中文摘要

　　普罗米修斯是西方文学史上的经典形象。在延续已近3000年的普罗米修斯神话的“奥德修斯之旅”中，普罗米修斯形象历经了漫长而复杂的演变过程，其中以并非“十全十美”、颇能精湛表达古希腊“节制”精神的“原型”、以及作为彻底反叛者的“近代全新革命者形象”为两座丰碑。1907年，鲁迅通过《摩罗诗力说》首次介绍了雪莱塑造的普罗米修斯的近代形象，并在1930年提出的“翻译盗火说”中将普罗米修斯直接比附“革命者”。1924年，郑振铎在当时的权威刊物《小说月报》上首次介绍了埃斯库罗斯塑造的普罗米修斯原型。普罗米修斯身上体现的“抗暴”精神，为20世纪上半叶中国的革命志士们带去了前所未有的战斗激情。然而，在足够肯定普罗米修斯这一外来形象带给中国的仁人志士与革命进程以绝对正面效应的同时，笔者发现，无论是普罗米修斯原型还是他的近代形象，普罗米修斯在中国都单向度地、绝对正面地表现成了彻底的反叛者、革命者和胜利者的象征，与普罗米修斯的西方近代形象极为近似。普罗米修斯在中国成为了一种约定俗成的象征符号。换言之，普罗米修斯原型进入中国后，其全貌几乎完全被遮挡在普罗米修斯近代形象所形成的主流中；两种形象（甚至是西方关于普罗米修斯的多种形象）已然混合成为了一种形象，而以近代形象的面目示人。普罗米修斯的原型和近代形象，这两个里程碑式的形象进入中国，却因为其中一个形象的过分展现而失去了二者本应受到制约的平衡。普罗米修斯在中国的接受情况，在一种貌似十分明确的评判定势之下，隐含着学界人士对理解这一经典形象在西方文学的复杂变迁过程中囫囵吞枣、不求甚解的含混与模糊。普罗米修斯的近代形象在中国人头脑中的固化，阻碍了我们对普罗米修斯原型的全面、深刻的认识。如果说近代以来的中国国情决定了人们受压的心灵只能关注那个“十全十美”的、作为彻底反叛者的普罗米修斯的近代形象，那么在经历过那段血雨腥风的革命年代之后，我们是否需要重新回头去审视一下那个进入中国也已将近百年的普罗米修斯原型。一直蒙蔽真相的幕帘，已到了该被扯下来的时候了。如同上个世纪中国急需普罗米修斯近代革命者形象一般，在经济飞速发展（这有赖于逻各斯精神的大放光芒）而“秘索思”失落的今天，我们或许能从普罗米修斯原型身上发现“制衡现代文明”的一束亮光。

　　关键词：普罗米修斯；原型；近代形象；节制；单向度；误读

　　作者简介：潘桂英，中国社会科学网编辑。

Prometheus in China

ABSTRACT

　　Prometheus is a classical image in Western literature. During “the journey of Odysseus” which has lasted for almost three thousand years, the image of Prometheus has undergone persistent and complicated transformations in which there are two significant milestones: the“imperfect in every respect” prototype intending to express the spirit of “control” of ancient Greece, and the modern new revolutionary image as a thoroughgoing rebel. In 1907, Lu Xun introduced the modern image of Prometheus portrayed by Shelly for the first time, and directly described Prometheus as a “revolutionary” in his “Translation of Stealing Fire Said” presented in 1930. In 1924, Zheng Zhenduo, for the first time, introduced the prototype of Prometheus by Aeschylus in Fiction Monthly Magazine, an authoritative journal at that time. The spirit of the “anti-authority” embodied by Prometheus brought unprecedented fighting passion to the revolutionaries of China during the first half of the 20th century.
　　Prometheus, the imported image, indeed and surely enough exerts an absolutely positive effect on the Chinese revolutionary; nevertheless, the author of this dissertation finds that Prometheus appears as one-dimensional and as an absolute positive image in China who symbolizes the thorough rebel, revolutionary and winner, which resembles the modern new revolutionary image. Prometheus of that meaning is sanctioned by usage. In other words, after entering China, the prototype of Prometheus is almost completely blocked in the mainstream of the modern image of Prometheus. Or rather it should be said that the two images (or even many images of Prometheus in the West) blended into only one image taking the form of the modern image of Prometheus. So, because of the excessive show of the modern image of Prometheus, the two landmarks of the prototype and the modern image loses the balance which should be constrained. The reception of Prometheus in China, under a seemingly very clear judgment, implies a superficial understanding of the vague and fuzzy image of the classic’s complex changing process in the Western literature. A comprehensive, profound understanding of the prototype of Prometheus has already been hampered by the stereotype of the modern image of Prometheus in China. If it is true that in modern times, China’s national conditions determined that people in pressure could only look on that “perfect” modern image as a thoroughly rebel, then after experiencing a bloody revolution era, we are supposed to go back and reconsider the prototype of Prometheus who has been in China for almost a century. It’s time to pull the curtain back which covering the neglected truth. After the urgent need of the modern revolutionary image of Prometheus in the last century, and the rapid economic progress but a lost "mythos", we may find a glimmering light for “checks and balances for the modern civilization” from the prototype of Prometheus.

KEY WORDS: Prometheus；Prototype；Modern image；Control；One-dimensional；Misinterpretation