Eugene O‘Neill

尤金·奥尼尔戏剧中的表现主义手法研究李菁菁（通化师范学院大学外语教学部，吉林通化134002）摘要：美国剧作家尤金·奥尼尔以其多变的表现主义手法开创了美国现代戏剧的新概念。

他用“舞台化”的表现主义手法多角度、多层次的展示了20世纪上半叶美国人多重而矛盾的人性，痛苦而迷惘的灵魂。

试从尤金·奥尼尔中期剧作中常见的心理象征、视觉象征和听觉象征三个方面梳理和总结他的戏剧创作手法，以期更准确地解读奥尼尔的戏剧作品并为表现主义文学研究提供借鉴。

关键词：奥尼尔；表现主义手法；心理象征；视觉象征；听觉象征中图分类号：I712.173文献标识码：A文章编号：1008—7974(2010)01—0080—02收稿日期：2009—09—08作者简介：李菁菁（1982-），女，吉林通化人，通化师范学院大学外语教学部教师，吉林师范大学在读硕士。

表现主义是兴起于20世纪初，盛极于20至30年代欧美一些国家的文学艺术流派之一。

这派作家受到柏格森的直觉主义和弗洛伊德的精神分析心理学的影响，不满足于对外在事物的客观描绘，试图通过人物内心世界的外化来直接表现事物的内在实质。

他们提出了艺术不是“再现”而是“表现”，“不是现实，而是精神”的理论纲领。

表现主义剧作最引人注目的是对人物心理和潜意识的开掘，并把它“舞台化”。

这反映在戏剧内容上的荒诞离奇，结构散乱，场次之间缺少逻辑联系，情节变化突兀，生与死、梦幻与现实之间没有明确的界线；在表现手法上，这派剧作家往往将内心独白、幻想和梦境等语言手段以及灯光、音响、面具、布景等非语言手段糅合并用以营造强烈的震撼心灵的舞台效果。

正如美国戏剧家尤金·奥尼尔所言，“表现主义者试图把在作者和观众之间的一切可能在舞台出现的东西压缩到最小限度。

表现主义者竭力追求直接面对观众。

”[1]表现主义戏剧的代表人物有瑞典的斯特林堡、德国的托勒尔、美国的奥尼尔、捷克的恰佩克、英国的杜肯、衣修午德以及爱尔兰的奥凯西等。

Eugene O'Neill: The Maker of Modern American
Drama
作者： 郭继德
出版物刊名： 外国文学研究
页码： 6-12页
主题词： 奥尼尔;自然主义影响;实验戏剧;现实主义悲剧
摘要：尤金@奥尼尔是现代美国戏剧的缔造者和诺贝尔文学奖金的荣膺者,一生写了50余部剧作.他早期的剧作受自然主义影响,但基调是现实主义的;中期的剧作多是实验戏剧,有表现主义悲剧、精神分析悲剧和信仰探索悲剧;晚年的剧作是更加正视惨淡人生的现实主义悲剧.奥尼尔的剧作有深远影响,为世界剧坛做出了卓尔不群的贡献.。

