玩偶之家作家英文名字

导读：　玩偶之家作家英文名字篇一：玩偶之家 英文版 A Doll& 39;s House ...

玩偶之家作家英文名字篇一：玩偶之家 英文版 A Doll's House

玩偶之家 英文版 A Doll's HousePERSONS玩偶之家 英文版 A Doll's House亨利克.易卜生 Henrik IbsenPERSONS Torvald Helmer. Nora, his wife. Doctor Rank. Mrs. Linde. Nils Krogstad. Helmer's three young children. Anne, their nurse. A Housemaid. A Porter. (The action takes place in Helmer's house.) ACT I Page 1玩偶之家 英文版 A Doll's House亨利克.易卜生 Henrik IbsenACT I Page 1 (SCENE.--A room furnished comfortably and tastefully, but not extravagantly. At the back, a door to the right leads to the entrance-hall, another to the left leads to Helmer's study. Between the doors stands a piano. In the middle of the left-hand wall is a door, and beyond it a window. Near the window are a round table, arm-chairs and a small sofa. In the right-hand wall, at the farther end, another door; and on the same side, nearer the footlights, a stove, two easy chairs and a rocking-chair; between the stove and the door, a small table. Engravings on the walls; a cabinet with china and other small objects; a small book-case with well-bound books. The floors are carpeted, and a fire burns in the stove. It is winter. A bell rings in the hall; shortly afterwards the door is heard to open. Enter NORA, humming a tune and in high spirits. She is in outdoor dress and carries a number of parcels; these she lays on the table to the right. She leaves the outer door open after her, and through it is seen a PORTER who is carrying a Christmas Tree and a basket, which he gives to the MAID who has opened the door.) Nora. Hide the Christmas Tree carefully, Helen. Be sure the children do not see it until this evening, when it is dressed. (To the PORTER, taking out her purse.) How much? Porter. Sixpence. Nora. There is a shilling. No, keep the change. (The PORTER thanks her, and goes out. NORA shuts the door. She is laughing to herself, as she takes off her hat and coat. She takes a packet of macaroons from her pocket and eats one or two; then goes cautiously to her husband's door and listens.) Yes, he is in. (Still humming, she goes to the table on the right.) Helmer (calls out from his room). Is that my little lark twittering out there? Nora (busy opening some of the parcels). Yes, it is! Helmer. Is it my little squirrel bustling about? Nora. Yes! Helmer. When did my squirrel come home? Nora. Just now. (Puts the bag of macaroons into her pocket and wipes her mouth.) Come in here, Torvald, and see what I have bought. Helmer. Don't disturb me. (A little later, he opens the door and looks into the room, pen in hand.) Bought, did you say? All these things? Has my little spendthrift been wasting money again? Nora. Yes but, Torvald, this year we really can let ourselves go a little. This is the first Christmas that we have not needed to economise. Helmer. Still, you know, we can't spend money recklessly. Nora. Yes, Torvald, we may be a wee bit more reck

less now, mayn't we? Just a tiny wee bit! You are going to have a big salary and earn lots and lots of money. Helmer. Yes, after the New Year; but then it will be a whole quarter before the salary is due. Nora. Pooh! we can borrow until then. Helmer. Nora! (Goes up to her and takes her playfully by the ear.) The same little featherhead! Suppose, now, that I borrowed fifty pounds today, and you spent it all in the Christmas week, and then on New Year's Eve a slate fell on my head and killed me, and--Nora (putting her hands over his mouth). Oh! don't say such horrid things. Helmer. Still, suppose that happened,--what then? Nora. If that were to happen, I don't suppose I should care whether I owed money or not. Helmer. Yes, but what about the people who had lent it? Nora. They? Who would bother about them? I should not know who they were. Helmer. That is like a woman! But seriously, Nora, you know what I think about that. No debt, no borrowing. There can be no freedom or beauty about a home life that depends on borrowing and debt. We two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. Nora (moving towards the stove). As you please, Torvald. Helmer (following her). Come, come, my little skylark must not droop her wings. What is this! Is my little squirrel out of temper? (Taking out his purse.) Nora, what do you think I have got here? Nora (turning round quickly). Money! Helmer. There you are. (Gives her some money.) Do you think I don't know what a lot is wanted for housekeeping at Christmas- time? Nora (counting). Ten shillings--a pound--two pounds! Thank you, thank you, Torvald; that will keep me going for a long time. Helmer. Indeed it must. Nora. Yes, yes, it will. But come here and let me show you what I have bought. And all so cheap! Look, here is a new suit for Ivar, and a sword; and a horse and a trumpet for Bob; and a doll and dolly's bedstead for Emmy,--they are very plain, but anyway she will soon break them in pieces. And here are dress-lengths and handkerchiefs for the maids; old Anne ought really to have something better. Helmer. And what is in this parcel? Nora (crying out). No, no! you mustn't see that until this evening. Helmer. Very well. But now tell me, you extravagant little person, what would you like for yourself? Nora. For myself? Oh, I am sure I don't want anything. Helmer. Yes, but you must. Tell me something reasonable that you would particularly like to have. Nora. No, I really can't think of anything--unless, Torvald-- Helmer. Well? Nora (playing with his coat buttons, and without raising her eyes to his). If you really want to give me something, you might--you might-- Helmer. Well, out with it! Nora (speaking quickly). You might give me money, Torvald. Only just as much as you can afford; and then one of these days I will buy something with it. Helmer. But, Nora-- Nora. Oh, do! de

ar Torvald; please, please do! Then I will wrap it up in beautiful gilt paper and hang it on the Christmas Tree. Wouldn't that be fun? Helmer. What are little people called that are always wasting money? Nora. Spendthrifts--I know. Let us do as you suggest, Torvald, and then I shall have time to think what I am most in want of. That is a very sensible plan, isn't it? Helmer (smiling). Indeed it is--that is to say, if you were really to save out of the money I give you, and then really buy something for yourself. But if you spend it all on the housekeeping and any number of unnecessary things, then I merely have to pay up again. Nora. Oh but, Torvald-- Helmer. You can't deny it, my dear little Nora. (Puts his arm round her waist.) It's a sweet little spendthrift, but she uses up a deal of money. One would hardly believe how expensive such little persons are! Nora. It's a shame to say that. I do really save all I can. Helmer (laughing). That's very true,--all you can. But you can't save anything! Nora (smiling quietly and happily). You haven't any idea how many expenses we skylarks and squirrels have, Torvald. Helmer. You are an odd little soul. Very like your father. You always find some new way of wheedling money out of me, and, as soon as you have got it, it seems to melt in your hands. You never know where it has gone. Still, one must take you as you are. It is in the blood; for indeed it is true that you can inherit these things, Nora. Nora. Ah, I wish I had inherited many of papa's qualities. Helmer. And I would not wish you to be anything but just what you are, my sweet little skylark. But, do you know, it strikes me that you are looking rather--what shall I say--rather uneasy today? Nora. Do I? Helmer. You do, really. Look straight at me. Nora (looks at him). Well? Helmer (wagging his finger at her). Hasn't Miss Sweet Tooth been breaking rules in town today? Nora. No; what makes you think that? Helmer. Hasn't she paid a visit to the confectioner's? Nora. No, I assure you, Torvald-- Helmer. Not been nibbling sweets? Nora. No, certainly not. Helmer. Not even taken a bite at a macaroon or two? Nora. No, Torvald, I assure you really-- Helmer. There, there, of course I was only joking. Nora (going to the table on the right). I should not think of going against your wishes. Helmer. No, I am sure of that; besides, you gave me your word-- (Going up to her.) Keep your little Christmas secrets to yourself, my darling. They will all be revealed tonight when the Christmas Tree is lit, no doubt. Nora. Did you remember to invite Doctor Rank? Helmer. No. But there is no need; as a matter of course he will come to dinner with us. However, I will ask him when he comes in this morning. I have ordered some good wine. Nora, you can't think how I am looking forward to this evening. Nora. So am I! And how the children will enjoy themselves, Torvald! Helmer. It is splendid to feel that one has a perfectly

