英文版《榆树下的欲望》
Eugene_O'Neill作品及写作风格
The late period (1939-1943)
• Period of maturity, return to realism (realism+modernism) • The Iceman Cometh (1946) 《送冰的人来了》
• Long Day’s Journey Into Night (1956) 《进入黑 夜的漫长旅程》, autobiographical
Style and techniques
Experimenting with new styles and forms, borrowing from both traditional and modern theories and techniques
• • • • • Realism Naturalism Symbolism Expressionism Masks, choir, interior monologue, asides
The early period (1913-1919)
• Period of apprenticeship • Bound East for Cardiff (1916)《东航卡迪夫》 his first play, marking the beginning of O’s long and successful dramatic career and ushered in the modern era of the American theatre
Features
These plays are daring forays (袭击) into race relations, class conflicts, sexual bondage, social critiques, and American tragedies on the Greek model. These plays are known for their unusual stage devices and powerful use of symbolism, and The Hairy Ape (1922) is one of O’Neill’s experiments in expressionism.
desire under the elms中英文对照
《Desire Under the Elms》(槐树下的欲望)是美国剧作家尤金·奥尼尔于1924年创作的戏剧作品,是他的三大美国悲剧之一。
该剧以农村乡土生活为背景,以描述家庭间的欲望和冲突为主题。
下面是《槐树下的欲望》的中英文内容对照及相关参考内容。
第一幕第一场场景:卡勒姆农舍的门前角色:祖母彼德斯;伊麦尔;尤松;大姐;阿巴尔 (Grandmother Peters is sitting in a chair nursing a baby, her face withered and wrinkled. Eben, a surly-looking young man, and Simon, a gaunt, bony man, enter the yard.) Grandmother Peters: (to the child) Sleep, sleep! (rocking the cradle slowly) Don’t wak e up, Little One.(祖母彼德斯坐在椅子上抱着一个婴儿,她的脸看上去枯萎而皱纹纹丝不动。
伊麦尔,一个看上去暴躁的年轻人,和西蒙,一个消瘦的骨瘦如柴的人,走进院子里。
)祖母彼德斯:(对孩子)睡觉,睡觉!(慢慢摇动摇篮)别醒来,小家伙。
Simon: What’s the matter with that baby that it durn’t keep still? (Simon sits down on the doorstep) Eben: You’re setting on th’ wrong side o’ the family; it’s so as to set th’ blame on the baby.(西蒙:那个孩子怎么了,怎么老是动不动?(西蒙坐在门槛上))伊麦尔:你坐在了错误的家庭这一边,这样就可以把责任怪在孩子身上了。
Grandmother Peters—Antonia—daughter—Eben—her child: through several generations the farm and the family have gone on, till now they are the Elms that twist their branches through the house and in upon us.(祖母彼德斯——安东尼娅——女儿——伊麦尔——她的孩子:几代人的时间里,农场和家族一直延续下去,直到现在,这些槐树在屋子里的地方绞动他们的树枝,卷进我们的生活中。
美国文学教学大纲
海南师范学院本科英语专业理论课教学大纲:美国文学课程编号:03101026 学时:36 学分:2一、课程的性质和任务《美国文学史及选读》是英语语言文学专业(本科)的一门专业知识必修课。
它简要介绍了美国文学从十七世纪殖民时期到二十世纪的发展历史及其主要作品。
本课程是英语专业的专业基础课,目标是:通过文学史的教学拓宽学生的知识面,提高学生的文学修养,使学生了解英美文学各个历史时期的文艺思潮、文学流派、主要作家和作品;通过美国文学作品的教学,提高学生对英文原著的理解能力、鉴赏能力,培养学生发现问题、分析问题和解决问题的能力;通过课外实践活动,激发学生的文学兴趣,培养学生的文学鉴赏和批评能力及论文写作能力二、相关课程的衔接本课程是为英语专业高年级学生开设的,学生必须具有良好的英语阅读和理解基本功方能顺利地学习该课程,与此同时,它与美国历史、文化、社会背景等关系密切,因此,学生先期完成英语听说读写等技能训练基本课程,相关衔接课程有《英国文学》,《英语国家概况》《跨文化交际》等课程。
三、教学的基本要求1.了解美国文学发展史上的重要时期和阶段,包括殖民地时期、独立战争时期、浪漫主义时代、南北战争时期和两次世界大战前后文学现象及特征。
2.了解各个重要发展阶段的代表作家及作品,熟知其内容、风格和艺术价值及其在世界文学史上的重要地位。
3.了解伴随美国文学各个阶段产生的文艺批评思潮,提高学生的文艺理论水平。
四、教学方法与重点、难点教学方法:教学方法以课堂讲授为主,辅以讨论,并要求学生在课外大量阅读参考书,撰写读书报告及评论课上充分利用网络资源及现代化教学手段,使学生能够积极主动地进行学习本课程的重点与难点相对来说是一致的从时段上来说,19世纪20年代以后的美国文学由于处于第二次繁荣时期,对于美国文学的历史走向曾发生了相当重要的影响,自然是本课程的重点而这一阶段的文学语言丰富、色彩各异,且与哲学、史学、艺术学等结合得比较紧密,所以这一时期的文学作品在语言上和思想上都具备一定的难度,是本课程的难点所在另外,后现代文学作品的出现也增加了学生阅读的难度,因此了解后现代作品的创作手法,写作动机也是本科的一个难点解决的办法主要是在专业基础课之外,定期安排专家讲学,题目多涉及与课程难度相关的内容,旨在拓宽学生的知识面,使学生对特定时期的美国文学有一个历史层面上的深刻把握,从而有助于理解作品的语言和思想另外,课程组加强“英美文化”的教学力度和课外阅读的范围,在教学框架中将文学和文化结合起来,使学生在浓厚的异域文化氛围中感受美国文学,从而对深化对文学作品的理解从流派上说,《美国文学》课程的重点和难点都集中在流派嬗变的历史规律、流派与流派之间的关系、各流派的形成背景、形成历史以及体制特点美国文学各流派的继承性从总体上来说表现得相当明显,但对具体的继承与创造的关系尚缺乏充分的整理和研究我们的解决办法是:在分阶段的文学史教学过程中,充分梳理各文学流派的历史,从中概括流派的特性和历史以及与其他流派的区别我们开设有多门分阶段文学史的课程,目的就是在目前“横”的文学史的基础上,加强“纵”的线索,使学生形成纵横兼备的知识体系。
尤金奥尼尔《榆树下的欲望》中伊本的悲剧命运研究分析
尤金奥尼尔《榆树下的欲望》中伊本的悲剧命运研究分析尤金奥尼尔《榆树下的欲望》中伊本的悲剧命运分析————————————————————————————————作者:————————————————————————————————日期:2最新英语专业全英原创毕业论文,都是近期写作1 在归隐中相遇—论梭罗与陶渊明的诗意人生2 论广告英语的用词特点3 论《隐形人》中的象征主义4 The Importance of the Translators’Ove rall Qualities In Translation5 概念整合对英语移就的认知解读6 英汉职业委婉语中“礼貌原则”之对比分析7 《杀死一只知更鸟》中主人公的成长危机8 母语在小学英语学习中的正迁移9 英汉化妆品说明书对比及汉译策略10 双关语在日常生活中的应用11 生态女性主义视阈下赛珍珠的《大地》12 An Analysis of Main Characters in Wuthering Heights13 文档所公布均英语专业全英原创毕业论文。
原创Q 799 75 79 3814 英汉“悲”、“喜”情感隐喻的认知比较研究15 肯德基本土化战略的实施研究16 A Comparison of the English Color Terms17 王尔德《温夫人的扇子》中女性的道德观分析18 从女性主义视角解读《飘》中斯嘉丽?奥哈拉的性格特征19 网络英语词汇探究20 A Comparison of the English Color Terms21 从《西风颂》初析雪莱的反传统人格特征22 高中英语互动式课堂教学模式研究23 浅谈中西文化中的思维差异24 运用弗洛伊德人格理论解读《吸血鬼日记》中的吸血鬼形象25 Communicative Functions of Silence in Conversations26 A Comparative Study of “Two Roses”in Wuthering Heights--Catherine Earnshaw and Catherine Linton27 从社会心理学的角度分析《夜色温柔》中主人公迪克的堕落28 高中英语写作前口语活动设计与实施建议29 中西面子观比较研究30 A Comparison of the English Color Terms31 《雾都孤儿》中的批判现实主义32 Positive Transfer of Chinese Reading Strategies in English Reading Comprehension33 On the Symbolic Meaning of the Marlin in The Old Man and the Sea34 A Comparative Study of Jane Austen and Emily Dickinson35 The Destruction and Degeneration of Heroines in William Faulkner’s Works36 中英礼貌用语差异37 改写理论视角下看葛浩文《狼图腾》的英译38 《麦田里的守望者》中的霍尔顿形象分析39 颜色词的中英对比翻译40 解析《德伯家的苔丝》中女主人公的反叛精神和懦弱性格41 语境顺应视角下英语情景喜剧中幽默字幕翻译--以《生活大爆炸》为例42 论“美国梦”对美国文学的影响43 从合作原则看《白象似的群山》中的对话44 《老人与海》中的孤独45 The Gothic Beauty and Spiritual Essence of Allan Poe’sShort Stories46 天使还是悲剧制造者——浅析安吉克莱尔对苔丝悲剧的影响47 浅析电影《阿甘正传》中的美国价值观48 从依恋理论看《呼啸山庄》主人公希斯克利夫悲剧性格的形成49 莎士比亚《李尔王》中的女性角色塑造50 文化视角下探析刘半农翻译观的嬗变---从《小说大观》到《新青年》51 英语专业学生词汇学习策略特点研究52 城市公共标识翻译技巧及问题分析53 从礼貌原则角度分析电影《暮光之城》中的对白54 The Same Experience, Different Life—The Comparison between Jane Eyre and Lin Daiyu55 论《傲慢与偏见》中简奥斯丁的女性主义56 浅议中西方餐桌礼仪的文化差异及翻译57 格莱斯合作原则及其对言语交际的影响58 如何培养大学生英语阅读理解技能59 A Comparison of the English Color Terms60 The C ontrast between Carrie’s “Fall” and “Rise”61 论密西西比河对马克?吐温和《哈克贝利?费恩历险记》的影响62 中学生英语互助学习研究63 The Religious Thoughts in The Pilgrim’s Progress64 语法翻译法视角下的中学生英语家教辅导65 从用餐礼仪看中美核心价值观差异66 中西方传统习俗的对比研究——出生礼,婚礼,葬礼67 浅谈英语科技文献汉译时应注意的几个方面68 试论“选择性”口译的应用——从释意派理论角度分析口译工作中的变译现象69 译者主体性视角下的翻译策略—杨氏夫妇《聊斋志异》英译本个案研究70 浅析中美两国隐私观的差异71 精神危机下的自我救赎--对索尔贝娄《赫索格》中社会异化与身份认同的解读72 论《马丁伊登》中一个成功者的幻灭73 《永别了武器》悲剧特征的分析74 功能对等理论透视下的影视片名翻译75 《紫色》中女主人公西丽妇女主义的形成76 论图片和卡片在中学英语教学中的合理应用77 美国梦的破灭——约瑟夫?海勒《第二十二条军规》中的黑色幽默解析78 毛姆眼中的简奥斯丁79 An Analysis on the Differences of Dietetic Culture between the East and the West from English Translation of Chinese Menu80 《白鲸》的象征意义和悲剧内涵分析81 背景知识在翻译中的重要性82 《老人与海》中圣地亚哥的人物分析83 通过电视广告看中美思维模式差异84 第二次世界大战中的温斯顿丘吉尔85 从简?奥斯汀作品中的礼仪看英国人的社交心理86 英语电影片名的汉译要求及赏析87 A Feminist Analysis of Pride and Prejudice by Jane Austen88 内地与港台海外电影片名翻译的比较89 影响英语专业学生理解英语习语的因素调查90 从生态女性主义角度看《德伯家的苔丝》中的爱情悲剧91 从哲学角度看中西餐具文化的差异92 中西方礼貌用语的差异93 从“绯闻女孩”与“我的青春谁做主”中浅析中美青年婚姻爱情观的异同94 文化全球化语境下中英婚姻习俗的对比研究95 从语言功能考察汉语公示语英译96 英汉互译中不可译现象的文化阐释97 欧内斯特?海明威《雨中猫》和田纳西?威廉斯《热铁皮屋顶上的猫》中的女主人公的对比分析98 小说《紫色》和《妻妾成群》中女主角不同命运的的比较99 谭恩美《喜福会》中人物对话含义及其功能分析100 浅析文化差异对中西商务谈判的影响101 《飞屋环游记》的人物设置特色分析102 母语在中学英语教学中的作用103 约翰济慈的女性化倾向分析104 A Brief Analysis of the Auspicious Culture in the Wedding Custom Between China and Western Countries105 《太阳照常升起》中的“女性化”研究106 学习动机对大学生英语学习的影响107 论《红字》中的孤独感108 浅谈外贸英语的翻译标准109 《荆棘鸟》中女性主义及女性意识觉醒的解读110 《追风筝的人》中哈桑自我牺牲精神的研究111 论《教授的房子》中圣彼得教授对自我的追求112 从语境视角看英译汉字幕翻译——以《梅林传奇》为例113 Strategies of Activating Middle School Classrooms for Effective English Learning114 从合作原则和礼貌原则的角度分析赵丽蓉的小品115 论《最蓝的眼睛》里黑人女性身份的迷失116 中西谚语的文化比较研究117 中文学术讲座报道的体裁分析118 《老人与海》中的象征主义119 浅析远大前程中皮普转向成熟的过程120 中美跨文化交际中的高低语境文化对比研究121 浅析中式菜名的英译122 An Analysis of Catherine in A Farewell to Arms123 中美服饰的文化差异分析124125 英汉谚语中“爱”的情感隐喻对比研究126 浅析马克思主义女性主义视角下的凯瑟琳127 On Symbolism in The Wizard of Oz128 论建构主义理论指导下英语口语教学方法129 从归化与异化之争看四字格的运用130 对盖茨比的美国梦幻灭的分析131 多媒体教学在中学英语教学中的利与弊132 A Withering Rose:An Analysis of Tess’s Tragedy133 Color Words in Chinese and Western Literature134 A Contrastive Study of Politeness Principle in English and Chinese135 美国吸血鬼小说中女性形象研究——以《吸血鬼编年史》、《暮光之城》和《吸血鬼日记》为例136 [毕业论文](经贸英语系毕业论文)以海尔集团为例浅析售后服务在企业营销中的作用137 论《紫颜色》中黑人妇女的反抗138 An Analysis of the Heroine of the Scarlet Letter139 《阿Q正传》中文化负载词的翻译140 论《红字》里“A”字的象征意义141 生存危机和渴求改变——黑色幽默小说的主体研究142 基于精细加工理论的英语词汇学习研究143 浅析《爱玛》中女主人公的女性意识144 《德伯家的苔丝》中的象征解析145 英文商标的汉译146 A Feministic St udy of the Theme of “The Chrysanthemums”(开题报告+论文+文献综述)147 新经济原则在商品买卖会话中的运用148 On the Tragic Death of Martin Eden149 刺激学生学习英语的情感因素的手段的研究150 《呼啸山庄》中的哥特元素分析151 简论颜色词的文化内涵和翻译152 抽象名词词义内涵及其翻译策略153 解读《最蓝的眼睛》中的姐妹情谊154 通往女性自由之旅--论约翰·罗伯特·福尔斯《法国中尉的女人》155 从《虎妈战歌》看中美家庭教育的差异156 丁尼生《鹰》与休斯《鹰之栖息》的对比分析157 语码转换———从正式场合到非正式场合158 约翰?斯坦贝克女性观流变初探159 论英语演讲开场的决定性因素和相关策略160 谈丽莉的悲剧--不够懦弱到随波逐流,又不够勇敢到逃离反抗161 浅析中美电影中英雄主义的异同--以《功夫熊猫》和《霍元甲》为例162 从语域理论角度分析商务发盘函的翻译策略163 Three Discriminations to Little Black American Girls in The Bluest Eye164 跨文化广告传播中的语用失误研究165 浅析嘉莉妹妹成功的原因166 高级英语课堂中教师角色研究167 功能翻译理论关照下的新闻英语标题翻译168 英语广告中仿拟的关联分析169 广告英语的文体特征研究170 从《紫色》中的意象看黑人女性身份的自我重塑171 中英文数字文化对比及其翻译172 论建构主义理论下初中英语教师的课堂角色定位173 论汉英翻译中基本颜色词的不同情感174 The Gothic Elements in Edgar Al lan Poe’s Works175 《辛德勒名单》主人公性格分析176 中西方婚礼礼服颜色的对比研究177 对乔治艾略特作品中的独特女性意识的研究——以《米德尔马契》为例178 Are Indians Prisoners of Their Race?-An Analysis of the Sources and Rise of National Awareness179 《潜鸟》女主人公——皮格特?托纳尔悲剧的探析180 跨文化交际中的肢体语言差异181182 从“啃老”现象看后啃老族的生活态度183 《理智与情感》的现实主义特征184 浅析《德伯维尔家的苔丝》中造成苔丝悲剧的因素185 从《阿Q正传》译本看民族文化的可译性186 Cultural Difference between Chinese and American Advertisement187 英汉双语词典中的语用信息188 中学生词汇自主学习对阅读能力影响初探189 简?奥斯丁的婚姻观在《傲慢与偏见》中的体现190 用合作原则分析男性广告语的诉求191 CBI理论诠释及在英语教学中的应用192 英汉颜色词语象征意义的对比193 简?爱性格魅力分析194 女性主义视角下《白象似的群山》与《莳萝泡菜》中男性形象的对比研究195 浅谈儿童文学在儿童成长中的作用-弗朗西斯?霍奇森?伯内特《小公主》和《秘密花园》之比较196197 An Analysis of Sexism in English Proverbs198 《丧钟为谁而鸣》中罗伯特.乔丹性格的多视角分析199 从广告层面比较研究中美文化差异200 Views on Marriages in Pride and Prejudice in the Perspective of Maslow’s Hierarchy of Needs。
On Desire Under the Elms 论榆树下的欲望 700词 英文观后感 论文
On Desire Under the ElmsDesire Under the Elm takes "desire" as the key word running through the whole play. The writer O'Neill shows the distortions caused by the dark desire in people's heart. He presents the dirtiest and coldest human feelings in front of the public with the tool of naturalism.From Desire to TragedyFarmer Cabot is a 75 year old man who seems to be just indifferent to people as cold as a stone. For making money, he not only forced his former two wives to labor like slaves, but also regarded his sons as his servants. When Anna asked him “When you go, what do you plan to do? Bury it (which means the farm) with you?”, he even answered that “I guess not. But if I could, I would. If I could, in my dying hours, I’d set it afire and watch it burn. This house, every ear of corn, every tree down to the last blade of hay. I’d sit and know it was all dying with me. No one else would ever own what was mine.” Though he knew the fact that it was impossible for him to bring along the farm when he was dead, he was still determined to show Anna his strong possessiveness of his own farm. But actually, for Cabot, a lonely man who had married three times, he longed to have a happy family, a wife and a son really loving him, which, however, could be a daydream that would never come true.Cabot's sons are driven by material desire and lust. They fought openly and secretly, struggling for the intense property. Although Peter and Simeon have plump figure and rustic look on their faces, they were dreaming all the day about the gold in California. “We’ll be voyaging on the sea. Living free.” Under Eben's clever words, the two brothers finally decided to sign the paper and took Eben's money, chasing the gold mine in their dream. As for Eben, who at first was determined to wreak vengeance on Cabot, his anger and hatred were always burning in his heart, dominating him to expose Anna for killing the baby after having an affair with her. Compared to the Simeon and Peter, living the life of Riley, Eben’s ending can be much more tragic.Anna was born in a humble family. She coveted Cabot's farm so that married him.After seeing Eben, she lured him falling in love with her to give birth to a son, who made her able to have obtained property. However, she got tired of the original property desire, and began to grow a new one -love. Unfortunately, she killed her own son in the end to prove her sincere love to Eben, which could be also a complete tragedy.From Desire to ReliefIn Desire under the Elm, Eugene O’Neill brings a vivid depiction on the deep desire for material possession of the protagonists; meanwhile he arranges a way for everyone suffering from desire to be relieved. With the determination to avenge his mother and fight for the farm, Eben is knocked down unconsciously by his desire, from the desire to possess the farm to the lust on possessing his young stepmother Anna, until finally rising to the height of love for which he can sacrifice his life; from Anna's desire for farm property to killing her own baby to prove love, she did not choose to escape, but finally chose to go to jail with her beloved, which could be seen as a kind of soul detachment; and Cabot, who has been guarding the farm all his life, a believer in God, still works in this barren land. To some extent, from being captured and defeated by desire at the beginning to conquering desire and getting some transcendence in the end, this kind of ending may also indicate O'Neill's philosophical approach to life.ConclusionDesire Under the Elm makes us appreciate a strong literary appeal. In the play, we can feel that what the actors play is not just the lust, but also the real love; their failure is not just that kind of worldly definition, but that someone really loses something of real value. We can see the parting of life and death and also the joys and sorrows , which really impressively touch our hearts and leave deep scars, not just the cheap feelings brought by pop literature.While literature is on the decline, Desire Under the Elm can bring us a really rare and special experience,。