Eugene Glastone O’Neill (1888-1953) 尤金·奥尼尔1. Life and CareerA great playwright, a tragic life•Son of a traveling actor•One year at Princeton•Life as a seaman•1912, TB, start of career as a playwright•1920, first full-length play put on Broadway•1936, Nobel Prize, 4 Pulitzer Prizes (1920，1922，1928，1957)•Unhappy marriages, suicide of oldest son, drug addiction & mental illness of younger son, daughter’s marriage, Parkinson’s disease2.General EvaluationEugene O’Neill was America’s greatest playwright.The first American dramatist to ever receive the Nobel Prize for literature (1936).Winning Pulitzer Prizes for four of his plays: Beyond the Horizon (1920); Anne Christie (1922); Strange Interlude (1928); and Long Day’s Journey into Night (1957).“Founder of the American drama,” and “the American Shakespeare” in the history of American drama.3.Three Periods as a Playwright⏹Early realist plays : utilize his own experiences, especially as a seaman⏹expressionistic plays : influenced by the ideas of philosopher Freidrich Nietzsche,psychologists Sigmund Freud and Carl Jung, and Swedish playwright August Strindberg.(rejected realism in this period)⏹Final period :(returned to realism ) depend on his life experiences for their story linesand themes.ment on O’NeillO’Neill was no doubt the greatest American dramatist of the first half of the 20th century and a tireless experimentalist in dramatic art.1.O’Neill was a tireless experimentalist in dramatic art. He took drama away f rom the oldtraditions of the last century and rooted it deeply in life. He successfully introduced the European theatrical trends of realism, naturalism, and expressionism to the American stage as devices to express his comprehensive interest in modern life and humanity. He introduced the realistic or even the naturalistic aspect of life into the American theater.2.He was the first playwright to explore serious themes in the theatre and to carry out hiscontinual, vigorous, courageous experiments with theatrical conventions. His plays have been translated and staged all over the world.3.He won Pulitzer Prize four times (1920, 1922, 1928, 1956) and the Nobel Prize in 1936for his achievements in plays.4.As the nation’s first playwright with 47 published plays, he did a great deal to establishthe modes of the modern theatre in the country.5.O’Neill’s ceaseless experimentation enriched American drama and influenced laterplaywrights as Tennessee Williams and Edward Albee.。

