shǒuyè>> >> 西方戏剧>> hēng · shēng Henrik Ibsen   nuó wēi Norway   cóng mìng dào guó zhù   (1828niánsānyuè20rì1906niánwǔyuè23rì)
wán 'ǒu zhī jiā A Doll's House
  《 wán 'ǒu zhī jiāshì 19 shì nuó wēi zuì wěi de jiā hēng shēng de zhù míng shè huì zuò 1879 nián zhù rén gōng chū shēn zhōng děng jiā tíngměi huó tiān zhēn qíng liè 'ér zhēn chéng 'ài zhe de zhàng hǎi 'ěr màowéi zhàng zhì bìng céng mào míng zhàiyòu 'áo chāo xiě wén jiànzhèng qiánshěng qiántōu tōu hái zhài guǒ yào shèn zhì biǎo shì wéi zhàng 'ér dàn de zhàng guò de yínháng zhí yuánxiàn zài de yínháng jīng ), què shì wěi de chǎn jiē shì kuài píng shí guǎn jiào xiǎo niǎo 'ér 、“ xiǎo sōng shǔ 'ér”, dàn zhī dào céng mào míng zhàiwēi de shè huì míng shēng wèi shíbiàn fǎn cháng tài shìfàn zuì rén”, hái yáng yán yào duó jiào de quán yào duì jìn xíng zōng jiào zhì cáihòu láidāng zhài zhù shòu yǒu gǎn huàtuì huí liǎo mào míng jiè shí yòu zhuǎn biàn tài biǎo shì yào yǒng yuǎn 'ài bǎo jīng zhuǎn zhé zhōng kàn qīng liǎo de chǔjìng xiàn guò shì zhàng dewán 'ǒu”, shì duì bǎo zhè jiā tíng guān de chǎn jiē dào zōng jiào chū liǎo yán zhòng huái liè pànbìng rán kāi liǎo zhè wán 'ǒu zhī jiā”。 shì yòu chǎn jiē xìng jiě fàng xiǎng de pàn xìng duì shè huì de bèi pàn jiā chū zǒubèi wéi jiě fàng de xuān yán”。 rán 'érzài dāng zuò wán 'ǒu de shè huì zhēn néng qiú jiě fàng máng máng hēi yòu néng zǒu xiàng chù
  《 wán 'ǒu zhī jiā》 - zuò zhě jiǎn jiè
  
  《 wán 'ǒu zhī jiā shēng
   shēng( 1828 héng héng 1906), nuó wēi rénshì jiè jìn dài shè huì wèn de shǐ zuì zhù míng de zuò jiāshāng rén jiā tíng chū shēn shēng gòng xiě běn 26 。《 wáng wèi de rén》、《 è luò de yīng rénděng zǎo zuò duō shǐ cái biǎo xiàn 'ài guó zhù xiǎnglàng màn cǎi nóng zhōng chuàng zuò jiù yòu shí jiē shì dāng shí de zhǒng shè huì wèn yòupéi 'ěr jīn 》、《 shè huì zhī zhù》、《 wán 'ǒu zhī jiā》、《 qún guǐ》、《 guó mín gōng děng zuòdài biǎo zuòwán 'ǒu zhī jiā》( 1879) tōng guò xíng xiàng de zào chū běn zhù shè huì de lún wèi děng shè huì wèn duì xiàn shí de pàn shēn yòu wǎn de 》、《 luó zhuāng》、《 hǎi shàng rén》、《 zán men rén zài shēng shíděng zuò zhuànxiàng xīn miáo xiě jīng shén fēn xiàng zhēng zhù cǎi nóng hòu zuò xiān míng de zhù shēng dòng de qíng jiéyán jǐn de jié gòuyōu měi de yán de shù fēng duì shì jiè jìn xiàn dài de zhǎn yòu guǎng fànshēn de yǐng xiǎng。 
  《 wán 'ǒu zhī jiā》 - rén píng jià
  
   shì yòu chǎn jiē xìng jiě fàng xiǎng de pàn xìng duì shè huì de bèi pàn jiā chū zǒubèi wéi jiě fàng de xuān yán”。 rán 'érzài dāng zuò wán 'ǒu de shè huì zhēn néng qiú jiě fàng máng máng hēi yòu néng zǒu xiàng chù xùn xiān shēng zài zǒu hòu zěn yàng?》 wén zhōng shuō:“ cóng shì shàng tuī xiǎng lái huò zhě shí zhǐ yòu liǎng tiáo shì duò luòjiù shì huí lái。” zhè què shí shì wèn de zhēngjié suǒ zài
  
   zhù rén biǎo miàn shàng shì wèi jīng shì kāi záo de qīng nián guàn bèi rén huàn zuòxiǎo niǎo 'ér”、“ xiǎo sōng shǔ 'ér”, shí shàng shàng xìng shàn liáng 'ér jiān qiángwèile zhàng jiā tíng rěn zhòngshèn zhì zhǔn bèi shēng de míng yīn wǎn jiù zhàng de shēng mìngcéng jīng mán zhe xiàng rén jiè liǎo zhàitóng shí xiǎng gěi chuí wēi de qīn shěng què fán nǎoyòu mào míng qiān liǎo jiù shì yóu zhè jiàn qíng de xíng wéi chǎn jiē de jiǎng de què zǒu tóu gèng lìng tòng xīn de shìzhēn xiāng bái zhī hòuzuì yào zhàng tóng zhōu gòng chéng dān wēi de shí què xiàn wéi zhī zuò chū shēng de zhàng jìng shì wěi 'ér bēi liè de shì kuài zhōng jué xǐng guò láirèn shí dào hūn qián guò shì qīn de wán 'ǒuhūn hòu guò shì zhàng de wán 'ǒucóng lái jiù méi yòu de rén shì rán jué rán pāo zhàng hái cóng qiú lóng shìde jiā tíng chū zǒu liǎo
  
