Qu Yuan, a five-act historical drama, is the representative work of Guo Moruo's historical drama. The whole play intercepts the cross section of Qu Yuan's life. In one day, it condensed the course of Qu Yuan's persistence in uniting with Qi to resist Qin, opposing Qi's surrender to Qin, and his fierce struggle with the conservative forces of the Chu court, and summarized Qu Yuan's spiritual character. Ode to Thunder and Electricity is a declaration of Qu Yuan's exploration of heaven and earth to express his ideal when his self-respecting soul is most humiliated and his life is at stake. Monologue endows natural thunder and lightning with sacred power in poetic language, making thunder and lightning an eternal sword in his hand to split the darkness and burn everything in it. Ode to Thunder and Electricity vividly expresses Qu Yuan's ideals and demands of loving the motherland, upholding justice, longing for light and opposing darkness. "Lei Song" is a song of justice, with history as the theme, drama as the form, and poetry as the soul, which "revives the anger of the times in Qu Yuan's era" and shows the people's anti-Japanese demands and national spirit of unity.
At that time, the Kuomintang ruling clique frantically pursued the reactionary policies of passive anti-Japanese and active anti-* *, and was arrogant and rampant. Progressive public opinion was severely suppressed and progressive writers were brutally persecuted. In the absence of freedom of speech, it is difficult to directly reflect the people's just demands of "opposing civil war and unanimously resisting Japan." The shadow of division and retrogression weighs heavily on the hearts of the people. Some revolutionary playwrights who persist in struggle turn to the creation of historical plays, comparing the past with the present, educating and inspiring the people, and expressing their demands and hopes through the mouths of historical figures.
Guo Moruo is the most outstanding representative of historical playwrights in this period. As a standard-bearer, poet and historian in progressive cultural circles, he not only deeply felt the voice of the people and the responsibility of the times from the realistic struggle of the Anti-Japanese War, but also drew the strength of struggle and surging poetry from the historical review of the past. Shortly after the Southern Anhui Incident, he pointed out: "The content of literature and art is undoubtedly based on the development and maintenance of the spirit of struggle. At present, China and even the whole world are the times when the struggle between beauty and evil, morality and immorality is the fiercest, that is, the times when the struggle needs to be maintained and carried forward most. Therefore, the task of literary and art workers has never been more distinct and urgent than this era. Reality most urgently requires literature and art to play its role as a weapon against Nazism, Fascism and all violent aggressors ... "(Note: The Road to Creation Today, written on September 6th, 194 1, a collection of ancient and modern times). He immediately picked up the historical drama as a literary weapon and bravely threw himself into this severe struggle to safeguard national survival and strive for people's democracy. The six historical dramas he created during this period were all written in the darkest days: 194 1 year 1 February's five-act drama Flower of Tang Di, 19421month's five-act drama Qu Yuan, and February's five-act drama Qu Yuan. Less than a year and a half ago. In these plays, Guo Moruo created various historical figures: Nie Zheng, Nie Ying, Xia Lei and Han Aihou in Flowers of Tang Di, Chan Juan, Nan Hou and Song Yu in Qu Yuan, Xin, Ru Zi and Wang Wei in Tiger Fu, Xia Wanchun, Hong Chengchou and Gao Jianli in Southern Crown Grass. In the fierce conflict between these figures, on the one hand, the author profoundly exposed the essence of various ugly figures such as foreign invaders, reactionary rulers, traitors and traitors, and mercilessly lashed their filthy souls of greed, cunning, tyranny, cruelty, meanness and selfishness; On the one hand, it has profoundly excavated the lofty virtues of Chinese heroes since ancient times, and enthusiastically eulogized their noble qualities such as patriotism and love for the people, loyalty to honest and frank, courage and selflessness, and fear of sacrifice. Persisting in the indomitable struggle against the dark reactionary forces is a basic spirit that runs through these plays; Opposing aggression, traitorous surrender, tyranny, surrender, patriotism, unity against aggression, and adherence to moral integrity are the same themes expressed in these plays from different angles. The historical tragedy shown by the author is so similar to the current reality that it naturally arouses people's strong voices, greatly arouses people's will to oppose the Kuomintang's anti-capitulation policy and adhere to national unity and resistance to Japan, effectively strikes the fascist tyranny of Chiang Kai-shek's clique and promotes the great national liberation war under way. Comrade Zhou Enlai once said approvingly at that time: "In the continuous upsurge of anti-* *, we exploited the loophole of the Kuomintang and opened the gap of the drama stage. In this battle, Comrade Guo Moruo made great contributions. " (Note: Xia Yan: "Knowing the crowd and leaving without complaining-mourning Comrade Guo Moruo", People's Literature No.7, 1978)
Guo Moruo's historical plays in this period have also made great achievements in art, and there are many innovations. On the basis of his early historical plays, he added realism, but at the same time he fully showed the characteristics of revolutionary romanticism. For example, the author always collects and studies the historical materials involved in the script as much as possible, and has a real understanding of the character, psychology, habits, customs, systems and ideology of the characters at that time; But in the specific creation, it is not as rigid as some historical playwrights in the past. On the basis of grasping the historical essence, according to the artistic law, plot development and creative intention, combined with my own ideals and wishes, I boldly conceived the idea of "Crashing for Similarity" (Note: Guo Moruo: History, Historical Drama and Reality, written in 1942 on May 8, included in Boiling Soup Collection), which made the structure, characterization and plot of the whole drama This is also a style that has never been seen in general historical dramas and dramas in the past.
