Abstract:While a number of Stefan Zweig's works echo biblical themes, his play Jeremias and his two legends, "Die Legende der dritten Taube" and "Rahel rechtet mit Gott," might be his most radical departures from the biblical account. Zweig's Jeremias, who anachronistically quotes passages from the Hebrew Bible as well as the New Testament, appears as a Christ figure. The syncretism Zweig employed can be seen as an attempt to amplify Jeremias' pacifist message. In "Die Legende der dritten Taube" Zweig expresses his yearning for peace during World War I, while Rahel, "the Mother of Israel," takes on God in "Rahel rechtet mit Gott ." In his most provocative legend, Zweig depicts Rahel as a proto-feminist who, unlike her husband Jacob, succeeds in her physical and quite erotic struggle with God and brings peace to the people of Israel.

中文翻译：

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Jeremias, die dritte Taube und Rahel als Friedensbringer: Zu Stefan Zweigs gewagten biblischen (Um)Deutungen

摘要：虽然史蒂芬茨威格的一些作品呼应了圣经主题，但他的戏剧杰雷米亚斯和他的两个传奇“Die Legende der dritten Taube”和“Rahel rechtet mit Gott”可能是他对圣经记载最根本的背离。茨威格的耶雷米亚斯不合时宜地引用了希伯来圣经和新约中的段落，以基督形象出现。茨威格所采用的融合主义可以被视为试图放大耶雷米亚斯的和平主义信息。在“Die Legende der Dritten Taube”中，茨威格表达了他对第一次世界大战期间和平的渴望，而“以色列之母”Rahel 在“Rahel rechtet mit Gott”中接受了上帝。在他最具挑衅性的传奇中，茨威格将拉赫尔描绘成一位原始女权主义者，与她的丈夫雅各布不同，