   shēng chū shēng xiǎo chǎn jiē wéi zhù de guó jiāzhōu wéi màn zhe xiǎo chǎn jiē shè huì suǒ yòu de tuǒ xiétóu wéi néng shì de shì kuài duì zhè lèi yōng wěi de zhèng zhì zhèng zhì jiā shì shēn 'è tòng jué deshèn zhì suǒ shuō zhīchǔyú gōng kāi de zhàn zhēng zhuàng tài”。 dàn shìzhè xiāng yìng chǎn shēng liǎo nuó wēi xiǎo chǎn zhě shēng de bēi guān zhù lǎng méi lín zài piān guān zhè wèi zuò jiā de píng lùn zhōng zhǐ chū:“ shēng zài zěn yàng wěi jìng shì chǎn jiē shī rén shì bēi guān zhù zhěbìng qiě rán shì bēi guān zhù zhě duì běn jiē de mòluò biàn kàn jiàn néng kàn jiàn rèn jiě jiù bàn 。” zhè wèi zuò jiā zài de zuò pǐn zhōngzhǐ néng wéi xīn sòngrén de jīng shén de fǎn pàn”, yòu zhè zhǒng fǎn pàn jīng shén de zhù rén gōng dāng zuògāo shàng de rén xìngjiā chōng jǐng xiàn huán jìng jiē jiēkàn jiàn mìng de zhèng zhì zhèng zhì jiāgèng xìn yǎng gēn běn cóng jiē chù de shè huì zhù mìngyīn jiù néng zài jiān shí de shǐ chǔ shēng huó chǔ shàng wèitā de zhù rén gōng kāipì zhēn zhèng de chū
  《 wán 'ǒu zhī jiā》 - zuò pǐn bèi jǐng
  
   shēng de zhěng chuàng zuò shēng qià zhí shí jiǔ shì hòu bàn zài de xiàōu zhōu chǎn jiē de xíng xiàng zài suō shì 'āi xià xiǎn gèng làngèng chǒu 'è gèng lìng rén zēng hènzhè shì hěn rán de de de fēng bǎo hán zhe fèn de qíngchuō chuān liǎo chǎn jiē zài dào zōng jiàojiào jiā tíng guān duō fāng miàn de jiǎ miàn jiē liǎo zhěng běn zhù shè huì de wěi huāng miù。《 wán 'ǒu zhī jiājiù shì duì běn zhù yòu zhì xià de hūn yīn guān duì chǎn jiē de nán quán zhōng xīn xiǎng de piān zhèng yán de kòng shū
  《 wán 'ǒu zhī jiā》 - zuò pǐn zhù
  
   běn zhù chūrén xiān míngjié gòu yán qíng jié zhōngmáo dùn de zhǎn qíng yòu yòu tiáo wěnzuò zhě qíng 'ān pái zài shèng dàn jié qián hòu sān tiān zhī nèijiè chū jié de huān fēn jiā tíng bēi zhī jiān de duì yínháng zhí yuán luò tài yīn bèi hǎi 'ěr mào tuìbiàn yòng jiè lái yào xié wèitā bǎo zhù zhí wèi wéi zhù xiànyǐn chū rén zhī jiān zhǒng máo dùn de jiāo cuò zhǎn kāiràng zhù rén gōng zài duǎn duǎn sān tiān zhōngjīng liǎo yīcháng liè 'ér de nèi xīn dǒu zhēngcóng píng jìng dào hùn luàncóng huàn xiǎng dào lièzuì hòu wán chéng jué xǐngcóng 'ér liǎo wéi qiáng liè de xiào guǒ
  《 wán 'ǒu zhī jiā》 - zuò pǐn xiǎng
  
   tōng guò zhù rén gōng zhàng hǎi 'ěr mào zhī jiān yóu xiāng qīn xiāng 'ài zhuǎn wéi jué liè de guò chéngtàn tǎo liǎo chǎn jiē de hūn yīn wèn bào nán quán shè huì jiě fàng zhī jiān de máo dùn chōng jìn 'ér xiàng chǎn jiē shè huì de zōng jiào dào chū tiǎo zhàn rén men yóu shì wéi zhèng tuō chuán tǒng guān niàn de shù wéi zhēng yóu píng děng 'ér dǒu zhēng zhàng jié hūn niánshì sān hái de qīn liǎorán 'ér zài jiā tíng zhōng réng rán shì wán 'ǒu de wèi chū bìng zhī shēng zài zhuózhòng miáo xiě liǎo de jué xǐng jīng shén fǎn pàn”, zhōng zhú jiàn rèn shí dào bēi de shè huì wèijié hūn qián shǔ qīn dejié hūn hòu shǔ zhàng de,“ xiàng yào fàn de jiào huà yào kǒu chī kǒu”; zài yuàn chǔyú de wèijīng guò fān liè de biàn lùn 'ér yǒng gǎn chū zǒu liǎo yào dào shè huì zhōng nòng qīng chǔjiū jìng shì shè huì zhèng què hái shì zhèng què”。 zhè me shuō cóng yòu zhì de xié dào de máo dùncóng dān huàn xiǎng dào huàn xiǎng miècóng 'ān wán 'ǒu zhī jiā dào jiān jué chū zǒu de guò chéng shì jué xǐng de nán de chéngdāng rán chū zǒu liǎo de zǒu xiàng fāng wèi lái de shēng huó dào zài lián shēng huí dàn shēng duì jiě fàng de xīn guò chéng de huá shí fēn zhòng
  
