一 : 玩偶之家英文剧本

二 : 玩偶之家英文剧本

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Nora (after a short pause, throws her head up and looks defiantly at him). No, it was not. It was I that wrote papa's name.

Krogstad. Are you aware that is a dangerous confession?

Nora. In what way? You shall have your money soon.

Krogstad. Let me ask you a question; why did you not send the paper to your father?

Nora. It was impossible; papa was so ill. If I had asked him for his signature, I should have had to tell him what the money was to be used for; and when he was so ill himself I couldn't tell him that my husband's life was in danger--it was impossible.

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Krogstad. It would have been better for you if you had given up your trip abroad.

Nora. No, that was impossible. That trip was to save my husband's life; I couldn't give that up.

Krogstad. But did it never occur to you that you were committing a fraud on me?

Nora. I couldn't take that into account; I didn't trouble myself about you at all. I couldn't bear you, because you put so many heartless

difficulties in my way, although you knew what a dangerous condition my husband was in.

Krogstad. Mrs. Helmer, you evidently do not realise clearly what it is that you have been guilty of. But I can assure you that my one false

step, which lost me all my reputation, was nothing more or nothing worse than what you have done.

Nora. You? Do you ask me to believe that you were brave enough to run a risk to save your wife's life?

Krogstad. The law cares nothing about motives.

Nora. Then it must be a very foolish law.

Krogstad. Foolish or not, it is the law by which you will be judged, if I produce this paper in court.

Nora. I don't believe it. Is a daughter not to be allowed to spare her dying father anxiety and care? Is a wife not to be allowed to save her husband's life? I don't know much about law; but I am certain that there must be laws permitting such things as that. Have you no knowledge of such laws--you who are a lawyer? You must be a very poor lawyer, Mr. Krogstad.

Krogstad. Maybe. But matters of business--such business as you and I have had together--do you think I don't understand that? Very well. Do as you please. But let me tell you this--if I lose my position a second time, you shall lose yours with me. (He bows, and goes out through the hall.)

Nora (appears buried in thought for a short time, then tosses her head). Nonsense! Trying to frighten me like that!--I am not so silly as he

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thinks. (Begins to busy herself putting the children's things in order.)

And yet--? No, it's impossible! I did it for love's sake.

The Children (in the doorway on the left). Mother, the stranger man has

gone out through the gate.

Nora. Yes, dears, I know. But, don't tell anyone about the stranger man.

Do you hear? Not even papa.

Children. No, mother; but will you come and play again?

Nora. No, no,--not now.

Children. But, mother, you promised us.

Nora. Yes, but I can't now. Run away in; I have such a lot to do. Run

away in, my sweet little darlings. (She gets them into the room by

degrees and shuts the door on them; then sits down on the sofa, takes

up a piece of needlework and sews a few stitches, but soon stops.) No!

(Throws down the work, gets up, goes to the hall door and calls out.)

Helen! bring the Tree in. (Goes to the table on the left, opens a

drawer, and stops again.) No, no! it is quite impossible!

Maid (coming in with the Tree). Where shall I put it, ma'am?

Nora. Here, in the middle of the floor.

Maid. Shall I get you anything else?

Nora. No, thank you. I have all I want. [Exit MAID.]

Nora (begins dressing the tree). A candle here-and flowers here--The horrible man! It's all nonsense--there's nothing wrong. The tree shall be splendid! I will do everything I can think of to please you, Torvald!--I will sing for you, dance for you--(HELMER comes in with some papers under his arm.) Oh! are you back already?

Helmer. Yes. Has anyone been here?

Nora. Here? No.

Helmer. That is strange. I saw Krogstad going out of the gate.

Nora. Did you? Oh yes, I forgot, Krogstad was here for a moment.

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Helmer. Nora, I can see from your manner that he has been here begging you to say a good word for him.

Nora. Yes.

Helmer. And you were to appear to do it of your own accord; you were to conceal from me the fact of his having been here; didn't he beg that of you too?

Nora. Yes, Torvald, but--

Helmer. Nora, Nora, and you would be a party to that sort of thing? To have any talk with a man like that, and give him any sort of promise? And to tell me a lie into the bargain?

Nora. A lie--?

Helmer. Didn't you tell me no one had been here? (Shakes his finger at her.) My little songbird must never do that again. A songbird must have a clean beak to chirp with--no false notes! (Puts his arm round her waist.) That is so, isn't it? Yes, I am sure it is. (Lets her go.) We

will say no more about it. (Sits down by the stove.) How warm and snug it is here! (Turns over his papers.)

Nora (after a short pause, during which she busies herself with the Christmas Tree.) Torvald!

Helmer. Yes.

Nora. I am looking forward tremendously to the fancy-dress ball at the Stenborgs' the day after tomorrow.

Helmer. And I am tremendously curious to see what you are going to surprise me with.

Nora. It was very silly of me to want to do that.

Helmer. What do you mean?

Nora. I can't hit upon anything that will do; everything I think of seems so silly and insignificant.

Helmer. Does my little Nora acknowledge that at last?

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Nora (standing behind his chair with her arms on the back of it). Are you very busy, Torvald?

Helmer. Well--

Nora. What are all those papers?

Helmer. Bank business.

Nora. Already?

Helmer. I have got authority from the retiring manager to undertake the necessary changes in the staff and in the rearrangement of the work; and I must make use of the Christmas week for that, so as to have everything in order for the new year.

Nora. Then that was why this poor Krogstad--

Helmer. Hm!

Nora (leans against the back of his chair and strokes his hair). If you hadn't been so busy I should have asked you a tremendously big favour, Torvald.

Helmer. What is that? Tell me.

Nora. There is no one has such good taste as you. And I do so want to look nice at the fancy-dress ball. Torvald, couldn't you take me in hand and decide what I shall go as, and what sort of a dress I shall wear?

Helmer. Aha! so my obstinate little woman is obliged to get someone to come to her rescue?

Nora. Yes, Torvald, I can't get along a bit without your help.

Helmer. Very well, I will think it over, we shall manage to hit upon something.

Nora. That is nice of you. (Goes to the Christmas Tree. A short pause.) How pretty the red flowers look--. But, tell me, was it really something very bad that this Krogstad was guilty of?

Helmer. He forged someone's name. Have you any idea what that means?

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Nora. Isn't it possible that he was driven to do it by necessity?

Helmer. Yes; or, as in so many cases, by imprudence. I am not so

heartless as to condemn a man altogether because of a single false step of that kind.

Nora. No, you wouldn't, would you, Torvald?

Helmer. Many a man has been able to retrieve his character, if he has openly confessed his fault and taken his punishment.

Nora. Punishment--?

Helmer. But Krogstad did nothing of that sort; he got himself out of it by a cunning trick, and that is why he has gone under altogether.

Nora. But do you think it would--?

Helmer. Just think how a guilty man like that has to lie and play the hypocrite with every one, how he has to wear a mask in the presence of those near and dear to him, even before his own wife and children. And about the children--that is the most terrible part of it all, Nora.

Nora. How?

Helmer. Because such an atmosphere of lies infects and poisons the whole life of a home. Each breath the children take in such a house is full of the germs of evil.

Nora (coming nearer him). Are you sure of that?

Helmer. My dear, I have often seen it in the course of my life as a

lawyer. Almost everyone who has gone to the bad early in life has had a deceitful mother.

Nora. Why do you only say--mother?

Helmer. It seems most commonly to be the mother's influence, though naturally a bad father's would have the same result. Every lawyer is familiar with the fact. This Krogstad, now, has been persistently poisoning his own children with lies and dissimulation; that is why I say he has lost all moral character. (Holds out his hands to her.) That is why my sweet little Nora must promise me not to plead his cause. Give me your hand on it. Come, come, what is this? Give me your hand. There

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now, that's settled. I assure you it would be quite impossible for me to work with him; I literally feel physically ill when I am in the company of such people.

Nora (takes her hand out of his and goes to the opposite side of the Christmas Tree). How hot it is in here; and I have such a lot to do.

Helmer (getting up and putting his papers in order). Yes, and I must try and read through some of these before dinner; and I must think about your costume, too. And it is just possible I may have something ready in gold paper to hang up on the Tree. (Puts his hand on her head.) My precious little singing-bird! (He goes into his room and shuts the door after him.)

Nora (after a pause, whispers). No, no--it isn't true. It's impossible; it must be impossible.

(The NURSE opens the door on the left.)

Nurse. The little ones are begging so hard to be allowed to come in to mamma.

Nora. No, no, no! Don't let them come in to me! You stay with them, Anne.

Nurse. Very well, ma'am. (Shuts the door.)

Nora (pale with terror). Deprave my little children? Poison my home? (A short pause. Then she tosses her head.) It's not true. It can't possibly be true.

ACT II

(THE SAME SCENE.--THE Christmas Tree is in the corner by the piano, stripped of its ornaments and with burnt-down candle-ends on its

dishevelled branches. NORA'S cloak and hat are lying on the sofa. She is alone in the room, walking about uneasily. She stops by the sofa and takes up her cloak.)

Nora (drops her cloak). Someone is coming now! (Goes to the door and listens.) No--it is no one. Of course, no one will come today, Christmas

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Day--nor tomorrow either. But, perhaps--(opens the door and looks out). No, nothing in the letterbox; it is quite empty. (Comes forward.) What rubbish! of course he can't be in earnest about it. Such a thing couldn't happen; it is impossible--I have three little children.

(Enter the NURSE from the room on the left, carrying a big cardboard box.)

Nurse. At last I have found the box with the fancy dress.

Nora. Thanks; put it on the table.

Nurse (doing so). But it is very much in want of mending.

Nora. I should like to tear it into a hundred thousand pieces.

Nurse. What an idea! It can easily be put in order--just a little patience.

Nora. Yes, I will go and get Mrs. Linde to come and help me with it.

Nurse. What, out again? In this horrible weather? You will catch cold, ma'am, and make yourself ill.er

Nora. Well, worse than that might happen. How are the children?

Nurse. The poor little souls are playing with their Christmas presents, but--

Nora. Do they ask much for me?

Nurse. You see, they are so accustomed to have their mamma with them.

Nora. Yes, but, nurse, I shall not be able to be so much with them now as I was before.

Nurse. Oh well, young children easily get accustomed to anything.

Nora. Do you think so? Do you think they would forget their mother if she went away altogether?

Nurse. Good heavens!--went away altogether?

Nora. Nurse, I want you to tell me something I have often wondered

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about--how could you have the heart to put your own child out among strangers?

Nurse. I was obliged to, if I wanted to be little Nora's nurse.

Nora. Yes, but how could you be willing to do it?

Nurse. What, when I was going to get such a good place by it? A poor girl who has got into trouble should be glad to. Besides, that wicked man didn't do a single thing for me.

Nora. But I suppose your daughter has quite forgotten you.

Nurse. No, indeed she hasn't. She wrote to me when she was confirmed, and when she was married.

Nora (putting her arms round her neck). Dear old Anne, you were a good mother to me when I was little.

Nurse. Little Nora, poor dear, had no other mother but me. Nora. And if my little ones had no other mother, I am sure you would--What nonsense I am talking! (Opens the box.) Go in to them. Now I must--. You will see tomorrow how charming I shall look.

Nurse. I am sure there will be no one at the ball so charming as you, ma'am. (Goes into the room on the left.)

Nora (begins to unpack the box, but soon pushes it away from her). If only I dared go out. If only no one would come. If only I could be sure nothing would happen here in the meantime. Stuff and nonsense! No one will come. Only I mustn't think about it. I will brush my muff. What lovely, lovely gloves! Out of my thoughts, out of my thoughts! One, two, three, four, five, six-- (Screams.) Ah! there is someone coming--. (Makes a movement towards the door, but stands irresolute.)

(Enter MRS. LINDE from the hall, where she has taken off her cloak and hat.)

Nora. Oh, it's you, Christine. There is no one else out there, is there? How good of you to come!

Mrs. Linde. I heard you were up asking for me.

Nora. Yes, I was passing by. As a matter of fact, it is something

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you could help me with. Let us sit down here on the sofa. Look here. Tomorrow evening there is to be a fancy-dress ball at the Stenborgs', who live above us; and Torvald wants me to go as a Neapolitan

fisher-girl, and dance the Tarantella that I learned at Capri.

Mrs. Linde. I see; you are going to keep up the character.

Nora. Yes, Torvald wants me to. Look, here is the dress; Torvald had it made for me there, but now it is all so torn, and I haven't any idea--

Mrs. Linde. We will easily put that right. It is only some of the

trimming come unsewn here and there. Needle and thread? Now then, that's all we want.

Nora. It is nice of you.

Mrs. Linde (sewing). So you are going to be dressed up tomorrow Nora. I will tell you what--I shall come in for a moment and see you in your fine feathers. But I have completely forgotten to thank you for a delightful evening yesterday.

Nora (gets up, and crosses the stage). Well, I don't think yesterday was as pleasant as usual. You ought to have come to town a little earlier,

Christine. Certainly Torvald does understand how to make a house dainty and attractive.

Mrs. Linde. And so do you, it seems to me; you are not your father's daughter for nothing. But tell me, is Doctor Rank always as depressed as he was yesterday?

Nora. No; yesterday it was very noticeable. I must tell you that he

suffers from a very dangerous disease. He has consumption of the spine, poor creature. His father was a horrible man who committed all sorts of excesses; and that is why his son was sickly from childhood, do you understand?

Mrs. Linde (dropping her sewing). But, my dearest Nora, how do you know anything about such things?

Nora (walking about). Pooh! When you have three children, you get visits now and then from--from married women, who know something of medical matters, and they talk about one thing and another.

Mrs. Linde (goes on sewing. A short silence). Does Doctor Rank come here

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everyday?

Nora. Everyday regularly. He is Torvald's most intimate friend, and a great friend of mine too. He is just like one of the family.

Mrs. Linde. But tell me this--is he perfectly sincere? I mean, isn't he the kind of man that is very anxious to make himself agreeable?

Nora. Not in the least. What makes you think that?

Mrs. Linde. When you introduced him to me yesterday, he declared he had often heard my name mentioned in this house; but afterwards I noticed that your husband hadn't the slightest idea who I was. So how could Doctor Rank--?

Nora. That is quite right, Christine. Torvald is so absurdly fond of me that he wants me absolutely to himself, as he says. At first he used to seem almost jealous if I mentioned any of the dear folk at home, so naturally I gave up doing so. But I often talk about such things with Doctor Rank, because he likes hearing about them.

Mrs. Linde. Listen to me, Nora. You are still very like a child in many things, and I am older than you in many ways and have a little more experience. Let me tell you this--you ought to make an end of it with Doctor Rank.

Nora. What ought I to make an end of?

Mrs. Linde. Of two things, I think. Yesterday you talked some nonsense about a rich admirer who was to leave you money--

Nora. An admirer who doesn't exist, unfortunately! But what then?

Mrs. Linde. Is Doctor Rank a man of means?

Nora. Yes, he is.

Mrs. Linde. And has no one to provide for?

Nora. No, no one; but--

Mrs. Linde. And comes here everyday?

Nora. Yes, I told you so.

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Mrs. Linde. But how can this well-bred man be so tactless?

Nora. I don't understand you at all.

Mrs. Linde. Don't prevaricate, Nora. Do you suppose I don't guess who lent you the two hundred and fifty pounds?

Nora. Are you out of your senses? How can you think of such a thing! A friend of ours, who comes here everyday! Do you realise what a horribly painful position that would be?

Mrs. Linde. Then it really isn't he?

Nora. No, certainly not. It would never have entered into my head for a moment. Besides, he had no money to lend then; he came into his money afterwards.

Mrs. Linde. Well, I think that was lucky for you, my dear Nora.

Nora. No, it would never have come into my head to ask Doctor Rank. Although I am quite sure that if I had asked him--

Mrs. Linde. But of course you won't.

Nora. Of course not. I have no reason to think it could possibly be necessary. But I am quite sure that if I told Doctor Rank--

Mrs. Linde. Behind your husband's back?

Nora. I must make an end of it with the other one, and that will be behind his back too. I must make an end of it with him.

Mrs. Linde. Yes, that is what I told you yesterday, but--

Nora (walking up and down). A man can put a thing like that straight much easier than a woman--

Mrs. Linde. One's husband, yes.

Nora. Nonsense! (Standing still.) When you pay off a debt you get your bond back, don't you?

Mrs. Linde. Yes, as a matter of course.

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Nora. And can tear it into a hundred thousand pieces, and burn it up--the nasty dirty paper!

Mrs. Linde (looks hard at her, lays down her sewing and gets up slowly). Nora, you are concealing something from me.

Nora. Do I look as if I were?

Mrs. Linde. Something has happened to you since yesterday morning. Nora, what is it?

Nora (going nearer to her). Christine! (Listens.) Hush! there's Torvald come home. Do you mind going in to the children for the present? Torvald can't bear to see dressmaking going on. Let Anne help you.

Mrs. Linde (gathering some of the things together). Certainly--but I am not going away from here until we have had it out with one another. (She goes into the room on the left, as HELMER comes in from the hall.)

Nora (going up to HELMER). I have wanted you so much, Torvald dear.

Helmer. Was that the dressmaker?

Nora. No, it was Christine; she is helping me to put my dress in order. You will see I shall look quite smart.

Helmer. Wasn't that a happy thought of mine, now?

Nora. Splendid! But don't you think it is nice of me, too, to do as you wish?

Helmer. Nice?--because you do as your husband wishes? Well, well, you little rogue, I am sure you did not mean it in that way. But I am

not going to disturb you; you will want to be trying on your dress, I expect.

Nora. I suppose you are going to work.

Helmer. Yes. (Shows her a bundle of papers.) Look at that. I have just been into the bank. (Turns to go into his room.)

Nora. Torvald.

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Helmer. Yes.

Nora. If your little squirrel were to ask you for something very, very prettily--?

Helmer. What then?

Nora. Would you do it?

Helmer. I should like to hear what it is, first.

Nora. Your squirrel would run about and do all her tricks if you would be nice, and do what she wants.

Helmer. Speak plainly.

Nora. Your skylark would chirp about in every room, with her song rising and falling--

Helmer. Well, my skylark does that anyhow.

Nora. I would play the fairy and dance for you in the moonlight, Torvald.

Helmer. Nora--you surely don't mean that request you made to me this morning?

Nora (going near him). Yes, Torvald, I beg you so earnestly--

Helmer. Have you really the courage to open up that question again?

Nora. Yes, dear, you must do as I ask; you must let Krogstad keep his post in the bank.

Helmer. My dear Nora, it is his post that I have arranged Mrs. Linde shall have.

Nora. Yes, you have been awfully kind about that; but you could just as well dismiss some other clerk instead of Krogstad.

Helmer. This is simply incredible obstinacy! Because you chose to give him a thoughtless promise that you would speak for him, I am expected to--

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Nora. That isn't the reason, Torvald. It is for your own sake. This fellow writes in the most scurrilous newspapers; you have told me so yourself. He can do you an unspeakable amount of harm. I am frightened to death of him--

Helmer. Ah, I understand; it is recollections of the past that scare you.

Nora. What do you mean?

Helmer. Naturally you are thinking of your father.

Nora. Yes--yes, of course. Just recall to your mind what these malicious creatures wrote in the papers about papa, and how horribly they

slandered him. I believe they would have procured his dismissal if the Department had not sent you over to inquire into it, and if you had not been so kindly disposed and helpful to him.

Helmer. My little Nora, there is an important difference between your father and me. Your father's reputation as a public official was not above suspicion. Mine is, and I hope it will continue to be so, as long as I hold my office.

Nora. You never can tell what mischief these men may contrive. We ought to be so well off, so snug and happy here in our peaceful home, and have no cares--you and I and the children, Torvald! That is why I beg you so earnestly--

Helmer. And it is just by interceding for him that you make it

impossible for me to keep him. It is already known at the Bank that I mean to dismiss Krogstad. Is it to get about now that the new manager has changed his mind at his wife's bidding--

Nora. And what if it did?

Helmer. Of course!--if only this obstinate little person can get her

way! Do you suppose I am going to make myself ridiculous before my whole staff, to let people think that I am a man to be swayed by all sorts of outside influence? I should very soon feel the consequences of it, I can tell you! And besides, there is one thing that makes it quite impossible for me to have Krogstad in the Bank as long as I am manager.

Nora. Whatever is that?

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Helmer. His moral failings I might perhaps have overlooked, if necessary--

Nora. Yes, you could--couldn't you?

Helmer. And I hear he is a good worker, too. But I knew him when we were boys. It was one of those rash friendships that so often prove an incubus in afterlife. I may as well tell you plainly, we were once on very intimate terms with one another. But this tactless fellow lays no restraint on himself when other people are present. On the contrary, he thinks it gives him the right to adopt a familiar tone with me, and every minute it is "I say, Helmer, old fellow!" and that sort of thing. I assure you it is extremely painful for me. He would make my position in the Bank intolerable.

Nora. Torvald, I don't believe you mean that.

Helmer. Don't you? Why not?

Nora. Because it is such a narrow-minded way of looking at things.

Helmer. What are you saying? Narrow-minded? Do you think I am narrow-minded?

Nora. No, just the opposite, dear--and it is exactly for that reason.

Helmer. It's the same thing. You say my point of view is narrow-minded, so I must be so too. Narrow-minded! Very well--I must put an end to this. (Goes to the hall door and calls.) Helen!

Nora. What are you going to do?

Helmer (looking among his papers). Settle it. (Enter MAID.) Look here; take this letter and go downstairs with it at once. Find a messenger and tell him to deliver it, and be quick. The address is on it, and here is the money.

Maid. Very well, sir. (Exit with the letter.)

Helmer (putting his papers together). Now then, little Miss Obstinate.

Nora (breathlessly). Torvald--what was that letter?

Helmer. Krogstad's dismissal.

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Nora. Call her back, Torvald! There is still time. Oh Torvald, call her back! Do it for my sake--for your own sake--for the children's sake! Do you hear me, Torvald? Call her back! You don't know what that letter can bring upon us.

Helmer. It's too late.

Nora. Yes, it's too late.

Helmer. My dear Nora, I can forgive the anxiety you are in, although really it is an insult to me. It is, indeed. Isn't it an insult to think that I should be afraid of a starving quill-driver's vengeance? But I forgive you nevertheless, because it is such eloquent witness to your great love for me. (Takes her in his arms.) And that is as it should be, my own darling Nora. Come what will, you may be sure I shall have both courage and strength if they be needed. You will see I am man enough to take everything upon myself.

Nora (in a horror-stricken voice). What do you mean by that?

Helmer. Everything, I say--

Nora (recovering herself). You will never have to do that.

Helmer. That's right. Well, we will share it, Nora, as man and wife should. That is how it shall be. (Caressing her.) Are you content now? There! There!--not these frightened dove's eyes! The whole thing is only the wildest fancy!--Now, you must go and play through the Tarantella and practise with your tambourine. I shall go into the inner office and shut the door, and I shall hear nothing; you can make as much noise as you please. (Turns back at the door.) And when Rank comes, tell him where he will find me. (Nods to her, takes his papers and goes into his room, and shuts the door after him.)

Nora (bewildered with anxiety, stands as if rooted to the spot, and whispers). He was capable of doing it. He will do it. He will do it in spite of everything.--No, not that! Never, never! Anything rather than that! Oh, for some help, some way out of it! (The door-bell rings.) Doctor Rank! Anything rather than that--anything, whatever it is! (She puts her hands over her face, pulls herself together, goes to the door and opens it. RANK is standing without, hanging up his coat. During the following dialogue it begins to grow dark.)

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Nora. Good day, Doctor Rank. I knew your ring. But you mustn't go in to Torvald now; I think he is busy with something.

Rank. And you?

Nora (brings him in and shuts the door after him). Oh, you know very well I always have time for you.