safe appointment, and a big enough income. It's delightful to think of, isn't it? Nora. It's wonderful! Helmer. Do you remember last Christmas? For a full three weeks beforehand you shut yourself up every evening until long after midnight, making ornaments for the Christmas Tree, and all the other fine things that were to be a surprise to us. It was the dullest three weeks I ever spent! Nora. I didn't find it dull. Helmer (smiling). But there was precious little result, Nora. Nora. Oh, you shouldn't tease me about that again. How could I help the cat's going in and tearing everything to pieces? Helmer. Of course you couldn't, poor little girl. You had the best of intentions to please us all, and that's the main thing. But it is a good thing that our hard times are over. Nora. Yes, it is really wonderful. Helmer. This time I needn't sit here and be dull all alone, and you needn't ruin your dear eyes and your pretty little hands-- Nora (clapping her hands). No, Torvald, I needn't any longer, need I! It's wonderfully lovely to hear you say so! (Taking his arm.) Now I will tell you how I have been thinking we ought to arrange things, Torvald. As soon as Christmas is over--(A bell rings in the hall.) There's the bell. (She tidies the room a little.) There's some one at the door. What a nuisance! Helmer. If it is a caller, remember I am not at home. Maid (in the doorway). A lady to see you, ma'am,--a stranger. Nora. Ask her to come in. Maid (to HELMER). The doctor came at the same time, sir. Helmer. Did he go straight into my room? Maid. Yes, sir. (HELMER goes into his room. The MAID ushers in Mrs. LINDE, who is in travelling dress, and shuts the door.) Mrs. Linde (in a dejected and timid voice). How do you do, Nora? Nora (doubtfully). How do you do--Mrs. Linde. You don't recognise me, I suppose. Nora. No, I don't know--yes, to be sure, I seem to--(Suddenly.) Yes! Christine! Is it really you? Mrs. Linde. Yes, it is I. Nora. Christine! To think of my not recognising you! And yet how could I--(In a gentle voice.) How you have altered, Christine! Mrs. Linde. Yes, I have indeed. In nine, ten long years-- Nora. Is it so long since we met? I suppose it is. The last eight years have been a happy time for me, I can tell you. And so now you have come into the town, and have taken this long journey in winter--that was plucky of you. Mrs. Linde. I arrived by steamer this morning. Nora. To have some fun at Christmas-time, of course. How delightful! We will have such fun together! But take off your things. You are not cold, I hope. (Helps her.) Now we will sit down by the stove, and be cosy. No, take this armchair; I will sit here in the rocking-chair. (Takes her hands.) Now you look like your old self again; it was only the first moment--You are a little paler, Christine, and perhaps a little thinner. Mrs. Linde. And much, much older, Nora. Nora. Perhaps a little older; very, very little; certainly not much. (Sto

ps suddenly and speaks seriously.) What a thoughtless creature I am, chattering away like this. My poor, dear Christine, do forgive me. Mrs. Linde. What do you mean, Nora? Nora (gently). Poor Christine, you are a widow. Mrs. Linde. Yes; it is three years ago now. Nora. Yes, I knew; I saw it in the papers. I assure you, Christine, I meant ever so often to write to you at the time, but I always put it off and something always prevented me. Mrs. Linde. I quite understand, dear. Nora. It was very bad of me, Christine. Poor thing, how you must have suffered. And he left you nothing? Mrs. Linde. No. Nora. And no children? Mrs. Linde. No. Nora. Nothing at all, then. Mrs. Linde. Not even any sorrow or grief to live upon. Nora (looking incredulously at her). But, Christine, is that possible? Mrs. Linde (smiles sadly and strokes her hair). It sometimes happens, Nora. Nora. So you are quite alone. How dreadfully sad that must be. I have three lovely children. You can't see them just now, for they are out with their nurse. But now you must tell me all about it. Mrs. Linde. No, no; I want to hear about you. Nora. No, you must begin. I mustn't be selfish today; today I must only think of your affairs. But there is one thing I must tell you. Do you know we have just had a great piece of good luck? Mrs. Linde. No, what is it? Nora. Just fancy, my husband has been made manager of the Bank! Mrs. Linde. Your husband? What good luck! Nora. Yes, tremendous! A barrister's profession is such an uncertain thing, especially if he won't undertake unsavoury cases; and naturally Torvald has never been willing to do that, and I quite agree with him. You may imagine how pleased we are! He is to take up his work in the Bank at the New Year, and then he will have a big salary and lots of commissions. For the future we can live quite differently--we can do just as we like. I feel so relieved and so happy, Christine! It will be splendid to have heaps of money and not need to have any anxiety, won't it? Mrs. Linde. Yes, anyhow I think it would be delightful to have what one needs. Nora. No, not only what one needs, but heaps and heaps of money. Mrs. Linde (smiling). Nora, Nora, haven't you learned sense yet? In our schooldays you were a great spendthrift. Nora (laughing). Yes, that is what Torvald says now. (Wags her finger at her.) But "Nora, Nora" is not so silly as you think. We have not been in a position for me to waste money. We have both had to work. Mrs. Linde. You too? Nora. Yes; odds and ends, needlework, crotchet-work, embroidery, and that kind of thing. (Dropping her voice.) And other things as well. You know Torvald left his office when we were married? There was no prospect of promotion there, and he had to try and earn more than before. But during the first year he over-worked himself dreadfully. You see, he had to make money every way he could, and he worked early and late; but he couldn't stand it, and fell dread

玩偶之家作家英文名字篇二：玩偶之家英文版全文

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! 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. 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? 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? 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. 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. 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? 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. 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. 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 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

玩偶之家作家英文名字篇三：玩偶之家英文剧本

A DOLL'S HOUSE 《玩偶之家》

by Henrik Ibsen 挪威 易卜生

DRAMATIS PERSONAE

人物表

Torvald Helmer. 托伐·海尔茂

Nora, his wife. 娜拉──他的妻

Doctor Rank. 阮克医生

Mrs. Linde. 林丹太太

Nils Krogstad. 尼尔·柯洛克斯泰

Helmer's three young children. 海尔茂夫妇的三个孩子

Anne, their nurse. 安娜──孩子们的保姆

A Housemaid. 爱伦──女佣人

A Porter. 脚夫

(The action takes place in Helmer's house.) 事情发生在克立斯替阿尼遏·海尔茂家里

ACT I

(SCENE.--A room furnished comfortably and tastefully, but not extravagantly. At the back, a door to the right leads to the entrance-hall, another to the left leads to Helmer's study. Between the doors stands a piano. In the middle of the left-hand wall is a door, and beyond it a window. Near the window are a round table, arm-chairs and a small sofa. In the right-hand wall, at the farther end, another door; and on the same side, nearer the footlights, a stove, two easy chairs and a rocking-chair; between the stove and the door, a small table. Engravings on the walls; a cabinet with china and other small objects; a small book-case with well-bound books. The floors are carpeted, and a fire burns in the stove. It is winter.

A bell rings in the hall; shortly afterwards the door is heard to open. Enter NORA, humming a tune and in high spirits. She is in outdoor dress and carries a number of parcels; these she lays on the table to the right. She leaves the outer door open after her, and through it is seen a PORTER who is carrying a Christmas Tree and a basket, which he gives to the MAID who has opened the door.)