DESIRE UNDER THE ELMS 3-4
《榆树下的欲望》PART III SCENE FOURDESIRE UNDER THE ELMSAbout an hour later. Same as Scene Three. Shows the kitchen and Cabot's bedroom. It is after dawn. The sky is brilliant with the sunrise. In the kitchen, Abbie sits at the table, her body limp and exhausted, her head bowed down over her arms, her face hidden. Upstairs, Cabot is still asleep but awakens with a start. He looks toward the window and gives a snort of surprise and irritation--throws back the covers and begins hurriedly pulling on his clothes. Without looking behind him, he begins talking to Abbie, whom he supposes beside him.CABOT--Thunder 'n' lightnin', Abbie! I hain't slept this late in fifty year! Looks 's if the sun was full riz a'most. Must've been the dancin' an' likker. Must be gittin' old.I hope Eben's t' wuk. Ye m ight've tuk the trouble t' rouse m e, Abbie. (He turns--sees no one there--surprised) Waal--whar air she? Gittin' vittles, I calc'late. (He tiptoes to the cradle and peers down--proudly) Mornin', sonny. Putty's a picter! Sleepin' sound. He don't beller all night like m ost o' 'em. (He goes quietly out the door in rear--a few moments later enters kitchen--sees Abbie--with satisfaction) So thar ye be. Ye got any vittles cooked?ABBIE--(without moving) No.CABOT--(coming to her, almost sympathetically) Ye feelin' sick?ABBIE--No.CABOT--(pats her on shoulder. She shudders.) Ye'd best lie down a spell. (half jocularly) Yer son'll be needin' ye soon. He'd ought t' wake up with a gnashin' appetite, the sound way he's sleepin'.ABBIE--(shudders--then in a dead voice) He hain't never goin' t' wake up.CABOT--(jokingly) Takes after m e this m ornin'. I hain't slept so late in. . . .ABBIE--He's dead.CABOT--(stares at her--bewilderedly) What. . . .ABBIE--I killed him.CABOT--(stepping back from her--aghast) Air ye drunk--'r crazy--'r . . . !ABBIE--(suddenly lifts her head and turns on him--wildly) I killed him, I tell ye! I sm othered him. Go up an' see if ye don't b'lieve me! (Cabot stares at her a second, then bolts out the rear door, can be heard bounding up the stairs, and rushes into the bedroom and over to the cradle. Abbie has sunk back lifelessly into her former position. Cabot puts his hand down on the body in the crib. An expression of fear and horror comes over his face.)CABOT--(shrinking away--tremblingly) God A'mighty! God A'mighty. (He stumbles out the door--in a short while returns to the kitchen--comes to Abbie, the stunned expression still on his face--hoarsely) Why did ye do it? Why? (As she doesn't answer, he grabs her violently by the shoulder and shakes her.) I ax ye why ye done it! Ye'd better tell m e 'r . . . !ABBIE--(gives him a furious push which sends him staggering back and springs to her feet--with wild rage and hatred) Don't ye dare tech m e! What right hev ye t' question me 'bout him? He wa'n't yewr son! Think I'd have a son by yew? I'd die fust!I hate the sight o' ye an' allus did! It's yew I should've murdered, if I'd had good sense! I hate ye! I love Eben. I did from the fust. An' he was Eben's son--mine an' Eben's--not your'n!CABOT--(stands looking at her dazedly--a pause--finding his words with aneffort--dully) That was it--what I felt--pokin' 'round the corners--while yelied--holdin' yerself from me--sayin' ye'd a'ready conceived--(He lapses into crushed silence--then with a strange emotion) He's dead, sart'n. I felt his heart. Pore little critter! (He blinks back one tear, wiping his sleeve across his nose.)ABBIE--(hysterically) Don't ye! Don't ye! (She sobs unrestrainedly.)CABOT--(with a concentrated effort that stiffens his body into a rigid line and hardens his face into a stony mask--through his teeth to himself) I got t' be--like a stone--a rock o' jedgment! (A pause. He gets complete control overhimself--harshly) If he was Eben's, I be glad he air gone! An' mebbe I suspicioned it all along. I felt they was som ethin' onnateral--som ewhars--the house got so lonesome--an' cold--drivin' me down t' the barn--t' the beasts o' the field. . . . Ay-eh.I must've suspicioned--som ethin'. Ye didn't fool m e--not altogether, leastways--I'm too old a bird--growin' ripe on the bough. . . . (He becomes aware he is wandering, straightens again, looks at Abbie with a cruel grin.) So ye'd liked t' hev murdered m e 'stead o' him, would ye? Waal, I'll live to a hundred! I'll live t' see ye hung! I'll deliver ye up t' the jedgm ent o' God an' the law! I'll git the Sheriff now. (starts for the door)ABBIE--(dully) Ye needn't. Eben's gone fur him.CABOT--(amazed) Eben--gone fur the Sheriff?ABBIE--Ay-eh.CABOT--T' inform agen ye?ABBIE--Ay-eh.CABOT--(considers this--a pause--then in a hard voice) Waal, I'm thankful fur him savin' m e the trouble. I'll git t' wuk. (He goes to the door--then turns--in a voice full of strange emotion) He'd ought t' been m y son, Abbie. Ye'd ought t' loved m e. I'm a m an. If ye'd loved m e, I'd never told no Sheriff on ye no m atter what ye did, if they was t' brile me alive!ABBIE--(defensively) They's m ore to it nor yew know, makes him tell.CABOT--(dryly) Fur yewr sake, I hope they be. (He goes out--comes around to the gate--stares up at the sky. His control relaxes. For a moment he is old and weary.He murmurs despairingly) God A'mighty, I be lonesom er'n ever! (He hears running footsteps from the left, immediately is himself again. Eben runs in, panting exhaustedly, wild-eyed and mad looking. He lurches through the gate. Cabot grabs him by the shoulder. Eben stares at him dumbly.) Did ye tell the Sheriff?EBEN--(nodding stupidly) Ay-eh.CABOT--(gives him a push away that sends him sprawling--laughing with withering contempt) Good fur ye! A prime chip o' yer Maw ye be! (He goes toward the barn, laughing harshly. Eben scrambles to his feet. Suddenly Cabot turns--grimly threatening) Git off this farm when the Sheriff takes her--or, by God, he'll have t' com e back an' git m e fur murder, too! (He stalks off. Eben does not appear to have heard him. He runs to the door and comes into the kitchen. Abbie looks up with a cry of anguished joy. Eben stumbles over and throws himself on his knees besideher--sobbing brokenly)EBEN--Fergive m e!<!--pagebreak-->ABBIE--(happily) Eben! (She kisses him and pulls his head over against her breast.)EBEN--I love ye! Fergive m e!ABBIE--(ecstatically) I'd fergive ye all the sins in hell fur sayin' that! (She kisses his head, pressing it to her with a fierce passion of possession.)EBEN--(brokenly) But I told the Sheriff. He's comin' fur ye!ABBIE--I kin b'ar what happens t' m e--now!EBEN--I woke him up. I told him. He says, wait till I git dressed. I was waiting. I got to thinkin' o' yew. I got to thinkin' how I'd loved ye. It hurt like som ethin' was bustin' in my chest an' head. I got t' cryin'. I knowed sudden I loved ye yet, an' allus would love ye!ABBIE--(caressing his hair--tenderly) My boy, hain't ye?EBEN--I begun t' run back. I cut across the fields an' through the woods. I thought ye m ight have tim e t' run away--with m e--an'. . . .ABBIE--(shaking her head) I got t' take m y punishment--t' pay fur m y sin.EBEN--Then I want t' share it with ye.ABBIE--Ye didn't do nothin'.EBEN--I put it in yer head. I wisht he was dead! I as much as urged ye t' do it!ABBIE--No. It was m e alone!EBEN--I'm as guilty as yew be! He was the child o' our sin.ABBIE--(lifting her head as if defying God) I don't repent that sin! I hain't askin' God t' fergive that!EBEN--Nor m e--but it led up t' the other--an' the murder ye did, ye did 'count o' me--an' it's m y murder, too, I'll tell the Sheriff--an' if ye deny it, I'll say we planned it t'gether--an' they'll all b'lieve m e, fur they suspicion everythin' we've done, an' it'll seem likely an' true to 'em. An' it is true--way down. I did help ye--som ehow.ABBIE--(laying her head on his--sobbing) No! I don't want yew t' suffer!EBEN--I got t' pay fur m y part o' the sin! An' I'd suffer wuss leavin' ye, goin' West, thinkin' o' ye day an' night, bein' out when yew was in--(lowering his voice) 'R bein' alive when yew was dead. (a pause) I want t' share with ye, Abbie--prison 'r death 'r hell 'r anythin'! (He looks into her eyes and forces a trembling smile.) If I'm sharin' with ye, I won't feel lonesome, leastways.ABBIE--(weakly) Eben! I won't let ye! I can't let ye!EBEN--(kissing her--tenderly) Ye can't he'p yerself. I got ye beat fur once!ABBIE--(forcing a smile--adoringly) I hain't beat--s'long's I got ye!EBEN--(hears the sound of feet outside) Ssshh! Listen! They've com e t' take us!ABBIE--No, it's him. Don't give him no chance to fight ye, Eben. Don't saynothin'--no m atter what he says. An' I won't, neither. (It is Cabot. He comes up from the barn in a great state of excitement and strides into the house and then into the kitchen. Eben is kneeling beside Abbie, his arm around her, hers around him. They stare straight ahead.)CABOT--(stares at them, his face hard. A long pause--vindictively) Ye m ake a slick pair o' murderin' turtle doves! Ye'd ought t' be both hung on the sam e limb an' left thar t' swing in the breeze an' rot--a warnin' t' old fools like me t' b'ar their lonesomeness alone--an' fur young fools like ye t' hobble their lust. (A pause. The excitement returns to his face, his eyes snap, he looks a bit crazy.) I couldn't work today. I couldn't take no interest. T' hell with the farm. I'm leavin' it! I've turned the cows an' other stock loose. I've druv 'em into the woods whar they kin be free! By freein' 'em, I'm freein' myself! I'm quittin' here today! I'll set fire t' house an' barn an' watch 'em burn, an' I'll leave yer Maw t' haunt the ashes, an' I'll will the fields back t' God, so that nothin' human kin never touch 'em! I'll be a-goin' toCaliforni-a--t' jine Simeon an' Peter--true sons o' mine if they be dum b fools--an' the Cabots'll find Solomon's Mines t'gether! (He suddenly cuts a mad caper.) Whoop! What was the song they sung? "Oh, Californi-a! That's the land fur m e." (He sings this--then gets on his knees by the floorboard under which the money was hid.) An' I'll sail thar on one o' the finest clippe rs I kin find! I've got the m oney! Pity ye didn't know whar this was hidden so's ye could steal. . . . (He has pulled up the board. He stares--feels--stares again. A pause of dead silence. He slowly turns, slumping into a sitting position on the floor, his eyes like those of a dead fish, his face the si ckly green of an attack of nausea. He swallows painfully several times--forces a weak smile at last.) So--ye did steal it!EBEN--(emotionlessly) I swapped it t' Sim an' Peter fur their share o' the farm--t' pay their passage t' Californi-a.CABOT--(with one sardonic) Ha! (He begins to recover. Gets slowly to hisfeet--strangely) I calc'late God give it to 'em--not yew! God's hard, not easy! Mebbe they's easy gold in the West, but it hain't God's gold. It hain't fur me. I kin hear His voice warnin' me agen t' be hard an' stay on my farm. I kin see his hand usin' Eben t' steal t' keep m e from weakness. I kin feel I be in the palm o' His hand, His fingers guidin' me. (A pause--then he mutters sadly) It's a-goin' t' be lonesom er now than ever it war afore--an' I'm gittin' old, Lord--ripe on the bough. . . . (then stiffening) Waal--what d'ye want? God's lonesome, hain't He? God's hard an' lonesome! (A pause. The sheriff with two men comes up the road from the left. They move cautiously to the door. The sheriff knocks on it with the butt of his pistol.)SHERIFF--Open in the nam e o' the law! (They start.)CABOT--They've com e fur ye. (He goes to the rear door.) Com e in, Jim! (The three men enter. Cabot meets them in doorway.) Jest a m init, Jim. I got 'em safe here. (The sheriff nods. He and his companions remain in the doorway.)EBEN--(suddenly calls) I lied this m ornin', Jim. I helped her do it. Ye kin take m e, too.ABBIE--(brokenly) No!CABOT--Take 'em both. (He comes forward--stares at Eben with a trace of grudging admiration.) Putty good--fur yew! Waal, I got t' round up the stock. Good-by.EBEN--Good-by.ABBIE--Good-by. (Cabot turns and strides past the men--comes out and around the corner of the house, his shoulders squared, his face stony, and stalks grimly toward the barn. In the meantime the sheriff and men have come into the room.)SHERIFF--(embarrassedly) Waal--we'd best start.ABBIE--Wait, (turns to Eben) I love ye, Eben.EBEN--I love ye, Abbie. (They kiss. The three men grin and shuffle embarrassedly. Eben takes Abbie's hand. They go out the door in rear, the men following, and come from the house, walking hand in hand to the gate. Eben stops there and points to the sunrise sky.) Sun's a-rizin'. Purty, hain't it?ABBIE--Ay-eh. (They both stand for a moment looking up raptly in attitudes strangely aloof and devout.)SHERIFF--(looking around at the farm enviously--to his companion) It's ajim-dandy farm, no denyin'. Wished I owned it!(The Curtain Falls)(The End)。
榆树下的欲望分析解析
His career as a dramatist began and he had been wholly dedicated to the mission as a dramatist.
