品的文本分析上，从作品的题材、风格、角色的人生态度和价值
观以及主题等几个方面来考察道家思想对其后期创作的影响。这三部剧作在题
材上都属于怀旧剧，是作者垂暮之年对自己父母、兄长、及亲密朋友的深切怀
念。晚年的奥尼尔返回到自己创作生涯的最初时期，体现了道家“复归其根”
的思想。从风格上对奥尼尔早、中、后期作品进行的对比分析表明，道家提倡
的“返朴归真”是此三部作品风格的主要特点。“无为”、“不争”、“人生如梦”、
“天人合一”的道家思想，强调人应少私寡欲，清静无为，对世界的认识应抱
持虚幻的态度，认为人与自然，人与外物，主体与客体之间的关系不是对立。
隔离的，而是一体、合一的。这种从道家思想折射的人生态度在这三部作品的
主要人物身上都得到了充分展示。生与死、爱与恨、过去与观在的主题是奥尼
尔后期作品一个主要特点。生死、爱恨、过去、现在这些对立面之间虽有看似
不可调和的矛盾与冲突，在奥尼尔后期的这三部剧作中却充分展示了这些对立
面之间的互相渗透、互相转化的协调关系，从而体现了道家思想中阴阳学说的
主旨。
本文从内部与外部两方面考察了道家思想对奥尼尔后期创作的影响，从而
得出的结论是《迭冰的人来了》、《进入黑夜的漫长旅程》和《月照不幸人》这
三部剧作无论是在题材、风格、主题还是在角色对人生的态度上都明显受到道
家思想的影响，进而证明了从道家思想影响入手研究奥尼尔的必要性。
The critical studies of Eugene O'Neill range from general discussions of his work to discussions that focus on his theatrical techniques, his tragic vision, his sensitivity to the impact of black and immigrant minorities in American life, and the treatment of women in his plays. The study of Eugene O'Neill from the angle of Oriental influence is a comparatively less explored area. A minor branch as it is, it is yet significant in O'Neill criticism. Although O'Neill's Orientalism has been studied by some critics in both the East and the West, few monographs at home and abroad have specifically discussed the influence of Taoism, a particular school of Eastern philosophy, which, as O'Neill asserted, appealed to him more than other schools of Oriental thoughts. In order to compensate for this limitation, the present thesis sets out to provide a relatively thorough study of Taoist influence on O'Neill's art. The author focuses on the three plays O'Neill created in the last but the greatest path of his writing car
eer - The Iceman Cometh, Long Days Journey into Night and A Moon for the Misbegotten - to examine the influence of Taoist principles.
Taoism stresses spontaneity, simplicity, passivity and the suspicion that the self and the objective world are illusions. It emphasizes unity, peace and the spiritual rather than division, struggle and the material. Taoism points out the indefinable Tao, which regulates natural processes and nourishes balance in the universe and suggests yin/yang dynamic that explains the constant process of transformation and symbolizes the hidden, rhythmic unity of countless oppositions. Taoist philosophy deals with the pursuit of perfection, with the union of an individual human being with nature.
Driven by the need to resolve the inner conflicts that resulted from his dualistic vision, O'Neill turned to Taoism. His Irish Heritage, Catholic school background and miserable childhood all contributed to this turn. The spiritual odyssey he began at an early age turned out to be a lifetime. His considerable reading in Taoism in the 1920s, together with the influence of his third wife, Carlotta, an ardent student of Chinese culture and thought, enabled his accurate and deep understanding of Taoist
principles, and in turn helped him endure his last lonely suffering years. "Tao House" , the name O'Neill gave to the residence where he produced these three last and greatest plays is a good indication of his interest in Taoism at the time.
Taoist element is evident in these final tragedies. Firstly, by examining the style and subject matter of the three final works in comparison with those of the plays O'Neill wrote in the early and middle periods, the present author intends to prove that Taoist view - "return to the root" and "return to simplicity" - has found its clear expression in the late plays. Secondly, O'Neill's interest in "the force behind" which is shown frequently through the words by his characters of these plays reveals the influence of the Tao, the basic concept of Taoism, on O'Neill. Thirdly, Passivity on the part of all the main characters is shaped by another principle of Taoism - "Wu Wei". Fourthly, the dynamic polarity - yin and yang helps O'Neill develop a dynamic vision of reality and harmonize the thematic oppositions between life and death, love and hate, past and future in the late plays. Fifthly, the theme of the pipe dream represents another major connection of O'Neill's late plays to Taoism. In the three works, Chua
ng Tzu's view of life as a dream or an illusion is shared by O'Neill's characters. Lastly but equally importantly, the union of an individual human being with nature pursued by Taoists is reached by Edmund, the protagonist in Long Days Journey into Night, who, in fact, is O'Neill himself. Although the experience of being united with the universe is transitory, O'Neill, a western writer, brought up against a dualistic western background, finally, through Edmund, found internal peace and satisfaction.