Rank. Thank you. I shall make use of as much of it as I can.

Nora. What do you mean by that? As much of it as you can?

Rank. Well, does that alarm you?

Nora. It was such a strange way of putting it. Is anything likely to happen?

Rank. Nothing but what I have long been prepared for. But I certainly didn't expect it to happen so soon.

Nora (gripping him by the arm). What have you found out? Doctor Rank, you must tell me.

Rank (sitting down by the stove). It is all up with me. And it can't be helped.

Nora (with a sigh of relief). Is it about yourself?

Rank. Who else? It is no use lying to one's self. I am the most wretched of all my patients, Mrs. Helmer. Lately I have been taking stock of my internal economy. Bankrupt! Probably within a month I shall lie rotting in the churchyard.

Nora. What an ugly thing to say!

Rank. The thing itself is cursedly ugly, and the worst of it is that I shall have to face so much more that is ugly before that. I shall only

make one more examination of myself; when I have done that, I shall know pretty certainly when it will be that the horrors of dissolution will begin. There is something I want to tell you. Helmer's refined nature gives him an unconquerable disgust at everything that is ugly; I won't have him in my sick-room.

Nora. Oh, but, Doctor Rank--

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Rank. I won't have him there. Not on any account. I bar my door to him. As soon as I am quite certain that the worst has come, I shall send you my card with a black cross on it, and then you will know that the loathsome end has begun.

Nora. You are quite absurd today. And I wanted you so much to be in a really good humour.

Rank. With death stalking beside me?--To have to pay this penalty for another man's sin? Is there any justice in that? And in every single

family, in one way or another, some such inexorable retribution is being exacted--

Nora (putting her hands over her ears). Rubbish! Do talk of something cheerful.

Rank. Oh, it's a mere laughing matter, the whole thing. My poor innocent spine has to suffer for my father's youthful amusements.

Nora (sitting at the table on the left). I suppose you mean that he was too partial to asparagus and pate de foie gras, don't you?

Rank. Yes, and to truffles.

Nora. Truffles, yes. And oysters too, I suppose?

Rank. Oysters, of course, that goes without saying.

Nora. And heaps of port and champagne. It is sad that all these nice things should take their revenge on our bones.

Rank. Especially that they should revenge themselves on the unlucky bones of those who have not had the satisfaction of enjoying them.

Nora. Yes, that's the saddest part of it all.

Rank (with a searching look at her). Hm!--

Nora (after a short pause). Why did you smile?

Rank. No, it was you that laughed.

Nora. No, it was you that smiled, Doctor Rank!

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Rank (rising). You are a greater rascal than I thought.

Nora. I am in a silly mood today.

Rank. So it seems.

Nora (putting her hands on his shoulders). Dear, dear Doctor Rank, death mustn't take you away from Torvald and me.

Rank. It is a loss you would easily recover from. Those who are gone are soon forgotten.

Nora (looking at him anxiously). Do you believe that?

Rank. People form new ties, and then--

Nora. Who will form new ties?

Rank. Both you and Helmer, when I am gone. You yourself are already on the high road to it, I think. What did that Mrs. Linde want here last night?

Nora. Oho!--you don't mean to say you are jealous of poor Christine?

Rank. Yes, I am. She will be my successor in this house. When I am done for, this woman will--

Nora. Hush! don't speak so loud. She is in that room.

Rank. Today again. There, you see.

Nora. She has only come to sew my dress for me. Bless my soul, how unreasonable you are! (Sits down on the sofa.) Be nice now, Doctor Rank, and tomorrow you will see how beautifully I shall dance, and you can imagine I am doing it all for you--and for Torvald too, of course.

(Takes various things out of the box.) Doctor Rank, come and sit down here, and I will show you something.

Rank (sitting down). What is it?

Nora. Just look at those!

Rank. Silk stockings.

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Nora. Flesh-coloured. Aren't they lovely? It is so dark here now, but

tomorrow--. No, no, no! you must only look at the feet. Oh well, you may have leave to look at the legs too.

Rank. Hm!--Nora. Why are you looking so critical? Don't you think they will fit me?

Rank. I have no means of forming an opinion about that.

Nora (looks at him for a moment). For shame! (Hits him lightly on the ear with the stockings.) That's to punish you. (Folds them up again.)

Rank. And what other nice things am I to be allowed to see?

Nora. Not a single thing more, for being so naughty. (She looks among the things, humming to herself.)

Rank (after a short silence). When I am sitting here, talking to you as

intimately as this, I cannot imagine for a moment what would have become of me if I had never come into this house.

Nora (smiling). I believe you do feel thoroughly at home with us.

Rank (in a lower voice, looking straight in front of him). And to be obliged to leave it all--

Nora. Nonsense, you are not going to leave it.

Rank (as before). And not be able to leave behind one the slightest token of one's gratitude, scarcely even a fleeting regret--nothing but an empty place which the first comer can fill as well as any other.

Nora. And if I asked you now for a--? No!

Rank. For what?

Nora. For a big proof of your friendship--

Rank. Yes, yes!

Nora. I mean a tremendously big favour--

Rank. Would you really make me so happy for once?

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Nora. Ah, but you don't know what it is yet.

Rank. No--but tell me.

Nora. I really can't, Doctor Rank. It is something out of all reason; it means advice, and help, and a favour--

Rank. The bigger a thing it is the better. I can't conceive what it is you mean. Do tell me. Haven't I your confidence?

Nora. More than anyone else. I know you are my truest and best friend, and so I will tell you what it is. Well, Doctor Rank, it is something

you must help me to prevent. You know how devotedly, how inexpressibly deeply Torvald loves me; he would never for a moment hesitate to give his life for me.

Rank (leaning towards her). Nora--do you think he is the only one--?

Nora (with a slight start). The only one--?

Rank. The only one who would gladly give his life for your sake.

Nora (sadly). Is that it?

Rank. I was determined you should know it before I went away, and there will never be a better opportunity than this. Now you know it, Nora. And now you know, too, that you can trust me as you would trust no one else.

Nora (rises, deliberately and quietly). Let me pass.

Rank (makes room for her to pass him, but sits still). Nora!

Nora (at the hall door). Helen, bring in the lamp. (Goes over to the stove.) Dear Doctor Rank, that was really horrid of you.

Rank. To have loved you as much as anyone else does? Was that horrid?

Nora. No, but to go and tell me so. There was really no need--

Rank. What do you mean? Did you know--? (MAID enters with lamp, puts it down on the table, and goes out.) Nora--Mrs. Helmer--tell me, had you any idea of this?

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Nora. Oh, how do I know whether I had or whether I hadn't? I really can't tell you--To think you could be so clumsy, Doctor Rank! We were getting on so nicely.

Rank. Well, at all events you know now that you can command me, body and soul. So won't you speak out?

Nora (looking at him). After what happened?

Rank. I beg you to let me know what it is.

Nora. I can't tell you anything now.

Rank. Yes, yes. You mustn't punish me in that way. Let me have

permission to do for you whatever a man may do.

Nora. You can do nothing for me now. Besides, I really don't need any help at all. You will find that the whole thing is merely fancy on my part. It really is so--of course it is! (Sits down in the rocking-chair, and looks at him with a smile.) You are a nice sort of man, Doctor Rank!--don't you feel ashamed of yourself, now the lamp has come?

Rank. Not a bit. But perhaps I had better go--for ever?

Nora. No, indeed, you shall not. Of course you must come here just as before. You know very well Torvald can't do without you.

Rank. Yes, but you?

Nora. Oh, I am always tremendously pleased when you come.

Rank. It is just that, that put me on the wrong track. You are a riddle to me. I have often thought that you would almost as soon be in my company as in Helmer's.

Nora. Yes--you see there are some people one loves best, and others whom one would almost always rather have as companions.

Rank. Yes, there is something in that.

Nora. When I was at home, of course I loved papa best. But I always thought it tremendous fun if I could steal down into the maids' room, because they never moralised at all, and talked to each other about such entertaining things.

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Rank. I see--it is their place I have taken.

Nora (jumping up and going to him). Oh, dear, nice Doctor Rank, I never meant that at all. But surely you can understand that being with Torvald is a little like being with papa--(Enter MAID from the hall.)

Maid. If you please, ma'am. (Whispers and hands her a card.)

Nora (glancing at the card). Oh! (Puts it in her pocket.)

Rank. Is there anything wrong?

Nora. No, no, not in the least. It is only something--it is my new dress--

Rank. What? Your dress is lying there.

Nora. Oh, yes, that one; but this is another. I ordered it. Torvald mustn't know about it--

Rank. Oho! Then that was the great secret.

Nora. Of course. Just go in to him; he is sitting in the inner room. Keep him as long as--

Rank. Make your mind easy; I won't let him escape.

(Goes into HELMER'S room.)

Nora (to the MAID). And he is standing waiting in the kitchen?

Maid. Yes; he came up the back stairs.

Nora. But didn't you tell him no one was in?

Maid. Yes, but it was no good.

Nora. He won't go away?

Maid. No; he says he won't until he has seen you, ma'am.

Nora. Well, let him come in--but quietly. Helen, you mustn't say anything about it to anyone. It is a surprise for my husband.

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Maid. Yes, ma'am, I quite understand. (Exit.)

Nora. This dreadful thing is going to happen! It will happen in spite of me! No, no, no, it can't happen--it shan't happen! (She bolts the door

of HELMER'S room. The MAID opens the hall door for KROGSTAD and shuts it after him. He is wearing a fur coat, high boots and a fur cap.)

Nora (advancing towards him). Speak low--my husband is at home.

Krogstad. No matter about that.

Nora. What do you want of me?

Krogstad. An explanation of something.

Nora. Make haste then. What is it?

Krogstad. You know, I suppose, that I have got my dismissal.

Nora. I couldn't prevent it, Mr. Krogstad. I fought as hard as I could

on your side, but it was no good.

Krogstad. Does your husband love you so little, then? He knows what I can expose you to, and yet he ventures--

Nora. How can you suppose that he has any knowledge of the sort?

Krogstad. I didn't suppose so at all. It would not be the least like our dear Torvald Helmer to show so much courage--

Nora. Mr. Krogstad, a little respect for my husband, please.

Krogstad. Certainly--all the respect he deserves. But since you have kept the matter so carefully to yourself, I make bold to suppose that

you have a little clearer idea, than you had yesterday, of what it

actually is that you have done?

Nora. More than you could ever teach me.

Krogstad. Yes, such a bad lawyer as I am.

Nora. What is it you want of me?

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Krogstad. Only to see how you were, Mrs. Helmer. I have been thinking about you all day long. A mere cashier, a quill-driver, a--well, a man

like me--even he has a little of what is called feeling, you know.

Nora. Show it, then; think of my little children.

Krogstad. Have you and your husband thought of mine? But never mind about that. I only wanted to tell you that you need not take this matter too seriously. In the first place there will be no accusation made on my part.

Nora. No, of course not; I was sure of that.

Krogstad. The whole thing can be arranged amicably; there is no reason why anyone should know anything about it. It will remain a secret

between us three.

Nora. My husband must never get to know anything about it.

Krogstad. How will you be able to prevent it? Am I to understand that you can pay the balance that is owing?

Nora. No, not just at present.

Krogstad. Or perhaps that you have some expedient for raising the money soon?

Nora. No expedient that I mean to make use of.

Krogstad. Well, in any case, it would have been of no use to you now. If you stood there with ever so much money in your hand, I would never part with your bond.

Nora. Tell me what purpose you mean to put it to.

Krogstad. I shall only preserve it--keep it in my possession. No one who is not concerned in the matter shall have the slightest hint of it. So

that if the thought of it has driven you to any desperate resolution--

Nora. It has.

Krogstad. If you had it in your mind to run away from your home--

Nora. I had.

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Krogstad. Or even something worse--

Nora. How could you know that?

Krogstad. Give up the idea.

Nora. How did you know I had thought of that?

Krogstad. Most of us think of that at first. I did, too--but I hadn't the courage.

Nora (faintly). No more had I.

Krogstad (in a tone of relief). No, that's it, isn't it--you hadn't the courage either?

Nora. No, I haven't--I haven't.

Krogstad. Besides, it would have been a great piece of folly. Once the first storm at home is over--. I have a letter for your husband in my pocket.

Nora. Telling him everything?

Krogstad. In as lenient a manner as I possibly could.

Nora (quickly). He mustn't get the letter. Tear it up. I will find some means of getting money.

Krogstad. Excuse me, Mrs. Helmer, but I think I told you just now--

Nora. I am not speaking of what I owe you. Tell me what sum you are asking my husband for, and I will get the money.

Krogstad. I am not asking your husband for a penny.

Nora. What do you want, then?

Krogstad. I will tell you. I want to rehabilitate myself, Mrs. Helmer; I want to get on; and in that your husband must help me. For the last year and a half I have not had a hand in anything dishonourable, amid all that time I have been struggling in most restricted circumstances. I was content to work my way up step by step. Now I am turned out, and I am not going to be satisfied with merely being taken into favour again.

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I want to get on, I tell you. I want to get into the Bank again, in a higher position. Your husband must make a place for me--

Nora. That he will never do!

Krogstad. He will; I know him; he dare not protest. And as soon as I am in there again with him, then you will see! Within a year I shall be the manager's right hand. It will be Nils Krogstad and not Torvald Helmer who manages the Bank.

Nora. That's a thing you will never see!

Krogstad. Do you mean that you will--?

Nora. I have courage enough for it now.

Krogstad. Oh, you can't frighten me. A fine, spoilt lady like you--

Nora. You will see, you will see.

Krogstad. Under the ice, perhaps? Down into the cold, coal-black water? And then, in the spring, to float up to the surface, all horrible and unrecognisable, with your hair fallen out--

Nora. You can't frighten me.

Krogstad. Nor you me. People don't do such things, Mrs. Helmer. Besides, what use would it be? I should have him completely in my power all the same.

Nora. Afterwards? When I am no longer--

Krogstad. Have you forgotten that it is I who have the keeping of your reputation? (NORA stands speechlessly looking at him.) Well, now, I have warned you. Do not do anything foolish. When Helmer has had my letter, I shall expect a message from him. And be sure you remember that it is your husband himself who has forced me into such ways as this again. I will never forgive him for that. Goodbye, Mrs. Helmer. (Exit through the hall.)

Nora (goes to the hall door, opens it slightly and listens.) He is going. He is not putting the letter in the box. Oh no, no! that's

impossible! (Opens the door by degrees.) What is that? He is standing outside. He is not going downstairs. Is he hesitating? Can he--? (A

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letter drops into the box; then KROGSTAD'S footsteps are heard, until they die away as he goes downstairs. NORA utters a stifled cry, and runs across the room to the table by the sofa. A short pause.)

Nora. In the letter-box. (Steals across to the hall door.) There it lies--Torvald, Torvald, there is no hope for us now!

(Mrs. LINDE comes in from the room on the left, carrying the dress.)

Mrs. Linde. There, I can't see anything more to mend now. Would you like to try it on--?

Nora (in a hoarse whisper). Christine, come here.

Mrs. Linde (throwing the dress down on the sofa). What is the matter with you? You look so agitated!

Nora. Come here. Do you see that letter? There, look--you can see it through the glass in the letter-box.

Mrs. Linde. Yes, I see it.

Nora. That letter is from Krogstad.

Mrs. Linde. Nora--it was Krogstad who lent you the money!

Nora. Yes, and now Torvald will know all about it.

Mrs. Linde. Believe me, Nora, that's the best thing for both of you.

Nora. You don't know all. I forged a name.

Mrs. Linde. Good heavens--!

Nora. I only want to say this to you, Christine--you must be my witness.

Mrs. Linde. Your witness? What do you mean? What am I to--?

Nora. If I should go out of my mind--and it might easily happen--

Mrs. Linde. Nora!

Nora. Or if anything else should happen to me--anything, for instance, that might prevent my being here--

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Mrs. Linde. Nora! Nora! you are quite out of your mind.

Nora. And if it should happen that there were some one who wanted to take all the responsibility, all the blame, you understand--

Mrs. Linde. Yes, yes--but how can you suppose--?

Nora. Then you must be my witness, that it is not true, Christine. I am not out of my mind at all; I am in my right senses now, and I tell you no one else has known anything about it; I, and I alone, did the whole thing. Remember that.

Mrs. Linde. I will, indeed. But I don't understand all this.

Nora. How should you understand it? A wonderful thing is going to happen!

Mrs. Linde. A wonderful thing?

Nora. Yes, a wonderful thing!--But it is so terrible, Christine; it mustn't happen, not for all the world.

Mrs. Linde. I will go at once and see Krogstad.

Nora. Don't go to him; he will do you some harm.

Mrs. Linde. There was a time when he would gladly do anything for my sake.

Nora. He?

Mrs. Linde. Where does he live?

Nora. How should I know--? Yes (feeling in her pocket), here is his card. But the letter, the letter--!

Helmer (calls from his room, knocking at the door). Nora! Nora (cries out anxiously). Oh, what's that? What do you want?

Helmer. Don't be so frightened. We are not coming in; you have locked the door. Are you trying on your dress?

Nora. Yes, that's it. I look so nice, Torvald.

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Mrs. Linde (who has read the card). I see he lives at the corner here.

Nora. Yes, but it's no use. It is hopeless. The letter is lying there in the box.

Mrs. Linde. And your husband keeps the key?

Nora. Yes, always.

Mrs. Linde. Krogstad must ask for his letter back unread, he must find some pretence--

Nora. But it is just at this time that Torvald generally--

Mrs. Linde. You must delay him. Go in to him in the meantime. I will come back as soon as I can. (She goes out hurriedly through the hall door.)

Nora (goes to HELMER'S door, opens it and peeps in). Torvald!

Helmer (from the inner room). Well? May I venture at last to come into my own room again? Come along, Rank, now you will see-- (Halting in the doorway.) But what is this?

Nora. What is what, dear?

Helmer. Rank led me to expect a splendid transformation.

Rank (in the doorway). I understood so, but evidently I was mistaken.

Nora. Yes, nobody is to have the chance of admiring me in my dress until tomorrow.

Helmer. But, my dear Nora, you look so worn out. Have you been practising too much?

Nora. No, I have not practised at all.

Helmer. But you will need to--

Nora. Yes, indeed I shall, Torvald. But I can't get on a bit without you to help me; I have absolutely forgotten the whole thing.

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Helmer. Oh, we will soon work it up again.

Nora. Yes, help me, Torvald. Promise that you will! I am so nervous

about it--all the people--. You must give yourself up to me entirely

this evening. Not the tiniest bit of business--you mustn't even take a

pen in your hand. Will you promise, Torvald dear?

Helmer. I promise. This evening I will be wholly and absolutely at your service, you helpless little mortal. Ah, by the way, first of all I will

just--(Goes towards the hall door.)

Nora. What are you going to do there?

Helmer. Only see if any letters have come.

Nora. No, no! don't do that, Torvald!

Helmer. Why not?

Nora. Torvald, please don't. There is nothing there.

Helmer. Well, let me look. (Turns to go to the letter-box. NORA, at

the piano, plays the first bars of the Tarantella. HELMER stops in the doorway.) Aha!

Nora. I can't dance tomorrow if I don't practise with you.

Helmer (going up to her). Are you really so afraid of it, dear?

Nora. Yes, so dreadfully afraid of it. Let me practise at once; there

is time now, before we go to dinner. Sit down and play for me, Torvald dear; criticise me, and correct me as you play.

Helmer. With great pleasure, if you wish me to. (Sits down at the

piano.)

Nora (takes out of the box a tambourine and a long variegated shawl. She hastily drapes the shawl round her. Then she springs to the front of the stage and calls out). Now play for me! I am going to dance!

(HELMER plays and NORA dances. RANK stands by the piano behind HELMER, and looks on.)

Helmer (as he plays). Slower, slower!

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Nora. I can't do it any other way.

Helmer. Not so violently, Nora!

Nora. This is the way.

Helmer (stops playing). No, no--that is not a bit right.

Nora (laughing and swinging the tambourine). Didn't I tell you so?

Rank. Let me play for her.

Helmer (getting up). Yes, do. I can correct her better then.

(RANK sits down at the piano and plays. NORA dances more and more wildly. HELMER has taken up a position beside the stove, and during her dance gives her frequent instructions. She does not seem to hear him; her hair comes down and falls over her shoulders; she pays no attention to it, but goes on dancing. Enter Mrs. LINDE.)

Mrs. Linde (standing as if spell-bound in the doorway). Oh!--

Nora (as she dances). Such fun, Christine!

Helmer. My dear darling Nora, you are dancing as if your life depended on it.

Nora. So it does.

Helmer. Stop, Rank; this is sheer madness. Stop, I tell you! (RANK stops playing, and NORA suddenly stands still. HELMER goes up to her.) I could never have believed it. You have forgotten everything I taught you.

Nora (throwing away the tambourine). There, you see.

Helmer. You will want a lot of coaching.

Nora. Yes, you see how much I need it. You must coach me up to the last minute. Promise me that, Torvald!

Helmer. You can depend on me.

Nora. You must not think of anything but me, either today or tomorrow;

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you mustn't open a single letter--not even open the letter-box--

Helmer. Ah, you are still afraid of that fellow--

Nora. Yes, indeed I am.

Helmer. Nora, I can tell from your looks that there is a letter from him lying there.

Nora. I don't know; I think there is; but you must not read anything of that kind now. Nothing horrid must come between us until this is all over.

Rank (whispers to HELMER). You mustn't contradict her.

Helmer (taking her in his arms). The child shall have her way. But tomorrow night, after you have danced--

Nora. Then you will be free. (The MAID appears in the doorway to the right.)

Maid. Dinner is served, ma'am.

Nora. We will have champagne, Helen.

Maid. Very good, ma'am. [Exit.

Helmer. Hullo!--are we going to have a banquet?

Nora. Yes, a champagne banquet until the small hours. (Calls out.) And a few macaroons, Helen--lots, just for once!

Helmer. Come, come, don't be so wild and nervous. Be my own little skylark, as you used.

Nora. Yes, dear, I will. But go in now and you too, Doctor Rank. Christine, you must help me to do up my hair.

Rank (whispers to HELMER as they go out). I suppose there is nothing--she is not expecting anything?

Helmer. Far from it, my dear fellow; it is simply nothing more than this childish nervousness I was telling you of. (They go into the right-hand room.)

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Nora. Well!

Mrs. Linde. Gone out of town.

Nora. I could tell from your face.

Mrs. Linde. He is coming home tomorrow evening. I wrote a note for him.

Nora. You should have let it alone; you must prevent nothing. After all, it is splendid to be waiting for a wonderful thing to happen.

Mrs. Linde. What is it that you are waiting for?

Nora. Oh, you wouldn't understand. Go in to them, I will come in a

moment. (Mrs. LINDE goes into the dining-room. NORA stands still for a little while, as if to compose herself. Then she looks at her watch.)

Five o'clock. Seven hours until midnight; and then four-and-twenty hours until the next midnight. Then the Tarantella will be over. Twenty-four and seven? Thirty-one hours to live.

Helmer (from the doorway on the right). Where's my little skylark?

Nora (going to him with her arms outstretched). Here she is!

ACT III

(THE SAME SCENE.--The table has been placed in the middle of the stage, with chairs around it. A lamp is burning on the table. The door into the hall stands open. Dance music is heard in the room above. Mrs. LINDE is sitting at the table idly turning over the leaves of a book; she tries to read, but does not seem able to collect her thoughts. Every now and then she listens intently for a sound at the outer door.)

Mrs. Linde (looking at her watch). Not yet--and the time is nearly up. If only he does not--. (Listens again.) Ah, there he is. (Goes into the hall and opens the outer door carefully. Light footsteps are heard on the stairs. She whispers.) Come in. There is no one here.

Krogstad (in the doorway). I found a note from you at home. What does this mean?

