这些表里因素的融合，铸就了两人既有独特民族文化背景，又有明显趋同性的悲剧观念。
The fusion of these outside and inside factors shapes their tragedy idea that has their own unique national culture background as well as high convergence.
对于中国现代悲剧观念的较全面研究，是随着七十年代末八十年代初的悲剧讨论慢慢展开的。
The entire research about Chinese modern view of tragedy began with the debate of tragedy in the 70s and 80s of the last century.
在简要介绍两位作家和两部剧作之后，论文首先比较了剧作中流露出的两位剧作家的悲剧观念的异同。
After a brief introduction to the playwrights and the plays, the dissertation compares firstly the tragic views reflected in the two plays.
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