榆树下的欲望(课堂PPT)
DesireUnderTheElms(榆树下的欲望)学生自主上课.ppt
Farm worker.
They clump heavily along in their clumsy thick-soled boots caked with earth.
"Founder of the American drama"
Born in New York on October 16, 1888 into a theatrical family
Received university education for one year and later traveled all over the world
His defiant, dark eyes remind one of a wild animal's in captivity.
Dressed in rough farm clothes.
3.Analysis of major characters
Seventy-five, tall and gaunt, with great, wiry, concentrated power, but stoop-shouldered from toil.
(1) He introduced the realistic or even the naturalistic aspect of life into the American theater.
(2) He borrowed freely from modern literary techniques such as the stream-of -consciousness device with the help of which he managed to reveal the emotional and psychological complexities of modern man.
Desire Under The Elms (榆树下的欲望)学生自主上课
4.The theme of the drama
It also drove Abbie to marry Cabot, a rather old man, so that she can get Cabot’s property. It is from her desire that all the tragedy begin. Even an unrelated person like the sheriff desired to possess the farm! He says, “It’s a jim-dandy farm, no denyin’. Wished I owned it!” It is funny, but there lies something not so lighthearted behind it. The bitterness and sarcasm can be sensed by sensitive readers. That is, it is human nature to desire for wealth.
5. The influence about Desire Under the Elms
1.Introduction of the author
His Life and Writing Career
America's greatest playwright Won the Pulitzer Prize four times，the only dramatist ever to win a Nobel Prize (1936)
4.The theme of the drama
The play uses ancient Greek themes of murder and fateful retributuion upon the sinners. Just as fate leads to a Greek tragedy , the emotional forces of such human desires as jealousy , resentment , lust , and incestuous love result in the fatal tragedy in Desire Under the Elms.
奥尼尔《榆树下的欲望》
剧中通过家庭成员之间的明争暗斗，展现了权力斗争的各种表现形式，如权力的争夺、 权力的滥用、权力的制衡等。
家庭关系与权力斗争的影响
这种斗争不仅影响了家庭成员之间的关系，也影响了整个家庭的命运和走向，使得剧情 更加扣人心弦。
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艺术手法赏析
心理描写的深度
人物内心世界的刻画
奥尼尔在《榆树下的欲望》中深入挖掘了人物内心的矛盾和挣扎， 通过细腻的心理描写展现了人性的复杂和多面。
对后世戏剧的影响
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推动心理剧的发展
奥尼尔在《榆树下的欲望》 中深入探索了人物的心理 世界，为后来的心理剧创 作提供了启示和借鉴。
对悲剧的革新
该剧将悲剧元素与日常生 活场景相结合，打破了传 统悲剧的界限，为悲剧创 作带来了新的表现手法。
对美国戏剧的贡献
奥尼尔的作品对美国戏剧 的发展产生了深远的影响， 为美国戏剧在国际舞台上 赢得了声誉。
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欲望与道德的冲突
剧中人物在追求个人欲望时，面临着 道德底线的挑战和挣扎，这种冲突使 剧情更加紧张和扣人心弦。
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自然与社会的冲突
奥尼尔在剧中还隐含了自然与社会之 间的冲突，通过榆树这一象征物，暗 示着自然力量对人类情感的牵引和影 响。
语言的运用与风格
生动而富有表现力的对话
奥尼尔在《榆树下的欲望》中运用生动而富有表现力的对话，成功塑造了人物性格和内心世界，使观众能够更深刻地 理解人物。
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高度赞誉