Nora. Hide the Christmas Tree carefully, Helen. Be sure the children do not see it until this evening, when it is dressed. (To the PORTER, taking out her purse.) How much?

Porter. Sixpence.

Nora There is a shilling. No, keep the change. (The PORTER thanks her, and goes out. NORA shuts the door. She is laughing to herself, as she takes off her hat and coat. She takes a packet of macaroons from her pocket and eats one or two; then goes cautiously to her husband's door and listens.) Yes, he is in. (Still humming, she goes to the table on the right.)

Helmer (calls out from his room). Is that my little lark twittering out there?

Nora (busy opening some of the parcels). Yes, it is!

Helmer. Is it my little squirrel bustling about?

Nora. Yes!

Helmer. When did my squirrel come home?

Nora. Just now. (Puts the bag of macaroons into her pocket and wipes her mouth.) Come in here, Torvald, and see what I have bought.

Helmer. Don't disturb me. (A little later, he opens the door and looks into the room, pen in hand.) Bought, did you say? All these things? Has my little spendthrift been wasting money again?

Nora. Yes but, Torvald, this year we really can let ourselves go a little. This is the first Christmas that we have not needed to economise.

Helmer. Still, you know, we can't spend money recklessly.

Nora. Yes,Torvald, we may be a wee bit more reckless now, mayn't we? Just a tiny wee bit! You are going to have a big salary and earn lots and lots of money.

Helmer. Yes, after the New Year; but then it will be a whole quarter before the salary is due.

Nora. Pooh! we can borrow until then.

Helmer. Nora! (Goes up to her and takes her playfully by the ear.) The same little featherhead! Suppose, now, that I borrowed fifty pounds today, and you spent it all in the Christmas week, and then on New Year's Eve a slate fell on my head and killed me, and--Nora (putting her hands over his mouth). Oh! don't say such horrid things.

Helmer. Still, suppose that happened,--what then?

Nora. If that were to happen, I don't suppose I should care whether I owed money or not.

Helmer. Yes, but what about the people who had lent it?

Nora. They? Who would bother about them? I should not know who they were.

Helmer. That is like a woman! But seriously, Nora, you know what I think about that. No debt, no borrowing. There can be no freedom or beauty about a home life that depends on borrowing and debt. We two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle.

Nora (moving towards the stove). As you please, Torvald.

Helmer (following her). Come, come, my little skylark must not droop her wings. What is this! Is my little squirrel out of temper? (Taking out his purse.) Nora, what do you think I have got here?

Nora (turning round quickly). Money!

Helmer. There you are. (Gives her some money.) Do you think I don't know what a lot is wanted for housekeeping at Christmas-time?

Nora (counting). Ten shillings--a pound--two pounds! Thank you, thank you, Torvald; that will keep me going for a long time.

Helmer. Indeed it must.

Nora. Yes, yes, it will. But come here and let me show you what I have bought. And all so cheap! Look, here is a new suit for Ivar, and a sword; and a horse and a trumpet for Bob; and a doll and dolly's bedstead for Emmy,--they are very plain, but anyway she will soon break them in pieces. And here are dress-lengths and handkerchiefs for the maids; old Anne ought really to have something better.

Helmer. And what is in this parcel?

Nora (crying out). No, no! you mustn't see that until this evening.

Helmer. Very well. But now tell me, you extravagant little person, what would you like for yourself?

Nora. For myself? Oh, I am sure I don't want anything.

Helmer. Yes, but you must. Tell me something reasonable that you would particularly like to have.

Nora. No, I really can't think of anything--unless, Torvald--

Helmer. Well?

Nora (playing with his coat buttons, and without raising her eyes to his). If you really want to give me something, you might--you might--

Helmer. Well, out with it!

Nora (speaking quickly). You might give me money, Torvald. Only just as much as you can afford; and then one of these days I will buy something with it.

Helmer. But, Nora--

Nora. Oh, do! dear Torvald; please, please do! Then I will wrap it up in beautiful gilt paper and hang it on the Christmas Tree. Wouldn't that be fun?

Helmer. What are little people called that are always wasting money?

Nora. Spendthrifts--I know. Let us do as you suggest, Torvald, and then I shall have time to think what I am most in want of. That is a very sensible plan, isn't it?

Helmer (smiling). Indeed it is--that is to say, if you were really to save out of the money I give you, and then really buy something for yourself. But if you spend it all on the housekeeping and any number of unnecessary things, then I merely have to pay up again.

Nora. Oh but, Torvald--

Helmer. You can't deny it, my dear little Nora. (Puts his arm round her waist.) It's a sweet little spendthrift, but she uses up a deal of money. One would hardly believe how expensive such little persons are!

Nora. It's a shame to say that. I do really save all I can.

Helmer (laughing). That's very true,--all you can. But you can't save anything!

Nora (smiling quietly and happily). You haven't any idea how many expenses we skylarks and squirrels have, Torvald.

Helmer. You are an odd little soul. Very like your father. You always find some new way of wheedling money out of me, and, as soon as you have got it, it seems to melt in your hands. You never know where it has gone. Still, one must take you as you are. It is in the blood; for indeed it is true that you can inherit these things, Nora.

Nora. Ah, I wish I had inherited many of papa's qualities.

Helmer. And I would not wish you to be anything but just what you are, my sweet little skylark. But, do you know, it strikes me that you are looking rather--what shall I say--rather uneasy today?

Nora. Do I?

Helmer. You do, really. Look straight at me.

Nora (looks at him). Well?

Helmer (wagging his finger at her). Hasn't Miss Sweet Tooth been breaking rules in town today?

Nora. No; what makes you think that?

Helmer. Hasn't she paid a visit to the confectioner's?

Nora. No, I assure you, Torvald--

Helmer. Not been nibbling sweets?

Nora. No, certainly not.

Helmer. Not even taken a bite at a macaroon or two?

玩偶之家作家英文名字篇四：玩偶之家英文读后感

The real after the appearance

The Doll's House was a story which is described the process of the Nora's self-awareness，and how she get rid of the doll statue from her husband.

At the beginning of the story, Nora loved her husband and believed him all the time. She always has romantic and unrealistic fantasies on the real life. She thinks that she will have a happiness family if she tries her best to reach all her husband's request. But finally, she found that everything was not as good as she imagined. Her husband just treated her as a doll. So she finally left home without hesitation.

After we read this drama, all of us will think that Nora just looks like an innocent woman. But in fact, she was very goodness and strong. In order to help her father and her husband, she did a lot of stupid things. However, she always was the doll no matter when she was getting married or not. She never had her own independent thoughts. Fortunately, she finally realized this thing and left her home.

In my opinion, the author's real intention is to through the description with Nora's father and husband who were as a representative of men’s society to contrast the lofty quality of these women who has Bourgeois liberation thought. For example, Nora is very brave woman and always wants to pursuit of freedom.

Well in this drama, it severely punctures the false appearance of Bourgeois at many aspects, such as moral, law, religious, educational, and family relationships. It also exposes the real of false under the appearance in Bourgeois society. In a word, at that time, Nora was a brave woman who has Bourgeois liberation thought.

Although in the end, she chose the right thing what is leave her home to find her own value and existence as an independent human. And I am very appreciating her courage and independence thoughts. But at that time, the social environment can not be changed on the basic. So, Nora would never be truly independent at that society. Her dream of get along with her husband also will never come true if the social environment and people’s thoughts would not change fundamentally.

From this drama, I think that we should know who we are, what we want, and what we should do no matter what time. And nowadays, our society has a amazing change. So we must be serious find the false appearance of our society and realize the real after this appearance quickly. Only in the way, we will have self-confidence to succeed on the process of our life.