I knew it. I knew it. Born in a hotel room, and God damn it, died in a hotel room.
The Iceman Cometh (1946) 《送冰的人来了》
Long Day’s Journey Into Night (1956) Pulitzer Prize 《进入黑夜的漫长旅程》
Themes of his plays: tragic view of life
1 Life and death, illusion and disillusion, dream and reality, etc. Human existence and predicament 1 3 Disappointment and despair Meaning and purpose 2 4 The truth of life 2 Many characters are seeking meaning and purpose of life. 3 But ending with disappointment and despair.
The middle period: Expressionistic plays
Beyond the Horizon (1920) prize in literature
《天边外》 Pulitzer Prize & Nobel
Anna Christie (1922) 《安娜·克里斯蒂》 Pulitzer Prize
奥尼尔 《榆树下的欲望》
• 他在纽约当过秘书,1909年赴洪都拉斯,以期淘金致富。 在那里他染上了疟疾,被迫回国,协助管理他父亲的剧团。 不久他便不满于这种生活,南渡阿根廷,在那里供职一段 时间。以后他又赴南非、中美洲等地,归国后在往返于纽 约和英国海港上的船上谋生。他还演过戏,当过记者,并 曾因酗酒过度、精神沮丧而险些自杀。1912年,他因患肺 结核不得不疗养治病。在被迫休息的半年中,他阅读了希 腊悲剧和莎士比亚、易卜生、斯特林堡等众多名家的剧作, 开始进行严肃的思考,决定进行戏剧创作,以戏剧形式表 现自己的人生观。1913年至1914年写过8部独幕剧和2部 长剧。不久进入著名的哈佛大学“第47号戏剧研习班”, 在贝克教授指导下,剧作水平大有提高。
• 自然主义 自然主义是文学艺术创作中的一种倾向。作为创作方法, 自然主义一方面排斥浪漫主义的想象、夸张、抒情等主观 因素,另一方面轻视现实主义对现实生活的典型概括,而 追求绝对的客观性,崇尚单纯地描摹自然,着重对现实生 活的表面现象作记录式的写照,并企图以自然规律特别是 生物学规律解释人和人类社会。在文学艺术上,以“按照 事物本来的样子去摹仿”作为出发点的自然主义创作倾向, 是同现实主义创作倾向一样源远流长的。但作为一个比较 自觉的、具有现代含义的文艺流派,自然主义则是19世纪 下半叶至20世纪初在法国兴起,然后波及欧洲一些国家, 并影响到文化和艺术的许多部门。 自然主义是指非经审美形式变形、陌生化的逼真的摹仿和 镜子式的再现,这是亚里士多德戏剧的基本特征 。
主要作品
• 奥尼尔一生的创作可分为早期(1912年—1920年)、中期(1920 年—1934年)和晚期(1934年—1953年)。 • 奥尼尔一生写了45部戏剧,主要有: • 《渴》,1914年。 • 《东航卡迪夫》,1914年。有的批评家认为此剧的上演可以看作美国 戏剧的诞生。 • 《鲸油》,1917年 • 《天边外》,1918年。1920年上演于百老汇,获得普利策奖。“由 于他剧作中所表现的力量、热忱与深挚的感情——它们完全符合悲剧 的原始概念”,1936年奥尼尔凭此作获得诺贝尔文学奖。 • 《安娜· 克里斯蒂》,1920年 • 他创作的初期(1913-1920年)主要写航海生活的独幕剧,以现实主 义手法,如实地描写海上生活的艰辛单调,特别是刻画了海员孤苦无 望,自暴自弃的心态。风格上近似抒情散文。虽然题材狭窄,手法较 单调,但是比之迎合市民趣味的商业戏剧却有意义得多 。
(英语毕业论文)目的论视角下的商务合同翻译
《玻璃动物园》中的逃避主义解读《傲慢与偏见》中金钱与婚姻的关系天鹅的涅槃——以跨文化交际的角度解读《喜福会》中母女关系A Comparison of the English Color Terms论《儿子与情人》中的恋母情结简爱性格魅力分析浅谈商务谈判语言的特点汉语公示语翻译中的误译现象研究成长于丧失童真与无处不在的死亡威胁——《爱丽丝漫游仙境》之后现代主义解析从《简爱》看电影对名著的改编日用品广告语言中中西方价值观差异比较研究《基督山伯爵》与亚历山大大仲马的金钱观英汉禁忌语对比在跨文化交际中的应用及翻译策略论《了不起的盖茨比》中爵士乐时代的新潮女郎英语电影片名的汉译要求及赏析A Glimpse of Intercultural Marriage between China and Western Countries英汉语言性别歧视对比研究情感教学在初中英语课堂中的理论和实践问题类型对TEM阅读成绩影响的实证研究A Brief Analysis of Willy Loman’s Tragedy in Death of a Salesman浅析中学英语写作教学浅谈商务英语广告的翻译简析商务沟通中的非语言沟通中英礼貌用语差异From Dormancy to Revival—A Feminist Study on Kate Chopin’s A wakening浅析《最蓝的眼睛》中的叙事艺术从功能翻译理论看电影《功夫熊猫》的字幕翻译中美广告创意的文化差异性研究《洛丽塔》悲剧结局因素探析从基因学的角度看多义词的词义关系从数字看中西方文化差异论海明威《一天的等待》的冰山原则写作风格浅析《肖申克的救赎》对当代大学生的启示“美国梦”的幻灭——论《人与鼠》的社会悲剧大学生英语听力两种辅助活动实证研究《绯闻少女》中的话语标记词研究A Comparison between Scarlett O’Hara and Jane Eyre from the Perspective of Feminism社会语言学视角下女性语言的特点论《小妇人》的叙事技巧Developing University Students’ Cross-cultural A wareness in English Teaching and Learning 论概念隐喻视角下的隐喻翻译《心是孤独的猎手》中的主题分析从文化差异角度来分析习语的翻译功能对等视角下英汉颜色词的对比与翻译从中西婚礼文化看中西方文化差异《玻璃动物园》中的逃避主义解读从文化角度分析英汉数字习语的不同形成性评价在英语教学中的运用The Reasons Why Robert Cohn is Despised by All in The Sun Also Rises 分析《土生子》中的种族主义的恶性影响时事政治汉译英该注意的几个问题中英委婉语语用功能的对比研究从女性主义视角解读《飘》中斯嘉丽奥哈拉的性格特征《哈利波特》中的励志精神从约翰·斯坦贝克《菊花》看大萧条时期美国妇女的婚姻生活误解与沟通——商务英语中一词多义问题研究中英酒俗对比从社会达尔文主义的角度分析《野性的呼唤》中的巴克《无名的裘德》中裘德的悲剧探析从文化视角看中西方的礼节差异圣经典故的翻译"工业小说"《玛丽巴顿》的宗教解析外贸英文函电中委婉语的特点及应用研究论商标名称的翻译对品牌形象的影响任璧莲《典型的美国佬》中的中国传统家庭观念的解体研究谈某些颜色词的翻译论《傲慢与偏见》中婚姻选择的经济动因论《简爱》中话语的人际意义《玻璃动物园》中的逃避主义解读从尤金奈达的功能对等理论角度论网络流行语的可译与不可译中西方饮酒礼仪的比较从影视作品看中西方英雄主义的变迁中英文化中寒暄语的比较论詹姆斯乔伊斯的《阿拉比》中的弗洛伊德主义朗读在中学英语教学中的作用英汉爱情隐喻比较研究论索尔北娄《赫索格》中现代人的焦虑从《永别了,武器》与《老人与海》浅析海明威的战争观企业文化构建的话语分析路径《潜鸟》女主人公——皮格特托纳尔悲剧的探析英语商业广告中幽默的语用分析A Study of Narrative Strategies in Beloved英语新闻中批评性语篇的对比分析汉语量词“条”“支”“枝”的认知研究及其英文表达《玻璃动物园》中的逃避主义解读The Tragic Color of Tender Is the Night分析内战对《飘》中斯佳丽的影响On the Influence of Religion on Chinese and British CultureJane Austen’s V iews on Marriage Reflected in Pride and Prejudi ce《鲁宾逊漂流记》中鲁滨逊的形象分析隐喻视角下的方位词研究--以方位词in和up为例Cultural Differences in the Non-V erbal Communication谈商务英语信函的词语汉译浅析影视翻译中字幕和配音翻译的差异论《海狼》中拉尔森船长本性的双重性从迷茫的玛尔特的悲剧看女性存在的社会价值中美非言语交际中的时空观差异从文化差异角度谈国际商务谈判中的语言技巧英汉新词对比研究模糊语言在商务英语沟通中的语用功能从《永别了,武器》与《老人与海》浅析海明威的战争观Analysis of the Distorted Love between Mother and Son in Sons and Lovers英语课堂中的口语纠错策略对《觉醒》的女权主义解读中外经典英文广告的语言特征浅析浅析朱利安巴恩斯《终结的感觉》中人物的异化论《卡斯特桥市长》的现实意义奥斯卡.王尔德的美学观点及其在《道连格雷的画像》中的体现英语新词汉译原则研究从《热爱生命》和《马丁伊登》中透视杰克伦敦心中对生命的执爱英汉死亡委婉语的文化差异及其分类对比浅析《到灯塔去》中女性主义思想在两位女主人公身上的体现论中国神话和希腊神话的文化差异影响英语阅读理解效率的非语言因素英语习语的文化内涵从《道连格雷的画像》透析王尔德的艺术人生观论图片和卡片在中学英语教学中的合理应用伊恩麦克尤恩《时间中的孩子》中斯蒂芬的心理创伤和恢复分析阿瑟·黑利小说《讹诈》中的前景化现象探析英文商业广告的语言特点许渊冲的“三美”原则在国外化妆品品牌名汉译中的应用从功能翻译理论看记者招待会口译—以“两会”记者招待会口译为例苔丝的悲剧命运分析《西风颂》两个汉译版本的文体分析论英汉翻译过程国际商务英语信函写作中的礼貌策略Emerson’s Ideas on Nature and Social Harmony初中英语词汇教学法研究综述Coincidences and Images in The Mayor of Casterbridge, Tess of the D’Urbervilles 《榆树下的欲望》卡博特的悲剧分析Inheritance and Development of Gothic Literary Tradition in Jane Eyre《阿Q正传》中文化负载词的翻译浅议女性哥特主义在《暮光之城》中的体现Shaw and the Discussion Play中学英语口语互动教学的现状及存在的问题从《简爱》的多译本看中国两性关系的变化一个典型的拜伦式英雄——论《呼啸山庄》中的希斯克利夫Oscar Wilde’s Aestheticism on The Picture of Dorian Gray《红楼梦》中的女性主义及其英译On the Linguistic Characteristics of the Constitution of the United States and Its Translation Skills 商务英语信函中的语用礼貌失误解析《红字》中清教主义对人物性格的塑造《小王子》的存在主义维度分析浅谈高中英语教师课堂提问与课堂互动英语委婉语之初探《玻璃动物园》中的逃避主义解读On English Translation of Chinese Menu and the Connotation of Chinese Culinary Culture Cultural Issues in Interpreting浅谈中西方非言语交际中身势语差异从美国总统选举看其民主政治A Comparative Study of Chinese and French Higher Education从电影《姐姐的守护者》分析人的自私性浅析隐藏在“面纱”之后的伯莎梅森《还乡》中游苔莎的悲剧命运分析激励小学生积极说英语的教学法On the Linguistic Features of English and Chinese News Headlines毛泽东诗词中典故翻译的对比研究跨文化交际策略在国际商务谈判中的应用中英广告宣传方式的比较研究希拉里退选演讲积极话语分析浅析《傲慢与偏见》中的几种婚姻模式初中英语教学中的角色扮演公示语汉英翻译研究Comparison and Translation of Chinese and English Tourism Texts中外青年婚姻观念差异——从《柳堡的故事》和《傲慢与偏见》中进行对比从女性主义的角度研究萧伯纳《华伦夫人的职业》中的女性形象从目的论看林语堂《浮生六记》翻译中增译法的运用The Use of Body Language in Teaching《到灯塔去》的意识流分析浅析斯蒂芬克莱恩《新娘来到黄天镇》的艺术风格埃德加爱伦坡作品中的哥特风格分析透过霍尔顿看《麦田里的守望者》中的代际关系《了不起的盖茨比》的叙事技巧分析从花语的不同含义浅析中西方文化差异文本狂欢与女性主义理想:《马戏团之夜》之狂欢化理论解读英语习语的文化内涵商标翻译及商标翻译中的文化禁忌从《简爱》和《藻海无边》看罗切斯特对女性和婚姻的态度变化透过《丛林》看美国梦的破灭化学专业学生英语阅读策略研究中美文化环境对旅游价值观的影响疯女人的呐喊——《简爱》中失语疯女人的解析金钱与婚姻—论《傲慢与偏见》中的婚姻价值与导向A Study of Cultural Presupposition in Idioms宋词英译中的模因传播分析论“韩流”在中国从功能对等理论看“赶”的英译詹姆斯•乔伊斯《尤利西斯》中意识流手法的分析从读者接受理论看《达芬奇密码》的成功加拿大女性主义翻译理论苔丝人生悲剧的研究On the Symbolic Meaning of Alcohol in Angela’s Ashes浅析目的论下宣传标语的英译失误《大衣》中定语从句的翻译策略通往真正的人性之路:《紫色》中西丽的转变原版英语电影在大学英语教学中的使用研究On Dickinson’s Choice of Nature as the Theme of Her PoemsV ocabulary Teaching Based on Pragmatic Approach商务英语信函中的礼貌原则。
奥尼尔《榆树下的欲望》培训资料
02
故事情节分析
伊迪丝的角和性格特点
伊迪丝是一个复杂而矛盾的角色。她 既是一个充满激情和欲望的女人,又 是一个受到社会和家庭束缚的受害者。
她渴望追求真爱和自由,但又无法摆 脱传统道德观念的束缚。她的内心充 满了挣扎和矛盾,这使得她的性格特 点十分鲜明。
埃德蒙的角色和性格特点
埃德蒙是一个复杂而多面的角色。他 既是一个富有魅力和激情的男人,又 是一个自私和冷酷的人。
通过以上三个角色的性格特点和命运分析,我们可以更好地理解整个故事情节的发展和演变, 以及剧中人物之间的关系和互动。这些角色的性格特点和命运也反映了当时社会和文化的背 景和价值观,使得该剧具有更加深刻的社会意义和文化内涵。
03
主题和象征意义
欲望与道德的主题探讨
01
02
03
欲望的驱动力
奥尼尔通过描绘人物对财 富、权力、爱情的追求, 展示了欲望对个体行为的 驱动力。
对社会道德观念的反思
道德选择
剧中人物在面对道德困境时所做的选择 ,引发了对社会普遍接受的道德观念的 反思,促使观众思考在特定情境下如何 坚守原则和价值观。
VS
道德冲突
剧中人物面临的道德冲突和内心挣扎,反 映了现实生活中人们常常面临的道德抉择 和困惑,促使观众深入思考道德与个人利 益、社会舆论之间的关系。
家庭与归属感
榆树下成为家庭成员聚集的场所,象征着家庭归 属感和亲情的力量。
家庭关系和社会道德的反思
家庭关系的复杂性
奥尼尔通过家庭成员之间的互动,展现了家庭关系的复杂性和矛 盾性。
社会道德的约束力
剧中人物在追求欲望时,受到社会道德的约束和压力,引发对道德 观念的反思。
个人选择与社会责任
剧中人物在面对欲望和道德冲突时,需要权衡个人选择和社会责任, 反映了个人与社会的互动关系。
英文版《榆树下的欲望》
英文版《榆树下的欲望》A Play in Three PartsbyEugene O'Neill (1888-1953)CharactersEPHRAIM CABOTSIMEONPETER--his sonsEBENABBIE PUTNAMYoung Girl, Two Farm ers, The Fiddler, A Sheriff, and other folk from the neighboring farm sThe action of the entire play takes place in, and immediately outside of, the Cabot farmhouse in New England, in the year 1850. The south end of the house faces front to a stone wall with a wooden gate at center opening on a country road. The house is in good condition but in need of paint. Its walls are a sickly grayish, the green of the shutters faded. Two enorm ous elms are on each side of the house. They bend their trailing branches down over the roof. They appear to protect and at the sam e tim e subdue. There is a sinister maternity in their aspect, a crushing, jealous absorption. They have developed from their intimate contact with the life of m an in the house an appalling humaneness. They brood oppressively over the house. They are like exhausted wom en resting their sagging breasts and hands and hair on its roof, and when it rains their tears trickle down monotonously and rot on the shingles.There is a path running from the gate around the right corner of the house to the front door. A narrow porch is on this side. Theend wall facing us has two w indows in its upper story, two larger ones on the floor below. The two upper are those of the father's bedroom and that of the brothers. On the left, ground floor, is the kitchen--on the right, the parlor, the shades of which are always drawn down.《榆树下的欲望》PART I SCENE ONEDESIRE UNDER THE ELMSExterior of the Farmhouse. It is sunset of a day at the beginning of summer in the year 1850. There is no wind and everything is still. The sky above the roof is suffused with deep colors, the green of the elms glows, but the house is in shadow, seeming pale and washed out by contrast.A door opens and Eben Cabot comes to the end of the porch and stands looking down the road to the right. He has a large bell in his hand and this he swings mechanically, awakening a deafening clangor. Then he puts his hands on his hips and stares up at the sky. He sighs with a puzzled awe and blurts out with halting appreciation.EBEN--God! Purty! (His eyes fall and he stares about him frowningly. He istwenty-five, tall and sinewy. His face is well-formed, good-looking, but its expression is resentful and defensive. His defiant, dark eyes remind one of a wild animal's in captivity. Each day is a cage in which he finds himself trapped but inwardly unsubdued. There is a fierce repressed vitality about him. He has black hair, mustache, a thin curly trace of beard. He is dressed in rough farm clothes. He spits on the ground with intense disgust, turns and goes back into the house. Simeon and Peter come in from their work in the fields. They are tall men, much older than their half-brother [Simeon is thirty-nine and Peter thirty-seven], built on asquarer, simpler model, fleshier in body, more bovine and homelier in face, shrewder and more practical. Their shoulders stoop a bit from years of farm work. They clump heavily along in their clumsy thick-soled boots caked with earth. Their clothes, their faces, hands, bare arms and throats are earth-stained. They smell of earth. They stand together for a moment in front of the house and, as if with the one impulse, stare dumbly up at the sky, leaning on their hoes. Their faces have a compressed, unresigned expression. As they look upward, this softens.)SIMEON--(grudgingly) Purty.PETER--Ay-eh.SIMEON--(suddenly) Eighteen years ago.PETER--What?SIMEON--Jenn. My wom an. She died.PETER--I'd fergot.SIMEON--I rec'lect--now an' agin. Makes it lonesome. She'd hair long's a hoss'tail--an' yaller like gold!PETER--Waal--she's gone. (this with indifferent finality--then after a pause) They's gold in the West, Sim.SIMEON--(still under the influence of sunset--vaguely) In the sky?PETER--Waal--in a m anner o' speakin'--thar's the promise. (growing excited) Gold in the sky--in the West--Golden Gate--Californi-a!--Goldest West!