   zuò pǐn cóng jiā tíng zhī jiān de máo dùn chōng lái jiē shì shè huì máo dùn , duì hǎi 'ěr mào de tóng xìng , lín jìn zhì xiàn zài zuò pǐn zhī zhōng
  《 wán 'ǒu zhī jiā》 - zuò pǐn píng jià
  
   shēn shàng gèng wéi guì de pǐn zhìjiù shì juéjiàng , kěn xiàng 'è shì cóng wài biǎo kànrén men wéi shì yōu de rén shí zhè shì huì duì lín dān tài tài shuō :“ mendōu wéi zài zhè fán nǎo shì jiè , méi jīng guò shénme fán nǎo shì ?” shí shì zhè yàng yòufán nǎo shì”, jiā tíng jīng kùn nányào jiè qián wéi zhàng zhì bìngjiè liǎo qián yào xiǎng jìn bàn hái zhài děng děngdàn cóng chuí tóu sàng hái shì hěn guānzhài zhù luò tài yòng de jiè shàng de jiǎ qiān duì jìn xíng wēi xiékǒnghè méi yòu háo ruǎn ruò de biǎo xiànwèile jiù zhàng de mìng jiè zhàizhài zhù wēi réng rán shì qíng gào zhàng jiān dìng zhǔn bèi chéng dān qiē rènwèile bǎo quán zhàng de míng shèn zhì jué dìng shāsuǒ yòu zhè xiē dōushì juéjiàng xìng de biǎo xiàn zhè zhǒng jiān qiáng de jīng shén shì zuì zhōng tóng hǎi 'ěr mào jué liètuō wán 'ǒu jiā tíngde xìng chǔ guǒ shì ruǎn ruò de rén shǐ rèn shí liǎo zhàng de 'è liè pǐn zhìyào cǎi zhàng duàn jué guān de xíng dòngwǎng wǎng shì néng de
  
   rán jué rán tóng hǎi 'ěr mào jué liè , gèng zhù yào de shì yòu de xiǎng chǔxiàn shí shēng huó jiào liǎo , shǐ jǐn rèn qīng liǎo hǎi 'ěr mào de chǒu 'è líng hún , ér qiě rèn shí liǎo xiàn shí shè huì de duì běn zhù shè huì de jiào dào zōng jiào děng wèn de kàn , gēn bān chǎn jiē yōng rén hǎi 'ěr mào zhī liú de jiàn jiě shì xiāng tóng de。“ xǐng hòu de , duì běn zhù shè huì chí shì tài dāng hǎi 'ěr mào shuō liǎo jiě zán men de shè huìshí , 'áng huí shuō :“ jiū jìng shì shè huì zhèng què hái shì zhèng què !”“ zhī dào duō shù rén zàn chéng de huàbìng qiě shū běn zhè me shuō shì cóng jīn hòu néng xiāng xìn duō shù rén de huà , néng wèi xiāng xìn shū běn de huà。” duì rén mín de jīng shén piàn héng héng héng zōng jiào gèng huì fàng zài yǎn , xuān chēng :“ zhēn zhī dào zōng jiào shì shénme。” duì běn zhù shè huì de , shēn shòu hài , gèng shì shēn 'è tòng jué。“ guó jiā de gēn xīn xiǎng de yàng .. xìn shì jiè shàng yòu zhè zhǒng jiǎng de 。” de yán xiǎn shì liǎo shì yòu mín zhù xiǎng qīng xiàng de tóng hǎi 'ěr mào jué liè de xíng dòng shì yòng mín zhù xiǎng jìn xíng fǎn kàng de rán jiēguǒjìn guǎn shì wán měi quē de rénzuò zhě tōng guò zào zhè xiān míng de xíng xiàngbiǎo liǎo zhōng xiǎo chǎn jiē yào qiú yóu wéi rén zūn yán děng xiǎng yuàn wàng , bìng duì xiàn cún de běn zhù zhì biǎo xiàn liǎo mǒu zhǒng chéng de huái fǒu dìng pàn。 
  
   cóng shǐ wéi zhù guān diǎn lái kàn yào zhēn zhèng jiě fàng dāng rán néng zǒu liǎo zhī jiě fàng de zháojí dāng rán zài jǐn jǐn bǎi tuō huò dǎo hǎi 'ěr mào zhī liú nán quán zhōng xīn de hūn yīn guān ēn zàijiā tíng yòu zhì guó jiā de yuánzhōng zhōng de zhǐ chū:“ jiě fàng de xiān jué tiáo jiàn jiù shì qiē xìng chóngxīn huí dào gōng gòng de láo dòng zhōng ”, yīn wéinán zài hūn yīn shàng de tǒng zhì shì de jīng tǒng zhì de jiǎn dān de hòu guǒ jiāng rán suí zhe hòu zhě de xiāo shī 'ér xiāo shī。” zài jué xǐng zhī qián suǒ shòu zhì hǎi 'ěr màozhèng yóu hǎi 'ěr mào shǒu xiān zài jīng shàng tǒng zhì liǎo
  