玩偶之家作家英文名字篇五：玩偶之家导读

《玩偶之家》导读

摘要：本文简略概括了前人对《玩偶之家》的研究，并且对《玩偶之家》所表现的一些艺术特色和主题思想作详细的介绍

关键词：玩偶、女性地位、独立、艺术

《玩偶之家》是19世纪挪威最伟大的戏剧家亨利克·易卜生的著名社会剧。 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。

内容简介

女主人公娜拉出身中等家庭，美丽活泼，天真热情。她热烈而真诚地爱着自己的丈夫海尔茂。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。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”。

历来，很多学者专家，对《玩偶之家》都有所研究和自己独到的见解。无论是对于其所反映出来的女性问题还是对于娜拉出走之后的境况都有所思考和探索。

大多学者都会认同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？茫茫黑夜，她又能走向何处？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。”这确实是问题的症结所在。对于这一症结也有很多的学者研究思考。娜拉在家时可以说是一个贤妻良母，她善良、单纯、没有受过社会的侵蚀，那么当她出走后，她首先要解决的就是经济问题。这对于她来说，不可不说是一个大的考验。即使，她解决了经济上的问题，她就真的事解放了么？她只是千千万万个妇女中的一个，她个人的呐喊将淹没在男权的声潮中。

在近现代学者作家中都会有关于“娜拉出走何处是归程？”的文化论争，这一论争再次催生了女性文化的进一步觉醒。这是女作家们对女性精神解放的深层思考。两性关系平等的前提，是男女双方都作为独立的个体而存在。而几千年的男权中心文化的沉淀，绝非短短几十年就可以彻底清除。因此，对出走的娜拉们而言：精神上的独立往往比经济独立来得更为艰难。何处是归程？归程就在那些真正拥有了独立人格的娜拉的脚下。社会现代化不能被中止，中国女性的现代化也不可能被中止。自强自立自尊自爱的新女性话语被各级妇联组织反复灌输给基层妇女，以取代她们的旧文化观念便是明证。

主题思想

全剧通过写女主人公娜拉和男主人海尔茂由一对恩爱的夫妻转变为关系破

裂的陌路人。通过娜拉从是丈夫和父亲的玩偶转变为一个寻求独立、自主的女性，揭露了资产阶级社会男女不平等、以男权为中心的社会现实，批判了资产阶级社会的虚伪和不合理。

对压抑人性的社会的全面揭露：《玩偶之家》全面揭露了资产阶级社会的丑陋和虚伪，批判了资产阶级社会的人性压抑、不自由和不平等。资产阶级社会的宗教、法律、道德等传统观念严重束缚了一大批人，娜拉就是其中一个代表。娜拉虽然在一个“幸福”的家庭生活，但是她并没有独立的人格和自由，而是被父亲和丈夫当作一个玩偶。娜拉长期生活在这样一个环境中，受尽了压迫和折磨，最后她忍受不了，冲出黑暗的牢笼去寻求独立、平等和自由。

对资产阶级自私、虚伪的揭露：《玩偶之家》揭露了资产阶级社会婚姻关系的不平等，控诉了资产阶级社会的男权中心、男人主义，揭露了资产阶级社会的自私、虚伪和不公平。最能凸显资产阶级的自私与虚伪表现的在海尔茂对待娜拉的态度前后不同:处在危机中就指责娜拉；平安后就假仁假义说要保护娜拉。娜拉连申辩的机会都没有，甚至还被辱骂。娜拉的悲惨遭遇映射着十九世纪的资产阶级社会，妇女在家庭中永远被人当作一个玩偶，没有任何自由和人格尊严。

对资产阶级的妇女出路问题的讨论：妇女问题其实也是社会问题的一个重要方面。“《玩偶之家》是现代妇女解放宣言，是向男权社会发出的一枚重型炮弹”，提出了女性的社会、家庭地位，并与社会大众一起讨论资产阶级的妇女出路问题。

形象分析

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。

艺术特色

《玩偶之家》能够产生如此巨大的震撼力量，除了易卜生所具有的过人胆略、非凡的智慧和洞察社会的能力，以及他关心妇女的社会地位，主张妇女解放的深刻思想底蕴以外，在很大程度上也得益于这位“最杰出的、最吸引人的”戏剧大师所采用的娴熟的艺术技法，以及对该剧所进行的艺术创造。

第一、在《玩偶之家》这部戏剧的艺术创作中，易卜生没有简单地沿袭传统的写作方法，而是有意识的在创作技巧上进行了有益的探索和大胆的尝试，他创造性地运用了“讨论式”的艺术手法，“提出并且试探讨论对于观众有切身关系的品性和行动问题”，给整个剧坛带来了新的气息，给整个戏剧注入了新的血液。

第二，《玩偶之家》在艺术创作上的另一特点，就是成功地运用了“倒叙法”，从而使得全剧结构紧凑，情节集中，主要矛盾突出，人物性格鲜明。倒叙法，就是剧中某些重要的情节在开幕之前就已经发生，观众在开幕之后所看到的，只是幕前情节发生的结果。剧作者以此“结果”为开端，通过剧中人物间的言谈举止，矛盾冲突，逐一地倒叙出整个剧情的前因。

第三，精心安排次要人物，正确处理红花与绿叶之间的关系。我们知道，《玩偶之家》的主人公是娜拉，但如果没有柯洛克斯泰、林丹太太和阮克等“绿叶”

的衬托，娜拉之“花”也就不可能如此的艳丽、芬芳。可以说，《玩偶之家》在人物安排上，每一个人都是必要的。次要人物柯洛克斯泰、林丹太太和阮克大夫的精心塑造，不仅加剧了戏剧矛盾冲突，丰富了娜位的形象，而且还使得戏剧情节更加填密，对于深化戏剧主题起到了非常好的作用。

第四，运用独特的、富有表现力的动作性语言，刻划人物，展开情节，具有强烈的艺术感染力。语言是灵魂的窗户。为了表现主题，使得剧中的人物性格鲜明，栩栩如生，易卜生有意的赋予剧中人物以个性化语言去完善自身。特别是，在对主人公娜拉性格的刻划中，易卜生将娜拉的语言与心境很好雨和谐地统一在了一起，让娜拉通过带有动作性的语言，在不间断的运动之中，去表现喜怒哀乐，去唱出心曲，去展示形象。

参考文献

【1】论《玩偶之家》的艺术技巧 杨广宇1998年第4期 高等函授学报(哲学社会科学版)

【2】龙怀珠《玩偶之家》艺术结构琐谈 愉林高等专科学校学报

【3】田占敏《玩偶之家》中娜拉的性格解读

【4】徐莹莹 从“娜拉”出走谈女性文化 文化广场

【5】张敏 现代女性价值观下对《玩偶之家》的解读

玩偶之家作家英文名字篇六：玩偶之家

玩偶之家作家英文名字篇七：玩偶之家

去年，中国国家话剧院与挪威合作，推出的双语话剧《玩偶之家》，导演吴晓江将故事搬到上世纪30年代的中国，剧中人物姓名皆中国化，改圣诞节为春节，京剧、二胡、箫等中国传统艺术穿插其间，就在那青砖地、古色古香家具、生动的民俗画、雕梁庭院中，远嫁到中国来的娜拉与满口“仁义道德”的中国丈夫韩尔茂演出一场由恩爱转向怒目的家庭剧。中国化后的《玩偶之家》，不乏许多新的看点。

其一，中国化版的《玩偶之家》突出了中西文化冲突。韩尔茂力图把娜拉改造成标准的中国贤妻良母，一而再地要求她言行谨慎、小心；娜拉学京剧、学做中国菜，努力使自己变得和中国女人一样温柔贤惠……而究竟什么是幸福的家庭生活，韩尔茂称，这是祖宗定下来的，“夫为妻纲”；娜拉困惑道：“难道中国的女人就是在家生孩子吗？”

