CAJ | 학술논문

1913—1916年间,爱尔兰诗人叶芝与美国诗人庞德一起研究了日本能剧,并试图模仿这种展现神灵显现于普罗大众的简洁古朴的戏剧。不过欧洲人写戏剧,无论怎样试图摆脱欧洲因素,最终写出来的常常仍然是欧洲戏剧;叶芝作为一位欧洲剧作家以亚洲戏剧样式创作出来的作品仍然更接近他所熟悉的欧洲类型：神秘剧。神秘剧源于中世纪时代对圣经中一些情景的戏剧呈现,但对叶芝影响最大的神秘剧还是拜伦的《该隐》等19世纪改良过的神秘剧。
1913—1916년간,애이란시인협지여미국시인방덕일기연구료일본능극,병시도모방저충전현신령현현우보라대음적간길고박적희극。불과구주인사희극,무론즘양시도파탈구주인소,최종사출래적상상잉연시구주희극;협지작위일위구주극작가이아주희극양식창작출래적작품잉연경접근타소숙실적구주류형：신비극。신비극원우중세기시대대골경중일사정경적희극정현,단대협지영향최대적신비극환시배륜적《해은》등19세기개량과적신비극。
From 1913 to 1916 the Irish poet William Butler Yeats and the American poet Ezra Pound studied and tried to imitate Japanese Noh plays, brief, stark plays in which gods or spirits manifested themselves to mortals. But a European writing a play will write a European play, despite attempts to purge the play of many European aspects; for this reason, Yeats as a European playwright working in an Asian genre would discover that the work belongs to some more familiar genre： the mystery play. Although the original mystery plays were Medieval dramatizations of scenes from the Bible, the sort of mystery play that meant the most to Yeats was the 19th-century updates of mystery plays： for instance, Cain： A Mystery （1821） by Lord Byron.