学术界和批评界对该剧给予了高度评价，认为它 是奥尼尔的代表作之一，具有很高的艺术价值。
深入剖析
该剧被多次深入研究和分析，从不同角度挖掘其 主题、人物塑造和艺术手法等方面的价值。
《榆树下的欲望》
中,他无情揭露金钱的罪恶,让在金钱面前失去自我不能自拔者反思,给
他们支柱,让他们重拾自我找回人生价值及意义。同时给后世人启迪，
人生的终极关怀不可磨灭。
关键词：金钱
罪恶 灵魂 精神
我国戏剧大师曹禺先生生前曾给予奥尼尔的评价:” 奥尼尔一生
反对商业性戏剧。他严肃地致力于对戏剧的探索与创造。他深深地感到
剧中还有两位人物，那就是伊本的同父异母的哥哥。西蒙和彼得。 他们一直受父亲的压迫和控制，得不到自由。愿望是到加利福尼亚淘 金，摆脱这个牢笼。 彼得说过“ 在西部有黄金--也许还有自由。在 这儿咱们是围在石头墙里的奴隶。” 透视他们的心灵世界，让人叹 息，被金钱诱使被金钱掌控。因为他们没钱，所以必须服从父亲的命 令，因为没钱得不到财产所以在伊本的纸条上签字售卖对农场的继承股 权。他们说的是“好--就让他们狗咬狗吧!“他们摆脱了父亲的钳制却 扔不掉金钱给予他们的枷锁。到加利福尼亚去也是追寻物质利益，他们 没有获得精神的释放，最终还是陷入泥泞。悲哀！
生。他的吝啬可与阿巴贡媲美。看看这个追求金钱和物质享受的家伙丧
失了灵魂，一个钱字已让他扭曲变态，金钱的力量真是“伟大”。
伊本，戏剧的主要人物。他是父亲的儿子,母亲的儿子，哥哥的弟
弟。但在他眼里，父亲不是父亲，哥哥们是争夺财产的敌人。似乎他们
没有任何瓜葛，不是说血浓于水吗，但伊本说过“不是他逼着我妈妈做
看着这对名义上的父子，让人深思的不仅是那个失去亲情的社会， 而是产生这种结局的资本主义，及那时的拜金主义。它毒害的不仅仅是 一个家庭，一个父亲，一个儿子，而是整个社会中对金钱的崇拜者。
在此不得不提及的另外一位受害者是艾比。任何一位少妇都希望有 一段美好的爱情和幸福的婚姻，但在那个有两棵榆树的家中，她什么也 没得到，除了一个凯勃特太太的虚名。嫁一个年过70的老头只为继承遗 产，“（声音中有一种主宰一切的力量）一个女人是得要个家！” “（带着征服者所意识到的优越感）我得进去瞧瞧我的 房子。（悠闲 自得地顺着游廊走去。）”这是当时多数女人的想法，她是时代的象 征，为追求所谓的幸福生活而背离自己的灵魂。当她真正爱上伊本时， 但伊本却被钱给麻木，无法相信她的心。她的结局悲惨就是亲手杀死自 己的孩子为表达自己的真爱，最终被法律制裁。悲剧就是将美好的东西 撕毁给人看，奥尼尔将人性最美好的一面毁灭在财产利益上，将人类永 恒的爱，纯真而美好的爱情在我们心中留下遗憾，这可算作伤痕文学， 在痛中思考人的精神自我，思考我们的存在价值。钱啊，我该怎样计算 你对这些人的伤害，对人整个精神世界的迫害。奥尼尔对美国现实的揭 示已让我们清楚认识到物欲的杀伤力。
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
外国文学经典教程——表现主义文学ppt课件
电影领域
表现主义电影的特点： 1. 影像：表现主义的导演注重具有象征意味的造型，认为 电影的影像应该成为平面艺术。
2. 表演：比较夸张，表演方式是展示迅速的变动、舞蹈般
的动作、变形或扭曲的表情。 3. 题材和类型：恐怖、灾难、犯罪题材是最常见的，从中 挖掘人物内心深处的孤独、残暴、恐怖、狂乱的精神状态 。
卡加里博士
凶手M
泥人哥连
绘画领域
《带彩虹的蓝马》
德国表现主义艺术 家马尔克，作品寻 求人与自然在精神 上的和谐。画面中 的蓝马低着头，闭 着眼，安祥而温和 地吸引着观众的视 线。
《波浪》
由挪威表现主义 画家爱德华创作 。作品使用对客 观形态的夸张、 变形乃至怪诞处 理的 手法。
《琼斯皇帝》写的是黑人琼斯当上了黑人部落的皇帝，
他用从白人那里学来的伎俩残酷统治着他的百姓。琼斯背 叛了自己的种族，也就背弃了他的自我，因此，他注定要 逃亡，注定要毁灭。然而，他在森林中逃了一夜，竟又回 到了开始的地方，这就表明，要逃避死神、逃避异化是不 可能的。剧本以琼斯紧张心理的内心独白，表现出他的精 神恍惚和种种幻觉，具有表现主义的艺术特征。
其他作家还有斯特林堡、魏德金德、斯特恩海姆、 托勒尔、恰佩克、凯泽等。表现主义戏剧在德国也 取得了重大的成就，魏德金德、斯特恩海姆、凯泽 和托勒尔等是都德国人。
创作成果
《毛猿》
奥尼尔是表现主义戏剧大师、 美国戏剧之父。 作品：
《天边外》、《安娜· 克利斯 蒂》和《榆树下的欲望》三 部现实主义作品以及《琼斯 皇》、《毛猿》等两部表现 主义的代表作品。
长篇小说
《美国》，描述的是16岁的 德国少年卡尔· 罗斯曼，因受 家中女仆的引诱，致使女仆 怀孕，被父母赶出家门，放 逐到美国的经历遭遇。作品 所侧重的是人物在美国的忧 郁、孤独的内心感受。
奥尼尔《榆树下的欲望》培训资料
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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。
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主题和象征意义
欲望与道德的主题探讨
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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。
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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)。
榆树下的欲望
A: Where are you going? Minnie? (伊本的老相好 伊本的老相好) 伊本的老相好 Why do you waste time on that ugly old hake? 你在丑八怪身上浪费时间图个啥？ 你在丑八怪身上浪费时间图个啥？ E: She is prettier than you. A: Get out of my sight, I hate the sight of you. E: So do I?