不妨说，中国化版的《玩偶之家》凸显了许多跨国婚姻所面临的观念冲突。从另一方面来看，中国丈夫韩尔茂在固有的社会压力下，对娜拉的斥责似乎理所应当，与易卜生原著“伪君子”海尔茂相比，中国的韩尔茂有他的难处，能够得到观众一定的理解。

其二，中国化版的《玩偶之家》体现了现代职场矛盾。柯洛泰之所以逼娜拉还债，威胁娜拉，其目的就是为了保住自己在银行的位置，甚至今后以此要挟，升到比韩尔茂更高的职位。剧中，娜拉以自己的孩子哀求他，柯洛泰用夹着英文的汉语说，他也有Boy要养！当今失业率居高不下，求职艰难，每个人都忧心忡忡，每个人都欲望无度，这就是现实社会！在今天看来，柯洛泰的无赖行径，也有他小人物可悲的一面。

其三，表演上，李建义的“韩尔茂”与韩童生的“柯洛泰”颇为出彩，表演生动，活生生体现了两个中国男人的虚伪、苟且、小肚鸡肠。也许是双语演出的缘故，扮演娜拉的阿格特与中国演员的表演风格似乎不那么融合，有些段落，显得很抽离。因此，原著中娜拉的魅力不免有所折扣。

我觉得，幕间京剧的穿插没有必要。其中一段京剧选段是《霸王别姬》，也就是娜拉所效仿的《霸王别姬》“别姬”一场。选《霸王别姬》，虽然意味着娜拉与丈夫的永别，但是，韩尔茂与娜拉，和霸王与虞姬的感情，不存在相似性。霸王和虞姬是中国古战场的英雄美人，霸王有胆识，能够承担虞姬的爱；而韩尔茂与其说是爱娜拉，不如说是喜欢一个“洋娃娃”。

中国化版的《玩偶之家》更像一个连环画版的《玩偶之家》，比较通俗地将外国故事表现在国人眼前，而对原著更为深层次的挖掘，仍有待努力。

《玩偶之家》是易卜生表现妇女问题的一部杰作。

这部作品的主要情节是这样的：女主人公娜拉与丈夫结婚八年，育有三个孩 子，她的丈夫海尔茂是一位抱着“不论再穷，也不愿负债”观念的脚踏实地之人，翌年，他随即担任银行经理的职位；娜拉一直相信丈夫深爱自己，而自己亦爱着海尔茂。这个家表面看来似乎有着光明的前途，因此她心想，如果“那件事”能在丈夫还未发现前便先处理妥当，那么，不论为人妻、为人母，自己都是绝对幸福，无话可说的。

所谓“那件事”，即是婚后不久，为了治疗海尔茂的病，他们搬到米兹后，娜拉瞒着丈夫私下向一位名叫克勒克斯达的男人借了一笔款子。

娜拉一方面自家庭生活费中节省，另一方面瞒着海尔茂，偷偷地做了些副业，就这样一点一滴的偿还这笔贷款；在她心中认为，这么做是自己“骄傲”、“快乐的秘密”。她向克勒克斯达贷款的借据书上，保证人填写的是她的父亲，其实这也是她瞒着父亲而伪造的；因此，当克勒克斯达说这件事一旦公开，娜拉将犯伪证的罪名。娜拉愤怒地说道：“这种法律必定是罪恶的法律；做女儿的有权不让父亲担心，而做妻子的也有权救丈夫的性命”。

实际上，克勒克斯达此举是为了保证自己才出此下策，但是娜拉并不知情。因为克勒克斯达亦在海尔茂任职经理的银行工作，并且在人事调动上即将遭到解雇的命运；因此克勒克斯达便想利用这层关系来威胁娜拉。娜拉于驳斥对方后，心里感觉十分不安，便请求海尔茂不要将克勒克斯达解雇，但是海尔茂并不听从娜拉的话，仍然发出了解雇克勒克斯达的通知 书。克勒克斯达便写信给海尔茂，暴露了娜拉的秘密。知道这件事后，海尔茂非常愤怒，用尽一切尖酸刻薄的话羞辱娜拉。后来在娜拉好友琳狄夫人的调解下，且当克勒克斯达将借据还给娜拉时，海尔茂立刻改变态度对娜拉说：“娜拉，我得救了！”同时希望再度成为娜拉温柔、忠实的“保护者”。 但是这时在娜拉眼中看来，丈夫海尔茂已是和自己不相干的陌路人，她将结婚戒指还给丈夫，留下孩子便离家出走了；从此脱离有如玩偶般的妻子生活，并且强烈自觉到在为人妻或成为女人之前，应先“做一个真正的人”。

其次是赏析：

易卜生之所以被称为“近代欧洲的戏剧大师”，首先因为他是一个戏剧艺术的革新者。他将戏剧当做表现当代社会生活的镜子，把舞台当做讨论当代政治问题的论坛。《玩偶之家》便是他有关妇女问题的一部杰作。剧中描写了海乐茂夫妇的家庭关系由和睦转为决裂的故事，通过娜拉逐渐觉醒的过程，深刻揭露出资产阶级社会的法律、宗教、爱情、婚姻等的虚伪和不合理。此剧在艺术上取得了很高的成就，突出体现了易卜生戏剧的特点：主题突出，人物鲜明，结构严密，情节集中，语言精炼。

娜拉和海尔茂8年的“恩爱”生活在一纸票据面前竟然显得那么不堪一击，这不由令人想起一位作家的慨叹：你怎么夸张了夸张不过生活，你怎么想像民想像不过现实！复杂的生活矛盾背后隐藏着深刻的社会问题，这一切却在情节的发展中让读者看了个明白。剧情被巧妙安排在圣诞节前后3天之内，突出表现了节日的欢乐气氛与家庭悲剧之间的对比。作者以柯洛克斯泰被海尔茂辞退，利用借据要挟娜拉为他保住职位一事为主线，引出了多种矛盾的错展开；娜拉也在这短短3日内，经历了一场激烈的复杂的内心斗争，从平静到

混乱，从幻想到破裂，在痛苦中自我觉醒，取得了强烈的戏剧效果。

由作家使用的“回溯法”，我们可以了解到：娜拉出身中产阶级家庭，从小就是父亲的玩偶，结婚以后又是她丈夫的玩偶，如她自己所说，是父亲的“泥娃娃女儿”，是丈夫的“泥娃娃老婆”。但她热爱生活，热爱家人，为了他们的幸福，她不惜牺牲自已。

海尔茂是一个自私和虚伪的资产者形象，在外人眼中，他无疑是一个“正人君子”“模范丈夫”；随着剧情的发展、矛盾的展开，他的面具被层层剥离，我们很容易得出结论：在家庭中他是一个大男子主义者，在社会上他是一个资产阶级道德、法律、宗教的维护者，他的生活目的就是追求金钱和地位，他不得爱，亦不知被爱，妻子只是他的一件私有财产。听听他所说的话吧：他将娜拉倾吐的痛苦心声斥为“花言巧语”、“装腔作势”；将她的牺牲评价为“把我一生幸福全都葬送了”“前途也让你断送了”；称爱他的妻子为“伪君子”、“犯罪的人”；当风平浪静后，他第一个反应即为“我没事了”；尔后“安慰”妻子说“你的事都由我做主，都由我指点”，“你只要一心一意依赖我”；当娜拉作出离开“玩偶之家”的抉择，他竟说出“你最神圣的责任是你对丈夫和儿女的责任”的话，并为自己作出辩护“男人不能为他爱的女人牺牲自己的名誉”。