--fields o' gold!SIMEON--(excited in his turn) Fortunes layin' just atop o' the ground waitin' t' be picked! Solomon's mines, they says! (For a moment they continue looking up at the sky--then their eyes drop.)PETER--(with sardonic bitterness) Here--it's stones atop o'the ground--stones atop o' stones--m akin' stone walls--year atop o' year--him 'n' yew 'n' m e 'n' then Eben--m akin' stone walls fur him to fence us in!SIMEON--We've wuked. Give our strength. Give our years. Plowed 'em under in the ground--(he stamps rebelliously)--rottin'--m akin' soil for his crops! (a pause) Waal--the farm pays good for hereabouts.PETER--If we plowed in Californi-a, they'd be lumps o' gold in the furrow!SIMEON--Californi-a's t'other side o' earth, a'most. We got t' calc'late--PETER--(after a pause) 'Twould be hard fur m e, too, to give up what we've 'arned here by our sweat. (A pause. Eben sticks his head out of the dining-room window, listening.)SIMEON--Ay-eh. (a pause) Mebbe--he'll die soon.PETER--(doubtfully) Mebbe.SIMEON--Mebbe--fur all we knows--he's dead now.PETER--Ye'd need proof.SIMEON--He's been gone two m onths--with no word.PETER--Left us in the fields an evenin' like this. Hitched up an' druv off into the West. That's plumb onnateral. He hain't never been off this farm 'ceptin' t' the village in thirty year or more, not since he m arried Eben's m aw. (A pause. Shrewdly) Icalc'late we might git him declared crazy by the court.SIMEON--He skinned 'em too slick. He got the best o' all on 'em. They'd neverb'lieve him crazy. (a pause) We got t' wait--till he's under ground.EBEN--(with a sardonic chuckle) Honor thy father! (They turn, startled, and stare at him. He grins, then scowls.) I pray he's died.(They stare at him. He continues matter-of-factly.) Supper's ready.SIMEON AND PETER--(together) Ay-eh.EBEN--(gazing up at the sky) Sun's downin' purty.SIMEON AND PETER--(pointing) Ay-eh. They's gold in the West.EBEN--(pointing) Ay-eh. Yonder atop o' the hill pasture, ye m ean?SIMEON AND PETER--(together) In Californi-a!EBEN--Hunh? (stares at them indifferently for a second, then drawls)Waal--supper's gittin' cold. (He turns back into kitchen.)SIMEON--(startled--smacks his lips) I air hungry!PETER--(sniffing) I sm ells bacon!SIMEON--(with hungry appreciation) Bacon's good!PETER--(in same tone) Bacon's bacon! (They turn, shouldering each other, their bodies bumping and rubbing together as they hurry clumsily to their food, like two friendly oxen toward their evening meal. They disappear around the right corner of house and can be heard entering the door.) (The Curtain Falls)《榆树下的欲望》PART I SCENE TWODESIRE UNDER THE ELMSThe color fades from the sky. Twilight begins. The interior of the kitchen is now visible. A pine table is at center, a cook-stove in the right rear corner, four rough wooden chairs, a tallow candle on the table. In the middle of the rear wall is fastened a big advertizing poster with a ship in full sail and the word "California" in big letters.Kitchen utensils hang from nails. Everything is neat and in order but the atmosphere is of a men's camp kitchen rather thanthat of a home.Places for three are laid. Eben takes boiled potatoes and bacon from the stove and puts them on the table, also a loaf of bread and a crock of water. Simeon and Peter shoulder in, slump down in their chairs without a word. Eben joins them. The three eat in silence for a moment, the two elder as naturally unrestrained as beasts of the field, Eben picking at his food without appetite, glancing at them with a tolerant dislike.SIMEON--(suddenly turns to Eben) Looky here! Ye'd oughtn't t' said that, Eben. PETER--'Twa'n't righteous.EBEN--What?SIMEON--Ye prayed he'd died.EBEN--Waal--don't yew pray it? (a pause)PETER--He's our Paw.EBEN--(violently) Not mine!SIMEON--(dryly) Ye'd not let no one else say that about yer Maw! Ha! (He gives one abrupt sardonic guffaw. Peter grins.) EBEN--(very pale) I m eant--I hain't his'n--I hain't like him--he hain't m e!PETER--(dryly) Wait till ye've growed his age!EBEN--(intensely) I'm Maw--every drop o' blood! (A pause. They stare at him with indifferent curiosity.)PETER--(reminiscently) She was good t' Sim 'n' m e. A good Step-m aw's scurse.SIMEON--She was good t' everyone.EBEN--(greatly moved, gets to his feet and makes an awkward bow to each of them--stammering) I be thankful t' ye. I'm her--her heir. (He sits down in confusion.)PETER--(after a pause--judicially) She was good even t' him.EBEN--(fiercely) An' fur thanks he killed her!SIMEON--(after a pause) No one never kills nobody. It's allus somethin'. That's the murderer.EBEN--Didn't he slave Maw t' death?PETER--He's slaved himself t' death. He's slaved Sim 'n' me 'n' yew t' death--on'y none o' us hain't died--yit.SIMEON--It's som ethin'--drivin' him--t' drive us!EBEN--(vengefully) Waal--I hold him t' jedgment! (then scornfully) Som ethin'! What's som ethin'?SIMEON--Dunno.EBEN--(sardonically) What's drivin' yew to Californi-a, m ebbe? (They look at him in surprise.) Oh, I've heerd ye! (then, after a pause) But ye'll never go t' the gold fields!PETER--(assertively) Mebbe!EBEN--Whar'll ye git the m oney?PETER--We kin walk. It's an a'mighty ways--Californi-a--but if yew was t' put all the steps we've walked on this farm end t' end we'd be in the m oon!EBEN--The Injuns'll skulp ye on the plains.SIMEON--(with grim humor) We'll m ebbe make 'em pay a hair fur a hair!EBEN--(decisively) But t'ain't that. Ye won't never go because ye'll wait here fur yer share o' the farm, thinkin' allus he'll die soon.SIMEON--(after a pause) We've a right.PETER--Two thirds belongs t' us.EBEN--(jumping to his feet) Ye've no right! She wa'n't yewr Maw! It was her farm! Didn't he steal it from her? She's dead. It's m y farm.SIMEON--(sardonically) Tell that t' Paw--when he com es! I'll bet ye a dollar he'll laugh--fur once in his life. Ha! (He laughs himself in one single mirthless bark.)PETER--(amused in turn, echoes his brother) Ha!SIMEON--(after a pause) What've ye got held agin us, Eben? Year arter year it's skulked in yer eye--som ethin'.PETER--Ay-eh.EBEN--Ay-eh. They's som ethin'. (suddenly exploding) Why didn't ye never stand between him 'n' m y Maw when he was slavin' her to her grave--t' pay her back fur the kindness she done t' yew? (There is a long pause. They stare at him in surprise.) SIMEON--Waal--the stock'd got t' be watered.PETER--'R they was woodin' t' do.SIMEON--'R plowin'.PETER--'R hayin'.SIMEON--'R spreadin' manure.PETER--'R weedin'.SIMEON--'R prunin'.PETER--'R milkin'.EBEN--(breaking in harshly) An' m akin' walls--stone atop o' stone--m akin' walls till yer heart's a stone ye heft up out o' the way o' growth onto a stone wall t' wall in yer heart!SIMEON--(matter-of-factly) We never had no tim e t' m eddle.PETER--(to Eben) Yew was fifteen afore yer Maw died--an' big fur yer age. Why didn't ye never do nothin'?EBEN--(harshly) They was chores t' do, wa'n't they? (a pause--then slowly) It was on'y arter she died I com e to think o' it. Me cookin'--doin' her work--that m ade m e know her, suffer her sufferin'--she'd com e back t' help--com e back t' bile potatoes--com e back t' fry bacon--com e back t' bake biscuits--com e back all cram ped up t' shake the fire, an' carry ashes, her eyes weepin' an' bloody withsm oke an' cinders same's they used t' be. She still com esback--stands by the stove thar in the evenin'--she can't find it nateral sleepin' an' restin' in peace. She can't git used t' bein' free--even in her grave.SIMEON--She never com plained none.EBEN--She'd got too tired. She'd got too used t' bein' too tired. That was what he done. (with vengeful passion) An' sooner'r later, I'll meddle. I'll say the thin's I didn't say then t' him! I'll yell 'em at the top o' m y lungs. I'll see t' it m y Maw gits som e rest an' sleep in her grave! (He sits down again, relapsing into a brooding silence. They look at him with a queer indifferent curiosity.)PETER--(after a pause) Whar in tarnation d'ye s'pose he went, Sim?SIMEON--Dunno. He druv off in the buggy, all spic k an' span, with the m are all breshed an' shiny, druv off clackin' his tongue an' wavin' his whip. I remember it right well. I was finishin' plowin', it was spring an' May an' sunset, an' gold in the West, an' he druv off into it. I yells "Whar ye goin', Paw?" an' he hauls up by the stone wall a jiffy. His old snake's eyes was glitterin' in the sun like he'd been drinkin' a jugful an' he says with a mule's grin: "Don't ye run away till I com e back!"PETER--Wonder if he knowed we was wantin' fur Cali-forni-a?SIMEON--Mebbe. I didn't say nothin' and he says, lookin' kinder queer an' sick: "I been hearin' the hens cluckin' an' the roosters crowin' all the durn day. I been listenin' t' the cows lowin' an' everythin' else kickin' up till I can't stand it no m ore. It's spring an' I'm feelin' damned," he says. "Damned like an old bare hickory tree fit on'y fur burnin'," he says. An' then I calc'late I must've looked a mite hopeful, fur he adds real spry and vicious: "Butdon't git no fool idee I'm dead. I've sworn t' live a hundred an' I'll do it, if on'y t' spite yer sinful greed! An' now I'm ridin' out t' learn God's message t' m e in the spring, like the prophets done. An' yew git back t' yerplowin'," he says. An' he druv off singin' a hymn. I thought he was drunk--'r I'd stopped him goin'.EBEN--(scornfully) No, ye wouldn't! Ye're scared o' him. He's stronger--inside--than both o' ye put together!PETER--(sardonically) An' yew--be yew Sam son?EBEN--I'm gittin' stronger. I kin feel it growin' in m e--growin' an' growin'--till it'll bust out--! (He gets up and puts on his coat and a hat. They watch him, gradually breaking into grins. Eben avoids their eyes sheepishly.) I'm goin' out fur a spell--up the road.PETER--T' the village?SIMEON--T' see Minnie?EBEN--(defiantly) Ay-eh!PETER--(jeeringly) The Scarlet Wom an!SIMEON--Lust--that's what's growin' in ye!EBEN--Waal--she's purty!PETER--She's been purty fur twenty year!SIMEON--A new coat o' paint'll m ake a heifer out of forty.EBEN--She hain't forty!PETER--If she hain't, she's teeterin' on the edge.EBEN--(desperately) What d'yew know--PETER--All they is . . . Sim knew her--an' then m e arter--SIMEON--An' Paw kin tell yew som ethin' too! He was fust!EBEN--D'ye m ean t' say he . . . ?SIMEON--(with a grin) Ay-eh! We air his heirs in everythin'!EBEN--(intensely) That's m ore to it. That grows on it! It'll bustsoon! (then violently) I'll go sm ash m y fist in her face! (He pulls open the door in rear violently.)SIMEON--(with a wink at Peter--drawlingly) Mebbe--but the night'swa'm--purty--by the tim e ye git thar m ebbe ye'll kiss her instead!PETER--Sart'n he will! (They both roar with coarse laughter. Eben rushes out and slams the door--then the outside front door--comes around the corner of the house and stands still by the gate, staring up at the sky.)SIMEON--(looking after him) Like his Paw.PETER--Dead spit an' image!SIMEON--Dog'll eat dog!PETER--Ay-eh. (Pause. With yearning) Mebbe a year from now we'll be in Californi-a.SIMEON--Ay-eh. (A pause. Both yawn.) Let's git t' bed. (He blows out the candle. They go out door in rear. Eben stretches his arms up to the sky--rebelliously)EBEN--Waal--thar's a star, an' somewhar's they's him, an' here's m e, an' thar's Min up the road--in the sam e night. What if I does kiss her? She's like t'night, she's soft 'n' wa'm, her eyes kin wink like a star, her mouth's wa'm, her arm s're wa'm, she sm ells like a wa'm plowed field, she's purty . . . Ay-eh! By God A'mighty she's purty, an' I don't give a damn how many sins she's sinned afore mine or who she's sinned 'em with, m y sin's as purty as any one on 'em! (He strides off down the road to the left.) 