《榆树下的欲望》与《悲悼》归属感主题探讨

尤金·奥尼尔的中期剧作《榆树下的欲望》及《悲悼》，在取材与主题方面有很多相似性，特别是两剧的主人公都生活在浓重的清教氛围中，文化的禁锢与人的自然欲望的激烈冲突，构成了人物性格的极端对立。力求淡化传统精神分析批评对奥尼尔中期剧作的模式化影响，而以两剧主人公伊本与莱维尼亚极端对立性格的成因、发展及悲剧性结局为主线，对人物的归属感问题进行横向比较分析，从而展示了奥尼尔作品的悲剧力量。

On the Protagonists' Resolution in Desire Under the Elms and Mourning Becomes Electra

This paper is designed to elaborate O＇Neill＇s major concern for establishing a unity upon polarities. The focus is on whether the polarities could or could not be harmonized in his characters. Among his mature works, two of his emotionally probing plays, Desire Under the Elms and Mourning Becomes Electra, present abundant parallels for intensive discussion of the characters＇ unity of being under the tension of inner polarities in the form of Puritan-pagan polarities. The point is that each of the characters is able to sort out their own resolution after the bitter experience of the psychic division. In this sense, O＇Neill＇s characters have achieved their unity of being by the exertion of their capable choices to elevate themselves from the interweaving polar swamp. Faced with the characters＇ tragic ending, man is able to probe into the significance of human existence, and it is one way of obtaining purification and redemption.