American drama1尤金·奥尼尔Euge ne o’Neill(1888-1953),America’s greatest playwright.《天边外》Beyond the Horizon, 《琼斯皇》The Emperor Jones(1920), 《安娜·克里斯蒂》Anna Christie(1921),《毛猿》The Hairy Ape(1922),《榆树下的欲望》Desire under the Elms(1924),《上帝的儿女都有翅膀》All God’s Chillun Go t Wings(1924),《大神布朗》The Great God Brown(1926), 《奇异的插曲》Strange Interlude (1928),《马可百万》Marco Millions (1928),《送冰的人来了》The Iceman Cometh(1946), 《进入黑夜的漫长旅程》Long Day’s Journey into Night (1956)2One of the most distinguished playwrights who remained in evidence for over four decades on the American stage was赖斯Elmer Rice (1892-1967), author of the well-known play 《计算器》The Adding Machine.3奥德兹Clifford Odets (1906-1963) may not be the best craftsman of the group，but his ability to impress was remarkable .《等待老左》Waiting for lefty . Till the Day I Die, Paradise Lost , and《醒来歌唱》A wake and Sing .4Postwar American drama has been said to begin with the staging of The Glass Menagerie in 1945 .Its author,田纳西·威廉斯T ennessee Williams (1911-1983) , has certainly become one of the greatest American dramatists to go down in the country’s literary history .《玻璃动物园》The Glass Menagerie 1944《欲望号街车》A Streetcar Named Desire (1947), a Pulitzer Prize-winning play , introduces both violence and sexual abnormality . 《热铁皮屋顶上的猫》Cat on a Hot Tin Roof (1955)5Another great dramatist to come out of the 1940s is 阿瑟·米勒Arthur Miller(1915-)who has , along with Tennessee Williams , led the postwar new drama . 《推销员之死》Death of a Salesman (1947) , his masterpiece《严峻的考验》The Crucible (1953) and 《桥头眺望》A V iew from the Bridge (1955)6爱德华·阿尔比Edward Albee (1928-) 《谁害怕弗吉尼亚·沃尔夫》Who’s Afraid of V irginia WoolfAlbee has been linked with the traditions of the Theater of the Absurd which came into vogue in the 1950s and 1960s.Post American Novel(I)1（犹太作家）索尔·贝娄Saul Bellow (1915-2005) 《晃来晃去的人》Dangling Man （1944）,《受害者》The V ictim (1947), 《只争朝夕》Seize the Day (1956)，《奥吉·玛琪历险记》The Adventures of Augie March (1953)，《洪堡的礼物》Humboldt’s Gift (1975)2One of the most ambitious writers of this period is perhaps（犹太作家）诺曼·梅勒Norman Mailer(1923-) , who has , by virtue of his enormous imagination and immense literary output , become part of the American consciousness .《裸者与死者》The Naked and the Dead 1948, his best work . 《美国梦》An American Dream (1965>3塞林格D. Salinger (1919-)《麦田里的守望者》The Catcher in the Rye,4（犹太作家）Bernard Malamud (1914-1986) has been regarded as one of the major writers of the Jewish group in the postwar period.5（现实主义作家）约翰·厄普代克John Updike(1923-) is a prolific writer of the period under discussion .But he is best known for his “Rabbit” pentalogy : 《兔子，跑吧》Rabbit , Run (1960) , 《兔子归来》Rabbit Redux (1971) , 《兔子富了》Rabbit Is Rich (1981) , 《兔子安息》Rabbit at Rest (1990) , and Licks of Love (2000)6Mention should be made of（现实主义作家）约翰·奇弗John Cheever (1912-1982). His best stories are collected in 《约翰·奇弗小说集》The Stories of John Cheever (1978)7During the period under discussion southern literature continues to grow with the painstaking efforts of (南方文学作家) 弗兰纳里·奥康纳Flannery O’Connor (1925-1964).《好人难寻》A Good Man Is Hard to FindPost War American Novel(II)--- The Postmodernist Novel8．（黑色幽默小说家）约瑟夫·海勒Joseph Heller (1923-1999), the most prominent American novelist of the absurd in the postwar period .《第二十二条军规》Catch-229．库特·冯尼古特Kurt Vonnegut (1922-) is basically a science fiction writer .《第五屠宰场》Slaughterhouse-Five in 196910．（黑色幽默小说家）肯·凯西K en Kesey (1935-) .《飞越疯人院》One Flew Over the Cuckoo’s Nest (1962)11．托马斯·品钦Thomas Pynchon(1937-) is one of the contemporary writers whose life is little known .《万有引力之虹》Gravity’s Rainbow (1973)12（垮掉的一代作家）威廉·巴罗斯William Burroughs(1914-1997) and杰克·凯鲁亚克Jack Kerouac (1922-1969) .Burroughs’s most wellknown novel is《裸体午餐》The Naked Lunch .Jack Kerouac has been noted, and will continue to be , for his book ,《在路上》On the Road(1957)African American writers1．詹姆斯·鲍德温James Baldwin (1924-1987) Go Tell It on the Mountain《向苍天呼吁》19532．理查德·赖特Richard Wright（1908－1960）Native Son《土生子》(1940)3．拉而夫·埃利森Ralph Ellison(1914-1994) Invisible Man《看不见的人》(1952)4．托尼·莫里森Toni Morrison（1931－）《最蓝的眼睛》The Bluest Eye《宠儿》Beloved《所罗门之歌》Song of Solomon5．Alice Walker 《紫色》The Color Purple.。