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Mrs. Linde. It is absolutely necessary that I should have a talk with you.

Krogstad. Really? And is it absolutely necessary that it should be here?

Mrs. Linde. It is impossible where I live; there is no private entrance to my rooms. Come in; we are quite alone. The maid is asleep, and the Helmers are at the dance upstairs.

Krogstad (coming into the room). Are the Helmers really at a dance tonight?

Mrs. Linde. Yes, why not?

Krogstad. Certainly--why not?

Mrs. Linde. Now, Nils, let us have a talk.

Krogstad. Can we two have anything to talk about?

Mrs. Linde. We have a great deal to talk about.

Krogstad. I shouldn't have thought so.

Mrs. Linde. No, you have never properly understood me.

Krogstad. Was there anything else to understand except what was obvious to all the world--a heartless woman jilts a man when a more lucrative chance turns up?

Mrs. Linde. Do you believe I am as absolutely heartless as all that? And do you believe that I did it with a light heart?

Krogstad. Didn't you?

Mrs. Linde. Nils, did you really think that?

Krogstad. If it were as you say, why did you write to me as you did at the time?

Mrs. Linde. I could do nothing else. As I had to break with you, it was my duty also to put an end to all that you felt for me.

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Krogstad (wringing his hands). So that was it. And all this--only for the sake of money!

Mrs. Linde. You must not forget that I had a helpless mother and two little brothers. We couldn't wait for you, Nils; your prospects seemed hopeless then.

Krogstad. That may be so, but you had no right to throw me over for anyone else's sake.

Mrs. Linde. Indeed I don't know. Many a time did I ask myself if I had the right to do it.

Krogstad (more gently). When I lost you, it was as if all the solid

ground went from under my feet. Look at me now--I am a shipwrecked man clinging to a bit of wreckage.

Mrs. Linde. But help may be near.

Krogstad. It was near; but then you came and stood in my way.

Mrs. Linde. Unintentionally, Nils. It was only today that I learned it was your place I was going to take in the Bank.

Krogstad. I believe you, if you say so. But now that you know it, are you not going to give it up to me?

Mrs. Linde. No, because that would not benefit you in the least.

Krogstad. Oh, benefit, benefit--I would have done it whether or no.

Mrs. Linde. I have learned to act prudently. Life, and hard, bitter necessity have taught me that.

Krogstad. And life has taught me not to believe in fine speeches.

Mrs. Linde. Then life has taught you something very reasonable. But deeds you must believe in?

Krogstad. What do you mean by that?

Mrs. Linde. You said you were like a shipwrecked man clinging to some wreckage.

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Krogstad. I had good reason to say so.

Mrs. Linde. Well, I am like a shipwrecked woman clinging to some wreckage--no one to mourn for, no one to care for.

Krogstad. It was your own choice.

Mrs. Linde. There was no other choice--then.

Krogstad. Well, what now?

Mrs. Linde. Nils, how would it be if we two shipwrecked people could join forces?

Krogstad. What are you saying?

Mrs. Linde. Two on the same piece of wreckage would stand a better chance than each on their own.

Krogstad. Christine I...

Mrs. Linde. What do you suppose brought me to town?

Krogstad. Do you mean that you gave me a thought?

Mrs. Linde. I could not endure life without work. All my life, as long as I can remember, I have worked, and it has been my greatest and only pleasure. But now I am quite alone in the world--my life is so dreadfully empty and I feel so forsaken. There is not the least pleasure in working for one's self. Nils, give me someone and something to work for.

Krogstad. I don't trust that. It is nothing but a woman's overstrained sense of generosity that prompts you to make such an offer of yourself.

Mrs. Linde. Have you ever noticed anything of the sort in me?

Krogstad. Could you really do it? Tell me--do you know all about my past life?

Mrs. Linde. Yes.

Krogstad. And do you know what they think of me here?

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Mrs. Linde. You seemed to me to imply that with me you might have been quite another man.

Krogstad. I am certain of it.

Mrs. Linde. Is it too late now?

Krogstad. Christine, are you saying this deliberately? Yes, I am sure you are. I see it in your face. Have you really the courage, then--?

Mrs. Linde. I want to be a mother to someone, and your children need a mother. We two need each other. Nils, I have faith in your real character--I can dare anything together with you.

Krogstad (grasps her hands). Thanks, thanks, Christine! Now I shall find a way to clear myself in the eyes of the world. Ah, but I forgot--

Mrs. Linde (listening). Hush! The Tarantella! Go, go!

Krogstad. Why? What is it?

Mrs. Linde. Do you hear them up there? When that is over, we may expect them back.

Krogstad. Yes, yes--I will go. But it is all no use. Of course you are not aware what steps I have taken in the matter of the Helmers.

Mrs. Linde. Yes, I know all about that.

Krogstad. And in spite of that have you the courage to--?

Mrs. Linde. I understand very well to what lengths a man like you might be driven by despair.

Krogstad. If I could only undo what I have done!

Mrs. Linde. You cannot. Your letter is lying in the letter-box now.

Krogstad. Are you sure of that?

Mrs. Linde. Quite sure, but--

Krogstad (with a searching look at her). Is that what it all

means?--that you want to save your friend at any cost? Tell me frankly.

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Is that it?

Mrs. Linde. Nils, a woman who has once sold herself for another's sake, doesn't do it a second time.

Krogstad. I will ask for my letter back.

Mrs. Linde. No, no.

Krogstad. Yes, of course I will. I will wait here until Helmer comes; I will tell him he must give me my letter back--that it only concerns my dismissal--that he is not to read it--

Mrs. Linde. No, Nils, you must not recall your letter.

Krogstad. But, tell me, wasn't it for that very purpose that you asked me to meet you here?

Mrs. Linde. In my first moment of fright, it was. But twenty-four hours have elapsed since then, and in that time I have witnessed incredible things in this house. Helmer must know all about it. This unhappy secret must be disclosed; they must have a complete understanding between them, which is impossible with all this concealment and falsehood going on.

Krogstad. Very well, if you will take the responsibility. But there is one thing I can do in any case, and I shall do it at once.

Mrs. Linde (listening). You must be quick and go! The dance is over; we are not safe a moment longer.

Krogstad. I will wait for you below.

Mrs. Linde. Yes, do. You must see me back to my door...

Krogstad. I have never had such an amazing piece of good fortune in my life! (Goes out through the outer door. The door between the room and the hall remains open.)

Mrs. Linde (tidying up the room and laying her hat and cloak ready). What a difference! what a difference! Someone to work for and live for--a home to bring comfort into. That I will do, indeed. I wish they would be quick and come--(Listens.) Ah, there they are now. I must put on my things. (Takes up her hat and cloak. HELMER'S and NORA'S voices are heard outside; a key is turned, and HELMER brings NORA almost by

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force into the hall. She is in an Italian costume with a large black shawl around her; he is in evening dress, and a black domino which is flying open.)

Nora (hanging back in the doorway, and struggling with him). No, no, no!--don't take me in. I want to go upstairs again; I don't want to leave so early.

Helmer. But, my dearest Nora--

Nora. Please, Torvald dear--please, please--only an hour more.

Helmer. Not a single minute, my sweet Nora. You know that was our agreement. Come along into the room; you are catching cold standing there. (He brings her gently into the room, in spite of her resistance.)

Mrs. Linde. Good evening.

Nora. Christine!

Helmer. You here, so late, Mrs. Linde?

Mrs. Linde. Yes, you must excuse me; I was so anxious to see Nora in her dress.

Nora. Have you been sitting here waiting for me?

Mrs. Linde. Yes, unfortunately I came too late, you had already gone upstairs; and I thought I couldn't go away again without having seen you.

Helmer (taking off NORA'S shawl). Yes, take a good look at her. I think she is worth looking at. Isn't she charming, Mrs. Linde?

Mrs. Linde. Yes, indeed she is.

Helmer. Doesn't she look remarkably pretty? Everyone thought so at the dance. But she is terribly self-willed, this sweet little person. What are we to do with her? You will hardly believe that I had almost to bring her away by force.

Nora. Torvald, you will repent not having let me stay, even if it were only for half an hour.

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Helmer. Listen to her, Mrs. Linde! She had danced her Tarantella, and it had been a tremendous success, as it deserved--although possibly the performance was a trifle too realistic--a little more so, I mean, than was strictly compatible with the limitations of art. But never mind about that! The chief thing is, she had made a success--she had made a tremendous success. Do you think I was going to let her remain there after that, and spoil the effect? No, indeed! I took my charming little Capri maiden--my capricious little Capri maiden, I should say--on my arm; took one quick turn round the room; a curtsey on either side, and, as they say in novels, the beautiful apparition disappeared. An exit

ought always to be effective, Mrs. Linde; but that is what I cannot make Nora understand. Pooh! this room is hot. (Throws his domino on a chair, and opens the door of his room.) Hullo! it's all dark in here. Oh, of course--excuse me--. (He goes in, and lights some candles.)

Nora (in a hurried and breathless whisper). Well?

Mrs. Linde (in a low voice). I have had a talk with him.

Nora. Yes, and--

Mrs. Linde. Nora, you must tell your husband all about it.

Nora (in an expressionless voice). I knew it.

Mrs. Linde. You have nothing to be afraid of as far as Krogstad is concerned; but you must tell him.

Nora. I won't tell him.

Mrs. Linde. Then the letter will.

Nora. Thank you, Christine. Now I know what I must do. Hush--!

Helmer (coming in again). Well, Mrs. Linde, have you admired her?

Mrs. Linde. Yes, and now I will say goodnight.

Helmer. What, already? Is this yours, this knitting?

Mrs. Linde (taking it). Yes, thank you, I had very nearly forgotten it.

Helmer. So you knit?

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Mrs. Linde. Of course.

Helmer. Do you know, you ought to embroider.

Mrs. Linde. Really? Why?

Helmer. Yes, it's far more becoming. Let me show you. You hold the embroidery thus in your left hand, and use the needle with the right--like this--with a long, easy sweep. Do you see?

Mrs. Linde. Yes, perhaps--

Helmer. But in the case of knitting--that can never be anything but ungraceful; look here--the arms close together, the knitting-needles going up and down--it has a sort of Chinese effect--. That was really excellent champagne they gave us.

Mrs. Linde. Well,--goodnight, Nora, and don't be self-willed any more.

Helmer. That's right, Mrs. Linde.

Mrs. Linde. Goodnight, Mr. Helmer.

Helmer (accompanying her to the door). Goodnight, goodnight. I hope you will get home all right. I should be very happy to--but you haven't any great distance to go. Goodnight, goodnight. (She goes out; he shuts the door after her, and comes in again.) Ah!--at last we have got rid of her. She is a frightful bore, that woman.

Nora. Aren't you very tired, Torvald?

Helmer. No, not in the least.

Nora. Nor sleepy?

Helmer. Not a bit. On the contrary, I feel extraordinarily lively. And you?--you really look both tired and sleepy.

Nora. Yes, I am very tired. I want to go to sleep at once.

Helmer. There, you see it was quite right of me not to let you stay there any longer.

Nora. Everything you do is quite right, Torvald.

61阅读/ www.61k.net

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Helmer (kissing her on the forehead). Now my little skylark is speaking reasonably. Did you notice what good spirits Rank was in this evening?

Nora. Really? Was he? I didn't speak to him at all.

Helmer. And I very little, but I have not for a long time seen him in such good form. (Looks for a while at her and then goes nearer to her.) It is delightful to be at home by ourselves again, to be all alone with you--you fascinating, charming little darling!

Nora. Don't look at me like that, Torvald.

Helmer. Why shouldn't I look at my dearest treasure?--at all the beauty that is mine, all my very own?

Nora (going to the other side of the table). You mustn't say things like that to me tonight.

Helmer (following her). You have still got the Tarantella in your blood, I see. And it makes you more captivating than ever. Listen--the guests are beginning to go now. (In a lower voice.) Nora--soon the whole house will be quiet.

Nora. Yes, I hope so.

Helmer. Yes, my own darling Nora. Do you know, when I am out at a party with you like this, why I speak so little to you, keep away from you, and only send a stolen glance in your direction now and then?--do you know why I do that? It is because I make believe to myself that we are secretly in love, and you are my secretly promised bride, and that no one suspects there is anything between us.

Nora. Yes, yes--I know very well your thoughts are with me all the time.

Helmer. And when we are leaving, and I am putting the shawl over your beautiful young shoulders--on your lovely neck--then I imagine that you are my young bride and that we have just come from the wedding, and I am bringing you for the first time into our home--to be alone with you for the first time--quite alone with my shy little darling! All this evening I have longed for nothing but you. When I watched the seductive figures of the Tarantella, my blood was on fire; I could endure it no longer, and that was why I brought you down so early--

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Nora. Go away, Torvald! You must let me go. I won't--

Helmer. What's that? You're joking, my little Nora! You won't--you won't? Am I not your husband--? (A knock is heard at the outer door.)

Nora (starting). Did you hear--?

Helmer (going into the hall). Who is it?

Rank (outside). It is I. May I come in for a moment?

Helmer (in a fretful whisper). Oh, what does he want now? (Aloud.) Wait a minute! (Unlocks the door.) Come, that's kind of you not to pass by our door.

Rank. I thought I heard your voice, and felt as if I should like to look in. (With a swift glance round.) Ah, yes!--these dear familiar rooms. You are very happy and cosy in here, you two.

Helmer. It seems to me that you looked after yourself pretty well upstairs too.

Rank. Excellently. Why shouldn't I? Why shouldn't one enjoy everything in this world?--at any rate as much as one can, and as long as one can. The wine was capital--

Helmer. Especially the champagne.

Rank. So you noticed that too? It is almost incredible how much I managed to put away!

Nora. Torvald drank a great deal of champagne tonight too.

Rank. Did he?

Nora. Yes, and he is always in such good spirits afterwards.

Rank. Well, why should one not enjoy a merry evening after a well-spent day?

Helmer. Well spent? I am afraid I can't take credit for that.

Rank (clapping him on the back). But I can, you know!

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Nora. Doctor Rank, you must have been occupied with some scientific investigation today.

Rank. Exactly.

Helmer. Just listen!--little Nora talking about scientific

investigations!

Nora. And may I congratulate you on the result?

Rank. Indeed you may.

Nora. Was it favourable, then?

Rank. The best possible, for both doctor and patient--certainty.

Nora (quickly and searchingly). Certainty?

Rank. Absolute certainty. So wasn't I entitled to make a merry evening of it after that?

Nora. Yes, you certainly were, Doctor Rank. Helmer. I think so too, so long as you don't have to pay for it in the morning.

Rank. Oh well, one can't have anything in this life without paying for it.

Nora. Doctor Rank--are you fond of fancy-dress balls?

Rank. Yes, if there is a fine lot of pretty costumes.

Nora. Tell me--what shall we two wear at the next?

Helmer. Little featherbrain!--are you thinking of the next already?

Rank. We two? Yes, I can tell you. You shall go as a good fairy--

Helmer. Yes, but what do you suggest as an appropriate costume for that?

Rank. Let your wife go dressed just as she is in everyday life.

Helmer. That was really very prettily turned. But can't you tell us what you will be?

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Rank. Yes, my dear friend, I have quite made up my mind about that.

Helmer. Well?

Rank. At the next fancy-dress ball I shall be invisible.

Helmer. That's a good joke!

Rank. There is a big black hat--have you never heard of hats that make you invisible? If you put one on, no one can see you.

Helmer (suppressing a smile). Yes, you are quite right.

Rank. But I am clean forgetting what I came for. Helmer, give me a cigar--one of the dark Havanas.

Helmer. With the greatest pleasure. (Offers him his case.)

Rank (takes a cigar and cuts off the end). Thanks.

Nora (striking a match). Let me give you a light.

Rank. Thank you. (She holds the match for him to light his cigar.) And now goodbye!

Helmer. Goodbye, goodbye, dear old man!

Nora. Sleep well, Doctor Rank.

Rank. Thank you for that wish.

Nora. Wish me the same.

Rank. You? Well, if you want me to sleep well! And thanks for the light. (He nods to them both and goes out.)

Helmer (in a subdued voice). He has drunk more than he ought.

Nora (absently). Maybe. ( Helmer takes a bunch of keys out of his pocket and goes into the hall.) Torvald! what are you going to do there?

Helmer. Emptying the letter-box; it is quite full; there will be no room to put the newspaper in tomorrow morning.

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Nora. Are you going to work tonight?

Helmer. You know quite well I'm not. What is this? Someone has been at the lock.

Nora. At the lock--?

Helmer. Yes, someone has. What can it mean? I should never have thought the maid--. Here is a broken hairpin. Nora, it is one of yours.

Nora (quickly). Then it must have been the children--

Helmer. Then you must get them out of those ways. There, at last I have got it open. (Takes out the contents of the letter-box, and calls to the kitchen.) Helen!--Helen, put out the light over the front door. (Goes back into the room and shuts the door into the hall. He holds out his hand full of letters.) Look at that--look what a heap of them there are. (Turning them over.) What on earth is that?

Nora (at the window). The letter--No! Torvald, no!

Helmer. Two cards--of Rank's.

Nora. Of Doctor Rank's?

Helmer (looking at them). Doctor Rank. They were on the top. He must have put them in when he went out.

Nora. Is there anything written on them?

Helmer. There is a black cross over the name. Look there--what an uncomfortable idea! It looks as if he were announcing his own death.

Nora. It is just what he is doing.

Helmer. What? Do you know anything about it? Has he said anything to you?

Nora. Yes. He told me that when the cards came it would be his leave-taking from us. He means to shut himself up and die.

Helmer. My poor old friend! Certainly I knew we should not have him very long with us. But so soon! And so he hides himself away like a wounded animal.

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Nora. If it has to happen, it is best it should be without a word--don't you think so, Torvald?

Helmer (walking up and down). He had so grown into our lives. I can't think of him as having gone out of them. He, with his sufferings and his loneliness, was like a cloudy background to our sunlit happiness. Well, perhaps it is best so. For him, anyway. (Standing still.) And perhaps

for us too, Nora. We two are thrown quite upon each other now. (Puts his arms round her.) My darling wife, I don't feel as if I could hold you

tight enough. Do you know, Nora, I have often wished that you might be threatened by some great danger, so that I might risk my life's blood, and everything, for your sake.

Nora (disengages herself, and says firmly and decidedly). Now you must read your letters, Torvald.

Helmer. No, no; not tonight. I want to be with you, my darling wife.

Nora. With the thought of your friend's death--

Helmer. You are right, it has affected us both. Something ugly has come between us--the thought of the horrors of death. We must try and rid our minds of that. Until then--we will each go to our own room.

Nora (hanging on his neck). Goodnight, Torvald--Goodnight!

Helmer (kissing her on the forehead). Goodnight, my little singing-bird. Sleep sound, Nora. Now I will read my letters through. (He takes his letters and goes into his room, shutting the door after him.)

Nora (gropes distractedly about, seizes HELMER'S domino, throws it round her, while she says in quick, hoarse, spasmodic whispers). Never to see him again. Never! Never! (Puts her shawl over her head.) Never to see my children again either--never again. Never! Never!--Ah! the icy, black water--the unfathomable depths--If only it were over! He has got it now--now he is reading it. Goodbye, Torvald and my children! (She is about to rush out through the hall, when Helmer opens his door hurriedly and stands with an open letter in his hand.)

Helmer. Nora!

Nora. Ah!--

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Helmer. What is this? Do you know what is in this letter?

Nora. Yes, I know. Let me go! Let me get out!

Helmer (holding her back). Where are you going?

Nora (trying to get free). You shan't save me, Torvald!

Helmer (reeling). True? Is this true, that I read here? Horrible! No, no--it is impossible that it can be true.

Nora. It is true. I have loved you above everything else in the world.

Helmer. Oh, don't let us have any silly excuses.

Nora (taking a step towards him). Torvald--!

Helmer. Miserable creature--what have you done?

Nora. Let me go. You shall not suffer for my sake. You shall not take it upon yourself.

Helmer. No tragic airs, please. (Locks the hall door.) Here you shall

stay and give me an explanation. Do you understand what you have done? Answer me! Do you understand what you have done?

Nora (looks steadily at him and says with a growing look of coldness in her face). Yes, now I am beginning to understand thoroughly.

Helmer (walking about the room). What a horrible awakening! All these eight years--she who was my joy and pride--a hypocrite, a liar--worse, worse--a criminal! The unutterable ugliness of it all!--For shame! For shame! （Nora is silent and looks steadily at him. He stops in front of her.) I ought to have suspected that something of the sort would happen. I ought to have foreseen it. All your father's want of principle--be silent!--all your father's want of principle has come out in you. No

religion, no morality, no sense of duty--. How I am punished for having winked at what he did! I did it for your sake, and this is how you repay me.

Nora. Yes, that's just it.

Helmer. Now you have destroyed all my happiness. You have ruined all my

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future. It is horrible to think of! I am in the power of an unscrupulous man; he can do what he likes with me, ask anything he likes of me, give me any orders he pleases--I dare not refuse. And I must sink to such miserable depths because of a thoughtless woman!

Nora. When I am out of the way, you will be free.

Helmer. No fine speeches, please. Your father had always plenty of those ready, too. What good would it be to me if you were out of the way, as you say? Not the slightest. He can make the affair known everywhere; and if he does, I may be falsely suspected of having been a party to your criminal action. Very likely people will think I was behind it all--that it was I who prompted you! And I have to thank you for all this--you whom I have cherished during the whole of our married life. Do you understand now what it is you have done for me?

Nora (coldly and quietly). Yes.

Helmer. It is so incredible that I can't take it in. But we must come to some understanding. Take off that shawl. Take it off, I tell you. I must

try and appease him some way or another. The matter must be hushed up at any cost. And as for you and me, it must appear as if everything between us were just as before--but naturally only in the eyes of the world. You will still remain in my house, that is a matter of course. But I shall not allow you to bring up the children; I dare not trust them to you. To think that I should be obliged to say so to one whom I have loved so dearly, and whom I still--. No, that is all over. From this moment happiness is not the question; all that concerns us is to save the remains, the fragments, the appearance--

(A ring is heard at the front-door bell.)

Helmer (with a start). What is that? So late! Can the worst--? Can he--? Hide yourself, Nora. Say you are ill.

(Nora stands motionless. HELMER goes and unlocks the hall door.)

Maid (half-dressed, comes to the door). A letter for the mistress.

Helmer. Give it to me. (Takes the letter, and shuts the door.) Yes, it is from him. You shall not have it; I will read it myself.

Nora. Yes, read it.

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Helmer (standing by the lamp). I scarcely have the courage to do it. It may mean ruin for both of us. No, I must know. (Tears open the letter, runs his eye over a few lines, looks at a paper enclosed, and gives a shout of joy.) Nora! (She looks at him questioningly.) Nora!--No, I must read it once again--. Yes, it is true! I am saved! Nora, I am saved!

Nora. And I?

Helmer. You too, of course; we are both saved, both you and I. Look, he sends you your bond back. He says he regrets and repents--that a happy change in his life--never mind what he says! We are saved, Nora! No one can do anything to you. Oh, Nora, Nora!--no, first I must destroy these hateful things. Let me see--. (Takes a look at the bond.) No, no, I won't look at it. The whole thing shall be nothing but a bad dream to me. (Tears up the bond and both letters, throws them all into the stove, and watches them burn.) There--now it doesn't exist any longer. He says that since Christmas Eve you--. These must have been three dreadful days for you, Nora.

Nora. I have fought a hard fight these three days.

Helmer. And suffered agonies, and seen no way out but--. No, we won't call any of the horrors to mind. We will only shout with joy, and keep saying, "It's all over! It's all over!" Listen to me, Nora. You don't seem to realise that it is all over. What is this?--such a cold, set

face! My poor little Nora, I quite understand; you don't feel as if you could believe that I have forgiven you. But it is true, Nora, I swear it; I have forgiven you everything. I know that what you did, you did out of love for me.