《榆树下的欲望》PART I SCENE THREEDESIRE UNDER THE ELMSIt is the pitch darkness just before dawn. Eben comes in from the left and goes around to the porch, feeling his way, chucklingbitterly and cursing half-aloud to himself.EBEN--The cussed old miser! (He can be heard going in the front door. There is a pause as he goes upstairs, then a loud knock on the bedroom door of the brothers.) Wake up!SIMEON--(startledly) Who's thar?EBEN--(pushing open the door and coming in, a lighted candle in his hand. The bedroom of the brothers is revealed. Its ceiling is the sloping roof. They can stand upright only close to the center dividing wall of the upstairs. Simeon and Peter are in a double bed, front. Eben's cot is to the rear. Eben has a mixture of silly grin and vicious scowl on his face.) I be!PETER--(angrily) What in hell's-fire . . . ?EBEN--I got news fur ye! Ha! (He gives one abrupt sardonic guffaw.)SIMEON--(angrily) Couldn't ye hold it 'til we'd got our sleep?EBEN--It's nigh sunup. (then explosively) He's gone an' married agen!SIMEON AND PETER--(explosively) Paw?EBEN--Got himself hitched to a fem ale 'bout thirty-five--an' purty, they says . . .SIMEON--(aghast) It's a durn lie!PETER--Who says?SIMEON--They been stringin' ye!EBEN--Think I'm a dunce, do ye? The hull village says. The preacher from New Dover, he brung the news--told it t' our preacher--New Dover, that's whar the old loon got himself hitched--that's whar the wom an lived--PETER--(no longer doubting--stunned) Waal . . . !SIMEON--(the same) Waal . . . !EBEN--(sitting down on a bed--with vicious hatred) Ain't hea devil out o' hell? It's jest t' spite us--the dam ned old mule!PETER--(after a pause) Everythin'll go t' her now.SIMEON--Ay-eh. (a pause--dully) Waal--if it's done--PETER--It's done us. (pause--then persuasively) They's gold in the fields o' Californi-a, Sim. No good a-stayin' here now.SIMEON--Jest what I was a-thinkin'. (then with decision) S'well fust's last! Let's light out and git this m ornin'.PETER--Suits m e.EBEN--Ye m ust like walkin'.SIMEON--(sardonically) If ye'd grow wings on us we'd fly thar!EBEN--Ye'd like ridin' better--on a boat, wouldn't ye? (fumbles in his pocket and takes out a crumpled sheet of foolscap) Waal, if ye sign this ye kin ride on a boat. I've had it writ out an' ready in case ye'd ever go. It says fur three hundred dollars t' each ye agree yewr shares o' the farm is sold t' m e. (They look suspiciously at the paper. A pause.)SIMEON--(wonderingly) But if he's hitched agen--PETER--An' whar'd yew git that sum o' money, anyways?EBEN--(cunningly) I know whar it's hid. I been waitin'--Maw told m e. She knew whar it lay fur years, but she was waitin' . . . It's her'n--the m oney he hoarded from her farm an' hid from Maw. It's m y money by rights now.PETER--Whar's it hid?EBEN--(cunningly) Whar yew won't never find it without m e. Maw spied on him--'r she'd never knowed. (A pause. They look at him suspiciously, and he at them.) Waal, is it fa'r trade?SIMEON--Dunno.PETER--Dunno.SIMEON--(looking at window) Sky's grayin'.PETER--Ye better start the fire, Eben.SIMEON--An' fix some vittles.EBEN--Ay-eh. (then with a forced jocular heartiness) I'll git ye a good one. If ye're startin' t' hoof it t' Californi-a ye'll need somethin' that'll stick t' yer ribs. (He turns to the door, adding meaningly) But ye kin ride on a boat if ye'll swap. (He stops at the door and pauses. They stare at him.)SIMEON--(suspiciously) Whar was ye all night?EBEN--(defiantly) Up t' Min's. (then slowly) Walkin' thar, fust I felt 's if I'd kiss her; then I got a-thinkin' o' what ye'd said o' him an' her an' I says, I'll bust her nose fur that! Then I got t' the village an' heerd the news an' I got m adder'n hell an' run all the way t' Min's not knowin' what I'd do--(He pauses--then sheepishly but more defiantly) Waal--when I seen her, I didn't hit her--nor I didn't kiss her nuther--I begun t' beller like a calf an' cuss at the sam e time, I was so durn mad--an' she got scared--an' I jest grabbed holt an' tuk her! (proudly) Yes, siree! I tuk her. She may've been his'n--an' your'n, too--but she's m ine now!SIMEON--(dryly) In love, air yew?EBEN--(with lofty scorn) Love! I don't take no stock in sech slop!PETER--(winking at Simeon) Mebbe Eben's aimin' t' m arry, too.SIMEON--Min'd make a true faithful he'pmeet! (They snicker.) EBEN--What do I care fur her--'ceptin' she's round an' wa'm? The p'int is she was his'n--an' now she b'longs t' m e! (He goes to the door--then turns--rebelliously) An' Min hain't sech a bad un. They's worse'n Min in the world, I'll bet ye! Wait'll we see this cow the Old Man's hitched t'! She'll beat Min, I got a notion! (He starts to go out.)SIMEON--(suddenly) Mebbe ye'll try t' m ake her your'n, too?PETER--Ha! (He gives a sardonic laugh of relish at this idea.) EBEN--(spitting with disgust) Her--here--sleepin' with him--stealin' my Maw's farm! I'd as soon pet a skunk 'r kiss a snake! (He goes out. The two stare after him suspiciously. A pause. They listen to his steps receding.)PETER--He's startin' the fire.SIMEON--I'd like t' ride t' Californi-a--but--PETER--Min might o' put som e schem e in his head.SIMEON--Mebbe it's all a lie 'bout Paw m arryin'. We'd best wait an' see the bride.PETER--An' don't sign nothin' till we does!SIMEON--Nor till we've tested it's good m oney! (then with a grin) But if Paw's hitched we'd be sellin' Eben som ethin' we'd never git nohow!PETER--We'll wait an' see. (then with sudden vindictive anger) An' till he com es, let's yew 'n' m e not wuk a lick, let Eben tend to thin's if he's a mind t', let's us jest sleep an' eat an' drink likker, an' let the hull damned farm go t' blazes!SIMEON--(excitedly) By God, we've 'arned a rest! We'll play rich fur a change. I hain't a-going to stir outa bed till breakfast's ready.PETER--An' on the table!SIMEON--(after a pause--thoughtfully) What d'ye calc'late she'll be like--our new Maw? Like Eben thinks?PETER--More'n' likely.SIMEON--(vindictively) Waal--I hope she's a she-devil that'll make him wish he was dead an' livin' in the pit o' hell fur com fort!PETER--(fervently) Am en!SIMEON--(imitating his father's voice) "I'm ridin' out t' learn God's m essage t' m e in the spring like the prophets done," hesays. I'll bet rig ht then an' thar he knew plumb well he was goin' whorin', the stinkin' old hypocrite!《榆树下的欲望》PART I SCENE FOURDESIRE UNDER THE ELMSSame as Scene Two--shows the interior of the kitchen with a lighted candle on table. It is gray dawn outside. Simeon and Peter are just finishing their breakfast. Eben sits before his plate of untouched food, brooding frowningly.PETER--(glancing at him rather irritably) Lookin' glum don't help none.SIMEON--(sarcastically) Sorrowin' over his lust o' the flesh!PETER--(with a grin) Was she yer fust?EBEN--(angrily) None o' yer business. (a pause) I was thinkin' o' him. I got a notion he's gittin' near--I kin feel him comin' on like yew kin feel malaria chill afore it takes ye.PETER--It's too early yet.SIMEON--Dunno. He'd like t' catch us nappin'--jest t' have som ethin' t' hoss us'round over.PETER--(mechanically gets to his feet. Simeon does the same.) Waal--let's git t' wuk. (They both plod mechanically toward the door before they realize. Then they stop short.) SIMEON--(grinning) Ye're a cussed fool, Pete--and I be wuss! Let him see we hain't wukin'! We don't give a durn!PETER--(as they go back to the table) Not a dam ned durn! It'll serve t' show him we're done with him. (They sit down again. Eben stares from one to the other with surprise.)SIMEON--(grins at him) We're aimin' t' start bein' lilies o' the field.PETER--Nary a toil 'r spin 'r lick o' wuk do we put in!SIMEON--Ye're sole owner--till he com es--that's what ye wanted. Waal, ye got t' be sole hand, too.PETER--The cows air bellerin'. Ye better hustle at the m ilkin'.EBEN--(with excited joy) Ye m ean ye'll sign the paper?SIMEON--(dryly) Mebbe.PETER--Mebbe.SIMEON--We're considerin'. (peremptorily) Ye better git t' wuk.EBEN--(with queer ex citement) It's Maw's farm agen! It's m y farm! Them's m y cows! I'll milk my durn fingers off fur cows o' mine! (He goes out door in rear, they stare after him indifferently.) SIMEON--Like his Paw.PETER--Dead spit 'n' image!SIMEON--Waal--let dog eat dog! (Eben comes out of front door and around the corner of the house. The sky is beginning to grow flushed with sunrise. Eben stops by the gate and stares around him with glowing, possessive eyes. He takes in the whole farm with his embracing glance of desire.)EBEN--It's purty! It's dam ned purty! It's mine! (He suddenly throws his head back boldly and glares with hard, defiant eyes at the sky.) Mine, d'ye hear? Mine! (He turns and walks quickly off left, rear, toward the barn. The two brothers light their pipes.) SIMEON--(putting his muddy boots up on the table, tilting back his chair, and puffing defiantly) Waal--this air solid com fort--fur once.PETER--Ay-eh. (He follows suit. A pause. Unconsciously they both sigh.)SIMEON--(suddenly) He never was much o' a hand at milkin', Eben wa'n't.PETER--(with a snort) His hands air like hoofs! (a pause)。
奥尼尔 《榆树下的欲望》教材
﹒和诗歌和小说相比,戏剧在美国起步较晚。19世纪虽无戏 剧大师问世,但在戏剧领域内有不少人在辛勤耕耘,为20 世纪20年代美国戏剧的复兴进行着铺砖铺瓦的工作。如19 世纪末的现实主义剧作家穆迪做了将现实主义戏剧搬上舞 台的大胆尝试,而瓦尔特和麦克伊也进行了很有意义的戏 剧革新。其时欧洲文艺和文学界弥漫着浓郁的革新气氛, 自然主义、象征主义等戏剧充斥戏坛,为美国带来一股革 新激励的风。这十年时间内,美国戏剧界发生了巨大的变 化。小剧场出现了,美国戏剧协会出现了,实验剧团出现 了,欧洲剧坛大家如易卜生、斯特林堡、萧伯纳等的剧作 被搬上了美国舞台。美国自己的剧作家也开始引人注目。 尤金·奥尼尔 此时最突出的剧作家之一。
Desire Under the Elms
—— Eugene Glastone O’Neill Group 5
作品背景
﹒从南北战争结束到第一次世界大战,美国文学总 的倾向是现实主义的兴起、发展和浪漫主义的衰 微。南北战争结束后的20、30年内,资本主义处 于自由竞争阶段,民主、自由的理想鼓舞着人民 和作家,文学创作中乐观的情绪处于主导地位。 80年代以后,经过几次经济危机,社会动荡不安, 人们怀疑民主制度是“人人自由、幸福的天堂”。 80、90年代以后,批判现实、揭露社会黑暗的作 品增多,主题涉及农村的破产,城市下层人民的 困苦,劳资斗争,不少作品揭露种族歧视、海外 侵略和政府与大企业的勾结,也有些作品表现了 空想社会主义的情绪。
• 现实主义文学兴起 80、90年代以后,随着垄断资本的逐 步形成,以劳资矛盾为焦点的各种社会问题尖锐化、表面 化,作家们对社会的前景感到忧虑和失望。在欧洲现实主 义与自然主义文学的影响下,一批新兴的作家从许多方面 反映社会消极的一面。
榆树下的欲望
<榆树下的欲望>表现了西方现代人在失去"上帝"这一精神信仰后的惶恐和不安.受物质主义文化影响,他们把追求财富作为一种新的精神寄托,在这种追求中,他们的人性与物质主义产生了激烈的冲突,结果导致他们人性的丧失,根本无法感受到生命本身的意义,同时也造成他人的悲剧.欲望本身成为他们成功的标志,同时也成为他们失去正常人精神和道德生活的标志.在物质主义造成的复杂矛盾中,父子关系、夫妻关系,都沦落为物质关系,无论他们如何选择自己的生活方式,结果都必然是悲剧性的.奥尼尔通过表现他们在和自己的命运进行抗争时所表现出的悲剧力量,从而表达了自己独特的悲剧思想:人只要能在绝望的境地里继续抱有希望,他就获得了生命的悲剧美感.E.奥尼乐(Eugene O'neill)的剧作。
3幕悲剧,1924年首演。
写农场主卡伯特为了农场所有权同儿子埃本和妻子爱碧之间发生的三角纠纷。
前妻所生的埃本对继承农场抱有希望,76岁高龄的父亲又娶了年轻美貌的爱碧做第三任妻子。
爱碧嫁给行将就木的老头,就是为了这份遗产,但是她跟年迈的卡伯特生不出孩子,继承权眼看要落空,于是引诱埃本同她发生关系,并生下了儿子。
在利用、引诱埃本的过程中,她对埃本产生了真正的爱情。
而埃本一直认为爱碧对他并无感情,只是为了生个继承人夺取农场。
爱碧百般表白也不能证明自己的真心,于是忍痛杀死了亲生婴儿。
她与埃本的隔阂消除了,但等待着他们的却是法律的制裁。
发生在这个家庭中的悲剧向人们揭示出,在金钱占统治地位的社会里,人的自然的情感与本性是如何被压抑与扭曲的,对财产的欲望使父子、母子、夫妻与兄弟之间尔虞我诈,虎视眈眈,一个个贪婪、狡诈、邪恶、虚伪。
作者也写了人性中美好的一面,当爱情的火花迸发而出,冲破对金钱的占有欲时,他们会变得真诚、善良,为了得到一份真情而奋不顾身地追求。
但是这种追求所表现出的疯狂依然造成了毁灭,这正是悲剧性所在。
故事发生在1840年,身体力壮的新英格兰70多岁的农民老头子卡波特.埃普汉继承了第二任太太的农场,独揽大权。
榆树下的欲望
