《称心如意》《弄真成假》存在着两个世界或图景:一方是相对弱势的个人,另一方则是上流社会的家族。前者或以亲情或以恋情进入后者的圈子,因而引发一系列的张力或冲突。剧作皆大欢喜的收场体现了一种出之于女性的温婉、善意的希冀和呼唤。杨绛以闯入者的身份建构了中国现代戏剧的秩序,与她自己作品的模式不谋而合。 There are two worlds or pictures: “One is a relatively weak individual, and the other is a family of high society.” The former, either in the family or in love, entered the latter’s circle and thus triggered a series of tensions or conflicts. The closing of the play shows a joyful, goodwill hope and call for women. Yang Jiang constructs the order of Chinese modern drama as an intruder in accordance with the model of her own work.