马克思在《道德化的批判和批判化的道德》一文中,嘲笑“以停滞状态的田园生活来同历史的颓废相对抗”的田园诗人,是一些“批判化的道德家和道德化的批判家”。多年来我们的历史剧进展不大,一个重要的原因就在于,编导者往往自觉不自觉地用道德化的观点来衡量历史,以一种近乎天真的态度把历史解释为一些至善至美的完人与一些偏离道德正轨的恶棍之间的斗争,以为发泄道德上的义愤便等于对历史的发展与进步作出分析。这几乎成为历史剧创作中的一种通病,白桦同志近作《吴王金戈越王剑》,便是这种放射“道德愤怒的重炮”的典型。《吴》剧的主旨不在于探索在列国纷争、弱肉强食的历史条件下,弱小国家如何反弱为强、强大国家如何走向灭亡的历史规律,因而也就不象大多数这类剧目那样将夫差当作昏君,将勾践视为明主,而是将 In the article “Ethical Criticism and Critical Morality”, Marx lauded idyllic poets who “laughed at pastoral life in a stagnant state against the decadent of history” and were “critics of moralists and moral critics ”. One of the important reasons for our historical drama over the years is that the editors tend to consciously and unconsciously measure history from a moral point of view and interpret history as perfectionist perfectionist in an almost naive manner And some villains who deviate from moral integrity, they think that giving vent to moral indignation amounts to analyzing the development and progress of history. This almost became a common problem in the historical drama creation. Comrade Birch’s latest book, “King Wu and Jin Ge Yue Wang Jian,” is a typical example of such a “heavy gun of moral indignation.” The main purpose of the “Wu” drama is not to explore the historical laws of how weak countries are weak and powerful and how strong nations go to perish, under the historical conditions of the strife between nations and the law of the jungle, and thus, unlike most of these plays, As a monarch, Gou Jian as the Lord, but will be