首頁>> 文學>> 西方戏剧>> 亨利剋·易卜生 Henrik Ibsen   挪威 Norway   從革命到帝國主義   (1828年三月20日1906年五月23日)
玩偶之傢 A Doll's House
  《玩偶之傢》是19世紀挪威最偉大的戲劇傢亨利剋•易卜生的著名社會劇。作於 1879年。女主人公娜拉出身中等家庭,美麗活潑,天真熱情。她熱烈而真誠地愛着自己的丈夫海爾茂。為替丈夫治病,她曾冒名舉債,又熬夜抄寫文件,掙錢、省錢,偷偷還債。如果需要,她甚至表示可以為丈夫而死。但她的丈夫(過去的銀行職員,現在的銀行經理),卻是個虛偽自私的資産階級市儈,他平時管她叫“小鳥兒”、“小鬆鼠兒”,可一旦知道娜拉曾冒名舉債,危及自己的社會名聲和地位時,便一反常態,大駡她是“犯罪女人”,還揚言要剝奪他教育子女的權利,要對她進行法律、宗教製裁。後來,當債主受女友感化,退回了冒名藉據時,他又轉變態度,表示要永遠愛她和保護她。經此轉折,娜拉終於看清了自己的“泥娃娃”處境,發現自己不過是丈夫的“玩偶”,於是對保護這家庭關係的資産階級法律、道德、宗教,提出了嚴重懷疑和激烈批判,並毅然離開了這個“玩偶之傢”。娜拉是個具有資産階級個性解放思想的叛逆女性。她對社會的背叛和棄傢出走,被譽為婦女解放的“獨立宣言”。然而,在素把婦女當作玩偶的社會裏,娜拉真能求得獨立解放嗎?茫茫黑夜,她又能走嚮何處?
  《玩偶之傢》-作者簡介
  
  《玩偶之傢》易卜生
  易卜生(1828——1906),挪威人,世界近代社會問題劇的始祖和最著名的作傢,商人家庭出身。一生共寫劇本26 部。《覬覦王位的人》、《厄斯特洛的英格夫人》等早期劇作,大多以歷史題材表現愛國主義思想,浪漫色彩濃郁;中期創作就有意識地揭示當時的各種社會問題,有《培爾•金特》、《社會支柱》、《玩偶之傢》、《群鬼》、《國民公敵》等劇作。代表作《玩偶之傢》(1879)通過娜拉形象的塑造,提出資本主義社會的法律、倫理和婦女地位等社會問題,對現實的批判深刻有力。晚期的《野鴨》、《羅斯莫莊》、《海上夫人》、《咱們死人再生時》等劇作轉嚮心理描寫和精神分析,象徵主義色彩濃厚。其劇作以鮮明的主題、生動的情節、嚴謹的結構、優美的語言和獨特的藝術風格,對世界近現代戲劇的發展有廣泛、深刻的影響。 
  《玩偶之傢》-人物評價
  
  娜拉是個具有資産階級個性解放思想的叛逆女性。她對社會的背叛和棄傢出走,被譽為婦女解放的“獨立宣言”。然而,在素把婦女當作玩偶的社會裏,娜拉真能求得獨立解放嗎?茫茫黑夜,她又能走嚮何處?魯迅先生在《娜拉走後怎樣?》一文中說:“從事理上推想起來,娜拉或者其實也衹有兩條路:不是墮落,就是回來。”這確實是問題的癥結所在。
  
  女主人娜拉表面上是一個未經世故開鑿的青年婦女,一貫被人喚作“小鳥兒”、“小鬆鼠兒”,實際上上她性格善良而堅強,為了丈夫和家庭不惜忍辱負重,甚至準備犧牲自己的名譽。她因輓救丈夫的生命,曾經瞞着他嚮人藉了一筆債;同時想給垂危的父親省卻煩惱,又冒名簽了一個字。就是由於這件合情合理的行為,資産階級的“不講理的法律”卻逼得她走投無路。更令她痛心的是,真相大白之後,最需要丈夫和她同舟共濟、承擔危局的時刻,她卻發現自己為之作出犧牲的丈夫竟是一個虛偽而卑劣的市儈。她終於覺醒過來,認識到自己婚前不過是父親的玩偶,婚後不過是丈夫的玩偶,從來就沒有獨立的人格。於是,她毅然决然拋棄丈夫和孩子,從囚籠似的家庭出走了。
  
