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一九三六年,当曹禺先生将又一部话剧新作《原野》呈示在读者观众面前,人们几乎是以惊诧的目光注视着:《原野》有着与作者其它几部作品迥然不同之处,似乎透射出一种难以辩驳的斑斓的折光;散放着一股新鲜奇特的气息。那么,这“不同”“新”是迈向又一层次的成功的探索?还是“标新立异”的失败之作?人们议论着,争辩着,研究着;终于,似乎是得到了绝对权威式的结论:作者把笔触由都市转向农村,揭示了更为广阔的社会生
In 1936, when Mr. Cao Yu presented another drama new field, “The Wilderness,” to the audience of readers, people watched with almost astonishment: “Wilderness” has very different aspects from the author’s other works, Reflecting an irrefutable gorgeous refraction; scattered with a fresh and unique atmosphere. So, is this “different” and “new” going to another level of successful exploration? Or is it a failure of “unconventional?” People are arguing, arguing, studying; and finally, it seems that they have got absolutely authoritative conclusions : The author turned his brushwork from urban to rural areas, revealing a broader social life