   yīn yào zhèng tuō hǎi 'ěr mào de kòng zhìjué néng dān píng diǎn fǎn pàn jīng shénér shǒu xiān zài jīng zhēng de rén suǒ dài biǎo de chǎn jiē de jiě fàng shè huì jīng guān de chè biàn wéi qián suǒ mèng xiǎng de zhōng de ”, hǎi 'ěr mào gǎi biàn dào zán men zài 'ér guò zhēn zhèng xiàng ”, zhǐ yòu zài tōng guò gǎi zào shè huì huán jìng 'ér gǎi zào rén de shè huì zhù shè huì cái yòu néngzài shì jiè wén xué shǐ shàng shēng céng jīng bèi chēng wéi wěi de wèn hào”。 zhè wèn hàozhì jīn réng rán rén shēnxǐng shǐ rén men kǎozài běn zhù yòu zhì jīng chǔ bèi cuī huǐ zhī hòuhái yìng dāng zěn yàng jìn xiāo chú qīng shēng zàiwán 'ǒu zhī jiāděng zhōng suǒ tòng chì de chǎn jiē de chuán tǒng dào shì kuài shí liú zài zhè shàng shēng de duì jiě fàng quán rén lèi wéi rèn de chǎn jiē zhèng shì zōng bǎo guì de jīng shén cái
  
  《 wán 'ǒu zhī jiāshì shēng yòu guān wèn de jié zuò shì dài biǎo liǎo zuì gāo xiǎng shù chéng jiù de zuò pǐn běn miáo xiě zhù rén gōng wèile zhàng zhì bìngwěi zào qīn de qiān míng xiàng rén jiè qián。 8 nián hòugāng dāng shàng yínháng jīng de zhàng hǎi 'ěr mào jué dìng jiě yínháng zhí yuán luò tàiér luò tài zhèng shì dāng nián de zhài zhùzhài zhù xiě xìn gěi hǎi 'ěr mào chū wēi xiéhǎi 'ěr mào zhī dào hòushēn shì yǐng xiǎng qián chéng míng chì shì huǎng de xià jiàn rén”, huài liǎo shēng de xìng ”。 dāng zhài zhù zài de yǒu lín dān tài tài luò tài de jiù qíng rénde gǎn huà xià zhù dòng tuì huí jiè hòuhǎi 'ěr mào yòu duì zhuāng chū xiào liǎnchēng shì dexiǎo niǎo 'ér”、“ xiǎo bǎo bèi”, xuān chēng jīngkuān shùliǎo dàn kàn tòu liǎo hǎi 'ěr mào de duān wěirèn shí dào zhǐ guò shì de wán 'ǒu zài xìn rèn guǒ duàn yǒng gǎn kāi liǎo zhè wán 'ǒu zhī jiā”。
  
   shēng tōng guò jué xǐngchū zǒu de shìshēn jiē běn zhù shè huì zōng jiàodào ài qínghūn yīn děng de wěi chū liǎo cóng nán rén de xià jiě fàng chū lái de wèn shì wēn róu shàn liáng de wèile ràng bìng zhōng de qīn zhàng dān xīnwěi zào qīn de qiān míng jiè qián wéi zhàng zhì bìngduō nián lái rěn shòu kùn zhàng de 'àihào wéi 'àihào zhàng de huān wéi huān wéi zhàng shì 'ài de wéi shì xìng demǎn dāng zhàng dexiǎo bǎo bèi”。 dāng zhài zhù chū wēi xié de shí hòu děng dài shēng ”: de zhàng huì yǒng gǎn tǐng kuān kuò de xiōng táng bǎo dàn shì méi yòu shēng chè shī wàng liǎohǎi 'ěr mào zài jiā zhōng shì nán zhù zhězài shè huì shàng shì chǎn jiē dào zōng jiào de wéi zhěcóng biǎo miàn shàng kànhǎi 'ěr mào shì zhèng rén jūn rén”、“ fàn zhàng ”, hěn 'ài shí shàng zhǐ shì dāng zuò jiàn zhuāng shì pǐn jiàn yòu cái chǎnzhēn zhèng zhòng yào de shì de míng wèi yòu fěng wèi de shìhǎi 'ěr mào wèile biǎo bái duì deài”, shèn zhì shēng chēng wàng shēng yīcháng de zāinàn shǐ yòu huì xiǎn shì chūzhēn zhèng de nán hàn zhàng ”。 zuò jiē liǎo chǎn jiē hūn yīn de wěi xìngkěn dìng liǎo de chū zǒu yòu jìn de shè huì shì shí shàngzài dāng shí de shǐ tiáo jiàn xià zài chū zǒu zhī hòuwán quán néng gòu xiàng lín dān tài tài yàng kào de gōng zuò yǎng huó dàn zěn yàng cái néng shǐ huò zhēn zhèng de jiě fàng shēng bìng qīng chǔ zài zhōng zhǐ shì chū liǎo wèn bìng méi yòu chū jiě jué wèn de dào ér dāng shì chū jiě jué wèn de fāng 'àn shíhǎi shàng rén》), de fāng 'àn què shì cuò 'ér bùqiè shí de


  A Doll's House (Norwegian: Et dukkehjem) is an 1879 play by Norwegian playwright Henrik Ibsen. Written one year after The Pillars of Society, the play was the first of Ibsen's to create a sensation and is now perhaps his most famous play, and required reading in many secondary schools and universities. The play was controversial when first published, as it is sharply critical of 19th century marriage norms. It follows the formula of well-made play up until the final act, when it breaks convention by ending with a discussion, not an unravelling. It is often called the first true feminist play. The play is also an important work of the naturalist movement, in which real events and situations are depicted on stage in a departure from previous forms such as romanticism. The influence of the play was recognized by UNESCO in 2001 when Henrik Ibsen's autographed manuscripts of A Doll's House were inscribed on the Memory of the World Register in recognition of their historical value.
  
