人们谈论历史剧,一提到影射,似乎都嗤之以鼻。其实,“影射”从词义上讲,并非贬词,它是借用某人、某种人或某种事物而暗指另一个人、另一种人或另一种事物的意思。四人帮的“影射史学”使人们对“影射”完全倒了胃口,对它的贬意越来越重了。在中外文艺发展史上,“影射”是一种常见的现象。对具体文艺作品来说,关键是要看它企图达到什么目的,是否体现正确的世界观和政治主张,是否反映了生活发展的趋势。郭沫若在抗日战争中写作的话剧《屈原》,将矛头指向国民党反动当局,是积极的,有意义的,它唤起了广大群众强烈的共鸣。四人帮将孔丘随心所欲地歪曲和完全否定之后,又将他暗指我们敬爱的周总理,那是为着篡党夺权的目的服务的。影射往往是作者感受到某方面的压力,言难及意,所以不得不采用比较隐晦的方式方法来表达自己 When people talk about historical plays, they all seem to scoff at the mention of the filming. In fact, “shadow” in terms of meaning is not derogatory term, it is to borrow someone, someone or something and implies another person, another person or another thing means. The “Gang of Films” Historical History of Photography has completely reversed the appetite of “shadow shooting” and devalued it more and more. In the history of Chinese and foreign literary and art history, “Shadow Shot” is a common phenomenon. For a specific literary and artistic work, the key is to see what it aims to achieve, whether it reflects the correct outlook on the world and whether it reflects the trend of life development. Guo Yuan-ruo’s drama “Qu Yuan”, written in the Sino-Japanese War, directed at the KMT reactionary authorities is positive and meaningful. It aroused the strong resonance of the broad masses. After the gang of four distorted and completely negated Confucius as he would like it, he again implied our beloved Premier Zhou for serving the purpose of usurping party and state power. Shadow is often the author feel a certain degree of pressure, words difficult and meaning, so had to adopt a more obscure way to express themselves