Derived from the detailed analysis of these three
引文
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Ahuja, C. 1984． Tragedy Modern Temper and O'Neill. New Delhi. Macmillan India Limited.
Barranger, M. S. 1990． Understanding Plays. Boston. Allyn and Bacon.
Baskin, W. 1974． Classics in Chinese Philosophy. Totowa: Littlefield, Adams & Company.
Baym, N, et al., ed. 1985． The Norton Anthology of American Literature, Second Edition, Volume II. New York: W. W. Norton & Company.
Berlin, N. 1993． O'Neill's Shakespeare. Ann Arbor: University of Michigan Press.
Bigsby, C. W. E. 1992． Modern American Drama, 1945-1990． New York: Cambridge University Press.
Bogard, T., ed. 1988． Contour in Time: The Plays of Eugene O'Neill. New York: Oxford University Press.
Bogard, T, ed. 1988． Eugene O 'Neill: Complete Plays. New York: the Viking Press.
Bogard, T. & J. R. Bryer., ed. 1988． Selected Letters of Eugene O'Neill. New Haven: Yale University Press.
Carpenter, F. I. 1966． "Eugene O'Neill, the Orient and American Transcendentalism." Transcendentalism and Its Legacy. Ed. M. Simon & T. H. Parsons. Ann Arbor: University of Michigan Press.
Carpenter, F. I., ed. 1979． Eugene O'Neill. Boston: Twayne Publishers.
Chang, Y 1996． A Survey of American Literature. Tianjin: Nankai University Press.
Clark, B. H. 1947． Eugene O'Neill: The Man and His Plays. New York: Dove.
Cohn, R. & B. F. Dukore., ed. 1966． Twentieth Century Drama: England, Ireland, the United States. New York: Random House.
Csikszentmihalyi, M. & P. J. Ivanhoe. 1999． Religious and Philosophical Aspects of
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Fang, T. H. 1986． Chinese Philosophy: Its Spirit and Its Development. Taipei: Linking Publishers.
Fung, Y. 1989． A Taoist Classic Chuang-Tzu: A New Selected Translation with an Exposition of the Philosophy of Kuo Hsiang. Beijing: Foreign Languages Press.
Frenz, H. 1959． Asia and the Humanities. Danville: Interstate Printers and Publishers.
Goddard, D. & M. E. Reynolds. 1919． Lao-tzu's Too and Wu Wei. New York: Brentano's.
Hinden, M. 1990． Long Day's Journey into Night Native Eloquence. Boston: Twayne Publishers.
Houchin, J. H. 1993． The Critical Response to Eugene O'Neill. Westport: Greenwood Press.
Kohn, L. 1992． Early Chinese Mysticism: Philosophy & Soteriology in the Taoist Tradition. Princeton: Princeton University Press.
Levenson, M., ed. 1999． The Cambridge Companion to Modernism. Cambridge: Cambridge University Press.
Lin, C. 1999． Encounters the West: Explorations in Comparative Philosophy. New York: State University of New York Press.
Liu, H. & S. Lowell., ed. 1992． Eugene O'Neill in China: An International Centenary Celebration. New York: Greenwood Press.
Manheim, M., ed. 1998． The Cambridge Companion to Eugene O'Neill. Cambridge: Cambridge University Press.
Martine, J. J., ed. 1984． Critical Essays on Eugene O 'Neill. Boston: G. K. Hall.
Moorton, R. F. Jr. 1991． Eugene O 'Neill's Century: Centennial Views on America's Foremost Tragic Dramatist. New York: Greenwood Press.
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Ahuja, C. 1984． Tragedy Modern Temper and O'Neill. New Delhi. Macmillan India Limited.
Barranger, M. S. 1990． Understanding Plays. Boston. Allyn and Bacon.
Baskin, W. 1974． Classics in Chinese Philosophy. Totowa: Littlefield, Adams & Company.