  易卜生出生於一個以小資産階級為主體的國傢,周圍彌漫着小資産階級社會所固有的以妥協、投機為能事的市儈氣息。對這一類庸俗、虛偽的政治和政治傢,他是深惡痛絶的,甚至如他自己所說,不惜與之“處於公開的戰爭狀態”。但是,這裏也相應地産生了挪威小資産者易卜生的悲觀主義。弗朗茨•梅林在一篇關於這位劇作傢的評論中指出:“易卜生再怎樣偉大,他畢竟是個資産階級詩人;他既是悲觀主義者,並且必然是悲觀主義者,他對於本階級的沒落便看不見、也不能看見任何解救辦法。”這位劇作傢在自己的作品中,衹能唯心地歌頌“人的精神的反叛”,把具有這種反叛精神的主人公當作“高尚的人性”加以憧憬。他限於環境和階階,看不見革命的政治和政治傢,更不信仰他根本無從接觸的社會主義革命,因此也就不能在堅實的歷史基礎和生活基礎上為他的主人公開闢真正的出路。
  《玩偶之傢》-作品背景
  
  易卜生的整個創作生涯恰值十九世紀後半葉。在他的筆下,歐洲資産階級的形象比在莎士比亞、莫裏哀筆下顯得更腐爛、更醜惡,也更令人憎恨,這是很自然的。他的犀利的筆鋒飽含着憤激的熱情,戳穿了資産階級在道德、法律、宗教、教育以及家庭關係多方面的假面具,揭露了整個資本主義社會的虛偽和荒謬。《玩偶之傢》就是對於資本主義私有製下的婚姻關係、對於資産階級的男權中心思想的一篇義正辭嚴的控訴書。
  《玩偶之傢》-作品主題
  
  劇本主題突出、人物鮮明、結構嚴密、情節集中,矛盾的發展既合情合理、又有條不紊。作者把劇情安排在聖誕節前後三天之內,藉以突出節日的歡樂氣氛和家庭悲劇之間的對比;以銀行職員柯洛剋斯泰因被海爾茂辭退,便利用藉據來要挾娜拉為他保住職位為主綫,引出人物之間各種矛盾的交錯展開,讓女主人公在短短三天中,經歷了一場激烈而復雜的內心鬥爭:從平靜到混亂,從幻想到破裂,最後完成自我覺醒,從而取得了極為強烈的戲劇效果。
  《玩偶之傢》-作品思想
  
  它通過女主人公娜拉與丈夫海爾茂之間由相親相愛轉為决裂的過程,探討了資産階級的婚姻問題,暴露男權社會與婦女解放之間的矛盾衝突,進而嚮資産階級社會的宗教、法律、道德提出挑戰,激勵人們尤其是婦女為掙脫傳統觀念的束縛,為爭取自由平等而鬥爭。娜拉與丈夫已結婚八年,是三個孩子的母親了,然而在家庭中仍然是玩偶的地位,起初她並不自知,易卜生在此着重描寫了她的覺醒和“精神反叛”,她終於逐漸認識到自己可悲的社會地位:結婚前屬於父親的,結婚後屬於丈夫的,“像要飯的叫化子,要一口吃一口”;她再也不願意處於奴隸的地位,經過一番激烈的辯論而勇敢地出走了,她要到社會中去弄清楚“究竟是社會正確還是我正確”。可以這麽說,娜拉從幼稚的和諧到復雜的矛盾,從耽於幻想到幻想破滅,從安於玩偶之傢到堅决出走的過程是婦女覺醒的苦難的歷程,當然出走了的娜拉走嚮何方,她未來的生活道路在哪裏,連易卜生也無法回答,但易卜生對婦女解放的心理過程的刻劃其意義已十分重大。
  
