奥尼尔的《诗人的气质》一剧明显带有“易卜生意识”的痕迹,这表明,易卜生可能对奥尼尔剧作法方向上的转变产生了极为重要的影响,他使得奥尼尔在20世纪30年代这一过渡时期,建构了体裁与结构的新方法。这种“易卜生联系”在奥尼尔的剧作中体现甚丰,比如易卜生的两部剧作《野鸭》和《海达·高布乐》同《诗人的气质》之间的联系,不仅情节相似,主题对应,而且结构上也有明显的关联性。 O’Neill’s “Poet’s Temperament” apparently shows traces of “Ibsen Consciousness,” suggesting that Ibsen may have a crucial impact on O’Neill’s dramatic shift in his playwright’s direction, In the transitional period of the 1930s, a new method of genre and structure was constructed. This “Ibsen relationship ” is very vivid in O’Neill’s plays, such as Ibn’s two dramas “Mallard” and “Haida Gambo” with “poet temperament” Contact, not only the plot is similar, the subject corresponds, but also the structure is also obvious relevance.