20世纪初,日本近代戏剧的革新活动正如火如荼。杨骚和田汉作为“五四”时期留学日本的文学青年,广泛接触到了话剧。正是在日本的留学期间,他们开启了文学创作道路,尤以话剧为突出。在日本期间,杨骚虽然此时创作量稍逊田汉,但他们处于青春期的话剧创作却有相似之处,这主要体现在各自的作品《灵光》和《心曲》上浓郁的新浪漫主义色彩。本文试图通过这两部剧作的比较,重新认识各自的文学价值。 Early 20th century, Japan’s modern drama reform activities are in full swing. Yang Sao and Tian Han as literary youth studying in Japan during the May 4th Movement came into widespread contact with drama. It was during their study in Japan that they opened the way to literary creation, especially drama. During his stay in Japan, Yang Sao, though less creative than Tian Han at this time, shared similarities in their adolescent drama creations, mainly reflected in the strong neo-romanticism of his works Emmanuel and Heart Melody. This article attempts to re-understand their own literary value through the comparison of the two plays.