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本文所说悲剧指的是文学题材或美学对象。它以相应的艺术语言表现一种特定情势下不可解决的矛盾冲突。结局是执着于崇高理想或正义原则的主人公必须付出精神的或生命的代价。这种悲剧性的矛盾冲突可以是外因造成的,但更多的是导源于内因。本文指出,在一个长时期里,我国的文学理论虽未一般地否定悲剧,却否定了真正意义上的悲剧,即否定了一切由于内因而造成的悲剧。究其原因,一是“左”的路线所致,二是苏联悲剧理论的影响。苏联的悲剧理论迄今维持旧观,而在我国进入新的历史时期以来,在悲剧创作大量出现的同时,悲剧理论也获得了巨大的突破性进展,社会主义的悲剧概念较完整地建立起来了。这不但是我国社会主义文学理论积极发展的一个重要标志,在世界社会主义悲剧理论史上,也有着不容忽视的意义。
Tragedy in this article refers to the subject of literature or aesthetics. It uses the corresponding artistic language to express a contradiction that can not be resolved in a particular situation. The outcome is that the protagonists who are clinging to the lofty ideals or principles of justice must pay the price of spirituality or life. This tragic conflict can be caused by external factors, but more is derived from the internal causes. This paper points out that for a long period of time, our literary theory did not generally negate the tragedy, but denied the true tragedy, which denied all the tragedies caused by internal causes. The reason is that one is caused by the route of “left” and the other is the influence of Soviet tragedy theory. So far, the tragedy theory of the Soviet Union maintains the old view, and since the advent of a new historical period in our country, tragedy theory has made tremendous breakthrough progress while tragedy creation has appeared in large numbers. The tragedy concept of socialism has been completely established. This is not only an important symbol of the positive development of the socialist literature theory in our country, but also an important concept that can not be ignored in the history of the world’s socialist tragedy theory.