剧本《榆树下的欲望》人物:伊弗雷姆.凯勃特西蒙,彼得,伊本--凯勃特之子爱碧.普特南村姑,农夫,小提琴师,警长和邻村老乡[故事发生在一八五零年.新英格兰凯勃特的农舍内外.农舍的南面正对着一垛石头围墙.围墙正中有扇木门,开出门便是乡间大路.屋子还相当完好,只是油漆剥落了.墙,壁呈浅灰色,看着叫人是生厌.绿色的百叶窗也以褪色.农社的两侧各有一棵硕大无比的榆树.那弯曲伸展的树枝覆盖着屋顶,既像在守卫它,又像在压制它.这两棵树的外表,使人感到一种不详的.充满嫉妒和企图征服一切的野性心理.由于和这屋里人相处久了,居然让人吃惊的有了灵性.它们层层叠叠的笼罩着屋子,将他压的透不过气来,就像两个精疲力尽的女人,将她们松垂的乳房.双手和头发都耷拉在屋顶上.遇到下雨的日子,她们的眼泪便单调的噗噗往下掉,顺着瓦片流失.] [一条小径从大门通往农社的正门,中间绕过房子的右角.农舍的正面有一狭窄的游廊.在面对观众的墙上,楼上下各有两扇窗户,下面两扇比上面略大.上面分别是父亲和兄弟们的卧室的窗户.下面左间是厨房,右间是客厅.客厅的百叶窗自始至终关着.]第一幕第一场[农舍外景.一八五零年初夏的一个傍晚.夕阳西下.没有风,一切都是静止的.屋顶上面的天空呈深红色,榆树绿荫正浓.树荫底下那栋素色的农舍被夕照和绿荫衬托得格外醒目.[门开了.伊本.凯勃特从屋内走出.他走到游廊的一端,站住,朝右手的大路望去,他手里拿着一只很大的铃,机械的摇着,发出刺耳的叮当声.他将两手垂下,凝视着天空,迷惘而敬畏的叹了口气,情不自禁地赞美起落日的景致来.] 伊本天哪!多美啊![眼睛转而底视,皱眉,环顾自己的周围.他二十五岁,高大,健壮.脸长的很端正.俊俏,但眉际却露出一股愤愤不平的怨气.一双带有挑畔的黑眼睛使人联想起一头被困的野兽.每天对他都是一个牢笼,他发现自己被困在里面,却不甘屈服.他身上带有着一股凶猛的.被压抑的力量.他的头发是乌黑的,上槟和稀疏的槟须也是黑的.穿的是一身粗布织成的衣服.][他厌恶的朝地上啐了一口,转身如屋内.][西蒙和彼得从田里干活回来.两人个子都很高,年纪比他们的异母兄弟要大得多(西蒙三十九,彼得三十七岁).他们属于更诚实更单纯的类型,胖墩墩的身材,脸上有一种更为朴实的神情,显得更精明能干.由于长年干农活,他们的肩膀有点佝偻了,脚上穿的是粘满泥巴的笨重的厚底靴,走起路来绊绊磕磕的,显得十分沉重.他们的衣服.脸.手头颈和光着的膀子上都沾着泥巴,一看就是地道的庄稼汉.][两人在屋前站了片刻,接着,仿佛受到一种冲动,同时默默抬起头来仰望着天空,将身子支在锄头柄上.他们脸上有一种压抑的.不顺从的神气.但当他们仰望天空时,这种表情缓和了下来.]西蒙(恋恋不舍地)美极了.彼得是呀.西蒙(突然)十八年了.彼得你说什么?西蒙我是说吉英,我的老婆,她死了.彼得我可已经忘了.西蒙我还时时记得,想起来觉得怪冷清的.她的头发长得象马尾,黄灿灿的,就和金子一样.彼得是的--她死了.(语调是冷漠的--停顿一下后)在西部有金矿,西蒙.西蒙(仍旧迷恋与黄昏的落日--茫茫然地)在天上?彼得是的--也可以这么说--要是能到达那儿,一定能找到金子的.(兴奋起来)自己在天上--在西方--金门--加利福尼亚!--遍地是黄金的西方!--那儿有金矿!西蒙(也兴奋起来)那儿财宝就堆在地上等人去拣!那是所罗门的金矿,人家说的![两人继续朝天空望了片刻.低头.]彼得(讥讽的苦笑)可这儿--地上堆满石头--石头上还是石头--咱们用这些石头垒起了墙--一年又一年--他,和你,我,还有伊本--咱们造了一堵墙让他把咱们死死围在里面!西蒙咱们替他干活,出了力气,浪费了青春,这些都被犁进泥里--(反抗的垛脚)腐烂了--给他的庄稼当肥料!(停顿)唉--着农场倒真的越搞越兴旺了.彼得要是咱们在加利福尼亚犁地,在犁出的垄沟里咱们一定能找到好多好多金子!西蒙加利福尼亚路很远,差不多在地球的另一头,咱们得合计合计--彼得(停顿)是呀,在那儿是会遇到困难的,抛弃了咱们在这儿用汗水赚来的东西.(停顿.伊本从吃饭间窗口探出头来.听着)西蒙是呀.(停顿)也许--他很快就会上西天的.彼得(迟疑的)也许是.西蒙也许--据我们的猜想--他现在已经死了.彼得你说这话没有根据.西蒙他离开这儿已有两个月了--没来过一封信.彼得就象今天这样一个夜晚,他在田里和咱们分手,套上马车一直往西走了.这简直有点反常.三十多年来他除了到村子里去以外,从来没有离开过田庄,他娶了伊本的妈妈后也没有离开过一步(停顿.恨恨的)我想咱们可以到法院去宣布他疯了.西蒙他多狡猾,把大家都骗了,他在田庄的经营上把所有人都压倒了.他们决不会相信他疯的.(停顿)咱们得等下去--等到他入地狱之后.伊本(挖苦的笑着)你们对父亲可真孝顺!(他两转过身,大为惊讶的望着伊本.伊本咧嘴笑了笑,脸色阴沉下来)我但圆他早死.(他两打量着他,他若无其事地)晚饭准备好了.西蒙和彼得(同时) 恩哼.伊本(凝视着天空)太阳下山真好看.西蒙和彼得(同声)是啊,在西边有黄金.伊本是啊,(指着西边)你们是说在山顶牧场那儿.是吗?西蒙和彼得(同声)在加利福尼亚!伊本(漫不经心地望着他俩片刻,满吞吞地)好吧--饭要冷了.(回身进了厨房)西蒙(突然想起--咂了一下巴掌)我可真饿啦!彼得(嗅了嗅)我闻到熏肉的香味了!西蒙(饿极的样子)熏肉可好吃呢!彼得(同样口气)熏肉到底是熏肉!(两人转身进屋,肩并肩了,身子互相碰撞着,笨拙而又匆忙的走到饭桌前,就象两条一起去进食的小牛一般.两人在屋子的右角拐弯处消失,可以听见他俩进屋的声音)第二场[落日的余晖褪尽例如,天际出现闪烁着的星星.可以见到厨房的内景.中央是一长松木桌子,右后角有个炉子,另有四把粗陋的木椅,桌上摆着一盏牛脂油灯.后墙中央贴着一张很大的广告画,上面画着一艘扬帆的大船和大写的"加利福尼亚"几个字.厨房用具都挂在钉头上,一切都很整洁,有条不岌,但给人感觉与其说是一个家庭的厨房倒不如说是一个男人的露宿帐篷里的炊事房][桌上摆起三个人的餐具.伊本在炉上煮土豆和熏肉,他将食物端到桌上,还放上面包和一罐水.西蒙和彼得走了进来,一声不响的往椅子里一坐.伊本也坐过来,三人默默的吃了一会,两兄弟象牧场上的牲口一般肆无忌惮的大嚼起来,伊本毫无胃口的拣着菜,强忍住厌恶的心情望着眼前的食物.]西蒙(突然转向伊本)你呀!你刚才不该说那个话,伊本.彼得那话说的不对头.伊本什么话?西蒙你说最好让他死.伊本是的--你们就不希望他死吗?(停顿)彼得他是咱们的爹.伊本(粗暴地)不是我的!西蒙(乏味地)要是人家这样讲你妈,你可不答应了,哈!(出其不意地大笑,彼得也咧嘴笑了)伊本(脸色发白)我意思是说--我不是他的--我不象他--他也不象我!彼得(乏味地)等你到了他哪个年纪再说这话吧!伊本(激动地)我是我母亲的--每一滴血都是她的!(停顿.他俩冷漠而好奇的注视着他)彼得(回忆)她待西蒙和我都很好,是个好继母.西蒙她待每个人都很好.伊本(大受感动.立起,向两兄弟笨拙的鞠一躬,喃喃地)谢谢你们.我是她的--她的继承人.(不知所措地坐下)彼得(停顿.郑重其事地)她就是待老头子也很好.伊本(仇恨地)可他却害死了她!这就是对她好心的报答!西蒙(停顿)谁也没有害死谁,有一样东西它才是凶手.伊本不是他逼着我妈妈做牛做马的干,把她虐待死的吗?彼得他也虐待自己,还虐待西蒙和我,还有你,咱们不都受他虐待吗?--只是还没有死罢了.西蒙是有一样什么东西在逼着他--也让他来逼我们!伊本(报复地)好--我要到法院去告他!(冷笑)有样东西!你说说是什么东西?西蒙不知道.伊本(讥讽地)也许就是逼着你们去加利福尼亚的哪个东西?(两人惊讶的望着他)哦,我刚才听到你们谈的话了!(停顿)可是你们永远也别想找到那个金矿!彼得(肯定地)很可能!伊本你们到哪儿去搞到路费?彼得我们可以步行去.到那儿路很远--加利福尼亚--可是如果把咱们这么多年来在这个农场来回走的路加起来,咱们早就到了月球!伊本到那儿去得经过印地安人区,他们会剥你的皮.西蒙(残忍的幽默)我们也许会叫他们付出代价的.伊本(明确的)可是不是这么回事.你们赖在这不走,是因为你们要等自己的一份遗产.你们一直在盼他快点死.西蒙(停顿)我们有这份权利.彼得三分之二的田庄是属于我们的.伊本(跳起来)你们没有权利!她不是你们的妈!这是她的田庄!这田庄不是他从妈那儿偷来的吗?现在妈死了,这田庄就是我的.西蒙(讥讽地)你跟爹说去--他就要来了!我可以跟你赌一元钱,他保管会笑死了--他从来没有这样笑过,哈!(他自己沉闷的笑了一声) 彼得(也乐了,附和着笑起来)哈!西蒙(停顿)你有什么跟咱们过不去的?这些年来,你眼睛里老是躲躲闪闪的--准有什么事情.彼得是啊.伊本是的,是有一些事情.(突然爆发)他把我妈逼死的时候,你们为什么不站出来帮她说句话--她待你们这么好你们就不想报答她一点?(长的停顿两人惊讶的望着他)西蒙恩--可咱们得给牲口喝水呀.彼的还得种树.西蒙还得耕地.彼得还得晒干草.西蒙还得往田里施肥.彼得还得锄草.西蒙还得修树枝.彼得还得挤牛奶.伊本(粗声粗气的打断)还得造围墙--石头上堆石头,不听的垒着石墙--一直到咱们的新也想石头一样冷了,硬了,墙越垒越高,咱们也被围在里面出不去了!西蒙(理所当然地)咱们压根儿没时间去管那个事儿.彼得(对伊本)你妈死的时候,你也已经十五岁了--年纪也不算小啦,你自己干吗从来不吭一声?伊本(粗暴地)那时有许多杂活要干,不是吗?(停顿--慢慢地)一直到她死,我才想到这事.妈死后由我来烧饭--干她以前的活--这才使我了解她,体会到她以前受的苦--她得从田里赶回来忙家务--煮土豆--煎熏肉--烘饼干--还得赶回来捅炉子.倒煤灰,她的眼睛被烟和热灰熏的通红通红的直流泪.到了晚上她还得回来--站在炉子边上--她没法好好的睡一觉,也没法安安静静的休息一下.她不习惯闲着--即使在坟墓里也是这样.西蒙她从来没有抱怨过谁.伊本她太累了,太习惯于过度劳累了.这就是他逼的.(一种复仇的狂热)早晚我会跟他算帐的.我会把我那事没说的话当着他的面对他说的!我会拼着命对他喊的,我要让妈在坟墓里得到按息(重又坐下,回到沉思默乡中.他俩古怪地,冷漠而好奇地望着他)彼得(停顿)你说他到底去哪个鬼地方了,西蒙?西蒙不知道.他是坐马车去的.一辆崭新的马车,套着一头浑身毛儿梳的整整齐齐.油光发亮的驴子,他挥着鞭子,舌头吧嗒吧嗒地发出响声,驾着车跑了.这情景我现在还记得清清楚楚.哪天我正犁好地,是春天,五月份,太阳落山的时候,西天一片金黄,他就朝着那个方向走的.我喊他:"你到哪儿去,爹?"他猛地勒住缰绳,车子在石墙前停下.他那双狡猾的蛇眼睛在阳光下闪闪发亮,就象喝过一整坛酒一样.他咧开那张骡嘴得以得说:"等着我回来,你们不许离开这儿!"彼得大概他已经知道咱们想去加利福尼亚了?西蒙也许是的.我什么也没说,可他倒开口了.他阴阳怪气地说:"我一整天耳朵里就听到母鸡咯咯地叫,公鸡喔喔地啼,还有那些母牛也在哪儿喏喏地唤个不停.什么东西都闲不住.我在也受不了了.穿天到了,我心里难受的要死!"他说:"我就象一棵光秃秃的老核桃树,只配当柴烧."他是这样说的.也许听了他的话我连上露出了疑点高兴的样子,他就挺机灵地恶狠狠地说:"别痴心梦想着我快要死了.我发誓要活到一百岁,我肯定会的.就是为了碍着你们点儿,叫你们别在我身上动缺德的脑筋,我也要活他个一百岁!现在我去求求神示,就象先知们在春天常常干的那样.你回去犁你的地吧."就这样,他嘴里哼着歌,驾着车跑了.我想他准是喝醉了--要不,我会拦住他的.伊本(轻蔑地)不,你不会!你怕他.他比你强--他的青神上比你强--比你们两加起来还强呐!彼得(挖苦地)那你呢?--你敢情是个大力士吧?伊本我现在越长越强壮了.我感觉到有一个东西在我心里往上长--总有一天会爆发出来的!(起立.穿外衣.戴上帽子.兄弟两望着他,渐渐忍俊不住笑出声来.伊本害臊地避开他们的目光)我出去走走--到路上去.彼得去村子里?西蒙去村子里?西蒙去看敏妮吧?伊本(挑战地)是的!彼得(嘲弄地)狐狸精!西蒙一股骚劲--这就是在你心里越长越大的东西.伊本恩--她很漂亮!彼得她二十年前就很漂亮了!西蒙就是一头母牛,涂上一层香粉也会变的年轻的.伊本她还不到四十!彼得即使她不到四十,她也是沾上四十的边了.伊本(忍无可忍)你懂什么--彼得我多知道的是......西蒙了解她--接下来是我--西蒙爹也能告诉你疑点关于他们之间的事!他是捷足先登呐!伊本你是说他......西蒙(咧开嘴笑)是的!咱们在什么事情上都是他的继承人!伊本(强烈地)没这么简单!事情很快会爆发出来的!(转而气极)我要去狠狠地揍她的脸!(狂怒地将门拉开)西蒙(向彼得递了个眼色--慢吞吞地)也许你会打她的......不过今天天气很暖和--她又漂亮--你到了那儿兴许会忘了揍她,倒会亲她呢!彼得当然罗!(两人嘶哑地大笑.伊本冲出,将门砰地关上--他来到屋角在大门口停下.凝视天空)西蒙(看着他)象他的爹.彼得一个摸子里出来的!西蒙狗咬狗!彼得是的.(停顿.向往地)也许一年后咱们已经在加利福尼亚了.西蒙是呀.(停顿.两人打起哈欠来)咱们去睡吧.(吹熄油灯,两人走出后门.伊本向天空伸出双臂--反抗地)伊本恩--那儿有一颗星.他这时也一定在一个什么地方.我在这儿,敏妮在路的那一头--在同一个晚上.要是我真的吻她又怎么样?她就象今天的夜色一样,又柔和又温暖,她身上会散发出一股刚犁过的土地气息,她真美......是的!万能的上帝啊,她多美!在和我之前她犯了多少罪过,她跟谁一起搞的,我可不管呢......(大步向左手的路上走去)此帖在2007-08-01 20:29:21被木须龙编辑过本帖地址:复制此帖地址发送给好朋友木须龙头衔:逍遥派代理团长贡献:804发帖量:228加入:2007-07-19进入我的3D粉窝楼主1楼回复主题引用发表于2007-08-01 20:27:18第三场[天还未破晓.一片漆黑.伊本自左手进,绕到游廊里,在暗中摸着路,痛苦地笑出声来,轻声诅咒着.]伊本这该死的吝啬鬼!(可以听见他从前门进了屋,上楼梯时停顿了一下,然后很重地叩他兄弟的房门)醒醒吧!西蒙(惊)谁?伊本(推门而入.手里拿着一只点燃的蜡烛.烛光下卧室隐约可辨.卧室的天花板是一个倾斜的屋顶,人只有在房间近中间隔墙处才能站直.西蒙个彼得正睡在一张靠外边的双人床上.伊本的帆布床在里面.伊本脸上是半笑半怒的神色)是我!彼得(没好气)有什么鸟事?伊本给你们带消息来了!哈!(谇然挖苦地大笑)西蒙(怒)你不能等咱们醒了再开口吗?伊本天快亮了.(忍不住)他这次出去又结婚了!西蒙和彼得(忍不住)爹?伊本他有勾搭上了一个三十五岁的女人--听人家说还很漂亮呢......西蒙(愣住)他妈的骗人!彼得谁说的?西蒙他们在骗你.伊本你以为我是傻瓜吗?全村人都这么说.消息是从纽杜弗来的神父带来的--他把这消息告诉咱们的神父-- 纽杜弗,就是老家伙勾搭上那个--就是那个妞儿住的地方--彼得(停顿)咱们的一切都要落到她手里了.西蒙是啊.(停顿.垂头丧气)是啊--要是一切都这么办了-- 彼得咱们可完啦(停顿--怂恿地)加利福尼亚到处是金子,西蒙,在这儿呆下去没有什么意思了.西蒙我也这么想,(下定决心)咱们今天早上就动身.彼得正合我意.伊本你们一定很喜欢步行去吧.西蒙(挖苦地)要是你能叫我们长出翅膀,我们就飞到那儿去!伊本你们也许更喜欢--坐船去,是吗?(在口袋里摸索,掏出一张揉皱的纸)要是你们愿意在这上面签个字,你们就能坐船去了.考虑到你们要走,我已经事先写好了.上面说只要你们统一把自己的义愤田产让给我,我就给你们每人三百元钱.(他两疑惑地看着纸,停顿)西蒙(犹豫不定)可是,如果他已经结了婚--彼得还有,你哪儿弄来那么多钱?伊本(狡碣地)我知道钱藏在哪里.我一直等着--妈告诉我的.这么多年来她一直知道钱放在哪儿,但她知识等着......这是她的钱--那老家伙是从她的田庄上搜刮来的,他把钱藏起来不让妈知道.现在,着这钱理所当然是我的了.彼得钱藏在哪儿?伊本(狡碣地)藏在一个没有我你们永远也甭想找到的地方.妈暗暗侦察他--不然的话她怎么也不会知道的. (停顿.两人怀疑地望着他,他望着他两)怎么样?这交易还算公平吧?西蒙我不知道.彼得我也不知道.西蒙(看窗外)天色暗了.彼得伊本,你去把炉子生一生.西蒙把饭烧好.伊本是啊,(装出一副滑稽相)我会给你们弄一吨好饭的.如果你们愿意步行到加利福尼亚,你们就得把肚子撑得圆圆的.(朝门口走去.言外有意地)要是你们愿意交换的话,你们就可以坐船去了.(在门口站住.停顿.兄弟两望着他) 西蒙(怀疑地)你昨天一夜在哪儿?伊本(挑战地)在敏妮那儿.(沉吟地)我走去的.起初我觉得我会吻她的,后来突然想起你们说他和她的事,我心里就说,我要为了这事,把她鼻子打下来,就一口气跑到敏妮的佳丽,也不知道自己要去干什么--(停顿-- 害臊地,但更加挑战地)恩,当我见到她时,我没有打她--也没有亲她--我向一头牛一样吼着,嘴里骂不绝口.我简直疯了--她也吓坏啦--我就一把抓住她,搞了她!(骄傲地)是的,就这样!我搞了她.以前她也许是他的--是你们的--可现在她是我的!西蒙(无精打采地)你闹恋爱了?伊本(高傲地不屑一顾)恋爱!我才不相信世界上真有这玩意儿!彼得(对西蒙递了个眼色)也许伊本是想找个老婆.西蒙敏妮到是个忠实的好配偶.(良人轻蔑地扑哧一笑)伊本我可不在意她呢--我只在意她那又圆又暖和的身子.问题是她以前是他的--现在属于我了!(朝门口走去--转身--反抗地)而且敏妮还不算坏,世上比她坏的还多着呢,我敢打赌!咱们等着瞧这老家伙勾搭上的那头母牛!她会胜过敏妮的,我敢肯定!(打算往外走)西蒙(突然)也许你想把她搞到手?彼得哈!(对这个相反报之讽刺的.兴致勃勃的笑)伊本(狠狠啐了一口)她--到这儿来--和他睡觉--偷走我妈的田庄!我宁去喜欢黄鼠狼,去跟毒蛇亲嘴也不会要她!(走了出去.兄弟两疑惑地望着他的背影.停顿.听着他的脚步声渐渐远了)彼得他把火扇起来了.西蒙我想坐船去加利福尼亚--不过--彼得敏妮大概给他出过什么坏主意.西蒙也许爹结婚一事根本就是谣言.咱们最好等着瞧瞧新娘在说.彼得还有,没有决定走之前千万别签什么字!西蒙在没有证明他确实有钱之前也不能签字!(咧开嘴笑了)可是如果爹结婚了,咱们就把田庄卖给伊本,反正咱们说什么也拿不到手.彼得咱们等着瞧.(突然一股气上来)等牢头回来,咱们就什么也别干,要是伊本愿意的话,让伊本去干.咱们就吃呀睡呀,还喝酒,让这倒霉的田庄见鬼去吧!西蒙(兴奋地)好极了!咱们终于可以休息了!咱们可以当一阵子阔佬,每天睡到早饭烧好才起床.彼得等造反摆到桌子上才起来!西蒙(停顿.深思地)你猜猜她是什么样儿--咱们的新妈?象伊本想的那样吗?彼得很可能.西蒙(报复地)好--我单元她是个魔鬼,叫他受不了,叫他宁可早点死去,早点入地狱图个清静!彼得(热烈地)但愿如此!西蒙(学着父亲的声音)"现在我去求求神示,就象先知们在春天常常干的那样."他就是这样说的.我敢打赌,就在那个时候,他肚子里明白,他是找妓女的.这个浑身发臭的伪君子!第四场[景与第二场同--可以看到厨房的内部.桌上放着一盏油灯.屋外天还蒙胧未晓.西蒙和彼得刚吃完早饭.伊本坐在那儿,前面摆着一盘未动过的菜,皱着眉头坐着,一言不发,越想越生气.]彼得(怒气冲冲地瞥了伊本一眼)愁眉苦脸有什么用?西蒙(挖苦地)在为那个骚货伤心呢!彼得(嘻嘻地)不关你的事!(停顿)我在想他.我觉得他快到这儿了--我能感觉到他回来,就象你在发风寒前会感到冷战一样.彼得现在时候还早.西蒙很难说.他就喜欢冷不防抓住咱们--弄到个把柄揍咱们一顿.彼得(机械地站起来,西蒙也如此)好,咱们干活去吧.(两人下意识走到门口,停步)西蒙(笑)你是个大傻瓜,彼得--我比你还不如!让他看到咱们没干活好了!咱们可不管这些!彼得(两人回到桌边)就是不管这些!让他知道咱们和他闹翻了.(两人从新坐下.伊本惊奇地望望这个,望望那个)西蒙(对他笑笑)我们快要做野地里的百合花了.彼得也不劳苦也不防线,什么活也不干!西蒙你是这儿唯一的主人--等他来了议会--这是你希望的.好吧,你也是这儿唯一的劳力了.彼得牛在叫呢,你得去挤牛奶了.伊本(兴奋地)你意思是说你们决定签字了?西蒙(懒懒地)也许是的.彼得也许西蒙我们在考虑.(断然地)你得快点办.伊本(激动异常)这下又是妈的田庄了!这是我的了!这些是。
A Study on Tragic Theme of Desire under the Elms
A Study on Tragic Theme of Desire under the Elms作者:杜曼丽钱晓娟来源:《校园英语·中旬》2018年第12期【摘要】《榆树下的欲望》是尤金·奥尼尔的代表作之一。
本论文从悲剧主题方面分析欣赏奥尼尔的著名悲剧《榆树下的欲望》,揭示了在以金钱为主的社会里,物欲横流,人性被压抑以及导致情感扭曲的社会现实,并且指出拯救人类自我的,也只能是人性的升华与灵魂的净化。
【关键词】尤金·奥尼尔;《榆树下的欲望》;主题意义【Abstract】Desire under the Elms is one of the master pieces of Eugene O’Neill. The thesis analyzes and appreciates Desire under the Elms from tragic theme to highlight the destructive power of improper desires. It reveals how human nature is oppressed, how emotion is distorted in the money-dominated and materialized society. It indicates that only through sublimating human nature and purifying the soul can human rescue themselves.【Key words】O’Neil; Desire under the Elms; desire; thematic meaning【作者简介】杜曼丽,女,硕士,咸阳师范学院外国语学院讲师,研究方向:英语语言文学,外语翻译理论与实践;钱晓娟,女,硕士,咸阳师范学院外国语学院讲师,研究方向:英语语言文学。
榆树下的欲望
人物:伊弗雷姆·凯勃特西蒙,彼得,伊本……凯勃特之子爱碧·普特南村姑,农夫,小提琴师,警长和邻村老乡[故事发生在一八五零年。
新英格兰凯勃特的农舍内外。
农舍的南面正对着一垛石头围墙。
围墙正中有扇木门,开出门便是乡间大路。
屋子还相当完好,只是油漆剥落了。
墙,壁呈浅灰色,看着叫人是生厌。
绿色的百叶窗也以褪色。
农社的两侧各有一棵硕大无比的榆树。
那弯曲伸展的树枝覆盖着屋顶,既像在守卫它,又像在压制它。
这两棵树的外表,使人感到一种不详的。
充满嫉妒和企图征服一切的野性心理。
由于和这屋里人相处久了,居然让人吃惊的有了灵性。
它们层层叠叠的笼罩着屋子,将他压的透不过气来,就像两个筋疲力尽的女人,将她们松垂的乳房。
双手和头发都耷拉在屋顶上。
遇到下雨的日子,她们的眼泪便单调的噗噗往下掉,顺着瓦片流失。
][一条小径从大门通往农社的正门,中间绕过房子的右角。
农舍的正面有一狭窄的游廊。
在面对观众的墙上,楼上下各有两扇窗户,下面两扇比上面略大。
上面分别是父亲和兄弟们的卧室的窗户。
下面左间是厨房,右间是客厅。
客厅的百叶窗自始至终关着。
]第一幕第一场[农舍外景。
一八五零年初夏的一个傍晚。
夕阳西下。
没有风,一切都是静止的。
屋顶上面的天空呈深红色,榆树绿荫正浓。
树阴底下那栋素色的农舍被夕照和绿荫衬托得格外醒目。
[门开了。
伊本。
凯勃特从屋内走出。
他走到游廊的一端,站住,朝右手的大路望去,他手里拿着一只很大的铃,机械的摇着,发出刺耳的叮当声。
他将两手垂下,凝视着天空,迷惘而敬畏的叹了口气,情不自禁地赞美起落日的景致来。
]伊本天哪!多美啊![眼睛转而底视,皱眉,环顾自己的周围。
他二十五岁,高大,健壮。
脸长的很端正。
俊俏,但眉际却露出一股愤愤不平的怨气。
一双带有挑衅的黑眼睛使人联想起一头被困的野兽。
每天对他都是一个牢笼,他发现自己被困在里面,却不甘屈服。
他身上带有着一股凶猛的。
被压抑的力量。
他的头发是乌黑的,上槟和稀疏的槟须也是黑的。
榆树下的欲望
Interpretation of the Text
第三幕第四场
(约一小时后。景同第三场。厨房和卡伯特的卧室。黎 明。天空被旭日照得绚丽多彩。艾比坐在桌旁,她疲惫 不堪,心力交瘁。她的头伏在手臂上,脸被遮住了。在 楼上,卡伯特仍旧睡着,后突然惊醒。他朝窗外看了一 眼,半惊奇半生气地哼了一声——撩开盖在身上的被子, 急急地穿上衣服。他以为艾比还睡在身边,看也不回头 看一眼便开始和她说话了。)
of Buenos Aires, Liverpool, and New York City, submerged himself in alcohol, and attempted suicide. Recovering briefly at the age of 24, he held a job for a few months as a reporter and contributor to the poetry column of the New London Telegraph but soon came down with tuberculosis. Confined to the Gaylord Farm Sanitarium in Wallingford, Conn., for six months (1912-13), he confronted himself soberly and nakedly for the first time and seized the chance for what he later called his "rebirth." He began to write plays. O'Neill's final years were spent in grim frustration. Unable to work, he longed for his death and sat waiting for it in a Boston hotel, seeing no one except his doctor, a nurse, and his third, Carlotta Monterey. O'Neill died as broken and tragic a figure as any he had created for the stage.
- 1、下载文档前请自行甄别文档内容的完整性,平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益,请联系客服反馈,我们会尽快为您处理(人工客服工作时间:9:00-18:30)。