尤金·奥尼尔悲剧观探微［Abstract］O’Neill adopted the essence of Greek tragedy and the nineteenth century Scandinavian dramatists Strindberg and Ibsen, he created tragedy in a modern sense. He puts great emphasis on the highlighted human spirit and then tried to dig at the roots of the sickness of the society, moving from particular souls to the universal human race.［Key words］Eugene O’Neill,Greek tragedy,tragic viewI. A Brief Introduction of Eugene O’NeillAs a playwright of genuine force and originality, Eugene O’Neill (1888-1953) brought American theatre to the world-stage for the first time and earned a permanent reputation for his country. He presided the American drama for four decades. With the ending of totally borrowing from the continent and the simple performance of melodrama, the American drama, as a formal and serious literary form, came into being. Eugene O’Neill, honored as “father of the American drama”, is more than worthy of that fame.He was awarded the Pulitzer Prize three times during his life, the Nobel Prize of 1936 and a posthumous Pulitzer Prize. Though he has various defects and weaknesses in his writing, he was hailed as a cultural hero, recognized as the most original and most theatrical Americandramatist of the twentieth century and lauded as the creator of the modern tragedy.During his active writing career, O’Neill not only matured as a playwright but also responded sensitively to the changing attitudes of the modern age. His growing acquaintance with new ideas and new techniques naturally led to changes in his vision, aims and approaches —changes that are reflected in the occasional statements he made about his individual works or his art in general.Ⅱ. The Formation of O’Neill’s Tragic View2.1 The influence of tragedy in EuropeBefore we deal with O’Neill’s survival of the Greek tragedy in modern time, let’s review the essence of the Greek tragedy and make a survey of the history of tragedy in Europe. In his Poetics, Aristotle defined tragedy as:“The imitation of an action that is ser ious and also, as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the part of the work; in a dramatic, not in a narrative form; with incidents arousing pity and feat, wherewith to accomplis h its catharsis of such emotions”.[1]703-704Tragedy has tended to be a form of drama concerned with the fortunes and misfortunes, and ultimately, the disasters that befall human beings of title, power and position. For example: Oedipus, Agamemnon, Antigon e… What makes them tragic figures is that they have qualities of excellence, of nobleness, of passion: they have virtues and gifts that lift them above the ordinary run of men and women. In tragedy these attributes are seen to be insufficient to save them either from self-destruction or from destruction brought upon them. And there is no hope for them. There is hope, perhaps, after the tragedy, but not during it. The overwhelming part about tragedy is the element of hopelessness, of inevitability.The principles of Greek tragedy governed the world-stage for thousands of years, until at the end of the nineteenth century, two Scandinavian dramatists(Strindberg and Ibsen) brought about a wholly unexpected revolution of tragic form and subject.Their works displayed the tragedy of disease, of eccentricity, of bad heredity, of madness and more or less psychotic and emotionally morbid states. Their tragic vision revealed a society that was diseased: spiritually and morally corrupt and decadent. In Ibsen’s case the vision gave great and bitter offence. What he exposed was too near the truth for almost anybody’s comfort. One can say that their tragedies were unlike anythingwritten hitherto, and, like many that followed, for removed from Classical and Aristotelian concepts. Since then a large number of dramatists have attempted different kinds of tragedy or serious plays which are tragic in tone, import and intention. Although O’Neill was influenced to some degree by the Greek view of tragedy, his plays are not tragedy in the way Aristotle defined, “A noble man’s unavoidable failure”. O’Neill was one of the notable instances of the later party.As a major art form, tragedy is an expression and reflection of human nature. instead of a king or a queen or a prince, we now have the grief, the misery, the disaster, of the ordinary man, an everyday mother, tramp, peasant or salesman as the main characters.2.2 O’Neill’s development of Greek tragedyIn creating a modern equivalent of Greek tragedy, O’Neill follows the modern trend both in subject and protagonist, while in emphasis on human spirit, he agrees with the Greeks. In tragic reality, the spiritual meaning is highlighted. Once he said:“There is a skin-deep optimism and another higher optimism, not skin-deep, which is confounded with pessimism. To me, the tragic alone has that significant beauty, which is truth. It is the meaning of life — and the hope.”