Nora. That is true.

Helmer. You have loved me as a wife ought to love her husband. Only you had not sufficient knowledge to judge of the means you used. But do you suppose you are any the less dear to me, because you don't understand how to act on your own responsibility? No, no; only lean on me; I will advise you and direct you. I should not be a man if this womanly helplessness did not just give you a double attractiveness in my eyes. You must not think anymore about the hard things I said in my first moment of consternation, when I thought everything was going to

overwhelm me. I have forgiven you, Nora; I swear to you I have forgiven you.

Nora. Thank you for your forgiveness. (She goes out through the door to

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the right.)

Helmer. No, don't go--. (Looks in.) What are you doing in there?

Nora (from within). Taking off my fancy dress.

Helmer (standing at the open door). Yes, do. Try and calm yourself, and make your mind easy again, my frightened little singing-bird. Be at rest, and feel secure; I have broad wings to shelter you under. (Walks

up and down by the door.) How warm and cosy our home is, Nora. Here is shelter for you; here I will protect you like a hunted dove that I

have saved from a hawk's claws; I will bring peace to your poor beating heart. It will come, little by little, Nora, believe me. Tomorrow morning you will look upon it all quite differently; soon everything will be just as it was before. Very soon you won't need me to assure you that I have forgiven you; you will yourself feel the certainty that I have done so. Can you suppose I should ever think of such a thing as repudiating you, or even reproaching you? You have no idea what a true man's heart is like, Nora. There is something so indescribably sweet and satisfying, to a man, in the knowledge that he has forgiven his wife--forgiven her freely, and with all his heart. It seems as if that had made her, as it were, doubly his own; he has given her a new life, so to speak; and she has in a way become both wife and child to him. So you shall be for me after this, my little scared, helpless darling. Have no anxiety about anything, Nora; only be frank and open with me, and I will serve as will and conscience both to you--. What is this? Not gone to bed? Have you changed your things?

Nora (in everyday dress). Yes, Torvald, I have changed my things now.

Helmer. But what for?--so late as this.

Nora. I shall not sleep tonight.

Helmer. But, my dear Nora--

Nora (looking at her watch). It is not so very late. Sit down here, Torvald. You and I have much to say to one another. (She sits down at one side of the table.)

Helmer. Nora--what is this?--this cold, set face?

Nora. Sit down. It will take some time; I have a lot to talk over with you.

玩偶之家剧本 玩偶之家英文剧本

Helmer (sits down at the opposite side of the table). You alarm me, Nora!--and I don't understand you.

Nora. No, that is just it. You don't understand me, and I have never understood you either--before tonight. No, you mustn't interrupt me. You must simply listen to what I say. Torvald, this is a settling of accounts.

Helmer. What do you mean by that?

Nora (after a short silence). Isn't there one thing that strikes you as strange in our sitting here like this?

Helmer. What is that?

Nora. We have been married now eight years. Does it not occur to you that this is the first time we two, you and I, husband and wife, have had a serious conversation?

Helmer. What do you mean by serious?

Nora. In all these eight years--longer than that--from the very

beginning of our acquaintance, we have never exchanged a word on any serious subject.

Helmer. Was it likely that I would be continually and forever telling you about worries that you could not help me to bear?

Nora. I am not speaking about business matters. I say that we have never sat down in earnest together to try and get at the bottom of anything.

Helmer. But, dearest Nora, would it have been any good to you?

Nora. That is just it; you have never understood me. I have been greatly wronged, Torvald--first by papa and then by you.

Helmer. What! By us two--by us two, who have loved you better than anyone else in the world?

Nora (shaking her head). You have never loved me. You have only thought it pleasant to be in love with me.

Helmer. Nora, what do I hear you saying?

玩偶之家剧本 玩偶之家英文剧本

Nora. It is perfectly true, Torvald. When I was at home with papa, he told me his opinion about everything, and so I had the same opinions; and if I differed from him I concealed the fact, because he would not have liked it. He called me his doll-child, and he played with me just as I used to play with my dolls. And when I came to live with you--

Helmer. What sort of an expression is that to use about our marriage?

Nora (undisturbed). I mean that I was simply transferred from papa's hands into yours. You arranged everything according to your own taste, and so I got the same tastes as your else I pretended to, I am really

not quite sure which--I think sometimes the one and sometimes the other. When I look back on it, it seems to me as if I had been living here like a poor woman--just from hand to mouth. I have existed merely to perform tricks for you, Torvald. But you would have it so. You and papa have committed a great sin against me. It is your fault that I have made nothing of my life.

Helmer. How unreasonable and how ungrateful you are, Nora! Have you not been happy here?

Nora. No, I have never been happy. I thought I was, but it has never really been so.

Helmer. Not--not happy!

Nora. No, only merry. And you have always been so kind to me. But our home has been nothing but a playroom. I have been your doll-wife, just as at home I was papa's doll-child; and here the children have been my dolls. I thought it great fun when you played with me, just as they thought it great fun when I played with them. That is what our marriage has been, Torvald.

Helmer. There is some truth in what you say--exaggerated and strained as your view of it is. But for the future it shall be different. Playtime shall be over, and lesson-time shall begin.

Nora. Whose lessons? Mine, or the children's?

Helmer. Both yours and the children's, my darling Nora.

Nora. Alas, Torvald, you are not the man to educate me into being a proper wife for you.

玩偶之家剧本 玩偶之家英文剧本

Helmer. And you can say that!

Nora. And I--how am I fitted to bring up the children?

Helmer. Nora!

Nora. Didn't you say so yourself a little while ago--that you dare not trust me to bring them up?

Helmer. In a moment of anger! Why do you pay any heed to that?

Nora. Indeed, you were perfectly right. I am not fit for the task. There is another task I must undertake first. I must try and educate myself--you are not the man to help me in that. I must do that for myself. And that is why I am going to leave you now.

Helmer (springing up). What do you say?

Nora. I must stand quite alone, if I am to understand myself and

everything about me. It is for that reason that I cannot remain with you any longer.

Helmer. Nora, Nora!

Nora. I am going away from here now, at once. I am sure Christine will take me in for the night--

Helmer. You are out of your mind! I won't allow it! I forbid you!

Nora. It is no use forbidding me anything any longer. I will take with me what belongs to myself. I will take nothing from you, either now or later.

Helmer. What sort of madness is this!

Nora. Tomorrow I shall go home--I mean, to my old home. It will be easiest for me to find something to do there.

Helmer. You blind, foolish woman!

Nora. I must try and get some sense, Torvald.

Helmer. To desert your home, your husband and your children! And you

玩偶之家剧本 玩偶之家英文剧本

don't consider what people will say!

Nora. I cannot consider that at all. I only know that it is necessary for me.

Helmer. It's shocking. This is how you would neglect your most sacred duties.

Nora. What do you consider my most sacred duties?

Helmer. Do I need to tell you that? Are they not your duties to your husband and your children?

Nora. I have other duties just as sacred.

Helmer. That you have not. What duties could those be?

Nora. Duties to myself.

Helmer. Before all else, you are a wife and a mother.

Nora. I don't believe that any longer. I believe that before all else I am a reasonable human being, just as you are--or, at all events, that I must try and become one. I know quite well, Torvald, that most people would think you right, and that views of that kind are to be found in books; but I can no longer content myself with what most people say, or with what is found in books. I must think over things for myself and get to understand them.

Helmer. Can you not understand your place in your own home? Have you not a reliable guide in such matters as that?--have you no religion?

Nora. I am afraid, Torvald, I do not exactly know what religion is.

Helmer. What are you saying?

Nora. I know nothing but what the clergyman said, when I went to be confirmed. He told us that religion was this, and that, and the other. When I am away from all this, and am alone, I will look into that matter too. I will see if what the clergyman said is true, or at all events if

it is true for me.

Helmer. This is unheard of in a girl of your age! But if religion cannot lead you aright, let me try and awaken your conscience. I suppose you

玩偶之家剧本 玩偶之家英文剧本

have some moral sense? Or--answer me--am I to think you have none?

Nora. I assure you, Torvald, that is not an easy question to answer. I really don't know. The thing perplexes me altogether. I only know that you and I look at it in quite a different light. I am learning, too,

that the law is quite another thing from what I supposed; but I find it impossible to convince myself that the law is right. According to it a woman has no right to spare her old dying father, or to save her husband's life. I can't believe that.

Helmer. You talk like a child. You don't understand the conditions of the world in which you live.

Nora. No, I don't. But now I am going to try. I am going to see if I can make out who is right, the world or I.

Helmer. You are ill, Nora; you are delirious; I almost think you are out of your mind.

Nora. I have never felt my mind so clear and certain as tonight.

Helmer. And is it with a clear and certain mind that you forsake your husband and your children?

Nora. Yes, it is.

Helmer. Then there is only one possible explanation.

Nora. What is that?

Helmer. You do not love me anymore.

Nora. No, that is just it.

Helmer. Nora!--and you can say that?

Nora. It gives me great pain, Torvald, for you have always been so kind to me, but I cannot help it. I do not love you any more.

Helmer (regaining his composure). Is that a clear and certain conviction too?

Nora. Yes, absolutely clear and certain. That is the reason why I will not stay here any longer.

玩偶之家剧本 玩偶之家英文剧本

Helmer. And can you tell me what I have done to forfeit your love?

Nora. Yes, indeed I can. It was tonight, when the wonderful thing did not happen; then I saw you were not the man I had thought you were.

Helmer. Explain yourself better. I don't understand you.

Nora. I have waited so patiently for eight years; for, goodness knows, I knew very well that wonderful things don't happen every day. Then this horrible misfortune came upon me; and then I felt quite certain that the wonderful thing was going to happen at last. When Krogstad's letter was lying out there, never for a moment did I imagine that you would consent to accept this man's conditions. I was so absolutely certain that you would say to him: Publish the thing to the whole world. And when that was done--

Helmer. Yes, what then?--when I had exposed my wife to shame and disgrace?

Nora. When that was done, I was so absolutely certain, you would come forward and take everything upon yourself, and say: I am the guilty one.

Helmer. Nora--!

Nora. You mean that I would never have accepted such a sacrifice on your part? No, of course not. But what would my assurances have been worth against yours? That was the wonderful thing which I hoped for and feared; and it was to prevent that, that I wanted to kill myself.

Helmer. I would gladly work night and day for you, Nora--bear sorrow and want for your sake. But no man would sacrifice his honour for the one he loves.

Nora. It is a thing hundreds of thousands of women have done.

Helmer. Oh, you think and talk like a heedless child.

Nora. Maybe. But you neither think nor talk like the man I could bind myself to. As soon as your fear was over--and it was not fear for what threatened me, but for what might happen to you--when the whole thing was past, as far as you were concerned it was exactly as if nothing at all had happened. Exactly as before, I was your little skylark, your doll, which you would in future treat with doubly gentle care, because

玩偶之家剧本 玩偶之家英文剧本

it was so brittle and fragile. (Getting up.) Torvald--it was then

it dawned upon me that for eight years I had been living here with a strange man, and had borne him three children--. Oh, I can't bear to think of it! I could tear myself into little bits!

Helmer (sadly). I see, I see. An abyss has opened between us--there is no denying it. But, Nora, would it not be possible to fill it up?

Nora. As I am now, I am no wife for you.

Helmer. I have it in me to become a different man.

Nora. Perhaps--if your doll is taken away from you.

Helmer. But to part!--to part from you! No, no, Nora, I can't understand that idea.

Nora (going out to the right). That makes it all the more certain that it must be done. (She comes back with her cloak and hat and a small bag which she puts on a chair by the table.)

Helmer. Nora, Nora, not now! Wait until tomorrow.

Nora (putting on her cloak). I cannot spend the night in a strange man's room.

Helmer. But can't we live here like brother and sister--?

Nora (putting on her hat). You know very well that would not last long. (Puts the shawl round her.) Goodbye, Torvald. I won't see the little ones. I know they are in better hands than mine. As I am now, I can be of no use to them.

Helmer. But some day, Nora--some day?

Nora. How can I tell? I have no idea what is going to become of me.

Helmer. But you are my wife, whatever becomes of you.

Nora. Listen, Torvald. I have heard that when a wife deserts her husband's house, as I am doing now, he is legally freed from all obligations towards her. In any case, I set you free from all your obligations. You are not to feel yourself bound in the slightest way,

any more than I shall. There must be perfect freedom on both sides. See,

玩偶之家剧本 玩偶之家英文剧本

here is your ring back. Give me mine.

Helmer. That too?

Nora. That too.

Helmer. Here it is.

Nora. That's right. Now it is all over. I have put the keys here.

The maids know all about everything in the house--better than I do.

Tomorrow, after I have left her, Christine will come here and pack up my own things that I brought with me from home. I will have them sent after me.

Helmer. All over! All over!--Nora, shall you never think of me again?

Nora. I know I shall often think of you, the children, and this house.

Helmer. May I write to you, Nora?

Nora. No--never. You must not do that.

Helmer. But at least let me send you--

Nora. Nothing--nothing--

Helmer. Let me help you if you are in want.

Nora. No. I can receive nothing from a stranger.

Helmer. Nora--can I never be anything more than a stranger to you?

Nora (taking her bag). Ah, Torvald, the most wonderful thing of all would have to happen.

Helmer. Tell me what that would be!

Nora. Both you and I would have to be so changed that--. Oh, Torvald, I don't believe any longer in wonderful things happening.

Helmer. But I will believe in it. Tell me! So changed that--?

Nora. That our life together would be a real wedlock. Goodbye. (She goes out through the hall.)

玩偶之家剧本 玩偶之家英文剧本

Helmer (sinks down on a chair at the door and buries his face in his hands). Nora! Nora! (Looks round, and rises.) Empty. She is gone. (A hope flashes across his mind.) The most wonderful thing of all--?

(The sound of a door shutting is heard from below.)

*** END OF THIS EBOOK A DOLL'S HOUSE ***

三 : 玩偶之家剧本

范文一：玩偶之家剧目分析

一、 人物

人物简介：

 娜拉，处于资产阶级家庭中，有强烈的道德意识，对丈夫忠心不二，为了丈夫的生

命牺牲自己的名誉，甚至想要自杀来保全丈夫的名誉。事情被丈夫发现后，看到丈夫对自己的态度的起伏不定，对于资产阶级家庭中的地位关系有清醒的认识，对丈夫的行为深恶痛绝。她是一个有抗争精神的新时代妇女的形象。

（www.61k.com。

 托伐·海尔茂，资产阶级的代表，一个势力的伪君子。他一直以来对娜拉温言软语

百般呵护，但一旦发现娜拉的行为有损他的声誉变对她大发雷霆，对娜拉的称呼从“小鸟儿”变成了“伪君子”“下贱的女人”，对娜拉父亲的评价也从“温和，脾气好”变成了“坏德行，不信宗教”，典型的变色龙。

 柯洛克斯泰，曾经为了救妻子的命冒险签假名，被无情的资产阶级法律逼得身败名

裂，走投无路，打算改邪归正，却又被世俗的观念逼得无所适从。

二、 情节

1、 时间和地点：圣诞节期间，挪威的首都，一个普通的资产阶级家庭的家里。

2、 发生事件：

开端：林丹太太来找娜拉，柯洛克斯泰请娜拉帮忙

发展：柯洛克斯泰威胁娜拉，将信放入信箱

高潮：海尔茂发现真相，对娜拉发火

结局：海尔茂消除担忧，娜拉认清了玩偶关系，离家出走

3、 人物关系：原本海尔茂是对娜拉甜言蜜语，努力讨她欢心，把她当做玩具，声称要

同甘共苦。后来，因为事情败露，海尔茂对娜拉的态度骤然转弯，对她恶言恶语不愿与她共同承担责任。娜拉原本对海尔茂百依百顺，但后来娜拉因看到了海尔茂虚伪恶心的一面而对他寒心，从而生出了离家出走的想法。

柯洛克斯泰和娜拉是债主和借款人的关系，娜拉受制于柯洛克斯泰。而林丹太太与柯洛克斯泰是主动与被动的关系，柯洛克斯泰因林丹太太的要求，将结局还给了娜拉一家，自此化解了危机，但又激起了新的矛盾。

娜拉和林丹太太的关系是全剧的关键，如果没有林丹太太，海尔茂就不会贸然解雇柯洛克斯泰，也就不会有事情的暴露；并且如果没有林丹太太，柯洛克斯泰就不会把借据还给娜拉。

阮克大夫与海尔茂一家的关系不知道有什么作用。。。。。

4、 情节：在一个普通的圣诞节，海尔茂先生刚当上银行总经理，林丹太太造访，求娜

拉帮忙在银行找个工作，于是海尔茂先生准备辞退柯洛克斯泰，雇佣林丹太太。柯洛克斯泰为了保住自己的位子，用多年前的一张冒名的借据威胁娜拉，让她说好话保住他的位置。海尔茂先生在看到柯洛克斯泰的信之后大发雷霆，但在林丹太太的帮助下，柯洛克斯泰将字据退回。这时娜拉已经看清了海尔茂先生的虚伪的内心，愤然离家出走。

三、 写作背景：

本剧写于1879年，当时的易卜生正因对国内社会现状的不满在国外侨居，此时的他对于资本主义社会的缺陷已经有了深刻的认识。本剧揭露了妇女在资本主义制度下在家中的“玩偶”地位，并且讽刺了社会上虚伪、荒谬的人和事。

原文地址.html

一、 人物

人物简介：

 娜拉，处于资产阶级家庭中，有强烈的道德意识，对丈夫忠心不二，为了丈夫的生

命牺牲自己的名誉，甚至想要自杀来保全丈夫的名誉。事情被丈夫发现后，看到丈夫对自己的态度的起伏不定，对于资产阶级家庭中的地位关系有清醒的认识，对丈夫的行为深恶痛绝。她是一个有抗争精神的新时代妇女的形象。

 托伐·海尔茂，资产阶级的代表，一个势力的伪君子。他一直以来对娜拉温言软语

百般呵护，但一旦发现娜拉的行为有损他的声誉变对她大发雷霆，对娜拉的称呼从“小鸟儿”变成了“伪君子”“下贱的女人”，对娜拉父亲的评价也从“温和，脾气好”变成了“坏德行，不信宗教”，典型的变色龙。

 柯洛克斯泰，曾经为了救妻子的命冒险签假名，被无情的资产阶级法律逼得身败名

裂，走投无路，打算改邪归正，却又被世俗的观念逼得无所适从。

二、 情节

1、 时间和地点：圣诞节期间，挪威的首都，一个普通的资产阶级家庭的家里。

2、 发生事件：

开端：林丹太太来找娜拉，柯洛克斯泰请娜拉帮忙

发展：柯洛克斯泰威胁娜拉，将信放入信箱

高潮：海尔茂发现真相，对娜拉发火

结局：海尔茂消除担忧，娜拉认清了玩偶关系，离家出走

3、 人物关系：原本海尔茂是对娜拉甜言蜜语，努力讨她欢心，把她当做玩具，声称要

同甘共苦。后来，因为事情败露，海尔茂对娜拉的态度骤然转弯，对她恶言恶语不愿与她共同承担责任。娜拉原本对海尔茂百依百顺，但后来娜拉因看到了海尔茂虚伪恶心的一面而对他寒心，从而生出了离家出走的想法。

柯洛克斯泰和娜拉是债主和借款人的关系，娜拉受制于柯洛克斯泰。而林丹太太与柯洛克斯泰是主动与被动的关系，柯洛克斯泰因林丹太太的要求，将结局还给了娜拉一家，自此化解了危机，但又激起了新的矛盾。

娜拉和林丹太太的关系是全剧的关键，如果没有林丹太太，海尔茂就不会贸然解雇柯洛克斯泰，也就不会有事情的暴露；并且如果没有林丹太太，柯洛克斯泰就不会把借据还给娜拉。

阮克大夫与海尔茂一家的关系不知道有什么作用。。。。。

4、 情节：在一个普通的圣诞节，海尔茂先生刚当上银行总经理，林丹太太造访，求娜

拉帮忙在银行找个工作，于是海尔茂先生准备辞退柯洛克斯泰，雇佣林丹太太。柯洛克斯泰为了保住自己的位子，用多年前的一张冒名的借据威胁娜拉，让她说好话保住他的位置。海尔茂先生在看到柯洛克斯泰的信之后大发雷霆，但在林丹太太的帮助下，柯洛克斯泰将字据退回。这时娜拉已经看清了海尔茂先生的虚伪的内心，愤然离家出走。

三、 写作背景：

本剧写于1879年，当时的易卜生正因对国内社会现状的不满在国外侨居，此时的他对于资本主义社会的缺陷已经有了深刻的认识。本剧揭露了妇女在资本主义制度下在家中的“玩偶”地位，并且讽刺了社会上虚伪、荒谬的人和事。

范文二：《玩偶之家》的戏剧文体学分析

《玩偶之家》的戏剧文体学分析

[摘要]由于语言学的快速发展，戏剧研究获得新的理论依据和研究方法。戏剧文体学已发展成为戏剧话语语用解释性研究。本文作者以易卜生戏剧《玩偶之家》的片段为文本，采用话轮转换和语用学分析方法来探讨该戏剧中两个主要人物的权势关系、性格刻画和剧情的发展。

[关键词]戏剧文体学；话轮转换分析；礼貌原则

易卜生的代表之作《玩偶之家》出版以来掀起了评论热潮。在中国，学者们从女性主义、资本主义、个人主义等多角度对该剧进行了解读。然而大多数评论缺少比较可靠的支撑理据。

近年来，戏剧文体学蓬勃发展，以语用学和话语分析为基础而构建的研究方法为文学研究提供了新思路，该方法侧重于对话语的描述和解释。本文试图采用戏剧文体学方法从话轮角度入手，利用礼貌原则对《玩偶之家》的最后一幕片段进行解读，分析剧中体现的人物权势关系、人物性格、情节发展及主题，从而帮助读者更好地理解和欣赏文本。

一、理论框架

20世纪80年代以来，语言学理论研究，尤其是话语分析、语用学及语篇分析蓬勃发展，推动了戏剧文体学这一新兴交叉型学科的建

立和发展。语用学是对话语如何在情境中获得意义的研究[1]13，注重话语的言语行为的功能分析，而话语分析为文本的整体结构组织，尤其是会话结构的研究提供了理论框架。戏剧文体学在方法上涉及范畴包括言语行为、合作原则、礼貌原则、前提、指称、话语角色类型及其转换、语用模糊、语域分析和话轮转换等[2]46-49。

（一）话轮转换模型

话轮转换模型是话语权势的有力标志，从而体现人物角色关系和人物性格[3]234。基于Sacks的话轮转换理论[4]和俞东明等人完善后的话轮转换定量分析方法[2]，戏剧文体学的话轮分析框架可分为以下五个方面：

1.话题提出和控制（theinitiationandcontroloftopics）

话题的选择、引入以及在谈话中发展和改变话题的策略是会话结构的一个重要方面[5]177-180。一个剧本可以有很多个话题，一个话题也可以有很多个子话题，而这些子话题和主要的话题相关。

2.话轮长度（turn-length）

由于话轮长度和话语的字数成正比关系，所以用话语的字数来代替话轮的长度。

3.话轮类型（turn-types）

话轮类型根据形式的不同可分为发话（initiativeturns）、反应（responsiveturns）、反应后发话（initiativeturnsafterresponse）、打断（interruption）和独白（monologue）[2]。提出话题也就控制了话语的主导权，是会话的主导方，而反应可以看作会话被动的一方。

4.话语打断和独白现象

打断指在当前说话人还没有完成话轮前强行夺走其话语。而独白则是说话人自说自话，无视对方存在，割裂了会话中话轮的正常进行，加剧了会话的挫败感。打断和独白传递了人物的权势关系，常打断别人说话和独白的人一般都是强势的人。它们是潜在的话轮转换的矛盾形式，给交际和戏剧行动带来对立、冲突和紧张的局势。

5.话轮控制策略（turn-controlstrategies）

会话强势一方在谈话中通常会运用会话策略以使自己处于上风。话语层次上的会话策略可以分成两类：a.着重说话人的元语用评论语（Speaker-orientedmetapragmaticcomments，S-MPCs）；b.着重受话人的元语用评论语（Addressee-orientedmetapragmaticcomments，A-MPCs）[6]33-135。

A.着重说话人的元语用评论语（S-MPCs）可分为言外之力显示手段（illocutionaryforceindicatingdevices）和预先的和追溯性的元语用评论语（prospectiveandretrospective）。如：

a.Bequiet!（言外之力显示手段）

b.…ItprobablysoundsabitcruelbutI’mgoingtobehonestwithyou.（预先性的元语用评论语）

c.Iwasaskingyou，nottellingyou.（追溯性的元语用评论语）

B.着重受话人的元语用评论语（A-MPCs）往往被谈话中占主导地位的说话人用来禁止处于从属地位一方使用语用模糊来迫使他们冒险。谈话中占主导地位说话人非常爱用的、杜绝受话人逃避的方式是用Thomas所称的“结语”（upshot）和“再表述”（reformulation）

[7]765-783。如：

a.Constable：I’veneverhadanycommentotherthanthat.