Qu Yuan is Guo Moruo's most accomplished and influential masterpiece in this period. Based on the life story of Qu Yuan, a patriotic poet of Chu State in the Warring States Period, and taking Chu Huaiwang's struggle against Qin as the clue of the whole plot, the play constitutes a dramatic conflict between Qu Yuan, who represents the patriotic line, and his successor, who represents the traitorous line, thus successfully shaping Qu Yuan as a literary model and a series of characters, and profoundly showing the theme of not being afraid of tyranny and persisting in fighting for the motherland and the people.
Of course, historical drama is a literary creation, not a copy of history. "Truth in art is not truth in history" (Note: Lu Xun:165438, 933+to Xu Maoyong on February 20th); However, due to the differences in creative motives, literary opinions and personal styles, there are still differences in their historical plays. Some history itself has more things, while others are based on historical truth but more personal creation. These two types have their own advantages. Most of Guo Moruo's historical dramas and those of the creators in this period belong to the latter. Guo Moruo's motive for creating historical dramas is precisely the need of realistic political struggle. He said: "I want to borrow the bones of the ancients and boast all my life." (Note: Guo Moruo: History, Historical Drama and Reality) Qin Shihuang's annexation of six countries, the unification of the Central Plains and the implementation of a series of progressive political and economic policies undoubtedly played a positive historical role in promoting the consolidation and development of the emerging feudal system. However, judging from other relatively weak six countries, the armed annexation of Qin did bring great disasters to the people of the six countries. Therefore, it was a very natural and legitimate wish of the people of the six countries at that time to advocate joint resistance to Qin and oppose the annexation of Qin. In addition, Guo Moruo believed that Chu had the possibility of unifying China. "China is unified by Chu people and Qu Yuan's thoughts. I believe that the free air must be stronger and the academic taste must be stronger. " (Noe: Guo Moruo: Ancient Literature Theory, written in 1942 September, included in "Collected Works of Ancient and Modern China and Foreign Countries") In Guo Moruo's view, history has not embarked on this road, which is not only the tragedy of Chu, but also the tragedy of our whole nation (Noe: Guo Moruo: Ancient Literature Theory, 1942). The historical figures in the play are often not exactly the same as their "prototypes".
Qu Yuan in the play is a typical example of a great politician and poet. Deep patriotism and fearless spirit of struggle are the main personality characteristics given to this model by the author. "In this war-torn era", he always thinks about the fate and future of the motherland and the people. He advocated the diplomatic line of joint resistance to Qin because he had already seen through Qin's intention of embezzling six countries and thought that only joint resistance to Qin could protect the country and defend the country. Qu Yuan, who has always been aboveboard, had no idea that people like Nan Hou would take such despicable measures to frame him and accuse him of "court fornication". However, even in this case, all he cares about is the motherland and the people. He "calmly and sadly" advised Chu Huaiwang not to give up the correct line of uniting with Chyi Chin, and "think more for Chu people and China people". He denounced Nan Hou, hated her and endangered the motherland: "It's not me you framed, it's our whole State of Chu! I have a clear conscience. I am dead, I am loyal to evil, and I have my own judgment. It's not me you framed ... it's our whole Chixian Shenzhou! " Qu Yuan regards the safety of the motherland and the fortunes of the people far more than his own gains and losses. The more he loved the motherland and the people, the more he hated the traitorous clique, and finally broke through all ideological shackles and fought bravely. Despite Qu Yuan's repeated advice, Chu Huaiwang rudely tore up the Chu-Qi Covenant, destroyed the anti-aggression United front, took refuge in Qin, embarked on the road of compromise and surrender, and ordered Qu Yuan to be imprisoned. In the face of the poet's grief of falling into the darkness of the motherland and losing his freedom, Power Generation came out violently in the form of a ode to thunder and lightning. He called on the roaring wind to "blow away the darkness heavier than iron"; He called for thunder and took him to a place where there was "no conspiracy, no filth, no selfishness"; He calls for lightning as an invisible sword in his heart. "Split, split, split this darkness stronger than iron!" He called on everything that roared and shone in the dark. "Let's explode this dark universe with endless anger, a gloomy universe!" " The poet at this time is like a raging fire burning in the dark. He longs for "this burning life" and "generate shines" for the motherland and people! Ode to Thunder and Electricity is the most prominent embodiment of Qu Yuan's fighting spirit. The deep feelings of patriotism and love for the people are the source of the poet's fighting spirit, which is the highest expression of the poet's patriotism and love for the people here and now.