[2]615O’Neill defines tragedy in a modern sense. He puts great emphasis on human spirit, the meaning and value of spiritual life. In tragic reality, the spiritual meaning is highlighted. So it is worthy of being praised by way of tragedy.In 1922 he outlined his own sense of the tragic, objecting that:“People talk of the tragedy ［in his plays］and call it ‘sordid’, ‘depressing’, ‘pessimistic’— the words usually applied to anything of a tragic nature. But tragedy, I think, has the meaning the Greeks gave it. To them it brought exaltation, an urge toward life and ever more life. It raised them to higher spiritual understanding and released them from the petty greeds of everyday existence. When they saw a tragedy on stage they felt their own hopeless hopes ennobled in art… Any victory we win ［he insisted］is never the one we dreamed of winning.The point is that life in itself is nothing. It is the dream that keeps us fighting, willing-living! Achievement, in the narrow sense of possession, is a stale finale. The dreams that can be completely realized are not worth dreaming. The higher the dream, the more impossible it is to realize it fully. But you would not say, since this is true, that we should dream only of easily attainable ideals.”[3]13-14In this sense, the tragedy of ordinary life also becomes inevitable asin the way the Greeks view it. At this point, O’Neill shares a similar opinion with Nietzsche, both men saw tragedy as life-affirming: as in a sense, closing the gap between man and his experience, O’Neill wrote to his nurse from the tuberculosis clinic in 1923:“I know yo u’re impervious to what they call my ‘pessimism’. I mean that you can see behind that superficial aspect of my work to the truth. I’m far from being a pessimist. I see life as a gorgeously ironical, beautifully different, splendidly suffering bit of chaos, the tragedy of which gives Man a tremendous significance, while without his losing fight with fate he would be a tepid, silly animal. I say ‘losing fight’only symbolically, for the brave individual always wins. Fate can never conquer his or herspirit. So, you see, I’m not a pessimist. On the contrary, in spite of my scars, I’m tickled to death with life!”[4]260-2612.3 O’Neill’s view on the essence of tragedyAs I have reviewed the history of tragic theory above, modern European and American theory of tragedy is the core of critical realism, which comes from the ancient Greek theory and goes forward. O’Neill’s theory is an integral part of the modern theory. As he once said in a letter to the critic Arthur Hobson Quinn, “I am always acutely aware of the re ality and power of determinism”[5]52, but he wished to view this in the context of a tragic vision which could transform that determinism.Later he said, “It is the meaning of life and hope. The noblest is eternally the most tragic. The people who succeed and do not push on to greater failure are the spiritual middle-classes. Their Dreams must have been”.[4]5 These words not only highlight the essence of tragedy, but also tell us that the meaning of human life lies in the process of fighting stubbornly against fate and nature.Eugene O’Neill is a serious playwright. In his opinion, a serious writer should write social reality into his works and should show the original appearance of reality as life itself. He views life in a pessimistic way. “Life is a tragedy” is one of his usual remarks. He always asserts that human beings are tragedy, are the most tragic tragedies of finished and unfinished. By writing with heart and blood, he treats his work as living his own life.“The theatre to me is life — the substan ce and interpretation life…［And］life is struggle, often, if not usually, unsuccessful struggle; most of us it prevents from accomplishing what we dream of and desire. And then, as we progress, we are always seeing further than we can reach. I suppose that is one reason why I have come to feel so indifferent toward political and social movements of all kinds.”[6]107To him, theatre was trivial if it did not tackle what he regarded as the “big issue”. By trying to create a modern equivalent to Greek tragedy, O’Neill explored history and metaphysics to prove that Christianity always killed the soul wherever it went. He next turned to depicting conditions in an age when the soul is as good as dead, the modern age, in which people, in the absence of the soul, lead a hypocritical and unauthentic life. He was always concerned with penetrating the social, tracing experience to its root in metaphysics. A real artist must dig at the roots of the “sickness of today”, i.e., the alienation of man without a soul — a man whose outer life has passed in a solitude haunted by the masks of others, the inner life being hounded by the masks of his own self. To show human beings starved in spirit, he indulged in psychological unmasking so that the audience could see what was happening in their subconscious, and should always be concerned with discovering a way in which the human spirit could survive the rigours of a painful and disillusioning life.2.4 His digging at the roots of the sickness of the dayO’Neill’s plays show modern man’s dilemma, his de-sublimated existence in a godless world, and the consequent tragedy. “The playwright today must dig at the roots of the sickness of today as he feels it — the death of the old God and the failure of science and materialism to give any satisfying new One for the surviving primitive religious instinct to find a meaning for life in, and to comfort its fears of death with. It seems to me that everyone trying to do big work nowadays must havethis big subject behind all the little subjects of his plays or novels, or he is simply scribbling around on the surface of things and has no more real status than a parlor entertainer.”