可以说，正是这些像刀子般的话使娜拉快速成长起来，激发了她在叛逆性。她控诉“我不了解你”，“我真不知道宗教是什么”，“我不信世界上有这种不讲理的法律”，“现在我不爱你了”，一个坚强独立的新的娜拉站了起来。娜拉在“麻烦”解决掉之后毅然决定出走，给人们的警示和启发更为深远，这种结局的安排突出体现了作者思想的深刻性。

《玩偶之家》又译作《傀儡之家》或《娜拉》，是使易卜生闻名全世界的剧本，它通过女主人公娜拉与丈夫海尔茂之间由相亲相爱转为决裂的过程，探讨了资产阶级的婚姻问题，暴露男权社会与妇女解放之间的矛盾冲突，进而向资产阶级社会的宗教、法律、道德提出挑战，激励人们尤其是妇女为挣脱传统观念的束缚，为争取自由平等而斗争。娜拉与丈夫已结婚八年，是三个孩子的母亲了，然而在家庭中仍然是玩偶的地位，起初她并不自知，易卜生在此着重描写了她的觉醒和“精神反叛”，她终于逐渐认识到自己可悲的社会地位：结婚前属于父亲的，结婚后属于丈夫的，“像要饭的叫化子，要一口吃一口”；她再也不愿意处于奴隶的地位，经过一番激烈的辩论而勇敢地出走了，她要到社会中去弄清楚“究竟是社会正确还是我正确”。可以这么说，娜拉从幼稚的和谐到复杂的矛盾，从耽于幻想到幻想破灭，从安于玩偶之家到坚决出走的过程是妇女觉醒的苦难的历程，当然出走了的娜拉走向何方，她未来的生活道路在哪里，连易卜生也无法回答，但易卜生对妇女解放的心理过程的刻划其意义已十分重大。

《玩偶之家》上演后，易卜生也登上了世界文坛，这固然因为其鲜明的思想倾向性和娜拉这个反叛的女性形象，但同时他艺术上的成就也是令人瞩目的。易卜生革新了欧洲近代戏剧，对现实主义的戏剧文学发展作出了重大贡献。他把社会问题与舞蹈艺术结合起来，创造了“问题剧”，使当时的观众耳目一新，人们再也不是被作者牵着鼻子走，而是按照生活的逻辑去关心剧中人物的命运，去思索社会现实问题，这在欧洲戏剧史上是个创新；同时易卜生还革新了戏剧形式，他抛弃流行于当时欧洲舞台上的乔装、谋杀、决斗等惊险场面和意外事件，剧中人物仿佛是观众常见的人们，其经历也仿佛是自己经历过似的，观众参与讨论，探索问题的答案，大大增加了艺术效果；还有追溯手法即倒叙手法的运用、人物心理过程的细腻刻划等，都使之显示巨大的艺术魅力。

简介

《玩偶之家》，19世纪挪威最伟大的戏剧家亨利克·易卜生的著名社会剧。作于1879年。女主人公娜拉出身中等家庭，美丽活泼，天真热情。她热烈而真诚地爱着自己的丈夫海尔茂。为替丈夫治病，她曾冒名举债，又熬夜抄写文件，挣钱、省钱，偷偷还债。如果需要，她甚至表示可以为丈夫而死。但她的丈夫（过去的银行职员，现在的银行经理），却是个虚伪自私的资产阶级市侩，他平时管她叫“小鸟儿”、“小松鼠儿”，可一旦知道娜拉曾冒名举债，危及自己的社会名声和地位时，便一反常态，大骂她是“犯罪女人”，还扬言要剥夺他教育子女的权利，要对她进行法律、宗教制裁。后来，当债主受女友感化，退回了冒名借据时，他又转变态度，表示要永远爱她和保护她。经此转折，娜拉终于看清了自己的“泥娃娃”处境，发现自己不过是丈夫的“玩偶”，于是对保护这家庭关系的资产阶级法律、道德、宗教，提出了严重怀疑和激烈批判，并毅然离开了这个“玩偶之家”。

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？茫茫黑夜，她又能走向何处？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。”这确实是问题的症结所在。娜拉体现了当时女性摆脱家庭束缚,追求自由的思想,体现了女性主义运动的思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。”

提起“娜拉”和易卜生代表作《玩偶之家》，可以说对中国现代文化的影响，特别是中国话剧的形成、创作以及发展，具有重要的作用。

中国人在引进西方戏剧之初，明显带有为我所用的目的。五四新剧的倡导者们特别钟情于挪威剧作家易卜生的戏剧。不仅《新青年》曾出版“易卜生专号”，胡适推崇并介绍过“易卜生主义”；甚至一些有志于创造中国现代戏剧的青年，如洪深、田汉等，均把“做中国之易卜生”当作自己的人生理想。

之所以中国人特别看重易卜生，中国现代的文学家鲁迅曾有过这样的阐述：“何以大家偏要选出Ibsen来呢？因为要建设西洋之新剧，要高扬戏剧到真的文学之地位，要以白话来兴散文剧。还有，因为事已亟矣，便只好以实例来刺激天下读书人的直感，这自然都确当的。但我想，也还因为Ibsen敢于攻击社会，敢于攻击多数。那时的绍介者，恐怕颇有以孤军而被包围于旧垒中之感的罢。”这道出了易卜生风靡初当时中国之原因。

当时，最能打动中国人特别是年轻人之心的，是易卜生的《玩偶之家》。主人公娜拉，在经历一场家庭变故之后，终于看清了丈夫的真实面目和自己在家中所扮演的“玩偶”角色，于是，在庄严的声称“我是一个人”之后，毅然走出了家门。这对于处于封建婚姻包办制度下的中国青年，影响很大，娜拉成为他们崇拜的偶像。

在《玩偶之家》的影响下 ，胡适首先创作了《终身大事》。剧中田小姐和陈先生恋爱，而其父母竟以几百年前田、陈一家的荒谬理由，干涉他们的婚姻。田小姐留下“孩儿的终身大事，孩儿该自己决断”的字条，与陈先生一起出走。此后，欧阳予倩的《泼妇》，熊佛西的《新人的生活》、郭沫若的历史剧《卓文君》、白薇的《打出幽灵塔》等，塑造了一批出走者形象，被称为娜拉剧。这批剧目，不但是追求人格独立和个性解放的思想象征和载体 ，而且呈现出五四话剧最初的现实主义之特色。

胡适指出，易卜生的戏剧“只是一个写实主义”。在中国人看来，写出人生之真实，其目的就在于催人醒悟，改变不合理的社会现实。因此，“为人生”之戏剧风行一时。此时，写实主义作为一种新的戏剧观念，初步得以建立。 《玩偶之家》在二三十年代，曾多次被搬上中国的话剧舞台，而成为了中国话剧发展的一台重要鉴证之作。其中许多当年的演员都因以出演该剧为荣，并因此而出名。其中有金山、赵丹等中国现代著名演员。

玩偶之家作家英文名字篇八：浅析玩偶之家

浅析《玩偶之家》

摘要：《玩偶之家》是易卜生一部著名的社会问题剧，在当时产生了不小的影响，它引起了当时的社会大众对妇女自由这一人性权利的关注，这对男权至上的社会思想观念无疑是巨大的撼动，这也促进了当时社会女性的觉醒进程。剧中娜拉的女性形象揭示着人性权利的解放，向往自由的主题，同时也在批判着以海尔茂为代表的资产阶级内心的丑恶和虚伪。这种思想在当时是具有超越性的，所以也不难理解《玩偶之家》演出后为何在当时会引起巨大地社会性争论。可正是作品的超越性给《玩偶之家》附上了更深的含义，隐含的政治性问题更是增加了作品的深层次内涵，但是这也正印证了社会意识对社会存在是具有反作用的哲学性命题，换言之，《玩偶之家》作为一部优秀的剧作品，是带有哲学性思考的。