Baym, N, et al., ed. 1985． The Norton Anthology of American Literature, Second Edition, Volume II. New York: W. W. Norton & Company.
Berlin, N. 1993． O'Neill's Shakespeare. Ann Arbor: University of Michigan Press.
Bigsby, C. W. E. 1992． Modern American Drama, 1945-1990． New York: Cambridge University Press.
Bogard, T., ed. 1988． Contour in Time: The Plays of Eugene O'Neill. New York: Oxford University Press.
Bogard, T, ed. 1988． Eugene O 'Neill: Complete Plays. New York: the Viking Press.
Bogard, T. & J. R. Bryer., ed. 1988． Selected Letters of Eugene O'Neill. New Haven: Yale University Press.
Carpenter, F. I. 1966． "Eugene O'Neill, the Orient and American Transcendentalism." Transcendentalism and Its Legacy. Ed. M. Simon & T. H. Parsons. Ann Arbor: University of Michigan Press.
Carpenter, F. I., ed. 1979． Eugene O'Neill. Boston: Twayne Publishers.
Chang, Y 1996． A Survey of American Literature. Tianjin: Nankai University Press.
Clark, B. H. 1947． Eugene O'Neill: The Man and His Plays. New York: Dove.
Cohn, R. & B. F. Dukore., ed. 1966． Twentieth Century Drama: England, Ireland, the United States. New York: Random House.
Csikszentmihalyi, M. & P. J. Ivanhoe. 1999． Religious and Philosophical Aspects of
the Laozi. Albany: State University of New York Press.
Fang, T. H. 1986． Chinese Philosophy: Its Spirit and Its Development. Taipei: Linking Publishers.
Fung, Y. 1989． A Taoist Classic Chuang-Tzu: A New Selected Translation with an Exposition of the Philosophy of Kuo Hsiang. Beijing: Foreign Languages Press.
Frenz, H. 1959． Asia and the Humanities. Danville: Interstate Printers and Publishers.
Goddard, D. & M. E. Reynolds. 1919． Lao-tzu's Too and Wu Wei. New York: Brentano's.
Hinden, M. 1990． Long Day's Journey into Night Native Eloquence. Boston: Twayne Publishers.
Houchin, J. H. 1993． The Critical Response to Eugene O'Neill. Westport: Greenwood Press.
Kohn, L. 1992． Early Chinese Mysticism: Philosophy & Soteriology in the Taoist Tradition. Princeton: Princeton University Press.
Levenson, M., ed. 1999． The Cambridge Companion to Modernism. Cambridge: Cambridge University Press.
Lin, C. 1999． Encounters the West: Explorations in Comparative Philosophy. New York: State University of New York Press.
Liu, H. & S. Lowell., ed. 1992． Eugene O'Neill in China: An International Centenary Celebration. New York: Greenwood Press.
Manheim, M., ed. 1998． The Cambridge Companion to Eugene O'Neill. Cambridge: Cambridge University Press.
Martine, J. J., ed. 1984． Critical Essays on Eugene O 'Neill. Boston: G. K. Hall.
Moorton, R. F. Jr. 1991． Eugene O 'Neill's Century: Centennial Views on America's Foremost Tragic Dramatist. New York: Greenwood Press.
Murphy, B. 1987． American Realism and American Drama, 1880-1940． Cambridge:
Cambridge University Press.
O'Neill, E. 1954. The Plays of Eugene O'Neill, Volume 1. New York: Random.
Orr, J. 1985. Tragic Drama and Modern Society: Studies in the Social and Literary Theory of Drama from 1870 to the Present. London: Macmillan.
Robinet, I. 1997. Taoism: Growth of a Religion. Stanford: Stanford University Press.
Robinson, J. A. 1982. Eugene O'Neill and Oriental Thought: A Divided Vision.Carbondale:Southern Illinois University Press.
Ronda, B. A. 1991. The Discourse of American Literature: Culture and Expression from Colonization to Present. Shanghai:Shanghai Foreign Language Education Press.
Sheaffer, L. 1968. O'Neill: Son and Playwright.Boston: Little.
Tornqvist, E. 1968. A Drama of Souls, Studies in O'Neill's Super-naturalistic Technique. Uppsala: Stockholm Almqvist & Wiksell.
Unger, L. 1972. American Writers:A Collection of Literary Biographies, Volume Ⅲ. New York: Charles Scribner's Sons.
Waley, A. 1998. Tao Te Ching. Beijing: Foreign Language Teaching and Research Press.
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