  Plot synopsis
  
  A Doll's House opens as Nora Helmer is telling Helen to hide the Christmas tree. Nora is treated as a silly, childish woman by her husband, Torvald. Her friend Kristine Linde, recently widowed and short of money, has heard about Torvald's recent promotion to head the bank and comes to ask Nora for help in persuading Torvald to give Kristine a job. Nora promises to ask Torvald to give Kristine a position as secretary. Nora confides to Kristine that she once secretly borrowed money from a disgraced lawyer, Nils Krogstad, to save Torvald's life when he was very ill, but she has not told him in order to protect his pride. She then took secret jobs copying papers by hand, which she carried out secretly in her room, and learned to take pride in her ability to earn money "as if she were a man." Torvald's promotion promises to finally liberate her from having to scrimp and save in order to be able to pay off her debt. However, she has continued to play the part of the frivolous, scatter-brained child-wife for the benefit of her husband.
  
  Meanwhile, Dr. Rank, a family friend, flirts with Nora before revealing that he is terminally ill with tuberculosis of the spine (a contemporary euphemism for congenital syphilis), with only a month to live, and that he has been secretly in love with her.
  
  Frightened after being fired by Torvald from his minor position at the bank, Krogstad approaches Nora, declaring he no longer cares about the remaining balance of her loan but will preserve the associated bond in order to blackmail Torvald into not only keeping him employed, but giving him a promotion. Krogstad informs Nora that he has written a letter detailing her crime (forging her father's signature of surety on the bond) and puts it in Torvald's mailbox, which is locked.
  
  Nora tells Kristine of her predicament. Kristine says that she and Krogstad were in love before she married, and promises she will convince him to relent.
  
  Torvald tries to check his mail before he and Nora go to a costume party, but Nora distracts him by showing him the dance she has been rehearsing for the party. Torvald declares that he will postpone reading his mail until the evening. Alone, Nora contemplates suicide to save her husband from the shame of the revelation of her crime, and more important to pre-empt any gallant gesture on his part to "save" her.
  
  Kristine tells Krogstad that she only married her husband because she had no other means to support her sick mother and young siblings, and that she has returned to offer him her love again. Krogstad is moved and offers to take back his letter to Torvald. However, Kristine decides that Torvald should know the truth for the sake of his and Nora's marriage.
  
  Back from the party, Doctor Rank gives his letters of death to the Helmers, and Nora talks to him as if nothing is going to happen. Torvald goes to check the mail; Nora does everything to stop him but fails. Torvald goes to read his letters and Nora prepares to take her life. Before she has the opportunity, Torvald intercepts her, confronting her with Krogstad's letter. In his rage, he declares that he is now completely in Krogstad's power—he must yield to Krogstad's demands and keep quiet about the whole affair. He berates Nora, calling her a dishonest and immoral woman and telling her she is unfit to raise their children. He says that their marriage will be kept only to maintain appearances.
  
  A maid enters, delivering a letter to Nora. Krogstad has returned the incriminating papers, saying that he regrets his actions. Torvald is jubilant, telling Nora he is saved as he burns the papers. He takes back his harsh words to his wife and tells her that he has forgiven her. He also explains to her that her mistake makes her all the more precious to him because it reveals an adorable helplessness, and that when a man has forgiven his wife it makes him love her all the more since she is the recipient of his generosity.
  
  By now Nora has realized that her husband is not the man she thought he was, and that her whole existence has been a lie. Her fantasy of love is just that—a fantasy. Torvald's love is highly conditional. She has been treated like a plaything, first by her father and then by her husband. She decides that she must leave to find out who she is and what to make of her life. Torvald insists she must fulfill her duty as a wife and mother, but Nora believes she also has duties to herself. From Torvald's reaction to Krogstad's letters, Nora sees that she and Torvald are strangers to each other. When Torvald asks if there is still any chance for them to rebuild their marriage, she replies that it would take "the greatest miracle of all": they would have to change so much that their life together would become a real marriage.
  
  The play ends with Nora leaving, marked by a famous door slam, while Torvald hopefully ponders the possibility of "the greatest miracle of all".
  Alternative ending
  
  It was felt by Ibsen's German agent that the original ending would not play well in German theatres; therefore, for the play's German debut, Ibsen was forced to write an alternative ending for it to be considered acceptable. In this ending, Nora is led to her children after having argued with Torvald. Seeing them, she collapses, and the curtain is brought down. Ibsen later called the ending a disgrace to the original play and referred to it as a 'barbaric outrage'.
  Productions
  
  The play made its American premiere on Broadway at the Palmer's Theatre on 21 December 1889, starring Beatrice Cameron as Nora Helmer. Other productions in the United States include one in 1902 starring Minnie Maddern Fiske and a 1997 production starring Janet McTeer at Belasco Theater, which received four Tony Awards and the Drama Desk Award for Outstanding Revival of a Play. The first British production opened on 7 June 1889, starring Janet Achurch as Nora.. Achurch played Nora again for a 7-day run in 1897. A new translation by Zinnie Harris at the Donmar Warehouse, starring Gillian Anderson, Toby Stephens, Anton Lesser, Tara Fitzgerald and Christopher Eccleston opened in May 2009.
  Film, television and radio adaptations
  Main article: A Doll's House (film)
  
  A Doll's House has been adapted for several film releases including two in 1973: one directed by Joseph Losey, starring Jane Fonda, David Warner and Trevor Howard; and one directed by Patrick Garland with stars Claire Bloom, Anthony Hopkins, and Ralph Richardson. In 1993, David Thacker directed, with stars Juliet Stevenson, Trevor Eve and David Calder. Dariush Mehrjui's 1993 film Sara is based on A Doll's House, where Sara, played by Niki Karimi, is the Nora of Ibsen's play.
  