In Qu Yuan, there are also two female images with different personalities-Shan Juan and Nan Hou. Indeed, as the author herself said: "The existence of Shan Juan seems to be a symbol of Qu Yuan's ci, and she is the visualization of moral beauty." (Note: Guo Moruo: "Qu Yuan and King Liya", included in "Ancient and Modern Thin Sword") She sincerely loves Qu Yuan and respects his moral articles; She knows that "Mr. Wang is the pillar of Chu, the pillar of indomitable spirit." However, at ordinary times, she is just a naive, simple, humble and studious girl. Only when the situation changes and the clouds cover the sky can her lofty beliefs and excellent moral character, which are usually hidden deep in her heart, be highlighted. From her powerful rebuke to Song Yu who defected to the enemy, from her firm and calm attitude towards the arrogance of the south, especially her touching condemnation when her life was dying, we can see a kind of soul of "going with citrus reticulata" and a manifestation of the moral spirit of the broad masses of people. Shan Juan's love and maintenance of Qu Yuan vividly showed Chu people's attitude towards Qu Yuan, which played a very good role in shaping Qu Yuan as a typical figure. Contrary to Shan Juan, the Southern King only sought honor for his own selfish interests, even at the expense of pleasing the invading army, secretly colluding with the State of Qin, and framing a loyal person like Qu Yuan, which brought disaster to the country and the people. The means adopted were so despicable. When her plot succeeded, she became more rampant and unscrupulous, completely exposing her cold and cruel nature. She is selfish, narrow-minded, sinister and cruel, which makes readers and audiences vividly realize what a group of ugly traitors in the ruling group are like. The depiction of the image of "Southern Hou" plays an indispensable role in the typical shaping of Qu Yuan, which makes Qu Yuan's aboveboard and selfless character, patriotic feelings and fearless fighting spirit more prominent.
Song Yu in the play was portrayed as a "shameless and spineless scholar". His hypocritical, selfish, uncontrollable, Nuo Nuo-obsessed, and prostituting himself for glory contrasted Qu Yuan's moral qualities of faithfulness, frankness and frankness from another angle, which was in sharp contrast with Shan Juan. Song Yu's image is undoubtedly a powerful whip to the idle literati who were attached to the Kuomintang reactionaries at that time.
The success of characterization fully shows the profound theme of the script. The conspiracy of the audience and readers from the south, the framing of Qu Yuan, the tearing up of the Qi-Chu Covenant, Qu Yuan's angry cry and the sacrifice of Shan Juan are naturally linked to the crime of Chiang Kai-shek's reactionary clique's anti-surrender, the killing of the New Fourth Army, which suffered "eternal injustice", and the imminent danger of the anti-Japanese national United front, thus deepening their worries about the future of the motherland and igniting their anger.