Inspector：Areyousayingthatnobody’sbroughtyourshortcomingstoyournotice？（再表述）

b.A：I’mnotconvincedthatwewentaboutitinthebestpossibleway. B：Soyou’resayingthatIcockeditup.（结语）

除此之外，强势一方还可以运用副语言特征（paralinguisticfeatures）来控制话轮，如表情、动作、姿势、沉默等。

（二）礼貌原则

在日常人际交往中，为了保证会话的顺利进行，谈话双方必须共

同遵守一些基本原则，而礼貌原则就是其中一条重要的指导原则。1983年，英国语言学家GeofferyLeech提出了礼貌原则，共分为以下六条准则[1]132：

（1）得体准则（TactMaxim）：尽量少让别人吃亏，尽量让别人多得益。

（2）宽宏准则（GenerosityMaxim）：尽量少让自己得益，尽量多让自己吃亏。

（3）赞誉准则（ApprobationMaxim）：尽量少贬损别人，尽量多赞誉别人。

（4）谦逊准则（ModestyMaxim）：尽量少赞誉自己，尽量多贬损自己。

（5）一致准则（AgreementMaxim）：尽量减少双方的分歧，尽量增加双方的一致；

（6）同情准则（SympathyMaxim）：尽量减少双方的反感，尽量增加双方的同情。

二、结果和讨论

（一）话轮转换分析和主题的体现

《玩偶之家》是易卜生的三幕话剧，主要描写女主人公Nora从

爱护丈夫、信赖丈夫到与丈夫决裂，最后离家出走，摆脱玩偶地位的自我觉醒过程，剧中曾为挽救丈夫Helmer的生命瞒着他伪造签名向人借了一笔债。Krogstad被Helmer辞退，利用借据要挟Nora为他保住职位，从而引出各种矛盾的交错展开，同时让女主人公在这短短三天之中，经历了一场激烈而复杂的内心斗争，从平静到混乱，从幻想到破裂，最后完成自我觉醒。

最后一幕节选Helmer收到来自Krogstad的威胁信之后的事，主题为Nora的自我觉醒。在该片段中，共有4个子话题，出现了160个话轮，其中Nora79个，Helmer81个。其中话轮转换如表1所示。

在第一个子话题中，Nora和Helmer的话轮数目相当。但值得注意的是，Helmer的话轮长度是Nora的8倍，这完全不对等的话轮长度说明Helmer完全掌控了话语权，他在责备Nora时的盛气凌人跃然纸上。在这一话题中，Helmer得知Nora的所作所为并作为发话人开始了这次会话。虽然他几次询问Nora为什么会做下这等错事，但他实际上并没有给予Nora任何解释的机会，反而一味地指责，发泄自己的不满。同时在会话中，他两次强硬打断Nora，如“besilent”。不仅如此，他还无视Nora使用了独白话轮，显得旁若无人，滔滔不绝地严厉责备Nora，严重损害了Nora的积极面子。在话轮控制策略方面，Helmer用了一次前置语列吸引Nora的注意力，期望Nora对自我认罪从而为他之后的责备奠定基础。同时他使用了7个着重说话人

的元语用评论来控制话语权，如“Notragedyairs，please”“Answerme!”等。他还运用了一些副语言特征，如“holdingherback”“locksthehalldoor”等来阻止Nora逃避他的指责。在这个话题中双方不平等的话语权势关系显而易见，Helmer的自私、冷酷和Nora的隐忍、恭顺形成鲜明的对比。

第二个子话题中，Helmer收到来自Krogstad示和的信，结束了恐慌，极度狂喜。在此话题中，话轮数目基本相同，但如同第一个子话题，Helmer在话轮长度方面还是占了主导地位。在会话中，Helmer在收到好消息后感到得到了解脱，但他并没有为此前他失控辱骂Nora的行为道歉，而是试图说服Nora他们可以忘却之前可怕的经历就当作一切都没发生过。对于他认为的Nora因为知识不足犯下大错遭受的煎熬，他表示同情，同时为他们尤其是为Nora预期了美好无忧的未来。这前后态度的巨大转变将Helmer的真实面貌暴露无遗，道貌岸然的伪君子形象昭然若揭。相较于Helmer的狂喜和虚伪的同情，Nora冷眼旁观，态度漠然。此时Helmer反复无常的态度已经让Nora看清了他的本质，对他的幻想破灭。在此话题中，Nora的反应都是带着淡淡的讽刺。她还采用了副语言特征来无声地宣示自己的反抗，如当Helmer让她躲起来时，Nora站立不动。这个话题反映了Nora的逐步觉醒，两人的矛盾渐显，为下文情节的发展作了铺垫。

第三个子话题中，Nora已经了解Helmer的本质，并开始重新审视自己和Helmer的关系，最后发现自己在家中处于“玩偶”的地位。

从表中的数据我们可以很直观地看到Nora这次主导了整个会话。在话轮长度方面，Nora的产出是Helmer的3倍。对话中Nora好似将积怨都发泄出来。她不断质疑他们不平等的关系并责备Helmer。另外，她还使用了一次独白，虽然被Helmer的斥责打断，但是她仍然不为所动，可见反抗的态度坚决。她还利用一些话语控制策略控制话语权。她采用了3次言外之力显示手段，如“No，youmustn’tinterruptme”“Sitdownhere”“YoumustsimplylistentowhatIsay”。她坐在桌子的另一边以显示要求进行严肃谈话的坚定；当被问到她所说的是什么意思时，她沉默以对，延长了自己的话轮。在此轮会话中，Nora明显掌控了话语权，达到自我的觉醒。

最后的子话题中，Nora宣称要离开这个家，Helmer反应强烈，竭力挽留，夫妻激烈争夺话语权，双方的冲突达到最高潮。双方的话轮数目基本相同，而在话轮长度方面，Nora的产出多于Helmer的2倍。另一方面，Helmer使用了3次打断的方式争夺话语权，同时采用了5个着重说话人的元语用评论语和1个着重受话人的元语用评论语，而Nora使用了3次着重说话人的元语用评论语。因为Nora的指责和坚定的态度，Helmer逐渐屈从，通过示弱试图赢得Nora的同情甚至让她放弃她离开的决定。但是Nora频繁地使用了副语言特征来表现她离开的决心。最后谈话以Nora离开结束。

通过分析我们看到整个片段中的话语权是逐渐从Helmer转移到Nora手中，体现了Nora的自我觉醒、对平等和独立的追求，这强调

和升华了女权主义这一中心思想。

（二）礼貌原则和人物性格的刻画

收到Krogstad的威胁信，得知Nora使他蒙受了丑闻和勒索，Helmer非但没能站在Nora一边支持她、帮助她，反而严厉地指责她，称她为“miserablecreature”“ahypocrite”“骗子”，甚至是“罪犯”和“theunutterableuglinessofitall”[8]59-61，指控她摧毁了他所有的幸福。他勃然大怒，批评她与她的父亲一样道德败坏。更过分的是，他还宣示他们只能维持表面婚姻，并剥夺她抚养孩子的权利。Helmer违反了礼貌原则中的赞誉准则、一致准则和同情准则，赤裸裸地对Nora公开行使损害面子的行为。这表明了在夫妻权势关系中Helmer是凌驾于Nora之上的，撕裂了道貌岸然的白马王子的表象，Helmer是一个极端自私、冷酷的伪君子。另外，在第一个子话题中，Nora明确处于屈从的弱势地位。她将所有丑闻和噩梦都归咎于自己的过错，并接受了Helmer的批评。Nora的这些行为都符合了礼貌原则下的谦逊准则和一致准则，从侧面反映了Nora的懦弱和被动。

在收到Krogstad退回Nora的借据并表示歉意的信时，Helmer欣喜若狂，大叫“我得救了”。在获得解脱之后，他又重新摆出一副温情又体贴的丈夫形象，对Nora表示同情并宣称原谅了她，称呼她“mypoorlittleNora”和“myfrightenedlittlesinging-bird”。他继而用居高临下的口吻对他的妻子说话，就好像她是他的宠物，只要Nora和过去一样依赖他，他就会指点她、教导她，他说自己的肩膀很宽，可以保

护她，就像“保护从老鹰爪子底下救出的小鸽子一样”。结合之前他遇到威胁时的所作所为，很明显言行不一，这些话显然违反了礼貌准则中的谦逊原则，夸大了对自己的赞扬，缩小了对自己的贬损。Helmer自认为在情智方面在这个家中都是高人一等的。Nora对他来说就像个“泥娃娃老婆”，需要他的照管、指导和批评。然而这些都是极度有损Nora积极面子的行为。他从未将Nora视作关系平等的伴侣，他表面上的宽宏大量和体贴入微和他临危时表现的冷酷无情和自私自利形成鲜明的对比，暴露出他善变和虚伪的本质。

第三和第四个子话题体现了Nora的自我觉醒后的转变。当丈夫破坏了她心中的爱情并让她了解到丈夫丑陋的真实面目后，Nora变得成熟，勇敢地争夺话语权，冷静、勇敢地面对Helmer，同时一针见血披露她在家中“玩偶”的地位。她指责Helmer把她变成了既脆弱又依赖人的可怜女人，她痛呼他和爸爸对她犯了大罪，让她的生活变得一事无成，这些都是他们的错。另外，对于在危机中Helmer表现的自私自利她表示非常失望，说他的所作所为使他没有资格成为能让她托付终身的人。这些严厉的批评威胁损坏了Helmer作为一个丈夫的积极面子，但是从另一方面这些大胆直白的言论说明了Nora的自我觉醒，她变成了一个坚强勇敢、独立自主并能够勇敢斗争、主宰自己命运的女人。

三、结论

从我们对《玩偶之家》片段的分析中可以看到：话轮转换分析方

法不仅能够揭示人物间权利关系的转换，而且可以揭示剧情发展的规律以及展现戏剧主题思想。文中话语控制权逐渐从Helmer过渡到Nora手中，不仅体现了Nora的自我觉醒，同时表达了戏剧女性主义的主题。另一方面，语用学分析很好地刻画了人物性格。Helmer最后暴露了自私虚伪的性格，而Nora从一个懦弱、顺从的家庭主妇转变成为独立、坚强的女性。这种基于话语分析和语用学的戏剧文体学研究方法无疑能帮助我们更好地理解和欣赏文学作品。

【参考文献】

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范文三：谁是玩偶_再读_玩偶之家_

2003年7月

第27卷第4期安徽大学学报(哲学社会科学版)JournalofAnhuiUniversity(PhilosophyandSocialSciences)July2003Vol.27No.4

谁　是　玩　偶

———再读《玩偶之家》

吴　娜

(广东外语外贸大学英语语言文化学院,广东广州　510420)

摘　要:本文以女性主义为理论依据,从社会性别研究的角度重新阅读《玩偶之家》,对谁

是玩偶的问题给予了新的诠释。笔者认为如果说女人在父/夫权社会中难以“忠实于自我”而

成为玩偶时,男人也因为追逐名利而偏离自我,关键词:性别角色;显性玩偶;隐性玩偶

中图分类号:I106.4　文献标识码:A　()-05

以“戏剧之父”代的戏剧作家。米勒,中国近代大文豪曹禺、鲁迅都曾从易。,曾象风暴一样席卷了以情节剧,有关他的评论在当时形成了欧洲文艺界的一大景观。当《玩偶之家》1889年在英国伦敦上演时,英国人把易卜生看作是一名传教士,并嘲笑他的布道是极其无聊甚至是伤风败俗的。评论家弗雷德里克・韦德莫尔(FredericWedmore)宣称:“伦敦并不需要易卜生那些自以为是的说教……我们不需要易卜生的狂言乱

[2](P5)语”。自从五四运动期间《玩偶之家》被译介到中国以来,不少评论或从主题思想到人物塑造,或从创作技巧到舞台演技等不同侧面为解读易卜生开辟了广阔的视野。虽然就谁是玩偶的问题,评论界已早有定论,但本文试图以女性主义理论为依据,从社会性别研究的角度出发,重新解读《玩偶之家》并对该问题给予新的诠释,以期探究该剧本的性别文化外延,为阅读易卜生提供新视角。

一、显性玩偶

什么是女人?以男性为中心的夫/父权社会给女人的定义充满了男性的欲望和夫权的霸气:女人既是接受男人呵护的花朵;也是围着男人旋转的奴仆。她们既是男人奋进的动力,也是男人失足的祸水。在父/夫权社会里,如果要成为一名理想的女人,她必须具备大家所公认的女性气质:温柔且妩媚、脆弱而娇艳、被动顺从而罗漫蒂克,既能生儿育女又乐于家务。换句话说,女人价值的实现必须得到男人的认可;女人不应具有主体意识,

她必须以男人为中心来不断调整自己的位置,满足男人的各种需求以实现做女人的价值。正如近代西方女权主义之先驱西蒙・波伏娃所揭示的那样:女人是附属的人,是同主要者(theessential)相对立的次要者(theinessential)。他(男人)是主体(thesubject),是绝对的;而她(女人)则是

收稿日期:2002-11-20

作者简介:吴　娜(1966-),女,湖北荆州人,广东外语外贸大学英语语言文化学院副教授.

69

[7](P11)她者(theother)。在易卜生的笔下女人便成了男人绝对意义上的玩偶。首先,这一点表

现在娜拉与海尔茂的婚姻关系之中。当他们婚姻没有遇到矛盾时,娜拉按照社会和家庭的期待充当了一个高级玩偶的角色。娜拉是海尔茂的“鹦鹉”和“云雀”,是他工作之余借以放松和消遣的玩物。在丈夫面前,娜拉表现得非常温顺且有几分孩子气的挑逗。面对丈夫的得意和自负,她或像小孩一样撒娇,或像荡妇一样调情。

在婚姻受到威胁的时候,海尔茂抛弃了所有一切甜言蜜语。并自私地坚持应该由娜拉来做出牺牲。

海尔茂:没有一个男人为他所爱的人牺牲自己的荣誉。

娜拉:成千上万的女人却是这样做的。

显然,娜拉又成了爱情话语的牺牲品。在海尔茂使用爱情这一体现男女关系最密切的符号时,他暗喻着施舍并附有条件。他所期待的是娜拉全身心的回报子之间做出选择的时候,。从娜拉和海尔茂的关系来看,:]()成为任性的帝国主义者……他是暴力、婚姻往往赋予女人

屈从于男人权威的使命。

其次,。根据社会性别理论,女性气质不是天生的,。虽然,,而且她自己也试图掩,极力扮演成一个男性社会所期盼的女性角色。她充分展现自己的女性气质以取悦于男人并满足男性的需求。婚前在父亲眼里,她是个“泥娃娃孩子”,婚后,她虽然做了三个孩子的母亲,但是在海尔茂的心中,她只不过是个“泥娃娃老婆”。

最后娜拉玩偶的身份还表现在她与男性的利益冲突之中。

她因为借钱替丈夫治病而成了洛克斯泰的要挟对象。娜拉为了让病魔缠身的丈夫早日康复,同时也为了保全海尔茂的面子,瞒着他找洛克斯泰借钱。可是,洛克斯泰需要娜拉的父亲签名担保。出于对父亲的孝顺,娜拉不愿意烦扰生命垂危的父亲,于是她冒名在借款单上签字。当洛克斯泰被银行解雇之后,他便以这件事要挟娜拉去说服海尔茂保留他在银行的位置。在遭到海尔茂断然拒绝之后,娜拉毅然决定用结束自己的性命来抗争洛克斯泰的要挟以保全她的丈夫。在这里,易卜生暗示社会的运转规则是由男性制定并由他们所熟练地操纵着,女性的牺牲和奉献在充满理性法则的男权社会显得毫无价值,她们充其量不过是男性愉悦时的玩物,或者是男性之间争斗时的某种砝码。虽然她们也在付出,但是她们不曾像男人一样享受做人的权力。她们的牺牲或者是理所当然的,或者是不足挂齿的,甚至是毫无意义的。她们的存在也是因为男人的需求而已。恰如易卜生在他早期札记中所写到的那样“:有两种精神法律,两种良心,一种是男人的,另一种是女人的。他们互不了解,但是女人在实际生活中被按照男人的标准来评判,仿佛她不是一个女人,而是一个男人……在我们今天的社会里———这个社会完全是一个男人的社会,法律是男人写的,起诉人和法官都是男人,他们从男人的立场出发判断女

[1](P15-16)人的行为方式,在这样的社会里,一个女人不可能忠实于自己”。在这样的男权社会

里,女人是无力的,她的言行是受压制的,是难以摆脱玩偶之困境的。

二、隐性玩偶

按照社会性别理论,人们的性别角色是社会化的结果。就像丁尼森(Tennyson)在诗歌70

“公主”中所写的一样:这是一条亘古不变的规律/正如地球之本万物之源/男人耕地女人生炉/男人持剑女人拿针/男人多谋女人善良/男人指挥女人从命……男人强壮女人柔

[3](P1)顺。长期以来,这种以男性为中心的模式化性别角色通过诸如家庭、婚姻、宗教、道德、法律等社会机制来约束人们的思想和行为,结果人们也自觉或不自觉地按照这样的标准来评判或规范各自的言行。在解读易卜生的《玩偶之家》时,笔者觉得虽然男性相对于女性在这种性别角色的分配中处于优势,但是他们也并没有逃脱社会性别游戏规则的戏弄。男人们在追逐世俗功利的时候,同样也成了某种意义上的牺牲品。正如女性研究专家奥特内尔和怀特海德所言“:没有多少女人相信自己真的很漂亮,即使是电影明星或模特也会觉得自

[3](P19)己魅力不足。”但是“世上也没有多少男人相信自己是真正成功的。”所以人们在追逐

模式化性别角色的过程中,往往会偏离人的真实自我———一个道德健全、情感忠实自我的人。剧本中三位男性就是最典型的例子。就海尔茂来说,轻律师,而且新近被提拔为某商业银行经理,,又温柔贤惠,同时,,海尔茂和娜拉的婚姻完全符合理想的婚姻模式。然而,却以牺牲娜拉珍,在关键时刻海尔茂抛弃了人。夫/父权社会的性别框架及性,它甚至超越了维系人间关系的常理,。

/父权社会有着不可调和的矛盾和无法治愈的毛病。洛克斯泰为了工作或者金钱的原因要挟娜拉几乎使他丧失了道德。还有一位就是娜拉的朋友阮克医生,他父亲是梅毒患者,因为遗传原因阮克医生得了不治之症而死亡。笔者认为作者是在借这两个不健全的男人暗示夫/父权社会隐藏的种种弊端,这些弊端不仅表现在对女性的全方位压迫,而且对男性也具有某种强制性的扭曲。当女人在以男性为中心的父/夫权社会无法“忠实于自我”而成为玩偶的时候,男性也在追逐名利的游戏中偏离了自我,从而成为社会世俗机制的玩偶。

三、拒绝玩偶

正如恩格斯所言“:妇女解放的第一先决条件就是一切女性重新回到公共劳动中去”。因为“男子在婚姻上的统治是他经济统治的简单后果,它将自然地随着后者的消失而消失”。然而,任何一个挑战者或者一个革命者都有一个从觉悟到行动的过程

。那么,像娜拉这样一位典型的模式化女性是如何走上反叛之路的呢?首先应该说是因为她潜在的独立意识和希望得到社会认可的强烈愿望。表面上头脑简单

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天真活泼且富有牺牲精神的娜拉,事实上却是一位聪明能干、足智多谋且颇有自我追求的女性。她深知海尔茂需要在家中的中心地位,所以她非常小心地维护海尔茂的这种权威感。娜拉有意识地把自己扮演成一个既无助又无头脑的玩偶。娜拉将自己扮演成玩偶这件事实本身就说明了她是颇有心计的。她悄悄冒名借钱为丈夫治病正是独立意识的真实写照。事后她“几乎觉得自己像个男人”。后来她在维持家庭各方面开支的同时,精打细算偿还债务。当面临着冒名借债的事要被揭露出来的危险时,她决定自己承担责任———准备自杀,以免连累丈夫。她这种敢做敢为的个性正

[8]是她潜在独立意识的体现。

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其次就是女友林丹太太对她的启发。剧本中的林丹太太是一位挑战传统的新女性,而且最后成为一个忠实于自我的人。首先,她像男人一样承担了养家糊口的责任。为了给母亲治病和供弟妹上学,她违心地嫁给了一个有钱人。不久丈夫去世,没有留下遗产。这艰难的生活不但没有使她怨天尤人,反而使她领悟到了生活的真谛和做人的价值。她最后靠自己的工作赢得了经济上的独立。在她看来,娜拉生活在充满孩子稚气的幻想中。同时,易卜生赋予林丹太太敏锐而深刻的洞察力,是她“看到了资产阶级家庭结构正在某一点上发生破裂以至于全面垮台”,是她清楚地认识到娜拉与海尔茂之间不正常的夫妻关系。她认为有必要让娜拉对海尔茂有比较彻底的了解,所以,她故意没有从洛克斯泰那里要回那封要挟信,导致海尔茂知道此事并露出他的真实面目。正是这件事触动了娜拉的灵魂深处,使她明白

[6]了自己在家庭中的“玩偶”地位,激发了她要重新开始生活的意识。因此,从某种意义上说是林丹太太唤醒了娜拉潜在的独立意识。

,海尔茂不仅对自己的爱情坚贞不渝,,,他的反应完全出乎娜拉的预料。。他既没有“挺身而出,把全部责任担在自己身上”,“去救娜拉;反而用最恶毒的字眼咒骂娜拉和她父亲,,全然不顾娜拉为他做出的牺牲。他责怪娜拉“:……”就在这一时刻,娜拉的女性意识彻底醒悟了。,。娜拉这才意识到她自己从来没“:这些年来我在这儿像个要饭的叫化子,要一口,吃一口”。丈夫对自己“从来没有在正经事情上说过一句话”。所谓的爱“,不过是说说笑笑凑个热闹罢了”。她终于看清了海尔茂的真实面目。对爱情的绝望滋生了娜拉强烈的独立要求,她要离开这个“玩偶家庭”,重新开始新的生活。海尔茂搬出妻子、母亲的责任来威胁她,但此时他那一套只要求女人履行义务而不许她享受权利的道德规范已束缚不了娜拉。“首先我是一个人”,“跟男人一样是一个人”,基于这种独立与平等的要求,她要到社会去“找点事做”“一,个人过日子”。在剧本的最后,娜拉果断而坚定地走出了“玩偶之家”。她的出走是对玩偶角色的彻底拒绝;是对玩偶游戏规则的全盘否认

;是对整个父/夫权社会的背叛和挑战。她的出走强烈地震撼了海尔茂的灵魂。

[5]恰如易卜生所说“:我没有创造女主角,我只是写人和人的命运”。我认为作者是在借

助娜拉反抗“做母亲、做老婆”的义务,来抨击资产阶级的宗教、道德和习俗。虽然以男人为中心的社会给男人带来了比女人更多的权力和利益,但是却并没有带给男人更多的自由空间。男人也同女人一样被模式化、规范化。男人要有荣誉、地位和金钱才是真正意义上的男人。因此,世俗的男人们也就不惜一切代价以求活得像个男人。在他们剥削女人、压迫女人、玩弄女人的同时,他们自己也成了名誉的奴隶和社会习俗的玩偶。当女人开始觉醒的时候,她们的斗争对象表面上是男性,而实际上应该是整个社会机制。只有两性都彻底觉悟,对现存的社会性别模式重新审视和定位,人性才能得到真正的解放,两性的自我才能得到充分的扩展。在易卜生的笔下,林丹太太不仅是精神上的叛逆者,而且还是重构者。她用智慧、才能和经历摆脱了“玩偶”的命运,同时还启发娜拉走上了独立自主的人生路。更重要的是她把洛克斯泰从生活的泥潭中拯救出来,使他过上了真正幸福的生活。林丹太太借助于她对洛克斯泰的爱情唤醒了他的道德意识,使他不再威胁娜拉和海尔茂。最后,林丹太太与72

洛克斯泰重归于好,过上了“真正象夫妻”的生活。按照易卜生的观点“,真正象夫妻”的生活并不是单纯意义上的妇女解放,而是夫妻双方个人精神上的解放。在这种家庭里,夫妻双方

[5]都有做人的权利,并且毫无外来的义务干涉。

不少评论家包括鲁迅先生在内都曾关注娜拉走了怎么办的具体问题。我认为娜拉的出走是作者赋予剧本的寓意性结尾。它象征着娜拉对整个资本主义社会机制的挑战。娜拉要跳出的不仅仅是她和海尔茂的家,而是整个夫权社会。如果她仅仅是离开那个具体化的“玩偶之家”,那么她下一步迈进的将是更复杂的“玩偶社会”。所以,如果现有的风俗习惯、道德观念及性别角色等社会机制不变,无论娜拉是离开家庭还是留在家里,她的命运都是一样———被当成玩偶而已。因此,如果从娜拉出走之后该怎么办这一角度来研究剧本,就容易忽略剧本的深层含义。易卜生是在借娜拉的出走倡导一种“精神上的反叛和革命”。易卜生曾经这样说过“:,因为每个人对于他所属的社会都负有不可推卸的责任,。因此,他在

[5]一本书里写下这样的题词‘:”。所

以说,,。她的醒悟既是对夫权社会的抗争,世界上最大的对立阶级,这两个阶级是可以通过自我认识而达到和谐

[7](P152)的。。如果霸权话语的控制者

,学会站在他者的角度去重新做人,[4](P49)、更自由的发展空间。

参考文献:

[1]DavidThomas,ModermDramatists,London,MacmillanPress,1983.　[2]MichaelEgan(ed.),Ibsen:theCriticalHeritage,London:Routledge&KeganPaul,1972.　[3](ed.),1993.