关键词：玩偶 觉醒 爱情观 性疾病

《玩偶之家》是易卜生所创作的名剧之一，此部剧作品是社会问题剧的典型代表。所谓“社会问题剧”是指丹麦评论家勃兰克斯所提出的“文学要有生气，就必须提出问题来”，用现实主义方法描写现实生活的一系列戏剧，社会问题剧作品中的人物不具有单独的审美价值，而只是代表某个问题或某种思想的符号，剧作家通过这些符号和问题来表达主题和战斗性。《玩偶之家》贯彻了这一特点，通过鲜明的人物性格、行为来具体抒发主题的目的。海尔茂、娜拉都是易卜生塑造的这类典型，易卜生也正是通过对两人的动作、语言的描述，从而表现出作品的思想内涵。这使得作品更加有品味性，能够使读者自觉地去思考、领悟作品所传达出的意义，使其能够有一个较为深刻持久的印象，甚至是影响读者现实生活的行为，二十世纪的欧洲、中国都是受其影响较大且突出的地区，可见其影响力。《玩偶之家》作为一部社会问题剧取得了巨大成功，但其原因何在？我认为主要应归功于主题思想的深刻性，主题思想贯穿于整部剧作品当中，任何读者想要真正去了解作品，这都是不可回避的而且需要认真感悟地。《玩偶之家》主题深刻性表现在其具体三大主题上，即本篇文字需讨论的三大方面。 第一方面，从现代家庭中的妇女平等权利问题出发，这部戏剧开篇以甜腻的恋人般的夫妻关系展现在读者面前，娜拉被海尔茂亲密地称为“小鸟儿”、“小宝贝”、“小松鼠”，而娜拉表现出来的同样是甜蜜可爱，这一切似乎是在告诉读者，这将是一个幸福的家庭。而当“灾祸”来临之时，这一切都土崩瓦解了，甜蜜的爱情不过是过眼云烟，令读者的心颓然掉落，以现在的眼光来看待，这时的“灾祸”不过是娜拉对海尔茂爱的表现，娜拉眼中的奇迹不会黯然失色，而应该是海尔茂作为娜拉丈夫的深深地感动。而这里所说的一切没有实现，而是成为了另一番景象——爱情、家庭都破碎了。在某种方面来说，这样的结果并不是作者易卜生故意而为，而是由剧中人物的性格决定的，海尔茂虽对娜拉极其体贴，但其内心其实是以自我为中心的，并没有真实考虑过娜拉的想法，一切以自我喜恶为标准，且使得娜拉某种程度上成为了它的“玩偶”，也使得妇女的平等权利受到了侵犯。娜拉在剧开篇之时，对海尔茂表现的十分依顺，但是随着娜拉的事迹展露，即为借贷给海尔茂治病而伪造娜拉父亲签名，这在当时是违背法律的，当柯洛克斯泰以此为威胁时，海尔茂大发雷霆，觉得这将毁灭自己的名誉与前途，因此不顾一切地对娜拉予以指责，称娜拉是“伪君子”，“不讲道德，没有责任心”，并称“你把我的幸福全都葬送了，我的前途也让你葬送了”“我这场大祸都是一个下贱的女人惹出来的”，海尔茂不顾及丝毫夫妻之情，将娜拉作为所有问题的始作俑者，但是，当柯洛克斯泰将借据归还时，海尔茂又重新对娜拉亲昵起来，这正是显露出海尔茂的虚伪，娜拉真切地看到了海尔茂的柔弱、妥协，也看到了海尔茂对她的不尊重。这是对当时社会的

真实状况的映射，社会上并没有树立起对女性平等的权利观念，依旧是以男子为主导的世界，只将妇女当做是男子附庸。当娜拉的危机解除之后，娜拉已经彻底地看透了所谓的爱，不止是海尔茂之间的夫妻爱情，更有父女之间的亲情——“我在家跟父亲过日子的时候，他把他的意见告诉我，我就跟着他的意见走，要是我的意见跟他不一祥，我也不让他知道，因的他知道了会不高兴。他叫我‘泥娃娃孩子’，把我当作一件玩意儿，就象我小时候玩儿我的泥娃娃一样”。联想着海尔茂所说，娜拉真正从内心清醒，她不是自己，而更像是一个玩偶，意识到自己一直并没有受到平等对待。这也正与社会现实（妇女在社会中玩偶般的存在着）相呼应，也是《玩偶之家》影响之大的原因之一。

第二方面，浪漫主义爱情观的死亡。娜拉是一个虔诚的浪漫主义爱情观的笃行者，她对爱情充满了“奇迹”般的幻想，对自己的爱人海尔茂予以生命般呵护，这也就不难理解为什么当面对柯洛克斯泰的威胁时，娜拉近乎抱着自杀的心态去面对一切——珍视着、不舍着自己的丈夫、孩子。更重要的是，娜拉想着可以为保护自己的丈夫而死去，呈现出一种怪异的思想——害怕却高兴——她称之为“奇迹”，这使得娜拉真正成为了一个虔诚的浪漫主义爱情观主义者。可现实并没有想象般美好，海尔茂发现娜拉为其而假冒签名之后，大发雷霆，对娜拉恶言相向，这完全打破了娜拉内心美好的幻想，使得娜拉不得不重新审视自己及自己所拥有的爱情，她自己可以为之去死牺牲生命，而对方却仍是为了自己的名誉而责怪、诅咒她。这一切完全把娜拉灵魂的精神支柱摧毁了，她不再相信奇迹，即使后来危机解除，娜拉也不再渴望回到从前的生活，她得到了自我的觉醒，也是以娜拉为代表的浪漫主义爱情观的失败。如果说娜拉的“奇迹”般的幻想爱情的破灭，是因为海尔茂的太过自我、狭隘心胸，那浪漫主义爱情观便是资本主义的社会观念的排挤消失的。资本主义的生产关系将所有感情、精神都加以物化，使得黑格尔所描绘的浪漫主义爱情观念的死亡。这不仅仅是娜拉一个人的悲剧，更是整个社会的情感精神的败局，当一个以物质为中心的社会的产生，便是人类的一大可悲——情感缺失、人际关系趋于冷漠使人与人的距离越来越远。

第三方面是一个较为隐含的层面，便是性疾病对社会的影响。剧本中出现了阮克医生，他每天都要来到这个家庭，似乎海尔茂与娜拉都离不开他一般，但是剧本中并没有交代阮克医生为何可以穿梭于这个家庭间，但是显而易见的是，阮克医生对娜拉有着爱恋的情愫，并在某个时候对娜拉表达了他的爱意，可是，深爱着海尔茂的娜拉直接的拒绝了阮克。娜拉的拒绝可以理解，她有着她深爱的丈夫（至少在事件没有暴露前）、可爱的孩子们，而此时也可以引入另一个方面，那便是阮克遗传了他父亲的花柳病导致的脊髓痨即将不久于人世，荒淫过后导致的死亡，给予人们隐晦地提示：人的本能的性欲造成的压抑我们无法摆脱。阮克医生寂寞地走向了死亡坟墓，便是给人的一种无声却震撼的爆炸，晃动着这个被压抑着的世界，企图将人们惊醒，而人们似乎不能发觉，像是鲁迅先生在《呐喊》中所说的“铁屋子”一样，人们死沉死沉地睡去了，竟没有窗子可以通风可以打破，窒息即将吞没在铁屋子里睡着的人们。《玩偶之家》里表现的这种压抑感正如同在铁屋子里的人，而大部分人却难以察觉自己深陷其中，所以也不难理解它的隐秘。