A moment later the kitchen door is slowly pushed open and Abbie enters. For a moment she stands looking at Eben. He does not notice her at first. Her eyes take him in penetratingly with a calculating appraisal of his strength as against hers.
A: This is my farm--this is my home—and this is my kitchen. And upstairs--that is my bedroom— and my bed! E: Shut up. Or I’ll kill you. A: Kill me, kill me. Your father will drive you out of home. I didn’t mean feel bad about you. Let you and me be friends, Eben. E: Ay-eh.
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.
O’Neill_Desire_Under_the_Elms 榆树下的欲望 (美国文学)
Desire for wealth makes people lose balance of a healthy mind
In this drama, every character appearing on the stage shows a desire for wealth. Cabot is a typical representative of Puritans. He was selfish, cheap, cruel and hard. He got properties through his marriage and forced his two ex-wives to work extremely hard until they were abused to death.
Desire
Under the Elms was performed in New York‟s Broadway Theater for thirtysix weeks on end in the year 1925.
This
play is O‟Neill‟s first effort at writing in the style of Greek Tragedy. However, he did not follow the Greek tradition to choose a great figure of noble birth about whom fates would unravel(解开) their mystery. He deliberately chose a New England farmer and his family members as the protagonists of his drama to tell a story of ordinary people in the modern time.
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
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。
榆树下的欲望(课堂PPT)
Part One
The Author: Eugene Glastone O’Neill
Born in a hotel room and died in a hotel room.
2
Eugene O’Neill (1888-1953)
➢The greatest American dramatist ➢“Founder of the American drama” and “American Shakespeare” ➢Won Pulitzer Prize four times ➢ Won the Nobel Prize (1936)
B Experimentalist
Introduced the European theatrical trends of realism, naturalism, and expressionism to the American stage.
C Influences
Influenced later playwrights as Tennessee William, Arthur Millerand Cao Yu.
Schopenhauer （尼采&叔本华）
12
Comment
A Dramatist
Contributed to establish the modes of the modern theatre and turned American drama into a form of literature.
Tuberculosis
Baker’s drama class
Baker’s drama class at Harvard
Illness and death
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Human existence and predicament
Meaning and purpose
1
2
3
Disappointment and despair
4 The truth of life
1 Life and death, illusion and disillusion, dream and reality, etc.
5
His works
The early period: Realistic plays
Bound East for Cardiff (1916) 《东航卡迪夫》
➢His first play ➢The beginning of his dramatic career ➢Ushering in the modern era of the American theatre
Eugene O’Neill is the founder of modern American drama. He has been well nourished from different sources, especially from August Strindberg, Henrik Ibsen, Nietzsche and Schopenhauer.
3
His life
Birth
A theatrical family
Family
Education Experiences
Princeton Father-an actor University
Sailor Gold digger Theatre manager
4
His life
1912-1913
1
Part One
The Author: Eugene Glastone O’Neill
Born in a hotel room and died in a hotel room.
2
Eugene O’Neill (1888-1953)
➢The greatest American dramatist ➢“Founder of the American drama” and “American Shakespeare” ➢Won Pulitzer Prize four times ➢ Won the Nobel Prize (1936)
9
Features of his plays
Tragic structure
dream—doubt—defeat
Naturalistic and realistic spirits
symbolic expressionism
Psycholppet characters
2 Many characters are seeking meaning and purpose of life.
3 But ending with disappointment and despair.
4 O’ Neill himself was constantly wrestling with these issues and struggling with the perplexity about the truth of life.
representing all human beings
10
Style and techniques
➢Experimenting with new styles and forms
➢Borrowing from both traditional and modern theories and techniques
➢Sea life; one-act plays ➢ Romanticism, ➢naturalism ➢ realism
6
The middle period: Expressionistic plays
Anna Christie (1922) 《安娜·克里斯蒂》 Pulitzer Prize Desire Under the Elms (1924) 《榆树下的欲望》 Strange Interlude (1928) 《奇异的插曲》 Pulitzer Prize Mourning Becomes Electra (1931) 《悲悼》
7
Final period: Realism and Modernism
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》
8
Themes of his plays: tragic view of life
✓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.
Naturalistic literature
Expressionism and symbolism
Realism
Naturalism
&
Expressionism
Symbolism
Stream of consciousness Interior monologue
Language of dialect Masks
11
Comment
People who influenced on his writing
Tuberculosis
Baker’s drama class
Baker’s drama class at Harvard
Illness and death
Parkinson
✓Became infatuated with the works of Ibsen and Strindberg and cultivated an interest in play writing.