[4]bellhooks.KillingRageEndingRacism,PenguinGroup,1995.　[5]陈弘.易卜生“妇女解放”思想质疑[J].外国文学研究,1983,(6).　[6]敏捷.对《玩偶之家》结构的再思考[J].外国文学研究,1987,(2).　[7]西蒙娜・德・波伏娃.第二性[M].北京:中国书籍出版社,1998.　[8]袁素华.安娜、娜拉、简爱形象比较[J].外国文学研究,1987,(10).

Whoisadoll?

———Re-reading“ADollHouse”

WUNa

Abstract:Baseduponthefeministtheories,thisessayaims

atre-examiningADoll’sHousefromtheperspectiveofgenderstudies.Whileexploringthequestion———whoisthedoll,thepaperreachesaconclusionthatnotonlyNoraservesasavisibledollinhercommunity,butthosemenrepresentedbyTorvaldarealsobecominginvisibledollsinthepatriarchalsystem.

Keywords:genderroles;visibledolls;invisibledolls

责任编辑、校对:木　子

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范文四：玩偶之家论文

《玩偶之家》写于1879 年, 它通过海尔茂与娜拉夫妻之间的矛盾冲突, 描写了女主人公娜拉从信赖丈夫到与丈夫决裂, 最后终于脱离“玩偶”家庭的自我觉醒的过程, 深刻揭露了资本主义社会的丑恶, 热情歌颂了妇女的解放。作品从家庭夫妇之间的矛盾冲突来揭示社会矛盾,对娜拉和海尔茂的不同性格,可淋漓尽致地体现在作品之中。

娜拉是个具有资产阶级民主思想倾向的妇女形象。外柔内刚的娜拉表面上是一个处处依赖丈夫的家庭主妇，经常被人称作“小鸟儿”、“小松鼠儿”， 从戏一开场到最后难以避免的面对面的冲突，娜拉的全部行为都表明她是一个幸福的、甚至被宠得相当任性的娇妻：孩子有奶妈照看，家务有女佣打点；她不用为金钱奔波，她的日常事务就是购物；而她总能从丈夫那儿弄到钱。虽然海尔茂也指责她花钱没有计划，但他几乎从没有拒绝过给她钱。海尔茂不要她吃杏仁甜饼，而她总是偷偷地吃，并一再撒谎，乐此不疲；当她与来访的林丹太太聊天时，她急切地要告诉对方，自己是多么的幸福：“这八年的功夫多快活。”活着是多么好的一件事！可见，娜拉其实是相当满意自己的婚姻生活的！然而在这个直觉很敏锐的女人的内心又隐隐地感到：她的丈夫海尔茂是一个表面温柔体贴、精明能干的男人，而内里却是一个怯懦而无能的人。她知道他爱自己，她也知道他的那种爱是风和日丽时刻的爱，经不住风雨的侵袭。所以当海尔茂表示希望有危难的时刻到来，他可以挺身而出来保护她，以显示他的爱时，她根本就懒得听，转身离去！

但是这并不是娜拉的真正性格，她是善良而坚强的。为了给丈夫治病，她瞒着丈夫伪造父亲的签名向柯洛克斯泰借了一大笔债。丈夫知道事情的真相后，把一切的错误都归结于娜拉，认为娜拉毁了他的前途和名誉。而娜拉为了挽救丈夫的名誉，甚至准备牺牲自己的名誉。可令她痛心的是，在最需要丈夫和她同舟共济、面对危局的时刻，她却发现自己为之做出牺牲的丈夫竟是一个虚伪而卑劣的市侩之民——怒火冲冲地谴责娜拉的所作所为败坏了他的名誉，毁了他的前途。她失望至极，特别是看到丈夫知道债主不追究责任的兴奋表情以及要求她再做“小鸟”，顺从他的一切主旨时候。她终于觉醒了，意识到一直以来，丈夫都是把她当作一个“逗人”的娃娃，当作一个玩偶。他始终不把她当作一个有独立的人格的、真正的女人。没有犹豫，娜拉决然鼓起勇气，抛弃丈夫，离开孩子，离开了“玩偶之家”，冲到牢笼外面，寻找属于自己真正拥有的独立和自由。娜拉毅然决然地同海尔茂决裂,更主要的是有她的思想基础。现实生活教育了她,使她不仅认清了海尔茂的丑恶灵魂,而且也认识了现实社会的不合理。娜拉对资本主义社会的教育、道德、宗教、法律等问题的看法,跟一般资产阶级庸人如海尔茂之流的见解是不相同的。“醒悟”后的娜拉,对资本主义社会持敌视态度。当海尔茂说她“你不了解咱们的社会”时,她激昂地回答说:“究竟是社会正确还是我正确!”“我知道大多数人赞成你的话,并且书本里也这么说。可是从今以后我不能相信大多数人的话,也不能一味相信书本里的话。”对于麻痹人民的精神鸦片———宗教,娜拉更不会把它放在眼里,她宣称:“我真不知道宗教是什

么。”对于资本主义社会的法律,娜拉深受其害,更是深恶痛绝。“国家的法律跟我心里想的不一样..我不信世界上有这种不讲理的法律。

从娜拉的蜕变看出，她是一个自立的女性代表，不甘心处处依赖他人，不甘心当别人的玩偶，是一个有理想有抱负的女性。她要做一个像男人一样出去闯荡社会的人。她还是一个具有叛逆性，能够勇于追求独立、追求平等的新女性形象。在十九世纪的资本主义社会时代，娜拉是个具有资产阶级个性解放思想的叛逆女性。她对社会的背叛和弃家出走，被誉为妇女解放的“独立宣言”。

范文五：新玩偶之家

一个女孩子，家境贫寒，19岁的时候认识一个成熟男人，那男人对她无比体贴关心，不仅为她的所有生活买单，而且即便是她家里的麻烦事也都责无旁贷。她毫无悬念地被他俘虏，那时她刚上大学二年级，之前没有任何恋爱经历。她想这就是爱情了吧？所以尽管同学都看不起她，认为她傍大款，但她不在意。他使她从一个丑小鸭变成了骄傲的公主。

她后来考上研究生，想着将来就嫁给他，给他洗衣做饭生孩子教育孩子长大。她24岁了，也该考虑这些事了，他比她大9岁。

就在这个节骨眼，她偶然发现他的另一面——他竟然在婚恋网站一直有注册，跟人家搭讪，搞一夜情，搞过之后就再不搭理人家。她心中的完美男人竟然是一个花心大盗。她的世界崩溃，跟他吵跟他闹，他解释说这是男人的天性，他真正爱的要结婚的女人是她。他向她道歉，即便在她搬回学校宿舍之后，他依然找她，依然说无论有任何事情他愿意帮忙，依然给她信用卡。

女孩子问我她应该怎么办。

她能怎么办？从现实的角度讲，她从19岁就跟了他，她的世界只有他，她贫寒的家庭除了给她添麻烦，真正帮到她的不多。她离开这个男人，能顺利找到工作吗？能轻而易举养活自己和家人吗？就算她可以，靠她自己的奋斗，需要多少时间？她24岁，稍微奋斗个三年五载一不小心就有可能成为“剩女”，然后再拼命相亲委曲求全？我猜她应该也想到了这一层吧？

所以她说，她离开他之后又很想念他，况且他也道歉，她问我是不是可以原谅他？但又担心他万一恶习不改，万一有一天他找到更年轻更合适的，换掉她怎么办？到时候她如果三十了，不是更惨？她左右为难。

我也感到很为难，因为我确实知道有一种男人，他们喜欢玩偶，像养个小猫小狗小宠物一样养着女人，如果你能接受，那么这种婚姻也不失为一种婚姻，至少你不必自己出去找食儿了。但假如你不能接受，就像你家养的宠物狗，离开你跑到大街上，你认为它的命运会比在你家更好吗？

有一出著名的话剧《玩偶之家》，易卜生写的，按照百度百科的解释：“主要写主人公娜拉从爱护丈夫、信赖丈夫到与丈夫决裂，最后离家出走，摆脱玩偶地位的自我觉醒过程。”

娜拉的出走，曾被很多人誉为妇女解放的《独立宣言》，但是，鲁迅先生却专门写了一篇《娜拉走后怎样》——“从事理上推想起来，娜拉或者其实也只有两条路：不是堕落，就是回来。”

当然鲁迅先生没有生活在今天，今天的娜拉还有另一种选择，她们在弱小的时候，依靠男人壮大自己，当羽翼丰满有能力选择生活的时候，再重新选择，这种办法尽管从道德上讲不如自力更生艰苦奋斗，而且会有无穷隐患，但新一代“玩偶”已经开始了——这个24岁的姑娘最后会选择哪条道路呢？是堕落？是回来？还是新玩偶之路——用你的钱用你的人脉用你的关系发展壮大自己，然后有一天，权力转换——那时我已是成熟独立女性，而你不过是个老男人，咱们过不过，怎么过，是我说了算而不是你说了算！

范文六：玩偶之家2

三幕话剧《玩偶之家》A Doll's House是易卜生的代表作，主要写主人公娜拉从爱护丈夫、信赖丈夫到与丈夫决裂，最后离家出走，摆脱玩偶地位的自我觉醒过程。

编辑本段话剧玩偶之家

节选部分是全剧的高潮，娜拉和海尔茂之间的潜在矛盾暴露出来，并产生激烈冲突，从而完成主题的表达和人物形象的刻画。

《玩偶之家》曾被比做“妇女解放运动的宣言书”。在这个宣言书里，娜拉终于觉悟到自己在家庭中的玩偶地位，并向丈夫严正地宣称：“首先我是一个人，跟你一样的人至少我要学做一个人。”以此作为对以男权为中心的社会传统观念的反叛。

剧本结构紧凑，情节集中。全剧采用追溯的手法，通过债主的要挟，海尔茂收到揭发信，交代剧情发展的关键事件娜拉伪造签名，然后集中刻画他们冲突、决裂的过程。

编辑本段主要情节

海尔茂律师刚谋到银行经理一职，正欲大展鸿图。他的妻子娜拉请他帮助老同学林丹太太找份工作，于是海尔茂解雇了手下的小职员柯洛克斯泰，准备让林丹太太接替空出的位置。娜拉前些年为给丈夫治病而借债，无意中犯了伪造字据罪，柯洛克斯泰拿着字据要挟娜拉。海尔茂看了柯洛克斯泰的揭发信后勃然大怒，骂娜拉是“坏东西”、“罪犯”、“下贱女人”，说自己的前程全被毁了。待柯洛克斯泰被林丹太太说动，退回字据时，海尔茂快活地叫道：“娜拉，我没事了，我饶恕你了。”但娜拉却不饶恕他，因为她已看清，丈夫关心的只是他的地位和名誉，所谓“爱”、“关心”，只是拿她当玩偶。于是她断然出走了。

编辑本段人物贡献

娜拉是个具有资产阶级个性解放思想的叛逆女性。她对社会的背叛和弃家出走，被誉为妇女解放的“独立宣言”。然而，在素 把妇女当作玩偶的社会里，娜拉真能求得独立解放吗？鲁迅先生在《娜拉走后怎样？》一文中说： “从事理上推想起来，娜拉或者其实也只有两条路：不是堕落，就是回来。”这看似是个问题，其实鲁迅忽略（也许是故意地忽略的）了剧中林丹太太这个职业女性。林丹太太在职场中滚打多年的经历，为娜拉的出路做了很好的预示。娜拉也可以学习林丹太太成为职业女性，养活自己。

编辑本段艺术特色

《玩偶之家》的主要艺术特色：结构严密完整；在悬念和伏笔的运用上很有特色；人物对话充满辩论色彩，把“讨论”带进戏剧；成功了运用“追溯法”。

1、易卜生善于把复杂的生活矛盾集中为精炼的情节，他常常把剧情安排在矛盾发展的高潮，然后运用回溯手法，把前情逐步交代出来，使得矛盾的发展既合情合理，又有条不紊。主要矛盾是围绕“假冒签名”所引起的娜拉和海尔茂之间的矛盾，次要矛盾有娜拉和柯、林与柯、海与柯之间的矛盾。

2、作者把剧情安排在圣诞节前后三天之内，借以突出渲染节日的欢乐气氛和家庭悲剧之间的对比，他以柯因被海辞退，利用借据来要挟娜拉为他保住职位这件事为主线，引出各种矛盾的交错展开，同时让女主人公在这短短三天之中，经历了一场激烈而复杂的内心斗争，从平静到混乱，从幻想到破裂，最后完成娜拉自我觉醒的过程，取得了极为强烈的戏剧效果。

3、出场人物不多，除保姆、佣人和孩子外，只有五个人物，但每一个人都起着推动情节发展，突出主题的作用。

4、剧中的对话也非常出色，既符合人物性格和剧情发展的要求，又富于说理性，有助于揭示主题，促使读者或观众对作者提出的社会问题产生强烈的印象，对后来现实主义戏剧的发展产生了很大的影响。

编辑本段作者简介

易卜生（1828——1906），挪威人，世界近代社会问题剧的始祖和最著名的作家，商人家庭出身。一生共写剧本26部。《觊觎王位的人》、《厄斯特洛的英格夫人》等早期剧作，大多以历史题材表现爱国主义思想，浪漫色彩浓郁；中期创作就有意识地揭示当时的各种社会问题，有《培尔·金特》、《社会支柱》、《玩偶之家》、《群鬼》、《国民公敌》等剧作。代表作《玩偶之家》（1879）通过娜拉形象的塑造，提出资本主义社会的法律、伦理和妇女地位等社会问题，对现实的批判深刻有力。晚期的《野鸭》、《罗斯莫庄》、《海上夫人》、《咱们死人再生时》等剧作转向心理描写和精神分析，象征主义色彩浓厚。其剧作以鲜明的主题、生动的情节、严谨的结构、优美的语言和独特的艺术风格，对世界近现代戏剧的发展有广泛、深刻的影响。

他是挪威人民引以自豪的戏剧大师、欧洲近代戏剧新纪元的开创者，他在戏剧史上享有同莎士比亚和莫里哀一样不朽的声誉。从二十年代起，我国读者就熟知这个伟大的名字；当时在我国的反封建斗争和争取妇女解放的斗争中，他的一些名著曾经起过不少的促进作用。

易卜生出生于挪威海滨一个小城斯基恩。少年时期，因父亲破产，家道中落，没有进成大学，不满十六岁就到一家药店当学徒。社会的势利，生活的艰辛，培养了他的愤世嫉俗的性格和个人奋斗的意志。在繁重而琐

碎的学徒工作之余，他刻苦读书求知，并学习文艺写作。1848年欧洲的革命浪潮和挪威国内的民族解放运动，激发了青年易卜生的政治热情和民族意识，他开始写了一些歌颂历史英雄的富有浪漫色彩的剧作。接着，他先后在卑尔根和奥斯陆被剧院聘为导演和经理，达十余年之久。这段经历加深了他对挪威社会政治的失望，于是愤而出国，在意大利和德国度过二十七年（1863－91）的侨居生活，同时在创作上取得了辉煌的成就，晚年才回奥斯陆。

易卜生一生共写了二十多部剧作，除早期那些浪漫抒情诗剧外，主要是现实主义的散文剧即话剧。这些散文剧大都以习见而又重大的社会问题为题材，通常被称为“社会问题剧”。《社会支柱》（1877）、《玩偶之家》（1879）、《群鬼》（1881）和《人民公敌》（1882）是其中最著名的代表作。

编辑本段写作背景

易卜生的整个创作生涯恰值十九世纪后半叶。在他的笔下，欧洲资产阶级的形象比在莎士比亚、莫里哀笔下显得更腐烂、更丑恶，也更令人憎恨，这是很自然的。他的犀利的笔锋饱含着愤激的热情，戳穿了资产阶级在道德、法律、宗教、教育以及家庭关系多方面的假面具，揭露了整个资本主义社会的虚伪和荒谬。《玩偶之家》就是对于资本主义私有制下的婚姻关系、对于资产阶级的男权中心思想的一篇义正辞严的控诉书。 编辑本段人物描写

女主人娜拉表面上是一个未经世故开凿的青年妇女，一贯被人唤作“小鸟儿”、“小松鼠儿”，实际上上她性格善良而坚强，为了丈夫和家庭不惜忍辱负重，甚至准备牺牲自己的名誉。她因挽救丈夫的生命，曾经瞒着他向人借了一笔债；同时想给垂危的父亲省却烦恼，又冒名签了一个字。就是由于这件合情合理的行为，资产阶级的“不讲理的法律”却逼得她走投无路。更令她痛心的是，真相大白之后，最需要丈夫和她同舟共济、承担危局的时刻，她却发现自己为之作出牺牲的丈夫竟是一个虚伪而卑劣的市侩。她终于觉醒过来，认识到自己婚前不过是父亲的玩偶，婚后不过是丈夫的玩偶，从来就没有独立的人格。于是，她毅然决然抛弃丈夫和孩子，从囚笼似的家庭出走了。

但是，娜拉出走之后怎么办？这是本剧读者历来关心的一个问题。 编辑本段写作评价

易卜生出生于一个以小资产阶级为主体的国家，周围弥漫着小资产阶级社会所固有的以妥协、投机为能事的市侩气息。对这一类庸俗、虚伪的

政治和政治家，他是深恶痛绝的，甚至如他自己所说，不惜与之“处于公开的战争状态”。但是，这里也相应地产生了挪威小资产者易卜生的悲观主义。弗朗茨·梅林在一篇关于这位剧作家的评论中指出：“易卜生再怎样伟大，他毕竟是个资产阶级诗人；他既是悲观主义者，并且必然是悲观主义者，他对于本阶级的没落便看不见、也不能看见任何解救办法。”这位剧作家在自己的作品中，只能唯心地歌颂“人的精神的反叛 ”，把具有这种反叛精神的主人公当作“高尚的人性”加以憧憬。他限于环境和阶阶，看不见革命的政治和政治家，更不信仰他根本无从接触的社会主义革命，因此也就不能在坚实的历史基础和生活基础上为他的主人公开辟真正的出路。

从历史唯物主义观点来看，娜拉要真正解放自己，当然不能一走了之。妇女解放的着急当然不在于仅仅摆脱或打倒海尔茂之流及其男权中心的婚姻关系。恩格斯在《家庭、私有制和国家的起源》中一语中的地指出：“妇女解放的第一个先决条件就是一切女性重新回到公共的劳动中去”，因为“男子在婚姻上的统治是他的经济统治的简单的后果，它将自然地随着后者的消失而消失。”娜拉在觉醒之前所以受制于海尔茂，正由于海尔茂首先在经济上统治了她。因此，娜拉要挣脱海尔茂的控制，决不能单凭一点反叛精神，而必须首先在经济争取独立的人格。她所代表的资产阶级妇女的解放，必须以社会经济关系的彻底变革为前提。她所梦想的“奇迹中的奇迹”，即她和海尔茂都“改变到咱们在一起儿过日子真正象夫妻”，也只有在通过改造社会环境而改造人的社会主义社会才有可能。在世界文学史上，易卜生曾经被称为“一个伟大的问号”。这个“问号”至今仍然发人深省，促使人们思考：在资本主义私有制经济基础被摧毁之后，还应当怎样进一步消除和肃清易卜生在《玩偶之家》等剧中所痛斥的资产阶级的传统道德、市侩意识及其流毒。在这个意义上，易卜生的戏剧对于以解放全人类为己任的无产阶级，正是一宗宝贵的精神财富。

易卜生曾对一个给他写传记的作者路德维希·帕萨尔格说：“我所创作的一切，即使不是我亲自体验的，也是与我经历过的一切极其紧密地联系在一起的。”他的《玩偶 之家》不是随意虚构的，而是现实生活的反映。易卜生有个名叫芳拉·基勒的朋友。她

爱好文学，重感情，初期婚姻生活十分美满。她丈夫基勒得了肺结核，医生劝劳拉让她 丈夫去南部欧洲疗养，否则病情不但会加重，且有性命危险。劳拉瞒了丈夫向友人借了 一笔钱，为了推迟债期又伪造了保人签字，丈夫病治好后，知道真相，大发雷霆，谴责 劳拉的所作所为败坏了他的名誉，毁了他的前途。劳拉一片深情却得到如此报应，她受 不了这无情的打击，精神失常。基勒同她离了婚，一度被亲友们羡慕的家庭就此完结， 易卜生根据劳拉这个原型，用深刻尖锐的批判精神和高度的艺术技巧塑造了娜拉这个形 象。她不仅仅是个有血有肉的现实社会中的人，而且是升华了的艺术形象。她善良却很 坚强，不甘心从属于他人，要做一个同男子平等的人。她认清了丈夫真面目后并没有发 疯，而是冲出牢笼去寻求自由。

