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挪威戏剧作家易卜生的社会问题剧《玩偶之家》早在五四时期就已为中国读者所熟悉并且热议。读者对于此剧的关注焦点自然是剧中因意识到自己只是夫家的“玩偶”而毅然出走的女主人公娜拉。有评论说她身后的甩门声比滑铁卢战役上的枪炮声还要响亮,它振聋发聩的效应在五四时期的中国确有很多明证。以往对娜拉形象的讨论主要集中在两个方面:一是她的觉醒;二是她的出路。关于她
Norwegian drama writer Ibsen’s social drama “Doll’s House” as early as the May Fourth period has been familiar to Chinese readers and hot. The reader’s focus of attention for this drama is naturally Nora, the heroine who resolutely runs away from the “doll” who realizes he is just a husband. There are comments that the door behind her is more loud than the gunshots at the Battle of Waterloo. The effect of its deafening fury was indeed confirmed in China during the May 4th Movement. The previous discussion of Nora’s image mainly focuses on two aspects: one is her awakening and the other is her way out. About her