  作品從家庭夫婦之間的矛盾衝突來揭示社會矛盾,對娜拉和海爾茂的不同性格,可淋漓盡致地體現在作品之中。
  《玩偶之傢》-作品評價
  
  娜拉身上更為可貴的品質,就是倔強,不肯嚮惡勢力屈服。從外表看,人們以為她是個無憂無慮的人,其實這是誤會。她對林丹太太說:“你們都以為在這煩惱世界裏,我沒經過什麽煩惱事?”實際不是這樣,她也有“煩惱事”,如家庭經濟睏難,要借錢為丈夫治病,藉了錢要想盡辦法還債等等,但她從不垂頭喪氣。還是很積極、樂觀。債主柯洛剋斯太利用她的藉據上的假簽字,對她進行威脅、恐嚇,她沒有絲毫軟弱的表現。為了救丈夫的命去藉債,債主威逼她,她仍然不把事情告訴丈夫,自己堅定地準備承擔一切責任,為了保全丈夫的名譽,甚至决定自殺,所有這些都是娜拉倔強性格的表現。娜拉這種堅強不屈的精神是她最終同海爾茂决裂,脫離“玩偶家庭”的性格基礎。如果是一個軟弱的女人,即使認識了丈夫的惡劣品質,要采取與丈夫斷絶關係的行動,往往也是不可能的。
  
  娜拉毅然决然地同海爾茂决裂,更主要的是有她的思想基礎。現實生活教育了她,使她不僅認清了海爾茂的醜惡靈魂,而且也認識了現實社會的不合理。娜拉對資本主義社會的教育、道德、宗教、法律等問題的看法,跟一般資産階級庸人如海爾茂之流的見解是不相同的。“醒悟”後的娜拉,對資本主義社會持敵視態度。當海爾茂說她“你不瞭解咱們的社會”時,她激昂地回答說:“究竟是社會正確還是我正確!”“我知道大多數人贊成你的話,並且書本裏也這麽說。可是從今以後我不能相信大多數人的話,也不能一味相信書本裏的話。”對於麻痹人民的精神鴉片———宗教,娜拉更不會把它放在眼裏,她宣稱:“我真不知道宗教是什麽。”對於資本主義社會的法律,娜拉深受其害,更是深惡痛絶。“國傢的法律跟我心裏想的不一樣..我不信世界上有這種不講理的法律。”娜拉的言語顯示了她是一個具有民主思想傾嚮的婦女。她同海爾茂决裂的行動是她用民主思想進行反抗的必然結果,儘管娜拉不是一個完美無缺的人。作者通過塑造娜拉這一鮮明的婦女形象,表達了中小資産階級婦女要求自由獨立,維護人格尊嚴等思想願望,並對現存的資本主義制度表現了某種程度的懷疑、否定和批判。 
  
  從歷史唯物主義觀點來看,娜拉要真正解放自己,當然不能一走了之。婦女解放的着急當然不在於僅僅擺脫或打倒海爾茂之流及其男權中心的婚姻關係。恩格斯在《家庭、私有製和國傢的起源》中一語中的地指出:“婦女解放的第一個先决條件就是一切女性重新回到公共的勞動中去”,因為“男子在婚姻上的統治是他的經濟統治的簡單的後果,它將自然地隨着後者的消失而消失。”娜拉在覺醒之前所以受製於海爾茂,正由於海爾茂首先在經濟上統治了她。
  
  因此,娜拉要掙脫海爾茂的控製,决不能單憑一點反叛精神,而必須首先在經濟爭取獨立的人格。她所代表的資産階級婦女的解放,必須以社會經濟關係的徹底變革為前提。她所夢想的“奇跡中的奇跡”,即她和海爾茂都“改變到咱們在一起兒過日子真正象夫妻”,也衹有在通過改造社會環境而改造人的社會主義社會纔有可能。在世界文學史上,易卜生曾經被稱為“一個偉大的問號”。這個“問號”至今仍然發人深省,促使人們思考:在資本主義私有製經濟基礎被摧毀之後,還應當怎樣進一步消除和肅清易卜生在《玩偶之傢》等劇中所痛斥的資産階級的傳統道德、市儈意識及其流毒。在這個意義上,易卜生的戲劇對於以解放全人類為己任的無産階級,正是一宗寶貴的精神財富。
  
  《玩偶之傢》是易卜生有關婦女問題的傑作,也是代表了他最高思想和藝術成就的作品。劇本描寫女主人公娜拉為了替丈夫治病,偽造父親的簽名嚮人借錢。 8年後,剛當上銀行經理的丈夫海爾茂决定解雇銀行職員柯洛剋斯泰,而柯洛剋斯泰正是當年的債主,債主寫信給海爾茂發出威脅。海爾茂知道後,深怕此事影響其前程和名譽,怒斥娜拉是“撒謊的下賤女人”,壞了他“一生的幸福”。當債主在娜拉的女友林丹太太(柯洛剋斯泰的舊情人)的感化下主動退回藉據後,海爾茂又對妻子裝出一副笑臉,稱她是自己的 “小鳥兒”、“小寶貝”,宣稱自己已經“寬恕”了妻子。但娜拉已看透了海爾茂的極端自私和虛偽,認識到自己衹不過是他的玩偶,不再信任他,果斷勇敢地離開了這個“玩偶之傢”。
  
