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莎士比亚悲剧《雅典的泰门》中,泰门以其“他人即是天堂”、“他人即是地狱”的极端性格为读者提供了一个鲜明的非善即恶,非此即彼的理想主义者的模式;但剧作的意义绝不仅止于此,泰门的模式在一定程度上代表了诗人(艺术家)的模式,他们处在人类的边缘,清醒地注视着人性的善与恶,通过自己某种方式的决绝的献祭与牺牲来敦促人性的忏悔,以期人性向着善与美有些许的前进;泰门的模式也即莎士比亚的模式,莎士比亚的创作由歌颂性喜剧到悲剧,一定程度上即反映出他对人性认识的深化,但莎士比亚高于泰门的地方在于一种“即使身处地狱仍然仰望天堂”的诗性精神,这种诗性精神隐含在他的传奇剧创作中。
In the tragedy of Shakespeare, “The Thai Gate of Athens”, Taimen provided the reader with a distinctive non-good or evil in the extreme character of “others are heaven” and “others are hell” But the significance of the play does not stop there. The Tai-mode model, to a certain extent, represents the model of the poet (artist) who are on the verge of humanity and soberly watching the goodness of human nature Evil, through their own way of sacrifice and sacrifice to a certain way to urge the repentance of humanity, with a view to humanity toward the good and the beauty of a little forward; the Tyrant model is Shakespeare’s model, Shakespeare’s creation from extolling to tragedy , To some extent, reflects his deepening understanding of human nature, but Shakespeare is higher than the place where the Thai is a “even in hell still looking up to heaven” poetic spirit, this poetic spirit implied in him Legendary drama creation.