A Play in Three PartsbyEugene O'Neill (1888-1953)CharactersEPHRAIM CABOTSIMEONPETER--his sonsEBENABBIE PUTNAMYoung Girl, Two Farmers, The Fiddler, A Sheriff, and other folk from the neighboring farmsThe action of the entire play takes place in, and immediately outside of, the Cabot farmhouse in New England, in the year 1850. The south end of the house faces front to a stone wall with a wooden gate at center opening on a country road. The house is in good condition but in need of paint. Its walls are a sickly grayish, the green of the shutters faded. Two enormous elms are on each side of the house. They bend their trailing branches down over the roof. They appear to protect and at the same time subdue. There is a sinister maternity in their aspect, a crushing, jealous absorption. They have developed from their intimate contact with the life of man in the house an appalling humaneness. They brood oppressively over the house. They are like exhausted women resting their sagging breasts and hands and hair on its roof, and when it rains their tears trickle down monotonously and rot on the shingles.There is a path running from the gate around the right corner of the house to the front door. A narrow porch is on this side. The end wall facing us has two windows in its upper story, two larger ones on the floor below. The two upper are those of the father's bedroom and that of the brothers. On the left, ground floor, is the kitchen--on the right, the parlor, the shades of which are always drawn down.《榆树下的欲望》PART I SCENE ONE•DESIRE UNDER THE ELMSExterior of the Farmhouse. It is sunset of a day at the beginning of summer in the year 1850. There is no wind and everything is still. The sky above the roof is suffused with deep colors, the green of the elms glows, but the house is in shadow, seeming pale and washed out by contrast.A door opens and Eben Cabot comes to the end of the porch and stands looking down the road to the right. He has a large bell in his hand and this he swings mechanically, awakening a deafening clangor. Then he puts his hands on his hips and stares up at the sky. He sighs with a puzzled awe and blurts out with halting appreciation.EBEN--God! Purty! (His eyes fall and he stares about him frowningly. He istwenty-five, tall and sinewy. His face is well-formed, good-looking, but its expression is resentful and defensive. His defiant, dark eyes remind one of a wild animal's in captivity. Each day is a cage in which he finds himself trapped but inwardly unsubdued. There is a fierce repressed vitality about him. He has black hair, mustache, a thin curly trace of beard. He is dressed in rough farm clothes. He spits on the ground with intense disgust, turns and goes back into the house. Simeon and Peter come in from their work in the fields. They are tall men, much older than their half-brother [Simeon is thirty-nine and Peter thirty-seven], built on a squarer, simpler model, fleshier in body, more bovine and homelier in face, shrewder and more practical. Their shoulders stoop a bit from years of farm work. They clump heavily along in their clumsy thick-soled boots caked with earth. Their clothes, their faces, hands, bare arms and throats are earth-stained. They smell of earth. They stand together for a moment in front of the house and, as if with the one impulse, stare dumbly up at the sky, leaning on their hoes. Their faces have a compressed, unresigned expression. As they look upward, this softens.)SIMEON--(grudgingly) Purty.PETER--Ay-eh.SIMEON--(suddenly) Eighteen years ago.PETER--What?SIMEON--Jenn. My woman. She died.PETER--I'd fergot.SIMEON--I rec'lect--now an' agin. Makes it lonesome. She'd hair long's a hoss'tail--an' yaller like gold!PETER--Waal--she's gone. (this with indifferent finality--then after a pause) They's gold in the West, Sim.SIMEON--(still under the influence of sunset--vaguely) In the sky?PETER--Waal--in a manner o' speakin'--thar's the promise. (growing excited) Gold in the sky--in the West--Golden Gate--Californi-a!--Goldest West!--fields o' gold!SIMEON--(excited in his turn) Fortunes layin' just atop o' the ground waitin' t' be picked! Solomon's mines, they says! (For a moment they continue looking up at the sky--then their eyes drop.)PETER--(with sardonic bitterness) Here--it's stones atop o' the ground--stones atop o' stones--makin' stone walls--year atop o' year--him 'n' yew 'n' me 'n' then Eben--makin' stone walls fur him to fence us in!SIMEON--We've wuked. Give our strength. Give our years. Plowed 'em under in the ground--(he stamps rebelliously)--rottin'--makin' soil for his crops! (a pause) Waal--the farm pays good for hereabouts.PETER--If we plowed in Californi-a, they'd be lumps o' gold in the furrow!SIMEON--Californi-a's t'other side o' earth, a'most. We got t' calc'late--PETER--(after a pause) 'Twould be hard fur me, too, to give up what we've 'arned here by our sweat. (A pause. Eben sticks his head out of the dining-room window, listening.)SIMEON--Ay-eh. (a pause) Mebbe--he'll die soon.PETER--(doubtfully) Mebbe.SIMEON--Mebbe--fur all we knows--he's dead now.PETER--Ye'd need proof.SIMEON--He's been gone two months--with no word.PETER--Left us in the fields an evenin' like this. Hitched up an' druv off into the West. That's plumb onnateral. He hain't never been off this farm 'ceptin' t' the village in thirty year or more, not since he married Eben's maw. (A pause. Shrewdly) Icalc'late we might git him declared crazy by the court.SIMEON--He skinned 'em too slick. He got the best o' all on 'em. They'd neverb'lieve him crazy. (a pause) We got t' wait--till he's under ground.EBEN--(with a sardonic chuckle) Honor thy father! (They turn, startled, and stare at him. He grins, then scowls.) I pray he's died. (They stare at him. He continues matter-of-factly.) Supper's ready.SIMEON AND PETER--(together) Ay-eh.EBEN--(gazing up at the sky) Sun's downin' purty.SIMEON AND PETER--(pointing) Ay-eh. They's gold in the West.EBEN--(pointing) Ay-eh. Yonder atop o' the hill pasture, ye mean?SIMEON AND PETER--(together) In Californi-a!EBEN--Hunh? (stares at them indifferently for a second, then drawls)Waal--supper's gittin' cold. (He turns back into kitchen.)SIMEON--(startled--smacks his lips) I air hungry!PETER--(sniffing) I smells bacon!SIMEON--(with hungry appreciation) Bacon's good!PETER--(in same tone) Bacon's bacon! (They turn, shouldering each other, their bodies bumping and rubbing together as they hurry clumsily to their food, like two friendly oxen toward their evening meal. They disappear around the right corner of house and can be heard entering the door.)(The Curtain Falls)《榆树下的欲望》PART I SCENE TWO•DESIRE UNDER THE ELMSThe color fades from the sky. Twilight begins. The interior of the kitchen is now visible. A pine table is at center, a cook-stove in the right rear corner, four rough wooden chairs, a tallow candle on the table. In the middle of the rear wall is fastened a big advertizing poster with a ship in full sail and the word "California" in big letters.Kitchen utensils hang from nails. Everything is neat and in order but the atmosphere is of a men's camp kitchen rather than that of a home.Places for three are laid. Eben takes boiled potatoes and bacon from the stove and puts them on the table, also a loaf of bread and a crock of water. Simeon and Peter shoulder in, slump down in their chairs without a word. Eben joins them. The three eat in silence for a moment, the two elder as naturally unrestrained as beasts of the field, Eben picking at his food without appetite, glancing at them with a tolerant dislike.SIMEON--(suddenly turns to Eben) Looky here! Ye'd oughtn't t' said that, Eben. PETER--'Twa'n't righteous.EBEN--What?SIMEON--Ye prayed he'd died.EBEN--Waal--don't yew pray it? (a pause)PETER--He's our Paw.EBEN--(violently) Not mine!SIMEON--(dryly) Ye'd not let no one else say that about yer Maw! Ha! (He gives one abrupt sardonic guffaw. Peter grins.)EBEN--(very pale) I meant--I hain't his'n--I hain't like him--he hain't me! PETER--(dryly) Wait till ye've growed his age!EBEN--(intensely) I'm Maw--every drop o' blood! (A pause. They stare at him with indifferent curiosity.)PETER--(reminiscently) She was good t' Sim 'n' me. A good Step-maw's scurse.SIMEON--She was good t' everyone.EBEN--(greatly moved, gets to his feet and makes an awkward bow to each of them--stammering) I be thankful t' ye. I'm her--her heir. (He sits down in confusion.)PETER--(after a pause--judicially) She was good even t' him.EBEN--(fiercely) An' fur thanks he killed her!SIMEON--(after a pause) No one never kills nobody. It's allus somethin'. That's the murderer.EBEN--Didn't he slave Maw t' death?PETER--He's slaved himself t' death. He's slaved Sim 'n' me 'n' yew t' death--on'y none o' us hain't died--yit.SIMEON--It's somethin'--drivin' him--t' drive us!EBEN--(vengefully) Waal--I hold him t' jedgment! (then scornfully) Somethin'! What's somethin'?SIMEON--Dunno.EBEN--(sardonically) What's drivin' yew to Californi-a, mebbe? (They look at him in surprise.) Oh, I've heerd ye! (then, after a pause) But ye'll never go t' the gold fields!PETER--(assertively) Mebbe!EBEN--Whar'll ye git the money?PETER--We kin walk. It's an a'mighty ways--Californi-a--but if yew was t' put all the steps we've walked on this farm end t' end we'd be in the moon!EBEN--The Injuns'll skulp ye on the plains.SIMEON--(with grim humor) We'll mebbe make 'em pay a hair fur a hair!EBEN--(decisively) But t'ain't that. Ye won't never go because ye'll wait here fur yer share o' the farm, thinkin' allus he'll die soon.SIMEON--(after a pause) We've a right.PETER--Two thirds belongs t' us.EBEN--(jumping to his feet) Ye've no right! She wa'n't yewr Maw! It was her farm! Didn't he steal it from her? She's dead. It's my farm.SIMEON--(sardonically) Tell that t' Paw--when he comes! I'll bet ye a dollar he'll laugh--fur once in his life. Ha! (He laughs himself in one single mirthless bark.)PETER--(amused in turn, echoes his brother) Ha!SIMEON--(after a pause) What've ye got held agin us, Eben? Year arter year it's skulked in yer eye--somethin'.PETER--Ay-eh.EBEN--Ay-eh. They's somethin'. (suddenly exploding) Why didn't ye never stand between him 'n' my Maw when he was slavin' her to her grave--t' pay her back fur the kindness she done t' yew? (There is a long pause. They stare at him in surprise.)SIMEON--Waal--the stock'd got t' be watered.PETER--'R they was woodin' t' do.SIMEON--'R plowin'.PETER--'R hayin'.SIMEON--'R spreadin' manure.PETER--'R weedin'.SIMEON--'R prunin'.PETER--'R milkin'.EBEN--(breaking in harshly) An' makin' walls--stone atop o' stone--makin' walls till yer heart's a stone ye heft up out o' the way o' growth onto a stone wall t' wall in yer heart!SIMEON--(matter-of-factly) We never had no time t' meddle.PETER--(to Eben) Yew was fifteen afore yer Maw died--an' big fur yer age. Why didn't ye never do nothin'?EBEN--(harshly) They was chores t' do, wa'n't they? (a pause--then slowly) It was on'y arter she died I come to think o' it. Me cookin'--doin' her work--that made me know her, suffer her sufferin'--she'd come back t' help--come back t' bile potatoes--come back t' fry bacon--come back t' bake biscuits--come back all cramped up t' shake the fire, an' carry ashes, her eyes weepin' an' bloody with smoke an' cinders same's they used t' be. She still comes back--stands by the stove thar in the evenin'--she can't find it nateral sleepin' an' restin' in peace. She can't git used t' bein' free--even in her grave.<!--pagebreak-->SIMEON--She never complained none.EBEN--She'd got too tired. She'd got too used t' bein' too tired. That was what he done. (with vengeful passion) An' sooner'r later, I'll meddle. I'll say the thin's I didn't say then t' him! I'll yell 'em at the top o' my lungs. I'll see t' it my Maw gits some rest an' sleep in her grave! (He sits down again, relapsing into a brooding silence. They look at him with a queer indifferent curiosity.)PETER--(after a pause) Whar in tarnation d'ye s'pose he went, Sim?SIMEON--Dunno. He druv off in the buggy, all spick an' span, with the mare all breshed an' shiny, druv off clackin' his tongue an' wavin' his whip. I remember it right well. I was finishin' plowin', it was spring an' May an' sunset, an' gold in the West, an' he druv off into it. I yells "Whar ye goin', Paw?" an' he hauls up by the stone wall a jiffy. His old snake's eyes was glitterin' in the sun like he'd been drinkin' a jugful an' he says with a mule's grin: "Don't ye run away till I come back!"PETER--Wonder if he knowed we was wantin' fur Cali-forni-a?SIMEON--Mebbe. I didn't say nothin' and he says, lookin' kinder queer an' sick: "I been hearin' the hens cluckin' an' the roosters crowin' all the durn day. I been listenin' t' the cows lowin' an' everythin' else kickin' up till I can't stand it no more. It's spring an' I'm feelin' damned," he says. "Damned like an old bare hickory tree fit on'y fur burnin'," he says. An' then I calc'late I must've looked a mite hopeful, fur he adds real spry and vicious: "But don't git no fool idee I'm dead. I've sworn t' live a hundred an' I'll do it, if on'y t' spite yer sinful greed! An' now I'm ridin' out t' learn God's message t' me in the spring, like the prophets done. An' yew git back t' yerplowin'," he says. An' he druv off singin' a hymn. I thought he was drunk--'r I'd stopped him