  A version for American television was made in 1959, directed by George Schaefer and starring Julie Harris, Christopher Plummer, Hume Cronyn, Eileen Heckart and Jason Robards. A 1938 US radio production starred Joan Crawford as Nora and Basil Rathbone as Torvald. A later US radio version by the Theatre Guild in 1947 featured Rathbone with Wendy Hiller, his co-star from a contemporary Broadway production.
  Critics
  
  A Doll's House criticises the traditional roles of men and women in 19th-century marriage. To many 19th-century Europeans, this was scandalous. Nothing was considered more holy than the covenant of marriage, and to portray it in such a way was completely unacceptable; however, a few more open-minded critics such as the Irish playwright George Bernard Shaw found Ibsen's willingness to examine society without prejudice exhilarating. In Germany, the production's lead actress refused to play the part of Nora unless Ibsen changed the ending, which, under pressure, he eventually did. In the alternative ending, Nora gives her husband another chance after he reminds her of her responsibility to their children. This ending proved unpopular and Ibsen later regretted his decision on the matter. Virtually all productions today, however, use the original ending, as do nearly all of the film versions of this play, including Dariush Mehrjui's Sara (the Argentine version, made in 1943 and starring Delia Garcés, does not; it also modernizes the story, setting it in the early 1940s).
  
  Much of the criticism is focused on Nora's self-discovery, but the other characters also have depth and value. The infected Dr. Rank and Nora both suffer from the irresponsibility of their fathers: Dr. Rank for the father who infected his family, Nora for the father she likely married to protect. Dr. Rank's disease becomes a metaphor for the poison infecting the Helmers' marriage and society at large. Mrs. Linde provides the model of a woman who has been forced to fend for and find herself – a self-aware, resourceful woman.
  Real-life basis
  