《玩偶之家》以剧本、表演两种艺术表现形式将它的影响传播到更远的地方，将它所携带的独特的思想传达给更多的人们。告知妇女她们并不是“玩偶”，而是独立自主的一个人；当社会中缺失了某种必需的精神，它以人物的对话予以投诉或痛斥。这是《玩偶之家》的独特魅力，更是对社会施的一方良方。这便是优秀作品所涵括的精神内涵，需要我们在其中汲取更多的营养。

玩偶之家作家英文名字篇九：玩偶之家 正版

玩偶之家作家英文名字篇十：玩偶之家

玩偶之家.txt28生活是一位睿智的长者，生活是一位博学的老师，它常常春风化雨，润物无声地为我们指点迷津，给我们人生的启迪。不要吝惜自己的爱，敞开自己的胸怀，多多给予，你会发现，你也已经沐浴在了爱河里。 飞扬首页 > 北欧文化 > 北欧文学精品目录 >《玩偶之家》全文

玩偶之家

〖挪威〗易卜生 著

《玩偶之家》，19世纪挪威最伟大的戏剧家亨利克·易卜生的著名社会剧。作于1879年。女主人公娜拉出身中等家庭，美丽活泼，天真热情。她热烈而真诚地爱着自己的丈夫海尔茂。为替丈夫治病，她曾冒名举债，又熬夜抄写文件，挣钱、省钱，偷偷还债。如果需要，她甚至表示可以为丈夫而死。但她的丈夫（过去的银行职员，现在的银行经理），却是个虚伪自私的资产阶级市侩，他平时管她叫“小鸟儿”、“小松鼠儿”，可一旦知道娜拉曾冒名举债，危及自己的社会名声和地位时，便一反常态，大骂她是“犯罪女人”，还扬言要剥夺他教育子女的权利，要对她进行法律、宗教制裁。后来，当债主受女友感化，退回了冒名借据时，他又转变态度，表示要永远爱她和保护她。经此转折，娜拉终于看清了自己的“泥娃娃”处境，发现自己不过是丈夫的“玩偶”，于是对保护这家庭关系的资产阶级法律、道德、宗教，提出了严重怀疑和激烈批判，并毅然离开了这个“玩偶之家”。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？茫茫黑夜，她又能走向何处？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。”这确实是问题的症结所在。

前言

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本剧作者亨利克·易卜生（1928－1906），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。

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。

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。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。

人物表

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托伐·海尔茂。

娜拉──他的妻。

阮克医生。

林丹太太。

尼尔·柯洛克斯泰。

海尔茂夫妇的三个孩子。

安娜──孩子们的保姆。

爱伦──女佣人。

脚夫。

事情发生在克立斯替阿尼遏①海尔茂家里。 ①克立斯阿尼遏是挪威首都的旧名，现在叫奥斯陆。

第一幕

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一间屋子，布置得很舒服雅致，可是并不奢华。后面右边，一扇门通到门厅。左

边一扇门通到海尔茂书房。两扇门中间有一架钢琴。左墙中央有一扇门，靠前一点， 有一扇窗。靠窗有一张圆桌，几把扶手椅和一只小沙发。右墙里，靠后，又有一扇 门，靠墙往前一点，一只瓷火炉，火炉前面有一对扶手椅和一张摇椅。侧门和火炉中

间有一张小桌子。墙上挂着许多版画。一只什锦架上摆着瓷器和小古玩。一只小书橱 里放满了精装书籍。地上铺着地毯。炉子里生着火。正是冬天。

门厅里有铃声。紧接着就听见外面的门打开了。娜拉高高兴兴地哼着从外面走进

来，身上穿着出门衣服，手里拿着几包东西。她把东西搁在右边桌子上，让门厅的门 敞着。我们看见外头站着个脚夫，正在把手里一棵圣诞树和一只篮子递给开门的女佣 人。

娜拉 爱伦，把那棵圣诞树好好儿藏起来。白天别让孩子们看见，晚上才点呢。（取 出钱包，问脚夫）多少钱？

脚夫 五十个渥儿①。

①挪威辅币。一百渥儿等于一克罗纳。

娜拉 这是一克罗纳。不用找了。

脚夫道了谢出去。娜拉随手关上门。她一边脱外衣，一边还是在快活地笑。她从

衣袋里掏出一袋杏仁甜饼干，吃了一两块。吃守之后，她踮着脚尖，走到海尔纳书房 门口听动静。

娜拉 嗯，他在家。（嘴里又哼起来，走到右边桌子前。）

海尔茂 （在书房里）我的小鸟儿又唱起来了？

娜拉 小松鼠儿又在淘气了？

娜拉 嗯！

海尔茂 小松鼠儿什么时候回来的？

娜拉 刚回来。（把那袋杏仁饼干掖在衣袋里，急忙擦擦嘴）托伐，快出来瞧我买的 东西。

海尔茂 我还有事呢。（过了会儿，手里拿着笔，开门朝外望一望）你又买东西了？ 什么！那一大堆都是刚习的？我的乱花钱的孩子又糟蹋钱了？

娜拉 嗯，托伐，现在咱们花钱可以松点儿了。今年是咱们头一回过圣诞节不用打饥 荒。

海尔茂 不对，不对，咱们还不能乱花钱。

娜拉 喔，托伐，现在咱们可以多花点儿了──只要花那么一丁点儿！你知道，不久 你就要挣大堆的钱了。

海尔茂 不错，从一月一号起。可是还有整整三个月才到我领薪水的日子。

娜拉 那没关系，咱们可以先借点钱花花。

海尔茂 娜拉！（走到她面前，开玩笑地捏着她耳朵说道）你还是个不懂事的小孩

子！要是今天我借了一千克罗纳，圣诞节一个礼拜你随随便便把钱都花完，万一除夕 那天房上一块瓦片把我砸死了──

娜拉 （用手捂住他的嘴）嘘！别这么胡说！

海尔茂 要是真有这么回事怎么办？

娜拉 要是真有这种倒霉事，我欠债不债还不是一样。

海尔茂 那些债主怎么办？

娜拉 债主！谁管他们的事？他们都是跟我不相干的外头人。

海尔茂 娜拉！娜拉！你真不懂事！正经跟你说，你知道在钱财上头，我有我的主 张：不欠债！不借钱！一借钱，一欠债，家庭生活马上就会不自由，不美满。咱们俩 硬着脖子挺到了现在，难道说到末了儿反倒软下来不成。

娜拉 （走到火炉边）好吧，随你的便，托伐。

海尔茂 （跟过去）喂，喂，我的小鸟儿别这么搭拉着翅膀儿。什么？小松鼠儿生气 了？（掏出钱包来）娜拉，你猜这里头是什么？

娜拉 （急忙转过身来）是钱！

海尔茂 给你！（给她几张钞票）我当然知道过圣诞节什么东西都得花钱。

娜拉 （数着）一十，二十，三十，四十。啊，托伐，谢谢你！这很够花些日子了。

海尔茂 但愿如此。

娜拉 具是够花些日子了。你快过来，瞧瞧我买的这些东西。多便宜！你瞧，这是给 伊娃买的一套新衣服，一把小剑。这是巴布的一只小马，一个喇叭。这个小洋娃娃和 摇篮是给爱密的。这两件东西不算太好，可是让爱密拆着玩儿也就够好的了。另外还 有几块衣料几块手绢儿是给佣人的。其实我应该买几件好点儿的东西送给老安娜。

海尔茂 那包是什么？

娜拉 （大声喊叫）托伐，不许动，晚上才让你瞧！

玩偶之家作家英文名字相关热词搜索：玩偶之家英文读后感 玩偶之家英文剧本 玩偶之家英文版