Abstract: The Rising of the Moon, a play by Irish playwright Lady Gregory, is the most frequently performed translated drama in China during the Anti-Japanese War, and it has always been labeled as nationalism and political ideology. Since the translation by Mao Dun is sensitive to the old and new literature, it touches on the topics of language and culture, women's independence and other issues of national liberation. In line with the literary concept of “For Life”, he quite agrees with the “realistic” school in neo-romantic drama. His distinction between tragedy and comedy is quite different from the “boring” tragicomedy widely regarded Lady Gregory's comedy as by critics . Taking Mao Dun's translation and introduction as the focus, this paper dialectically looks at the introduction, translation and performance of Lady Gregory's plays in the history of modern Chinese drama, which is conducive to a deeper understanding of modern Chinese drama, drawing resources from the spirit of Irish national literature, so as to explore the cultural choice and aesthetic appeal of “ideal reality” for local drama.

Key words: Mao Dun, Lady Gregory, The Rising of the Moon, translation and introduction

摘要： 爱尔兰剧作家格雷戈里夫人的《月亮上升》作为中国抗战时期演出次数最多的改译本话剧,总被贴上民族国家主义与政治意识形态的标签。茅盾的译介凭借对新旧文学的敏感,触及语言文化、女性独立等民族解放话题;本着“为人生”的文学观念,颇认同新浪漫主义戏剧中“写实的”一派;区别看待悲剧与喜剧,与评论界普遍视格雷戈里夫人喜剧为“不发趣的”悲喜剧截然有别。以茅盾译介为中心,分析格雷戈里夫人戏剧在中国现代戏剧史上的评介、改译与演出,有利于深入理解中国现代戏剧从爱尔兰民族文学精神汲取资源,为本土戏剧探寻“理想的实在”的文化选择与审美诉求。

关键词: 茅盾, 格雷戈里夫人, 《月亮上升》, 译介