  A Doll's House was based on the life of Laura Kieler (maiden name Laura Smith Petersen). She was a good friend of Ibsen. Much that happened between Nora and Torvald happened to Laura and her husband, Victor, with the most important exception being the forged signature that was the basis of Nora's loan. In real life, when Victor found out about Laura's secret loan, he divorced her and had her committed to an asylum. Two years later, she returned to her husband and children at his urging, and she went on to become a well-known Danish author, living to the age of 83. In the play, Nora left Torvald with head held high, though facing an uncertain future given the limitations women faced in the society of the time. Ibsen wrote A Doll's House at the point when Laura Kieler had been committed to the asylum, and the fate of this friend of the family shook him deeply, perhaps also because Laura had asked him to intervene at a crucial point in the scandal, which he did not feel able or willing to do. Instead, he turned this life situation into an aesthetically shaped, successful drama. Kieler eventually rebound from the shame of the scandal and had her own successful writing career while remaining discontent with sole recognition as "Ibsen's Nora" years afterwards.
qián yán
  běn zuò zhě hēng · shēng( 1928 1906), shì nuó wēi rén mín yǐn háo de shīōu zhōu jìn dài xīn de kāi chuàng zhě zài shǐ shàng xiǎng yòu tóng suō shì 'āi yàng xiǔ de shēng cóng 'èr shí nián dài guó zhě jiù shú zhī zhè wěi de míng dāng shí zài guó de fǎn fēng jiàn dǒu zhēng zhēng jiě fàng de dǒu zhēng zhōng de xiē míng zhù céng jīng guò shǎo de jìn zuò yòng
   shēng chū shēng nuó wēi hǎi bīn xiǎo chéng 'ēnshàonián shí yīn qīn chǎnjiā dào zhōng luòméi yòu jìn chéng xué mǎn shí liù suì jiù dào jiā yào diàn dāng xué shè huì de shì shēng huó de jiān xīnpéi yǎng liǎo de fèn shì de xìng rén fèn dǒu de zhìzài fán zhòng 'ér suǒ suì de xué gōng zuò zhī shū qiú zhībìng xué wén xiě zuò。 1848 nián 'ōu zhōu de làng cháo nuó wēi guó nèi de mín jiě fàng yùn dòng liǎo qīng nián shēng de qíng mín shí kāi shǐ xiě liǎo xiē sòng shǐ yīng xióng de yòu làng màn cǎi de zuòjiē zhe xiān hòu zài bēi 'ěr gēn 'ào bèi yuàn pìn wéi dǎo yǎn jīng shí nián zhī jiǔzhè duàn jīng jiā shēn liǎo duì nuó wēi shè huì de shī wàng shì fèn 'ér chū guózài guó guò 'èr shí nián( 1863- 91) de qiáo shēng huótóng shí zài chuàng zuò shàng liǎo huī huáng de chéng jiùwǎn nián cái huí 'ào
   shēng shēng gòng xiě liǎo 'èr shí duō zuòchú zǎo xiē làng màn shū qíng shī wàizhù yào shì xiàn shí zhù de sǎnwén huà zhè xiē sǎnwén jiàn 'ér yòu zhòng de shè huì wèn wéi cáitōng cháng bèi chēng wéishè huì wèn ”。《 shè huì zhī zhù》( 1877)、《 wán 'ǒu zhī jiā》( 1879)、《 qún guǐ》( 1881) rén mín gōng 》( 1882) shì zhōng zuì zhù míng de dài biǎo zuò
   shēng de zhěng chuàng zuò shēng qià zhí shí jiǔ shì hòu bàn zài de xiàōu zhōu chǎn jiē de xíng xiàng zài suō shì 'āi xià xiǎn gèng làngèng chǒu 'è gèng lìng rén zēng hènzhè shì hěn rán de de de fēng bǎo hán zhe fèn de qíngchuō chuān liǎo chǎn jiē zài dào zōng jiàojiào jiā tíng guān duō fāng miàn de jiǎ miàn jiē liǎo zhěng běn zhù shè huì de wěi huāng miù。《 wán 'ǒu zhī jiājiù shì duì běn zhù yòu zhì xià de hūn yīn guān duì chǎn jiē de nán quán zhōng xīn xiǎng de piān zhèng yán de kòng shū
   zhù rén biǎo miàn shàng shì wèi jīng shì kāi záo de qīng nián guàn bèi rén huàn zuòxiǎo niǎo 'ér”、“ xiǎo sōng shǔ 'ér”, shí shàng shàng xìng shàn liáng 'ér jiān qiángwèile zhàng jiā tíng rěn zhòngshèn zhì zhǔn bèi shēng de míng yīn wǎn jiù zhàng de shēng mìngcéng jīng mán zhe xiàng rén jiè liǎo zhàitóng shí xiǎng gěi chuí wēi de qīn shěng què fán nǎoyòu mào míng qiān liǎo jiù shì yóu zhè jiàn qíng de xíng wéi chǎn jiē de jiǎng de què zǒu tóu gèng lìng tòng xīn de shì bái zhī hòuzuì yào zhàng tóng zhōu gòng chéng dān wēi de shí què xiàn wéi zhī zuò chū shēng de zhàng jìng shì wěi 'ér bēi liè de shì kuài zhōng jué xǐng guò láirèn shí dào hūn qián guò shì qīn de wán 'ǒuhūn hòu guò shì zhàng de wán 'ǒucóng lái jiù méi yòu de rén shì rán jué rán pāo zhàng hái cóng qiú lóng shìde jiā tíng chū zǒu liǎo
   dàn shì chū zǒu zhī hòu zěn me bànzhè shì běn zhě lái guān xīn de wèn
   shēng chū shēng xiǎo chǎn jiē wéi zhù de guó jiāzhōu wéi màn zhe xiǎo chǎn jiē shè huì suǒ yòu de tuǒ xiétóu wéi néng shì de shì kuài duì zhè lèi yōng wěi de jiā shì shēn 'è tòng jué deshèn zhì suǒ shuō zhīchǔyú gōng kāi de zhàn zhēng zhuàng tài”。 dàn shìzhè xiāng yìng chǎn shēng liǎo nuó wēi xiǎo chǎn zhě shēng de bēi guān zhù lǎng · méi lín zài piān guān zhè wèi zuò jiā de píng lùn zhōng zhǐ chū:“ shēng zài zěn yàng wěi jìng shì chǎn jiē shī rén shì bēi guān zhù zhěbìng qiě rán shì bēi guān zhù zhě duì běn jiē de mòluò biàn kàn jiàn néng kàn jiàn rèn jiě jiù bàn 。” zhè wèi zuò jiā zài de zuò pǐn zhōngzhǐ néng wéi xīn sòngrén de jīng shén de fǎn pàn”, yòu zhè zhǒng fǎn pàn jīng shén de zhù rén gōng dāng zuògāo shàng de rén xìngjiā chōng jǐng xiàn huán jìng jiē jiēkàn jiàn mìng de jiāgèng xìn yǎng gēn běn cóng jiē chù de shè huì zhù yīn jiù néng zài jiān shí de shǐ chǔ shēng huó chǔ shàng wèitā de zhù rén gōng kāipì zhēn zhèng de chū
   cóng shǐ wéi zhù guān diǎn lái kàn yào zhēn zhèng jiě fàng dāng rán néng zǒu liǎo zhī jiě fàng de zháojí dāng rán zài jǐn jǐn bǎi tuō huò hǎi 'ěr mào zhī liú nán quán zhōng xīn de hūn yīn guān ēn zàijiā tíng yòu zhì guó jiā de yuánzhōng zhōng de zhǐ chū:“ jiě fàng de xiān jué tiáo jiàn jiù shì qiē xìng chóngxīn huí dào gōng gòng de láo dòng zhōng ”, yīn wéinán zài hūn yīn shàng de tǒng zhì shì de jīng tǒng zhì de jiǎn dān de hòu guǒ jiāng rán suí zhe hòu zhě de xiāo shī 'ér xiāo shī。” zài jué xǐng zhī qián suǒ shòu zhì hǎi 'ěr màozhèng yóu hǎi 'ěr mào shǒu xiān zài jīng shàng tǒng zhì liǎo yīn yào zhèng tuō hǎi 'ěr mào de kòng zhìjué néng dān píng diǎn fǎn pàn jīng shénér shǒu xiān zài jīng zhēng de rén suǒ dài biǎo de chǎn jiē de jiě fàng shè huì jīng guān de chè biàn wéi qián suǒ mèng xiǎng de zhōng de ”, hǎi 'ěr mào gǎi biàn dào zán men zài 'ér guò zhēn zhèng xiàng ”, zhǐ yòu zài tōng guò gǎi zào shè huì huán jìng 'ér gǎi zào rén de shè huì zhù shè huì cái yòu néng
   zài shì jiè wén xué shǐ shàng shēng céng jīng bèi chēng wéi wěi de wèn hào”。 zhè wèn hàozhì jīn réng rán rén shēnxǐng shǐ rén men kǎozài běn zhù yòu zhì jīng chǔ bèi cuī huǐ zhī hòuhái yìng dāng zěn yàng jìn xiāo chú qīng shēng zàiwán 'ǒu zhī jiāděng zhōng suǒ tòng chì de chǎn jiē de chuán tǒng dào shì kuài shí liú zài zhè shàng shēng de duì jiě fàng quán rén lèi wéi rèn de chǎn jiē zhèng shì zōng bǎo guì de jīng shén cái
   biān zhě