  易卜生通過娜拉覺醒、出走的故事,深刻揭露資本主義社會法律、宗教、道德、愛情、婚姻等的虛偽和不合理,提出了婦女從男人的奴役下解放出來的問題。娜拉是一個溫柔善良的女子,為了不讓病中的父親和丈夫擔心,偽造父親的簽名借錢為丈夫治病,多年以來默默地忍受困苦,以丈夫的愛好為愛好,以丈夫的歡樂為歡樂,自以為丈夫是愛她的,自以為是幸福的,滿足於當丈夫的“小寶貝”。當債主發出威脅的時候,娜拉等待發生“奇跡”:她的丈夫會勇敢地挺起寬闊的胸膛保護自己。但是奇跡沒有發生,娜拉徹底失望了。海爾茂在傢中是一個大男子主義者,在社會上是資産階級道德、法律和宗教的維護者。從表面上看,海爾茂是個“正人君人”、“模範丈夫”,似乎很愛妻子,實際上他衹是把娜拉當作一件裝飾品,一件私有財産,真正重要的是他的名譽地位。富有諷刺意味的是,海爾茂為了表白自己對妻子的“愛”,甚至聲稱希望發生一場巨大的災難以使他有機會顯示出“真正的男子漢大丈夫”。劇作揭露了資産階級婚姻的虛偽性,肯定了娜拉的出走,具有進步的社會意義。事實上,在當時的歷史條件下,娜拉在出走之後,完全能夠像林丹太太那樣靠自己的工作養活自己。但怎樣才能使婦女獲得真正的解放,易卜生並不清楚。他在劇中衹是提出了問題,並沒有提出解决問題的道路。而當他試圖提出解决問題的方案時(如《海上夫人》),他的方案卻是錯誤而不切實際的。