《玩偶之家》戳穿了资产阶级在道德、法律、宗教、教育和家庭关系上的假象，揭 露了在“幸福”、“美满”等表面现象掩盖下的资本主义社会的虚伪本质，并提出了妇 女解放这样一个尖锐的社会问题。它是一篇抨击资产阶级男权中心思想的控诉书，是一 篇妇女解放的宣言书。

易卜生在《玩偶之家》中通过层层剥笋的手法展开故事情节，分析人物心理，展示 人物性格。第一幕开始时，娜拉给观众的印象是个美丽、活泼、无忧无虑的家庭主妇。 她对女友林丹太太谈到她为拯救丈夫而自我牺牲的往事，使观众立即感到娜拉是个善良 而坚强的女性，为了丈夫和家庭不惜忍辱负重，甚至准备牺牲自己的名誉。随着同海尔 茂、柯洛克斯泰的谈话，娜拉的性格和思想层层揭示出来，一个头脑清醒、渴望独立自 由、愿为真理而奋斗的高尚的女性形象活生生地站立在观众面前。

剧中的次要人物林丹太太同娜拉一样高尚。她自食其力，富有牺牲精神。为了维护 生病的母亲和年幼的弟弟的生活，她嫁给了一个有钱但她不喜欢的男人。丈夫死后，她 开小铺，办小学，为母亲养老送终，抚养几个弟弟自立，最后剩下她孤单一人仍在为寻 找工作到处奔波。易卜生笔下的这两位妇女形象栩栩如生，给人留下了深刻印象，充分 显示出易卜生对妇女命运的深切同情。

易卜生在《玩偶之家》中揭露和批判了社会上的丑恶现实，把改造丑恶现实的希望 寄托在具有反叛精神的少数人身上。娜拉出走就是反叛。他在作品中提出了问题，但是 没有指出正确的斗争道路。从他所处的阶级地位和生活的社会环境来看，他找不到也不 可能找到答案。恩格斯在《家庭、私有制和国家的起源》中指出：“妇女解放的第一个 先决条件就是一切女性重新回到公共的劳动中去。”因为，“男子在婚姻上的统治是他 的经济统治的简单的后果，它将自然地随着后者的消失而消失。”鲁迅也曾指出：“在 家应该先获得男女平均的分配。”娜拉要真正取得独立光凭一点反叛精神是不行的。只 有首先在经济上取得独立，才能争取独立的人格。不管怎么说，易卜生不愧为一位具有 世界影响的戏剧大师。恩格斯给保·恩斯特的信里说：“易卜生的戏剧不管有怎样的缺 点，却反映了一个即使是中小资产阶级的但比起德国的来却有天渊之别的世界；在这个 世界里，人们还有自己的性格以及首创的和独立的精神，即使在外国人看来往往有些奇 怪。”三幕话剧《玩偶之家》A Doll's House是易卜生的代表作，主要写主人公娜拉从爱护丈夫、信赖丈夫到与丈夫决裂，最后离家出走，摆脱玩偶地位的自我觉醒过程。

编辑本段话剧玩偶之家

节选部分是全剧的高潮，娜拉和海尔茂之间的潜在矛盾暴露出来，并产生激烈冲突，从而完成主题的表达和人物形象的刻画。

《玩偶之家》曾被比做“妇女解放运动的宣言书”。在这个宣言书里，娜拉终于觉悟到自己在家庭中的玩偶地位，并向丈夫严正地宣称：“首先我是一个人，跟你一样的人至少我要学做一个人。”以此作为对以男权为中心的社会传统观念的反叛。

剧本结构紧凑，情节集中。全剧采用追溯的手法，通过债主的要挟，海尔茂收到揭发信，交代剧情发展的关键事件娜拉伪造签名，然后集中刻画他们冲突、决裂的过程。

编辑本段主要情节

海尔茂律师刚谋到银行经理一职，正欲大展鸿图。他的妻子娜拉请他帮助老同学林丹太太找份工作，于是海尔茂解雇了手下的小职员柯洛克斯泰，准备让林丹太太接替空出的位置。娜拉前些年为给丈夫治病而借债，无意中犯了伪造字据罪，柯洛克斯泰拿着字据要挟娜拉。海尔茂看了柯洛克斯泰的揭发信后勃然大怒，骂娜拉是“坏东西”、“罪犯”、“下贱女人”，说自己的前程全被毁了。待柯洛克斯泰被林丹太太说动，退回字据时，海尔茂快活地叫道：“娜拉，我没事了，我饶恕你了。”但娜拉却不饶恕他，因为她已看清，丈夫关心的只是他的地位和名誉，所谓“爱”、“关心”，只是拿她当玩偶。于是她断然出走了。

编辑本段人物贡献

娜拉是个具有资产阶级个性解放思想的叛逆女性。她对社会的背叛和弃家出走，被誉为妇女解放的“独立宣言”。然而，在素 把妇女当作玩偶的社会里，娜拉真能求得独立解放吗？鲁迅先生在《娜拉走后怎样？》一文中说： “从事理上推想起来，娜拉或者其实也只有两条路：不是堕落，就是回来。”这看似是个问题，其实鲁迅忽略（也许是故意地忽略的）了剧中林丹太太这个职业女性。林丹太太在职场中滚打多年的经历，为娜拉的出路做了很好的预示。娜拉也可以学习林丹太太成为职业女性，养活自己。

编辑本段艺术特色

《玩偶之家》的主要艺术特色：结构严密完整；在悬念和伏笔的运用上很有特色；人物对话充满辩论色彩，把“讨论”带进戏剧；成功了运用“追溯法”。

1、易卜生善于把复杂的生活矛盾集中为精炼的情节，他常常把剧情安排在矛盾发展的高潮，然后运用回溯手法，把前情逐步交代出来，使得矛盾的发展既合情合理，又有条不紊。主要矛盾是围绕“假冒签名”所引起的娜拉和海尔茂之间的矛盾，次要矛盾有娜拉和柯、林与柯、海与柯之间的矛盾。

2、作者把剧情安排在圣诞节前后三天之内，借以突出渲染节日的欢乐气氛和家庭悲剧之间的对比，他以柯因被海辞退，利用借据来要挟娜拉为他保住职位这件事为主线，引出各种矛盾的交错展开，同时让女主人公在这短短三天之中，经历了一场激烈而复杂的内心斗争，从平静到混乱，从幻想到破裂，最后完成娜拉自我觉醒的过程，取得了极为强烈的戏剧效果。

3、出场人物不多，除保姆、佣人和孩子外，只有五个人物，但每一个人都起着推动情节发展，突出主题的作用。

4、剧中的对话也非常出色，既符合人物性格和剧情发展的要求，又富于说理性，有助于揭示主题，促使读者或观众对作者提出的社会问题产生强烈的印象，对后来现实主义戏剧的发展产生了很大的影响。

编辑本段作者简介

易卜生（1828——1906），挪威人，世界近代社会问题剧的始祖和最著名的作家，商人家庭出身。一生共写剧本26部。《觊觎王位的人》、《厄斯特洛的英格夫人》等早期剧作，大多以历史题材表现爱国主义思想，浪漫色彩浓郁；中期创作就有意识地揭示当时的各种社会问题，有《培尔·金特》、《社会支柱》、《玩偶之家》、《群鬼》、《国民公敌》等剧作。代表作《玩偶之家》（1879）通过娜拉形象的塑造，提出资本主义社会的法律、伦理和妇女地位等社会问题，对现实的批判深刻有力。晚期的《野鸭》、《罗斯莫庄》、《海上夫人》、《咱们死人再生时》等剧作转向心理描写和精神分析，象征主义色彩浓厚。其剧作以鲜明的主题、生动的情节、严谨的结构、优美的语言和独特的艺术风格，对世界近现代戏剧的发展有广泛、深刻的影响。

他是挪威人民引以自豪的戏剧大师、欧洲近代戏剧新纪元的开创者，他在戏剧史上享有同莎士比亚和莫里哀一样不朽的声誉。从二十年代起，我国读者就熟知这个伟大的名字；当时在我国的反封建斗争和争取妇女解放的斗争中，他的一些名著曾经起过不少的促进作用。

易卜生出生于挪威海滨一个小城斯基恩。少年时期，因父亲破产，家道中落，没有进成大学，不满十六岁就到一家药店当学徒。社会的势利，生活的艰辛，培养了他的愤世嫉俗的性格和个人奋斗的意志。在繁重而琐

碎的学徒工作之余，他刻苦读书求知，并学习文艺写作。1848年欧洲的革命浪潮和挪威国内的民族解放运动，激发了青年易卜生的政治热情和民族意识，他开始写了一些歌颂历史英雄的富有浪漫色彩的剧作。接着，他先后在卑尔根和奥斯陆被剧院聘为导演和经理，达十余年之久。这段经历加深了他对挪威社会政治的失望，于是愤而出国，在意大利和德国度过二十七年（1863－91）的侨居生活，同时在创作上取得了辉煌的成就，晚年才回奥斯陆。

易卜生一生共写了二十多部剧作，除早期那些浪漫抒情诗剧外，主要是现实主义的散文剧即话剧。这些散文剧大都以习见而又重大的社会问题为题材，通常被称为“社会问题剧”。《社会支柱》（1877）、《玩偶之家》（1879）、《群鬼》（1881）和《人民公敌》（1882）是其中最著名的代表作。

编辑本段写作背景

易卜生的整个创作生涯恰值十九世纪后半叶。在他的笔下，欧洲资产阶级的形象比在莎士比亚、莫里哀笔下显得更腐烂、更丑恶，也更令人憎恨，这是很自然的。他的犀利的笔锋饱含着愤激的热情，戳穿了资产阶级在道德、法律、宗教、教育以及家庭关系多方面的假面具，揭露了整个资本主义社会的虚伪和荒谬。《玩偶之家》就是对于资本主义私有制下的婚姻关系、对于资产阶级的男权中心思想的一篇义正辞严的控诉书。 编辑本段人物描写

女主人娜拉表面上是一个未经世故开凿的青年妇女，一贯被人唤作“小鸟儿”、“小松鼠儿”，实际上上她性格善良而坚强，为了丈夫和家庭不惜忍辱负重，甚至准备牺牲自己的名誉。她因挽救丈夫的生命，曾经瞒着他向人借了一笔债；同时想给垂危的父亲省却烦恼，又冒名签了一个字。就是由于这件合情合理的行为，资产阶级的“不讲理的法律”却逼得她走投无路。更令她痛心的是，真相大白之后，最需要丈夫和她同舟共济、承担危局的时刻，她却发现自己为之作出牺牲的丈夫竟是一个虚伪而卑劣的市侩。她终于觉醒过来，认识到自己婚前不过是父亲的玩偶，婚后不过是丈夫的玩偶，从来就没有独立的人格。于是，她毅然决然抛弃丈夫和孩子，从囚笼似的家庭出走了。

但是，娜拉出走之后怎么办？这是本剧读者历来关心的一个问题。 编辑本段写作评价

易卜生出生于一个以小资产阶级为主体的国家，周围弥漫着小资产阶级社会所固有的以妥协、投机为能事的市侩气息。对这一类庸俗、虚伪的

政治和政治家，他是深恶痛绝的，甚至如他自己所说，不惜与之“处于公开的战争状态”。但是，这里也相应地产生了挪威小资产者易卜生的悲观主义。弗朗茨·梅林在一篇关于这位剧作家的评论中指出：“易卜生再怎样伟大，他毕竟是个资产阶级诗人；他既是悲观主义者，并且必然是悲观主义者，他对于本阶级的没落便看不见、也不能看见任何解救办法。”这位剧作家在自己的作品中，只能唯心地歌颂“人的精神的反叛 ”，把具有这种反叛精神的主人公当作“高尚的人性”加以憧憬。他限于环境和阶阶，看不见革命的政治和政治家，更不信仰他根本无从接触的社会主义革命，因此也就不能在坚实的历史基础和生活基础上为他的主人公开辟真正的出路。

从历史唯物主义观点来看，娜拉要真正解放自己，当然不能一走了之。妇女解放的着急当然不在于仅仅摆脱或打倒海尔茂之流及其男权中心的婚姻关系。恩格斯在《家庭、私有制和国家的起源》中一语中的地指出：“妇女解放的第一个先决条件就是一切女性重新回到公共的劳动中去”，因为“男子在婚姻上的统治是他的经济统治的简单的后果，它将自然地随着后者的消失而消失。”娜拉在觉醒之前所以受制于海尔茂，正由于海尔茂首先在经济上统治了她。因此，娜拉要挣脱海尔茂的控制，决不能单凭一点反叛精神，而必须首先在经济争取独立的人格。她所代表的资产阶级妇女的解放，必须以社会经济关系的彻底变革为前提。她所梦想的“奇迹中的奇迹”，即她和海尔茂都“改变到咱们在一起儿过日子真正象夫妻”，也只有在通过改造社会环境而改造人的社会主义社会才有可能。在世界文学史上，易卜生曾经被称为“一个伟大的问号”。这个“问号”至今仍然发人深省，促使人们思考：在资本主义私有制经济基础被摧毁之后，还应当怎样进一步消除和肃清易卜生在《玩偶之家》等剧中所痛斥的资产阶级的传统道德、市侩意识及其流毒。在这个意义上，易卜生的戏剧对于以解放全人类为己任的无产阶级，正是一宗宝贵的精神财富。

易卜生曾对一个给他写传记的作者路德维希·帕萨尔格说：“我所创作的一切，即使不是我亲自体验的，也是与我经历过的一切极其紧密地联系在一起的。”他的《玩偶 之家》不是随意虚构的，而是现实生活的反映。易卜生有个名叫芳拉·基勒的朋友。她

爱好文学，重感情，初期婚姻生活十分美满。她丈夫基勒得了肺结核，医生劝劳拉让她 丈夫去南部欧洲疗养，否则病情不但会加重，且有性命危险。劳拉瞒了丈夫向友人借了 一笔钱，为了推迟债期又伪造了保人签字，丈夫病治好后，知道真相，大发雷霆，谴责 劳拉的所作所为败坏了他的名誉，毁了他的前途。劳拉一片深情却得到如此报应，她受 不了这无情的打击，精神失常。基勒同她离了婚，一度被亲友们羡慕的家庭就此完结， 易卜生根据劳拉这个原型，用深刻尖锐的批判精神和高度的艺术技巧塑造了娜拉这个形 象。她不仅仅是个有血有肉的现实社会中的人，而且是升华了的艺术形象。她善良却很 坚强，不甘心从属于他人，要做一个同男子平等的人。她认清了丈夫真面目后并没有发 疯，而是冲出牢笼去寻求自由。

《玩偶之家》戳穿了资产阶级在道德、法律、宗教、教育和家庭关系上的假象，揭 露了在“幸福”、“美满”等表面现象掩盖下的资本主义社会的虚伪本质，并提出了妇 女解放这样一个尖锐的社会问题。它是一篇抨击资产阶级男权中心思想的控诉书，是一 篇妇女解放的宣言书。

易卜生在《玩偶之家》中通过层层剥笋的手法展开故事情节，分析人物心理，展示 人物性格。第一幕开始时，娜拉给观众的印象是个美丽、活泼、无忧无虑的家庭主妇。 她对女友林丹太太谈到她为拯救丈夫而自我牺牲的往事，使观众立即感到娜拉是个善良 而坚强的女性，为了丈夫和家庭不惜忍辱负重，甚至准备牺牲自己的名誉。随着同海尔 茂、柯洛克斯泰的谈话，娜拉的性格和思想层层揭示出来，一个头脑清醒、渴望独立自 由、愿为真理而奋斗的高尚的女性形象活生生地站立在观众面前。

剧中的次要人物林丹太太同娜拉一样高尚。她自食其力，富有牺牲精神。为了维护 生病的母亲和年幼的弟弟的生活，她嫁给了一个有钱但她不喜欢的男人。丈夫死后，她 开小铺，办小学，为母亲养老送终，抚养几个弟弟自立，最后剩下她孤单一人仍在为寻 找工作到处奔波。易卜生笔下的这两位妇女形象栩栩如生，给人留下了深刻印象，充分 显示出易卜生对妇女命运的深切同情。

易卜生在《玩偶之家》中揭露和批判了社会上的丑恶现实，把改造丑恶现实的希望 寄托在具有反叛精神的少数人身上。娜拉出走就是反叛。他在作品中提出了问题，但是 没有指出正确的斗争道路。从他所处的阶级地位和生活的社会环境来看，他找不到也不 可能找到答案。恩格斯在《家庭、私有制和国家的起源》中指出：“妇女解放的第一个 先决条件就是一切女性重新回到公共的劳动中去。”因为，“男子在婚姻上的统治是他 的经济统治的简单的后果，它将自然地随着后者的消失而消失。”鲁迅也曾指出：“在 家应该先获得男女平均的分配。”娜拉要真正取得独立光凭一点反叛精神是不行的。只 有首先在经济上取得独立，才能争取独立的人格。不管怎么说，易卜生不愧为一位具有 世界影响的戏剧大师。恩格斯给保·恩斯特的信里说：“易卜生的戏剧不管有怎样的缺 点，却反映了一个即使是中小资产阶级的但比起德国的来却有天渊之别的世界；在这个 世界里，人们还有自己的性格以及首创的和独立的精神，即使在外国人看来往往有些奇 怪。”

范文七：《项链》:玩偶的悲剧

莫泊桑《项链》是中学语文的经典篇目，关于其主题，也是众说纷纭。有的认为是表现了人性的悲剧，有人认为表现了命运的悲剧，有人认为是社会悲剧，若是从女性主义的角度来考量，我们发现玛蒂尔德的悲剧，其实是男权社会女性的悲剧。

小说中的女主角玛蒂尔德出身于一个“小职员”家庭，成年之后嫁给了一个“小书记”，由此可知，玛蒂尔德是一个生于底层的普通女性。对于玛蒂尔德的批判，多集中在她的“资产阶级虚荣心”，而她的悲剧也与此相关。那么，玛蒂尔德的虚荣到底表现在哪里呢？她虚荣心的最大表现可能就是生于下僚的她却一心追求上流社会精致的日常生活，那就是小说中所浓墨重彩书写的她著名的七个梦想：“她梦想那幽静的厅堂，那里装饰着东方的帷幕，点着高脚的青铜灯，还有两个穿短裤的仆人，躺在宽大的椅子里……梦想那些宽敞的客厅，那里张挂着古式的壁挂，陈设着精巧的木器，珍奇的古玩。她梦想那些华美的香气扑鼻的小客室……” 此外还有后面提到的“精美的晚餐……墙上的壁挂……名贵的盘碟……粉红色的鲈鱼”，这七个梦想意欲说明的就是：玛蒂尔德是一个不切实际的女性，她只不过是一个底层的女子，却梦想拥有上流社会的生活。可是，我们从最普遍的生活经验上就能够理解玛蒂尔德的梦想，这种梦想到底有什么错呢？难道安于贫困就是值得称道的吗？从最现实的意义上来说，人们赞美那些为了祖国而奋斗，为了所谓伟大的事业而奋斗的人们，可是如果是为了今后更好的物质生活而奋斗，就一定是虚荣，一定得批判吗？玛蒂尔德的那些梦想实在只是一个普通百姓对于未来的正常诉求，从大的意义上来说，正是这些对未来生活的美好幻想才促进了社会与人类的进步。因此，玛蒂尔德的梦想不应该遭受批判，相反应该给予充分的肯定，因为这是一个对生活和未来充满期待的正常人的正常欲望。

关键的问题是，她该如何去实现她的梦想。接下来的这一场舞会，表面上看是玛蒂尔德的一个机会，似乎可以通过这一场舞会结识那些权贵们，从而改变目前的生活状况。实际上，对于当时许多女性来说，舞会确实是一个结识权贵的很好机会，也是改变命运的一个契机。但是玛蒂尔德的悲剧是注定了的。她不可能像童话中的灰姑娘一样，通过一场舞会彻底改变自己的命运。玛蒂尔德参加的这场舞会，表面上给她带来“成功”的喜悦，实质上并不会给她的生活带来好运，完全是一场莫须有的舞会。

舞会的主角是谁？为了这一场舞会，玛蒂尔德绞尽脑汁，然而她再光彩夺目，也逃不脱配角的命运。舞会的主角，显然是那些男性官员，在玛蒂尔德为自己的美貌所陶醉时，更多的男性在消费她的身体、消费她的青春。对此，玛蒂尔德毫无所知，她只是一味天真地讨好这个由男性所组成的权力世界。实际上，这种讨好只是一种虚妄。部长安排的这场舞会，除了邀请玛蒂尔德夫妇以外，还邀请了其他的小职员。这种邀请，对于玛蒂尔德来说，是一个意外的惊喜，对于部长来说，或许只是因为舞会上缺乏亮丽的女伴，因此邀请了这些小职员的妻子过来装点门面，为舞会助兴。因此，玛蒂尔德们实际上只不过是他们的玩偶。然而，玛蒂尔德却误把它作为人生的机遇，并花巨资置办行头。灰姑娘通过舞会认识王子，“从此以后过上了幸福的生活”，玛蒂尔德却没有这种可能。因为，第一，玛蒂尔德的身份是已婚，她生命中的“王子”早已出现，那就是她的丈夫路瓦栽先生；第二，即便有贵族有心接近玛蒂尔德，但是以玛蒂尔德的善良，她应该不会扔下自己的丈夫去做别人的情妇。而且，当时法国的法律对离婚控制得相当严格。因而，除了一夜狂欢的激动与喜悦，这场舞会注定不会给玛蒂尔德带来任何实际的好处。

为了这场舞会，玛蒂尔德丢失了好朋友的项链，为了偿还赔项链的巨款，花费了十年的辛苦劳动，直至从青春貌美的年轻少妇变成粗壮耐劳的中年妇女。由此可知，这一场舞会耗尽了玛蒂尔德人生最美好的十年光阴。可是，为什么是十年？这么漫长的十年，他们到底是如何来偿还这笔债务的？我们从小说中看到的是：在这十年间“玛蒂尔德懂得家里的一切粗笨活儿和厨房里的讨厌的杂事了。她刷洗杯盘碗碟，在那油腻的盆沿上和锅底上磨粗了她那粉嫩的手指。……”在这十年间，作为书记员的丈夫则“一到晚上就给一个商人誊写账目，常常到了深夜还在抄写五个铜子一页的书稿”。细心的读者就会发现，其实所有的欠债都是丈夫劳动所得，之所以花费了十年的功夫，是因为玛蒂尔德实际上并没有出去工作，玛蒂尔德唯一能做的只不过是节俭——辞退女仆、迁移住所。“只要妇女仍然被排斥于社会的生产劳动中之外，而只限于从事家庭私人的劳动，那么妇女解放、妇女同男子的平等，现在和将来都是不可能的。”法国当时女性的地位到底如何？当时法国中下阶层的妇女相比之前己经拥有了更大的独立性。女人们可以做缝纫工、洗衣工、打磨工，但是，这些都是非常低下的工作，劳动量大而报酬少。玛蒂尔德即便出去工作了，她所获得的微薄收入在巨大的债务面前也是杯水车薪。更何况，在巨额欠债之下，玛蒂尔德并没有出去工作，仍然是局限于家庭之内，作者对她在此时所显现出的“英雄气概”的赞美在我看来实在只不过是一种调侃。