  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.)
rén biǎo
  tuō · hǎi 'ěr mào
   de
   ruǎn shēng
   lín dān tài tài
   'ěr · luò tài
   hǎi 'ěr mào de sān hái
   ān ── hái men de bǎo
   ài lún── yōng rén
   jiǎo
   shì qíng shēng zài 'ā 'è hǎi 'ěr mào jiā
  ① 'ā 'è shì nuó wēi shǒu de jiù míngxiàn zài jiào 'ào


  (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?
   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. (Stops 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 dreadfully ill, and the doctors said it was necessary for him to go south.
   Mrs. Linde. You spent a whole year in Italy, didn't you?
   Nora. Yes. It was no easy matter to get away, I can tell you. It was just after Ivar was born; but naturally we had to go. It was a wonderfully beautiful journey, and it saved Torvald's life. But it cost a tremendous lot of money, Christine.
   Mrs. Linde. So I should think.
   Nora. It cost about two hundred and fifty pounds. That's a lot, isn't it?
   Mrs. Linde. Yes, and in emergencies like that it is lucky to have the money.
   Nora. I ought to tell you that we had it from papa.
   Mrs. Linde. Oh, I see. It was just about that time that he died, wasn't it?
   Nora. Yes; and, just think of it, I couldn't go and nurse him. I was expecting little Ivar's birth every day and I had my poor sick Torvald to look after. My dear, kind father--I never saw him again, Christine. That was the saddest time I have known since our marriage.
   Mrs. Linde. I know how fond you were of him. And then you went off to Italy?
   Nora. Yes; you see we had money then, and the doctors insisted on our going, so we started a month later.
   Mrs. Linde. And your husband came back quite well?
   Nora. As sound as a bell!
   Mrs. Linde. But--the doctor?
   Nora. What doctor?
   Mrs. Linde. I thought your maid said the gentleman who arrived here just as I did, was the doctor?
   Nora. Yes, that was Doctor Rank, but he doesn't come here professionally. He is our greatest friend, and comes in at least once everyday. No, Torvald has not had an hour's illness since then, and our children are strong and healthy and so am I. (Jumps up and claps her hands.) Christine! Christine! it's good to be alive and happy!--But how horrid of me; I am talking of nothing but my own affairs. (Sits on a stool near her, and rests her arms on her knees.) You mustn't be angry with me. Tell me, is it really true that you did not love your husband? Why did you marry him?
   Mrs. Linde. My mother was alive then, and was bedridden and helpless, and I had to provide for my two younger brothers; so I did not think I was justified in refusing his offer.
   Nora. No, perhaps you were quite right. He was rich at that time, then?
   Mrs. Linde. I believe he was quite well off. But his business was a precarious one; and, when he died, it all went to pieces and there was nothing left.
   Nora. And then?--
   Mrs. Linde. Well, I had to turn my hand to anything I could find- -first a small shop, then a small school, and so on. The last three years have seemed like one long working-day, with no rest. Now it is at an end, Nora. My poor mother needs me no more, for she is gone; and the boys do not need me either; they have got situations and can shift for themselves.
   Nora. What a relief you must feel if--
   Mrs. Linde. No, indeed; I only feel my life unspeakably empty. No one to live for anymore. (Gets up restlessly.) That was why I could not stand the life in my little backwater any longer. I hope it may be easier here to find something which will busy me and occupy my thoughts. If only I could have the good luck to get some regular work--office work of some kind--
   Nora. But, Christine, that is so frightfully tiring, and you look tired out now. You had far better go away to some watering-place.
   Mrs. Linde (walking to the window). I have no father to give me money for a journey, Nora.
   Nora (rising). Oh, don't be angry with me!
   Mrs. Linde (going up to her). It is you that must not be angry with me, dear. The worst of a position like mine is that it makes one so bitter. No one to work for, and yet obliged to be always on the lookout for chances. One must live, and so one becomes selfish. When you told me of the happy turn your fortunes have taken--you will hardly believe it--I was delighted not so much on your account as on my own.
   Nora. How do you mean?--Oh, I understand. You mean that perhaps Torvald could get you something to do.
   Mrs. Linde. Yes, that was what I was thinking of.
   Nora. He must, Christine. Just leave it to me; I will broach the subject very cleverly--I will think of something that will please him very much. It will make me so happy to be of some use to you.
   Mrs. Linde. How kind you are, Nora, to be so anxious to help me! It is doubly kind in you, for you know so little of the burdens and troubles of life.
   Nora. I--? I know so little of them?
   Mrs. Linde (smiling). My dear! Small household cares and that sort of thing!--You are a child, Nora.
   Nora (tosses her head and crosses the stage). You ought not to be so superior.
   Mrs. Linde. No?
   Nora. You are just like the others. They all think that I am incapable of anything really serious--
   Mrs. Linde. Come, come--
   Nora.--that I have gone through nothing in this world of cares.
shǒuyè>> >> 西方戏剧>> hēng · shēng Henrik Ibsen   nuó wēi Norway   cóng mìng dào guó zhù   (1828niánsānyuè20rì1906niánwǔyuè23rì)