Qu Yuan was interspersed with a considerable number of lyric poems and folk songs. They are not dispensable decorations, but an organic part of the script, which plays an important role in plot development, characterization and theme expression. This is the artistic feature of the script. For example, the whole drama begins with Qu Yuan reciting Ode to Orange, and combined with Qu Yuan's interpretation of Ode to Orange, it reveals Qu Yuan's life ambition: "In this war-torn era, one's integrity is very important. It is easy for people in peacetime to live in peace and die in peace. There are no waves and twists and turns. But in the era of big waves and sand, it is not easy to be a man ... We should live aboveboard and die aboveboard. " Therefore, Qu Yuan always encourages and exhorts young people with the "white things", "deep roots" and "strong nature" of orange trees, asking them to be "firm in interests", "open-minded", "calm", "cautious" and "sincere", especially "persevere and fight for the truth to the end!" This is in sharp contrast with the selfish, narrow-minded, despicable and insidious psychology shown by Nan Hou and Jin Shang in the second act when planning a plot, which prepares for the following fierce conflict. After Shan Juan's sacrifice, the ode to orange reappeared and echoed from beginning to end. It's like the main melody melody in a symphony that echoes forever, appearing repeatedly and tactfully emphasizing the theme of the script-"Persevere and fight for the truth to the end!" " "Another example is Ode to Thunder and Electricity, which is arranged at the peak of the whole drama, and the protagonist Qu Yuan monologues. This is not only the most important stroke to describe Qu Yuan's typical character, but also makes the theme of the play stand out. As Comrade Zhou Enlai said in Chongqing, "It was Lao Guo who expressed his dissatisfaction with the reactionary rule of the Kuomintang through Qu Yuan. "Lei Song" is Lao Guo's complaint against the Kuomintang reactionaries on behalf of the people in the Kuomintang-controlled areas! " [Noe: Xu Dixin: "A flurry of wind can help us learn the strength of grass-in memory of Comrade Guo Moruo", People's Daily, June 22 1978. You can also refer to Zhang Ying's Literary Struggle in the Foggy City of Chongqing (In Memory of Dear Premier Zhou published by People's Literature Publishing House in March, 1977) and other translated sentences sung by Qu Yuan, which is helpful to express the poet's feelings at the beginning of great humiliation. The folk song "Farmers Trapped in the Fields" sung by fishermen shows the working people's dissatisfaction with the ruling class. The Ritual Soul, sung repeatedly, shows the Chu people's love for Qu Yuan. It is precisely because these wonderful and rich poems are naturally and harmoniously interspersed in the script that the script is full of rich poetry and more touching power.
Regarding Qu Yuan's creative intention, Guo Moruo once said that he would "revive the anger of this era in Qu Yuan's era" and "use Qu Yuan's era to symbolize our present era" (Note: Guo Moruo: Preface of Russian Translation of Historical Drama Qu Yuan, People's Daily, May 28th 1952). The performance practice shows that the author has achieved this goal. 1942 Spring, "Qu Yuan" began to be staged in Chongqing, and its strong response was unprecedented in previous historical drama performances. "It has been warmly welcomed as never before in terms of progress" (Note: Guo Moruo: Preface to the Russian translation of the historical drama Qu Yuan, People's Daily, May 28th 1952). Although Qu Yuan was later banned by the reactionary Kuomintang authorities, the sound of Lei Diansong still reverberated throughout the mountain city, and the roar of "explosion …" was often heard among the masses. "It played an important political role at that time" (Note: Mao Dun: Revolutionary Literature and Art Struggled and Developed under the Repression of Reactionaries, see Memorial Collection of the National Congress of Literary and Art Workers).
Qu Yuan is not only the most brilliant masterpiece of revolutionary historical drama in this period, but also a rare artistic treasure in the whole history of modern literature.
Besides Qu Yuan, Tang Di Hua and Tiger Elephant also had great influence on Guo Moruo's historical dramas in this period. Flowers of Tang Di is based on two plays Nie Ying. Nie Zheng, the hero portrayed in the play, is no longer a "ranger" who died for his bosom friend. The author endowed him with the moral qualities of calmness, love for justice and hatred for evil, and the spirit of pleading for the people and sacrificing oneself for others. Entrusted by Yan Zhongzi, he took advantage of Meng Dong's meeting to assassinate Xia Lei and Han Aihou. He has no personal vendetta against them, but mainly hates them for "daring to fight privately, fearing public anger", "flattering foreign countries for glory" and "making the violent Qin State more violent". The author hopes that the people in the Kuomintang-controlled areas will take Nie Zheng as the "best example", while resisting foreign invaders, they will also severely punish the reactionary rulers at home, "hold high the banner of liberation" and do not hesitate to use "bright red blood to produce free flowers!" Khufu was written one month after Qu Yuan. Relying on the historical story of "stealing symbols to save Zhao", the author successfully created a new image of an anti-aggression man who upholds justice and justice, and created an image of Ji who is knowledgeable, loyal, virtuous and strong. At the same time, the author also portrayed Wei as a wise mother, highlighting her sympathy and support for Xin and Ruji's just cause. The author said, "Mr Zhou Enlai once talked about this problem in my home. He said that we orientals praise our mothers. Why not choose a virtuous mother from history to write the script? " Inspired by this, I thought for a while, so I spontaneously created the mother of Xinlingjun out of nothing. (Noe: Guo Moruo:' Collected Works of Muruo' Volume III:' The Origin of Tiger Symbol Writing')