除此之外，我们从小说透露出来的某些信息中可以发现，玛蒂尔德在家庭中也是非常没有地位的——作为一个女主人，她并不能掌管家庭财政。比如，她参加舞会做衣服的钱需要向丈夫讨要，这其实并不是一笔多么大的开支，可是玛蒂尔德却束手无策，只能求助于丈夫，这个细节便充分证明玛蒂尔德家庭地位的低下。“十九世纪的法国，妇女的地位虽说有了明显的改善，但她们仍然处于依附于男人的地位，从根本上说还是男人手中的玩物。”我们似乎可以再次关注一下玛蒂尔德的七个梦想。从玛蒂尔德的七个梦想我们可以看到在19世纪的法国女性被男性中心社会严重异化的现实。玛蒂尔德的前几个梦想都是关于房子的。然而，玛蒂尔德显然没有受到女性主义思潮的熏染，她没有想到有“一间自己的屋子”——这间屋子完全属于她自己，她可以在此安放她的心灵、实现她的追求。读完文章我们会发现，在她所梦想的豪华房间里，她也不过是一个玩偶，因为所有这些梦想的最后都离不开一个男人的影子：“她跟最亲密的男朋友闲谈”，她所拼力追求的也不过是“得人欢心、被人艳羡、具有诱惑力而被人追求”。由此可见，妇女长期处于不平等地位的现状已经将她们边缘化、严重异化，她们所有的追求不过是为了取悦于男性世界。对于出身下僚的玛蒂尔德来说，她没有力量来反抗整个男权社会，诸多像她一样“美丽动人的姑娘”都是凭借外貌改变自己人生命运的，她也不能例外，她只能屈从、讨好。男性世界对女性唯一的要求——美貌——是她所拥有的，她只能用她的美貌征服男性社会，以此来实现她的人生价值。 　　在当时男权势力强大的挤压与规训之下，玛蒂尔德实际上也只不过是一个玩偶——一个没有主见的、任何状态下都处于被动地位的丧失了主体性的人。文中的玛蒂尔德为人处事都非常被动，几乎是一个失去了生存能力的人。比如，丈夫拿来舞会的请柬，做好了舞会的衣服但缺少首饰时，玛蒂尔德的表现是“郁闷、不安、忧愁”，直到丈夫给她出点子——从好朋友那里借首饰时，她“发出惊喜的叫声”。找朋友借东西，这其实也不是什么特别高明的办法，我们很难想象，玛蒂尔德怎么连这么一点思维能力都没有！首饰弄丢时，玛蒂尔德的表现是“吓昏”，“连上床睡觉的力气也没有，只是倒在一把椅子上发呆，精神一点也提不起来，什么也不想”、“整天等候着，整天在惊恐的状态里”。由此可见，在作者笔下，玛蒂尔德真的是一个相当无能的人，遇到问题没有丝毫办法。最后项链无望找到时，玛蒂尔德“照他（路瓦栽）说的写了封信”，她的行为完全由路瓦栽先生调控，她的精神完全靠路瓦栽先生来拯救，从思想到行为玛蒂尔德似乎都处于“婴儿期”，所以最后出去借钱解决问题的也还是路瓦栽先生。

由这些细节我们可以看出，长期的依附生活使玛蒂尔德成了一个失去了行动能力的人，面对生活中的突变，她几乎就是束手待毙。包括穷困之后的节流，也只不过是玛蒂尔德对命运的被动妥协，其所显露的“英雄气概”只不过是一种被动的承担。甚至包括嫁给路瓦栽后她虽然心有不甘，但只是内心对未来具有某种期待，实际上并未在行动上表现出来。那么到底是什么使玛蒂尔德成为了这样一个缺乏行动能力和思考能力的女性呢？她天生就是如此吗？显然不是。就如波伏娃所言，女性不是天生的，女性是变成的。社会的规范，男权社会的压制，逐渐使女性沦落为只能做金丝雀的“第二性”。说到底，玛蒂尔德其实就是男权社会的牺牲品，在男权社会强有力的规范和限制之下，她变得低能、弱智。

十年的时间消耗了玛蒂尔德的青春，损害了她的健康，剥夺了她做母亲的权力，也打消了她对未来的期待，甚至也抽空了她的女性特征——“她胡乱地挽着头发，歪斜地系着裙子，露出一双通红的手，高声大气地说着话”。在她丧失了性别特征的时候她才找到自我，在她拥有女性特征的时候却只能沦为玩物——这就是男性霸权的体现。她凭借一串项链向男性霸权屈服、取悦时，所收获的不过是一串锁链，锁住她的青春、美貌和所有关于未来的遐想。男性消费了她的青春、美貌，也由一夜的狂欢而消费了她十年的光阴。一串假项链所获得的男性世界的荣光，不过证明也只是一种虚妄。

马英，湖北第二师范学院文学院讲师，博士。责任编校：郑利玲

范文八：《玩偶之家》中柯洛克斯泰的戏剧功能

摘要：柯洛克斯泰虽然作为《玩偶之家》中的小人物出场，然而他却在整个戏剧冲突中发挥着重要作用。本文将着重阐述柯洛克斯泰的戏剧功能，从中剖析小人物独特的表现技巧。

关键词：玩偶之家；柯洛克斯泰；戏剧；功能

一个成功的剧本既要精心设计和塑造好剧中主要人物，但也不能忽视次要任务的设置与塑造。也就是说次要人物的设置并非随意处之，次要人物也并非可有可无的。人们常说“好花还需绿叶扶”，就是说主要人物离不开次要人物的陪衬与映托，设计和刻画好次要人物对主要人物的塑造，主题思想的表达，剧本艺术性的加强，都有着不可低估的作用。所以在这里我将集中研究其中的一个小人物――柯洛克斯泰，探求他在剧中的功用。在本文的论述中，我们将解构柯洛克斯泰在戏剧中的作用，即催化剂般的特殊功效，以及柯洛克斯泰对戏剧的影响这两个方面加以阐述。

1柯洛克斯泰在剧中有催化剂般的特殊功效

柯洛克斯泰在剧中有催化剂般的特殊功效，下面我将从戏剧的发展，冲突、高潮和结局等四个阶段分别探讨柯洛克斯泰的深层作用。

（1）发展。在第一幕之中，柯洛克斯泰和娜拉的对话让人感觉到特别，然而却是很有研究性的。当柯洛克斯泰找娜拉帮忙，通过娜拉请求海尔茂不要解雇他的时候，他甚至有些侥幸心理，但他还是做好了心理准备，从容应付。

（2）冲突。柯洛克斯泰是娜拉举债多年的债主，但他为了“保住在银行的小职位决心跟家人拼命”，虽然他过去做的事“不怎么太体面”，但是在他想洗手不干了，为了儿子的前途，他正在尽力恢复自己的名誉重新做人。但银行的小职位就是他往上爬的第一步，如今被辞退，他就得“再跌倒泥坑里”。一个是为还债而辛苦的娜拉，一个是为职位而拼命的柯洛克斯泰，在第一幕的场景中，冲突已经造成。柯洛克斯泰冷冰冰地抛下一句话：“笨也罢，不笨也罢。要是我拿这张借据到法院告你，他们就可以按照法律惩办你。”可以说，戏剧的紧张和松弛都是因为这个矛盾的加剧而变化。柯洛克斯泰转嫁了矛盾求得了心理上的暂时的平衡，然而他包袱的摆脱却使娜拉陷入了前所未有的恐惧。

（3）高潮。在第二幕中，娜拉恳求柯洛克斯泰，柯洛克斯泰依旧是一副不依不饶的态度。他甚至说娜拉的名誉已经在他的手心里，同时海尔茂的前程也在他的手心里。娜拉开始感到恐惧，她始终没有想到柯洛克斯泰会用信的方式来解决这事，她的行动开始变得僵硬，言辞也有些混乱。作为戏剧的高潮部分，柯洛克斯泰将信件投入了海尔茂家的邮箱，娜拉已经变得魂不守舍，说话变得吞吞吐吐，在海尔茂面前她虽然极力掩饰她内心的不平静，但她没法忘记信箱中那封可以让自己致命的信件。娜拉“低声地叫了一声苦，跑到了小桌子旁边，半晌不作声，信扔在信箱里了！（蹑手蹑脚地走到门口）信在里头了！托伐，托伐，现在咱们完了！”而在这时候的柯洛克斯泰已经选择了走这一步了，他开始在等待海尔茂家发生翻天覆地的变化。所以在这个时候，柯洛克斯泰的行动无时无刻不在影响着剧情的发展，影响着娜拉这个人物的结局。剧情矛盾的迅速激发使得柯洛克斯泰的行为变得极有杀伤力。

（4）结局。柯洛克斯泰在焦急的等待，等待娜拉的抉择，等待自己的命运。他这种压力下的反叛，是他对自己人格的反叛。如果林丹太太没有出现，那么他即使被辞退，也没有必要为自己的职位而产生威胁娜拉的念头。悲剧是难免的，但正是这种复杂的人格塑造，使剧情开始变得复杂。

纵观全剧，柯洛克斯泰在戏剧情节的发展，矛盾冲突的激化，戏剧结构的紧凑，高潮的发展等方面，具有举足轻重的意义。如果没有林丹太太的到场，可能就会放弃逼迫娜拉，然而因为林丹太太的出场，无意间使柯洛克斯泰意识到失掉工作会危及到感情和自身的利益，从而激化了柯洛克斯泰与海尔茂的矛盾。柯洛克斯泰再转嫁矛盾到娜拉那里，致使全剧的发展，由于一个催化剂人物的从中挑起而引起高潮的到来。所以柯洛克斯泰从该剧的艺术性论，是他强化了全剧的艺术性，是他成为了剧情连接的纽带，具有催化剂般的特殊功效。

2柯罗克斯泰对戏剧主题的影响

在这个戏剧中，柯罗克斯泰本身也是一个被生活压坏的“小人物”，他的遭遇，从另一个方面也有力地控诉和批判了资本主义社会的法律和道德，突出了剧本的思想主题。作为一个可怜的受害者，他的心理戏剧性地发生了变化，人格精神开始走向反思。从戏剧的主题上看，柯洛克斯泰对主题的凸显有着明显的作用，如他对娜拉出走的影响、自身转变对主题的映衬等。通过分析这种作用，有助于我们了解和剖析柯洛克斯泰这个人物形象。

2.1柯洛克斯泰对娜拉出走的影响

《玩偶之家》结尾，娜拉经历了震动灵魂的痛苦的洗礼，好像忽然从梦里醒来，她的人格意识真正形成了，意识到自己过去的玩偶地位，于是把结婚戒指退还给海尔茂，义无反顾地离开了玩偶之家。娜拉离开丈夫、孩子和家庭，去实现自己的尊严。

首先，从戏剧文本中娜拉自身的性格、生活经历及挪威当时的社会环境看，娜拉走后可能有新的出路。她可能成功地做一个独立自主的人。

其次，从“娜拉走后”引起的广泛思考来看。娜拉的独立意识已经由于这件事情的打击觉醒了！她认为她应该争取她的幸福，从某种程度上说她还要感谢柯洛克斯泰，虽然柯洛克斯泰是在为自己的利益逼迫自己。但在事实上，双方都因为这件事产生了不大不少的影响，这个不大不小的影响，确切说是产生在柯洛克斯泰身上，而不是在娜拉身上。

2.2柯洛克斯泰自身转变对主题的映衬

易卜生的重要作品，总是从揭示社会问题出发，所以“他笔下的人物命中注定都肩负着某种使命”，而某些人物性格雷同，成了黑格尔所说的“抽象的寓意品”。在戏剧中，人物的内心变化是丰富的，只有在观众充分理解的情况下，戏剧的冲突和人物的塑造才会变得更加形象，更加接近现实生活。

在《玩偶之家》中柯洛克斯泰虽然作为一个小人物出现，却在物质和精神意识上受到强者的攻讦。他的生活本来是明朗和自然的，然而由于林丹太太的出现，他的生活开始变得混乱起来。之所以将柯洛克斯泰分开出来讨论，不仅仅是因为他这个人物形象十分关键，而且只有通过柯洛克斯泰心理转化的过程，才能使观众理解其做此决定的原因。正是在关键时刻，柯洛克斯泰与林丹太太的行为使剧情发生重大转折。柯洛克斯泰最后内心的转变，精神上的归赎，使他的行为得到了观众的理解。林丹太太让柯洛克斯泰不要取回信件，是在帮助娜拉，这样使娜拉难得认清海尔茂的本质。不然团圆的结尾，她的生活就不可能有较大的变化，更难与海尔茂发生正面直接冲突，也就没有“比滑铁卢或色当的炮声更有力量”的“碰门声”。

3结语

在《玩偶之家》中，柯洛克斯泰作为一个小人物，他的出现具有举足轻重的作用，他是剧中不可缺少的“纽带”，是整个剧情发展的“契机”和关键，他的出场，使整个舞台上的人物都“活”了起来；他的出现，也使各种矛盾的线索牵扯起来，给观众一种拉紧即断的紧张之感，创造出了很好的戏剧效果。

参考文献：

［1］　易卜生评论集［M］.外语教学与研究出版社，1982：341.

［2］　易卜生.玩偶之家，见《易卜生评论集》第五卷［M］.潘家询，译.人民文学出版社，1995.

［3］　论易卜生，见《易卜生评论集》［M］.外语教学与研究出版社.

［4］　杨荣.“娜拉走后怎样”新探［J］.四川师范学院报，1997（3）.

［5］　戏剧与电影的剧作理论与技巧［M］.中国电影出版社，1978：244.

范文九：戏剧大师易卜生名作《玩偶之家》_450字

3月20日是欧洲近代现实主义戏剧的杰出代表、挪威着名戏剧家亨利克·易卜生的诞辰。易卜生代表作有《玩偶之家》《群鬼》《人民公敌》等。其中，《玩偶之家》最为着名。社会问题剧《玩偶之家》是当时现实生活的真实反映。易卜生有个朋友叫劳拉，初期婚姻很美满，后来丈夫得病，医生劝其去欧洲疗养，否则会危及生命。劳拉为给丈夫治病，瞒着他借了一笔钱，为推迟债期又伪造了保人的签字。丈夫病好知道真相后，大发雷霆，谴责劳拉败坏了他的名誉，并同她离了婚。易卜生根据劳拉的原型在《玩偶之家》中塑造了娜拉这个形象。娜拉深爱着丈夫，为替丈夫治病，曾冒名举债，又熬夜抄文件挣钱还债。但她丈夫（过去的银行职员，现在的银行经理）却是个虚伪自私的市侩，平时对她很好，一旦知道娜拉曾冒名借债，危及自己的名声和地位，便大骂她是“犯罪女人”，还扬言要对她进行法律制裁。后来，债主受感化，退回借据时，他又表示要永远爱娜拉。经此转变，娜拉终于明白自己不过是丈夫的“玩偶”，毅然离开了“玩偶之家”。《玩偶之家》揭露了在“幸福”、“美满”掩盖下的资本主义社会的虚伪本质。易卜生的剧作对世界各国戏剧的发展产生了深远影响。

范文十：《玩偶之家》中柯洛克斯泰的戏剧功能

《玩偶之家》中柯洛克斯泰的戏剧功能

摘要：柯洛克斯泰虽然作为《玩偶之家》中的小人物出场，然

而他却在整个戏剧冲突中发挥着重要作用。本文将着重阐述柯洛克

斯泰的戏剧功能，从中剖析小人物独特的表现技巧。

关键词：玩偶之家；柯洛克斯泰；戏剧；功能

一个成功的剧本既要精心设计和塑造好剧中主要人物，但也不能

忽视次要任务的设置与塑造。也就是说次要人物的设置并非随意处

之，次要人物也并非可有可无的。人们常说“好花还需绿叶扶”，

就是说主要人物离不开次要人物的陪衬与映托，设计和刻画好次要

人物对主要人物的塑造，主题思想的表达，剧本艺术性的加强，都

有着不可低估的作用。所以在这里我将集中研究其中的一个小人物

——柯洛克斯泰，探求他在剧中的功用。在本文的论述中，我们将

解构柯洛克斯泰在戏剧中的作用，即催化剂般的特殊功效，以及柯

洛克斯泰对戏剧的影响这两个方面加以阐述。

1柯洛克斯泰在剧中有催化剂般的特殊功效

柯洛克斯泰在剧中有催化剂般的特殊功效，下面我将从戏剧的发

展，冲突、高潮和结局等四个阶段分别探讨柯洛克斯泰的深层作用。

（1）发展。在第一幕之中，柯洛克斯泰和娜拉的对话让人感觉到

特别，然而却是很有研究性的。当柯洛克斯泰找娜拉帮忙，通过娜

拉请求海尔茂不要解雇他的时候，他甚至有些侥幸心理，但他还是

做好了心理准备，从容应付。

（2）冲突。柯洛克斯泰是娜拉举债多年的债主，但他为了“保住

在银行的小职位决心跟家人拼命”，虽然他过去做的事“不怎么太

体面”，但是在他想洗手不干了，为了儿子的前途，他正在尽力恢

复自己的名誉重新做人。但银行的小职位就是他往上爬的第一步，

如今被辞退，他就得“再跌倒泥坑里”。一个是为还债而辛苦的娜

拉，一个是为职位而拼命的柯洛克斯泰，在第一幕的场景中，冲突

已经造成。柯洛克斯泰冷冰冰地抛下一句话：“笨也罢，不笨也罢。

要是我拿这张借据到法院告你，他们就可以按照法律惩办你。”可

以说，戏剧的紧张和松弛都是因为这个矛盾的加剧而变化。柯洛克

斯泰转嫁了矛盾求得了心理上的暂时的平衡，然而他包袱的摆脱却

使娜拉陷入了前所未有的恐惧。

（3）高潮。在第二幕中，娜拉恳求柯洛克斯泰，柯洛克斯泰依旧

是一副不依不饶的态度。他甚至说娜拉的名誉已经在他的手心里，

同时海尔茂的前程也在他的手心里。娜拉开始感到恐惧，她始终没

有想到柯洛克斯泰会用信的方式来解决这事，她的行动开始变得僵

硬，言辞也有些混乱。作为戏剧的高潮部分，柯洛克斯泰将信件投

入了海尔茂家的邮箱，娜拉已经变得魂不守舍，说话变得吞吞吐吐，

在海尔茂面前她虽然极力掩饰她内心的不平静，但她没法忘记信箱

中那封可以让自己致命的信件。娜拉“低声地叫了一声苦，跑到了

小桌子旁边，半晌不作声，信扔在信箱里了！（蹑手蹑脚地走到门

口）信在里头了！托伐，托伐，现在咱们完了！”而在这时候的柯

洛克斯泰已经选择了走这一步了，他开始在等待海尔茂家发生翻天

覆地的变化。所以在这个时候，柯洛克斯泰的行动无时无刻不在影

响着剧情的发展，影响着娜拉这个人物的结局。剧情矛盾的迅速激

发使得柯洛克斯泰的行为变得极有杀伤力。

（4）结局。柯洛克斯泰在焦急的等待，等待娜拉的抉择，等待自

己的命运。他这种压力下的反叛，是他对自己人格的反叛。如果林

丹太太没有出现，那么他即使被辞退，也没有必要为自己的职位而

产生威胁娜拉的念头。悲剧是难免的，但正是这种复杂的人格塑造，

使剧情开始变得复杂。

纵观全剧，柯洛克斯泰在戏剧情节的发展，矛盾冲突的激化，戏

剧结构的紧凑，高潮的发展等方面，具有举足轻重的意义。如果没

有林丹太太的到场，可能就会放弃逼迫娜拉，然而因为林丹太太的

出场，无意间使柯洛克斯泰意识到失掉工作会危及到感情和自身的

利益，从而激化了柯洛克斯泰与海尔茂的矛盾。柯洛克斯泰再转嫁

矛盾到娜拉那里，致使全剧的发展，由于一个催化剂人物的从中挑

起而引起高潮的到来。所以柯洛克斯泰从该剧的艺术性论，是他强

化了全剧的艺术性，是他成为了剧情连接的纽带，具有催化剂般的

特殊功效。

2柯罗克斯泰对戏剧主题的影响

在这个戏剧中，柯罗克斯泰本身也是一个被生活压坏的“小人物”，

他的遭遇，从另一个方面也有力地控诉和批判了资本主义社会的法

律和道德，突出了剧本的思想主题。作为一个可怜的受害者，他的

心理戏剧性地发生了变化，人格精神开始走向反思。从戏剧的主题

上看，柯洛克斯泰对主题的凸显有着明显的作用，如他对娜拉出走

的影响、自身转变对主题的映衬等。通过分析这种作用，有助于我

们了解和剖析柯洛克斯泰这个人物形象。

2.1柯洛克斯泰对娜拉出走的影响

《玩偶之家》结尾，娜拉经历了震动灵魂的痛苦的洗礼，好像忽

然从梦里醒来，她的人格意识真正形成了，意识到自己过去的玩偶

地位，于是把结婚戒指退还给海尔茂，义无反顾地离开了玩偶之家。

娜拉离开丈夫、孩子和家庭，去实现自己的尊严。

首先，从戏剧文本中娜拉自身的性格、生活经历及挪威当时的社

会环境看，娜拉走后可能有新的出路。她可能成功地做一个独立自

主的人。

其次，从“娜拉走后”引起的广泛思考来看。娜拉的独立意识已

经由于这件事情的打击觉醒了！她认为她应该争取她的幸福，从某

种程度上说她还要感谢柯洛克斯泰，虽然柯洛克斯泰是在为自己的

利益逼迫自己。但在事实上，双方都因为这件事产生了不大不少的

影响，这个不大不小的影响，确切说是产生在柯洛克斯泰身上，而

不是在娜拉身上。

2.2柯洛克斯泰自身转变对主题的映衬

易卜生的重要作品，总是从揭示社会问题出发，所以“他笔下的

人物命中注定都肩负着某种使命”，而某些人物性格雷同，成了黑

格尔所说的“抽象的寓意品”。在戏剧中，人物的内心变化是丰富

的，只有在观众充分理解的情况下，戏剧的冲突和人物的塑造才会

变得更加形象，更加接近现实生活。

在《玩偶之家》中柯洛克斯泰虽然作为一个小人物出现，却在物

质和精神意识上受到强者的攻讦。他的生活本来是明朗和自然的，

然而由于林丹太太的出现，他的生活开始变得混乱起来。之所以将

柯洛克斯泰分开出来讨论，不仅仅是因为他这个人物形象十分关

键，而且只有通过柯洛克斯泰心理转化的过程，才能使观众理解其

做此决定的原因。正是在关键时刻，柯洛克斯泰与林丹太太的行为

使剧情发生重大转折。柯洛克斯泰最后内心的转变，精神上的归赎，

使他的行为得到了观众的理解。林丹太太让柯洛克斯泰不要取回信

件，是在帮助娜拉，这样使娜拉难得认清海尔茂的本质。不然团圆

的结尾，她的生活就不可能有较大的变化，更难与海尔茂发生正面

直接冲突，也就没有“比滑铁卢或色当的炮声更有力量”的“碰门

声”。

3结语

在《玩偶之家》中，柯洛克斯泰作为一个小人物，他的出现具有

举足轻重的作用，他是剧中不可缺少的”纽带”，是整个剧情发展

的“契机”和关键，他的出场，使整个舞台上的人物都“活”了起

来；他的出现，也使各种矛盾的线索牵扯起来，给观众一种拉紧即

断的紧张之感，创造出了很好的戏剧效果。

参考文献：

［1］ 易卜生评论集［m］.外语教学与研究出版社，1982：341.

［2］ 易卜生.玩偶之家，见《易卜生评论集》第五卷［m］.潘

家询，译.人民文学出版社，1995.

［3］ 论易卜生，见《易卜生评论集》［m］.外语教学与研究出

版社.

［4］ 杨荣.“娜拉走后怎样”新探［j］.四川师范学院报，1997

（3）.

［5］ 戏剧与电影的剧作理论与技巧［m］.中国电影出版社，1978：

244.

本文标题：玩偶之家剧本-玩偶之家英文剧本
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