易卜生在《海达·高布乐》中为主人公设置了“父亲的女儿”这一特殊身份,意在提醒,以19世纪性别角色模式解读剧本可能存在风险,海达·高布乐的离群特征和魔性特质比她的性别更加重要。她排斥一般的人际关系,所谓“伴侣”只是她实现自由之梦的代理人,而她的悲剧性就在于,只有消灭自身,才能见证自由。海达首先是一个个人主义者,其次才是女性;海达的困境本质上是个人主义的困境,然后才具体化为女性的困境。虽然易卜生宣称他对女权运动并不了解也没有兴趣,但是他一再选择以女性来表现普遍人性,这可能是更加深刻的性别平权。 Ibsen set a special identity of “father’s daughter” for the protagonist in “Hedda Gabler” to remind him that there may be risks in interpreting the script in the nineteenth century gender role model. Music’s outlier features and demonic traits are more important than her gender. She excludes general relationships. The so-called “companion” is merely an agent of her dream of realizing freedom, and her tragedy is that freedom can be witnessed only by eliminating itself. Haida was first of all an individualist, and secondly, a woman. Haida’s predicament was essentially an individualistic dilemma before it was embodied as a female predicament. Although Ibsen claimed that he did not understand and was not interested in the feminist movement, he repeatedly chose to show the universal humanity of women. This may be a more profound gender equality.