  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.
前言
  本劇作者亨利剋·易卜生(1928-1906),是挪威人民引以自豪的戲劇大師、歐 洲近代戲劇新的開創者,他在戲劇史上享有同莎士比亞和莫裏哀一樣不朽的聲 譽。從二十年代起,我國讀者就熟知這個偉大的名字;當時在我國的反封建鬥爭和爭 取婦女解放的鬥爭中,他的一些名著曾經起過不少的促進作用。
   易卜生出生於挪威海濱一個小城斯基恩。少年時期,因父親破産,傢道中落,沒 有進成大學,不滿十六歲就到一傢藥店當學徒。社會的勢利,生活的艱辛,培養了他 的憤世嫉俗的性格和個人奮鬥的意志。在繁重而瑣碎的學徒工作之餘,他刻苦讀書求 知,並學習文藝寫作。1848年歐洲的浪潮和挪威國內的民族解放運動,激發了青 年易卜生的熱情和民族意識,他開始寫了一些歌頌歷史英雄的富有浪漫色彩的劇 作。接着,他先後在卑爾根和奧斯陸被劇院聘為導演和經理,達十餘年之久。這段經 歷加深了他對挪威社會的失望,於是憤而出國,在意大利和德國度過二十七年 (1863-91)的僑居生活,同時在創作上取得了輝煌的成就,晚年纔回奧斯陸。
   易卜生一生共寫了二十多部劇作,除早期那些浪漫抒情詩劇外,主要是現實主義 的散文劇即話劇。這些散文劇大都以習見而又重大的社會問題為題材,通常被稱為 “社會問題劇”。《社會支柱》(1877)、《玩偶之傢》(1879)、《群鬼》 (1881)和《人民公敵》(1882)是其中最著名的代表作。
   易卜生的整個創作生涯恰值十九世紀後半葉。在他的筆下,歐洲資産階級的形象 比在莎士比亞、莫裏哀筆下顯得更腐爛、更醜惡,也更令人憎恨,這是很自然的。他 的犀利的筆鋒飽含着憤激的熱情,戳穿了資産階級在道德、法律、宗教、教育以及傢 庭關係多方面的假面具,揭露了整個資本主義社會的虛偽和荒謬。《玩偶之傢》就是 對於資本主義私有製下的婚姻關係、對於資産階級的男權中心思想的一篇義正辭嚴的 控訴書。
   女主人娜拉表面上是一個未經世故開鑿的青年婦女,一貫被人喚作“小鳥兒”、 “小鬆鼠兒”,實際上上她性格善良而堅強,為了丈夫和家庭不惜忍辱負重,甚至準 備犧牲自己的名譽。她因輓救丈夫的生命,曾經瞞着他嚮人藉了一筆債;同時想給垂 危的父親省卻煩惱,又冒名簽了一個字。就是由於這件合情合理的行為,資産階級的 “不講理的法律”卻逼得她走投無路。更令她痛心的是,大白之後,最需要丈夫 和她同舟共濟、承擔危局的時刻,她卻發現自己為之作出犧牲的丈夫竟是一個虛偽而 卑劣的市儈。她終於覺醒過來,認識到自己婚前不過是父親的玩偶,婚後不過是丈夫 的玩偶,從來就沒有獨立的人格。於是,她毅然决然拋棄丈夫和孩子,從囚籠似的傢 庭出走了。
   但是,娜拉出走之後怎麽辦?這是本劇讀者歷來關心的一個問題。
   易卜生出生於一個以小資産階級為主體的國傢,周圍彌漫着小資産階級社會所固 有的以妥協、投機為能事的市儈氣息。對這一類庸俗、虛偽的和傢,他是深 惡痛絶的,甚至如他自己所說,不惜與之“處於公開的戰爭狀態”。但是,這裏也相 應地産生了挪威小資産者易卜生的悲觀主義。弗朗茨·梅林在一篇關於這位劇作傢的 評論中指出:“易卜生再怎樣偉大,他畢竟是個資産階級詩人;他既是悲觀主義者, 並且必然是悲觀主義者,他對於本階級的沒落便看不見、也不能看見任何解救辦 法。”這位劇作傢在自己的作品中,衹能唯心地歌頌“人的精神的反叛 ”,把具有 這種反叛精神的主人公當作“高尚的人性”加以憧憬。他限於環境和階階,看不見革 命的和傢,更不信仰他根本無從接觸的社會主義,因此也就不能在堅實 的歷史基礎和生活基礎上為他的主人公開闢真正的出路。
   從歷史唯物主義觀點來看,娜拉要真正解放自己,當然不能一走了之。婦女解放 的着急當然不在於僅僅擺脫或海爾茂之流及其男權中心的婚姻關係。恩格斯在 《家庭、私有製和國傢的起源》中一語中的地指出:“婦女解放的第一個先决條件就 是一切女性重新回到公共的勞動中去”,因為“男子在婚姻上的統治是他的經濟統治 的簡單的後果,它將自然地隨着後者的消失而消失。”娜拉在覺醒之前所以受製於海 爾茂,正由於海爾茂首先在經濟上統治了她。因此,娜拉要掙脫海爾茂的控製,决不 能單憑一點反叛精神,而必須首先在經濟爭取獨立的人格。她所代表的資産階級婦女 的解放,必須以社會經濟關係的徹底變革為前提。她所夢想的“奇跡中的奇跡”,即 她和海爾茂都“改變到咱們在一起兒過日子真正象夫妻”,也衹有在通過改造社會環 境而改造人的社會主義社會纔有可能。
   在世界文學史上,易卜生曾經被稱為“一個偉大的問號”。這個“問號”至今仍 然發人深省,促使人們思考:在資本主義私有製經濟基礎被摧毀之後,還應當怎樣進 一步消除和肅清易卜生在《玩偶之傢》等劇中所痛斥的資産階級的傳統道德、市儈意 識及其流毒。在這個意義上,易卜生的戲劇對於以解放全人類為己任的無産階級,正 是一宗寶貴的精神財富。
   編 者


  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.)
人物表
  托伐·海爾茂。
   娜拉──他的妻。
   阮剋醫生。
   林丹太太。
   尼爾·柯洛剋斯泰。
   海爾茂夫婦的三個孩子。
   安娜──孩子們的保姆。
   愛倫──女傭人。
   腳夫。
   事情發生在剋立斯替阿尼遏①海爾茂傢裏。
   ①剋立斯阿尼遏是挪威首都的舊名,現在叫奧斯陸。


  (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.
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