goin'.EBEN--(scornfully) No, ye wouldn't! Ye're scared o' him. He's stronger--inside--than both o' ye put together!PETER--(sardonically) An' yew--be yew Samson?EBEN--I'm gittin' stronger. I kin feel it growin' in me--growin' an' growin'--till it'll bust out--! (He gets up and puts on his coat and a hat. They watch him, gradually breaking into grins. Eben avoids their eyes sheepishly.) I'm goin' out fur a spell--up the road.PETER--T' the village?SIMEON--T' see Minnie?EBEN--(defiantly) Ay-eh!PETER--(jeeringly) The Scarlet Woman!SIMEON--Lust--that's what's growin' in ye!EBEN--Waal--she's purty!PETER--She's been purty fur twenty year!SIMEON--A new coat o' paint'll make a heifer out of forty.EBEN--She hain't forty!PETER--If she hain't, she's teeterin' on the edge.EBEN--(desperately) What d'yew know--PETER--All they is . . . Sim knew her--an' then me arter--SIMEON--An' Paw kin tell yew somethin' too! He was fust!EBEN--D'ye mean t' say he . . . ?SIMEON--(with a grin) Ay-eh! We air his heirs in everythin'!EBEN--(intensely) That's more to it. That grows on it! It'll bust soon! (then violently) I'll go smash my fist in her face! (He pulls open the door in rear violently.)SIMEON--(with a wink at Peter--drawlingly) Mebbe--but the night'swa'm--purty--by the time ye git thar mebbe ye'll kiss her instead!PETER--Sart'n he will! (They both roar with coarse laughter. Eben rushes out and slams the door--then the outside front door--comes around the corner of the house and stands still by the gate, staring up at the sky.)SIMEON--(looking after him) Like his Paw.PETER--Dead spit an' image!SIMEON--Dog'll eat dog!PETER--Ay-eh. (Pause. With yearning) Mebbe a year from now we'll be in Californi-a.SIMEON--Ay-eh. (A pause. Both yawn.) Let's git t' bed. (He blows out the candle. They go out door in rear. Eben stretches his arms up to the sky--rebelliously)EBEN--Waal--thar's a star, an' somewhar's they's him, an' here's me, an' thar's Min up the road--in the same night. What if I does kiss her? She's like t'night, she's soft 'n' wa'm, her eyes kin wink like a star, her mouth's wa'm, her arms're wa'm, she smells like a wa'm plowed field, she's purty . . . Ay-eh! By God A'mighty she's purty, an' I don't give a damn how many sins she's sinned afore mine or who she's sinned 'em with, my sin's as purty as any one on 'em! (He strides off down the road to the left.)《榆树下的欲望》PART I SCENE THREE•DESIRE UNDER THE ELMSIt is the pitch darkness just before dawn. Eben comes in from the left and goes around to the porch, feeling his way, chuckling bitterly and cursing half-aloud to himself.EBEN--The cussed old miser! (He can be heard going in the front door. There is a pause as he goes upstairs, then a loud knock on the bedroom door of the brothers.) Wake up!SIMEON--(startledly) Who's thar?EBEN--(pushing open the door and coming in, a lighted candle in his hand. The bedroom of the brothers is revealed. Its ceiling is the sloping roof. They can stand upright only close to the center dividing wall of the upstairs. Simeon and Peter are in a double bed, front. Eben's cot is to the rear. Eben has a mixture of silly grin and vicious scowl on his face.) I be!PETER--(angrily) What in hell's-fire . . . ?EBEN--I got news fur ye! Ha! (He gives one abrupt sardonic guffaw.)SIMEON--(angrily) Couldn't ye hold it 'til we'd got our sleep?EBEN--It's nigh sunup. (then explosively) He's gone an' married agen!SIMEON AND PETER--(explosively) Paw?EBEN--Got himself hitched to a female 'bout thirty-five--an' purty, they says . . .SIMEON--(aghast) It's a durn lie!PETER--Who says?SIMEON--They been stringin' ye!EBEN--Think I'm a dunce, do ye? The hull village says. The preacher from New Dover, he brung the news--told it t' our preacher--New Dover, that's whar the old loon got himself hitched--that's whar the woman lived--PETER--(no longer doubting--stunned) Waal . . . !SIMEON--(the same) Waal . . . !EBEN--(sitting down on a bed--with vicious hatred) Ain't he a devil out o' hell? It's jest t' spite us--the damned old mule!PETER--(after a pause) Everythin'll go t' her now.SIMEON--Ay-eh. (a pause--dully) Waal--if it's done--PETER--It's done us. (pause--then persuasively) They's gold in the fields o' Californi-a, Sim. No good a-stayin' here now.SIMEON--Jest what I was a-thinkin'. (then with decision) S'well fust's last! Let's light out and git this mornin'.PETER--Suits me.EBEN--Ye must like walkin'.SIMEON--(sardonically) If ye'd grow wings on us we'd fly thar!EBEN--Ye'd like ridin' better--on a boat, wouldn't ye? (fumbles in his pocket and takes out a crumpled sheet of foolscap) Waal, if ye sign this ye kin ride on a boat. I've had it writ out an' ready in case ye'd ever go. It says fur three hundred dollars t' each ye agree yewr shares o' the farm is sold t' me. (They look suspiciously at the paper. A pause.)SIMEON--(wonderingly) But if he's hitched agen--PETER--An' whar'd yew git that sum o' money, anyways?EBEN--(cunningly) I know whar it's hid. I been waitin'--Maw told me. She knew whar it lay fur years, but she was waitin' . . . It's her'n--the money he hoarded from her farm an' hid from Maw. It's my money by rights now.PETER--Whar's it hid?EBEN--(cunningly) Whar yew won't never find it without me. Maw spied on him--'r she'd never knowed. (A pause. They look at him suspiciously, and he at them.) Waal, is it fa'r trade?SIMEON--Dunno.PETER--Dunno.SIMEON--(looking at window) Sky's grayin'.PETER--Ye better start the fire, Eben.SIMEON--An' fix some vittles.EBEN--Ay-eh. (then with a forced jocular heartiness) I'll git ye a good one. If ye're startin' t' hoof it t' Californi-a ye'll need somethin' that'll stick t' yer ribs. (He turns to the door, adding meaningly) But ye kin ride on a boat if ye'll swap. (He stops at the door and pauses. They stare at him.)SIMEON--(suspiciously) Whar was ye all night?EBEN--(defiantly) Up t' Min's. (then slowly) Walkin' thar, fust I felt 's if I'd kiss her; then I got a-thinkin' o' what ye'd said o' him an' her an' I says, I'll bust her nose fur that! Then I got t' the village an' heerd the news an' I got madder'n hell an' run all the way t' Min's not knowin' what I'd do--(He pauses--then sheepishly but more defiantly) Waal--when I seen her, I didn't hit her--nor I didn't kiss her nuther--I begun t' beller like a calf an' cuss at the same time, I was so durn mad--an' she got scared--an' I jest grabbed holt an' tuk her! (proudly) Yes, siree! I tuk her. She may've been his'n--an' your'n, too--but she's mine now!SIMEON--(dryly) In love, air yew?<!--pagebreak-->EBEN--(with lofty scorn) Love! I don't take no stock in sech slop!PETER--(winking at Simeon) Mebbe Eben's aimin' t' marry, too.SIMEON--Min'd make a true faithful he'pmeet! (They snicker.)EBEN--What do I care fur her--'ceptin' she's round an' wa'm? The p'int is she was his'n--an' now she b'longs t' me! (He goes to the door--then turns--rebelliously) An' Min hain't sech a bad un. They's worse'n Min in the world, I'll bet ye! Wait'll we see this cow the Old Man's hitched t'! She'll beat Min, I got a notion! (He starts to go out.)SIMEON--(suddenly) Mebbe ye'll try t' make her your'n, too?PETER--Ha! (He gives a sardonic laugh of relish at this idea.)EBEN--(spitting with disgust) Her--here--sleepin' with him--stealin' my Maw's farm! I'd as soon pet a skunk 'r kiss a snake! (He goes out. The two stare after him suspiciously. A pause. They listen to his steps receding.)PETER--He's startin' the fire.SIMEON--I'd like t' ride t' Californi-a--but--PETER--Min might o' put some scheme in his head.SIMEON--Mebbe it's all a lie 'bout Paw marryin'. We'd best wait an' see the bride.PETER--An' don't sign nothin' till we does!SIMEON--Nor till we've tested it's good money! (then with a grin) But if Paw's hitched we'd be sellin' Eben somethin' we'd never git nohow!PETER--We'll wait an' see. (then with sudden vindictive anger) An' till he comes, let's yew 'n' me not wuk a lick, let Eben tend to thin's if he's a mind t', let's us jest sleep an' eat an' drink likker, an' let the hull damned farm go t' blazes!SIMEON--(excitedly) By God, we've 'arned a rest! We'll play rich fur a change. I hain't a-going to stir outa bed till breakfast's ready.PETER--An' on the table!SIMEON--(after a pause--thoughtfully) What d'ye calc'late she'll be like--our new Maw? Like Eben thinks?PETER--More'n' likely.SIMEON--(vindictively) Waal--I hope she's a she-devil that'll make him wish he was dead an' livin' in the pit o' hell fur comfort!PETER--(fervently) Amen!SIMEON--(imitating his father's voice) "I'm ridin' out t' learn God's message t' me in the spring like the prophets done," he says. I'll bet right then an' thar he knew plumb well he was goin' whorin', the stinkin' old hypocrite!《榆树下的欲望》PART I SCENE FOUR•DESIRE UNDER THE ELMSSame as Scene Two--shows the interior of the kitchen with a lighted candle on table. It is gray dawn outside. Simeon and Peter are just finishing their breakfast. Eben sits before his plate of untouched food, brooding frowningly.PETER--(glancing at him rather irritably) Lookin' glum don't help none.SIMEON--(sarcastically) Sorrowin' over his lust o' the flesh!PETER--(with a grin) Was she yer fust?EBEN--(angrily) None o' yer business. (a pause) I was thinkin' o' him. I got a notion he's gittin' near--I kin feel him comin' on like yew kin feel malaria chill afore it takes ye.PETER--It's too early yet.SIMEON--Dunno. He'd like t' catch us nappin'--jest t' have somethin' t' hoss us'round over.PETER--(mechanically gets to his feet. Simeon does the same.) Waal--let's git t' wuk. (They both plod mechanically toward the door before they realize. Then they stop short.)SIMEON--(grinning) Ye're a cussed fool, Pete--and I be wuss! Let him see we hain't wukin'! We don't give a durn!PETER--(as they go back to the table) Not a damned durn! It'll serve t' show him we're done with him. (They sit down again. Eben stares from one to the other with surprise.)SIMEON--(grins at him) We're aimin' t' start bein' lilies o' the field.PETER--Nary a toil 'r spin 'r lick o' wuk do we put in!SIMEON--Ye're sole owner--till he comes--that's what ye wanted. Waal, ye got t' be sole hand, too.PETER--The cows air bellerin'. Ye better hustle at the milkin'.EBEN--(with excited joy) Ye mean ye'll sign the paper?SIMEON--(dryly) Mebbe.PETER--Mebbe.SIMEON--We're considerin'. (peremptorily) Ye better git t' wuk.EBEN--(with queer excitement) It's Maw's farm agen! It's my farm! Them's my cows! I'll milk my durn fingers off fur cows o' mine! (He goes out door in rear, they stare after him indifferently.)SIMEON--Like his Paw.PETER--Dead spit 'n' image!SIMEON--Waal--let dog eat dog! (Eben comes out of front door and around the corner of the house. The sky is beginning to grow flushed with sunrise. Eben stops by the gate and stares around him with glowing, possessive eyes. He takes in the whole farm with his embracing glance of desire.)EBEN--It's purty! It's damned purty! It's mine! (He suddenly throws his head back boldly and glares with hard, defiant eyes at the sky.) Mine, d'ye hear? Mine! (He turns and walks quickly off left, rear, toward the barn. The two brothers light their pipes.)SIMEON--(putting his muddy boots up on the table, tilting back his chair, and puffing defiantly) Waal--this air solid comfort--fur once.PETER--Ay-eh. (He follows suit. A pause. Unconsciously they both sigh.)SIMEON--(suddenly) He never was much o' a hand at milkin', Eben wa'n't.PETER--(with a snort) His hands air like hoofs! (a pause)SIMEON--Reach down the jug thar! Let's take a swaller. I'm feelin' kind o' low.PETER--Good idee! (He does so--gets two glasses--they pour out drinks of whisky.) Here's t' the gold in Californi-a!。