[7]11In effect, this digging at the roots of the sickness of today, and striking deeper through the surface of things, meant portraying the Mystery of Life for the mysterious working of the psyche. Anyway, it paved the way for his return from theatre (obsession with staging techniques) to drama and from ideas and history to life. From this, the next step was towards freedom from the obsession with tragedy — that is, towards dramatizing life without bothering about tragic exaltation. After a long silence, he resumed playwriting with the growing consciousness that he was writing some of his last works, he laid aside the ghost of Freud, Jung and Nietzsche and tried to tell the truth as he had known it, without any tragic gloss.In the thirties, with his last works, he moved from particular souls to the universal human race. Especially with the lengthening of the shadow of the impending World War II, he became convinced that modern man’s cancer of the soul could not be cured by social thinking or by applying the balm of material comfort to the body-politic. He felt that the solution to the spiritual dilemma lay not in nurturing the civilizational process but in starving it:“…the one reform worth cheering for is the Second Flood, and that the interesting thing about people is the obvious fact that they don’t really want to be saved — the tragic idiotic ambition for self-destruction in them.”[7]11Illusions, once regarded as sustainers of life, now appeared life-crushing pipe-dreams. He reiterated this stark vision in an interview on the eve of the production of ‘For what shall it profit a man if he gain the whole world and lose his own soul?’we had so much and could have gone either way.“If the human race is so damned stupid that in two thousand years it hasn’t had brains enough to appreciate that the secret of happiness is contained in that one simple sentence, which you’d think any grammar school kid could understand and apply, then it’s time we dumped it down the nearest drain and let the ants take over.”[4]870-871His viewpoint changed in the last phase, from the tragic affirmation to the ironic. He once pointed out that inwardly… the war helped him realize that he was putting his faith in the old values and they had gone. It’s very sad but there are no values to live by today. Anything was permissible if one knew the angles. An existentialist irony marks the temper of his last plays. Also, around this time, he often talked about his return to the ironic tragedy.Ⅲ. ConclusionIn light of the above survey, we may conclude that neither did O’Neill’s vision and aim remain the same throughout his writing, nor did his writing techniques or concern with the “sickness of today”. Starting with the naturalistic depiction of his life experience and the life of lower-strata people, then the revival of Greek tragedy —an obsession that combined with another when, with the contact, with the Greenwich Village intellectuals, he decided to relate tragedy to the temper of the modern times.O’Neill adopted the essence of Greek tragedy and the two nineteenth century Scandinavian dramatists Strindberg and Ibsen, drew aspiration from great dramatists past and present, he created tragedy in a modern sense. He put great emphasis on the highlighted human spirit and then he moved from particular souls to the universal human race. In the last phase, from the tragic affirmation to the ironic. Because of hisassiduous probing and exploring, he was hailed as a cultural hero, recognized as the most original and most theatrical American dramatist of the twentieth century and lauded as the creator of modern tragedy.【References 】［1］J A Cuddon. 1979. A Dictionary of Literary Terms, Rev.ed.［M］.London: Andre Deutsch.[2] Louis Sheaffer. 1973. O’Neill: Son and Artist［M］.Boston: Little, Brown.[3] Egil Tornquist. 1968. A Drama of Soul: Studies in O’Neill’s Super-naturalistic Technique［M］.New Haven.[4] Arthur, Barbara Gelb. 1962. Eugene O’Neill［M］.Harper.[5] C. W. E. Bigsby. 1982. A Critical Introduction to Twentieth-Century American Drama 1900-1940［M］.Cambridge University Press.[6] Oscar Cargill et al. 1961.O’Neill and His Plays［M］.New York, New York University Press.[7] Chaman Ahuja. 1984. Tragedy, Modern Temper and O’Neill ［M］.New Delh: Macmillan India Limited.[8] 汪义群.奥尼尔创作论［M］.中国戏剧出版社，1983.［摘要］奥尼尔批判地继承了传统悲剧，在深受古希腊悲剧、斯特林堡和易卜生等传统悲剧影响,并结合社会现实在悲剧主题和意义上做了大胆的创新和突破。

浅析《悲悼》中莱维妮亚的“恋父情结”关键词：《悲悼》；恋父情结；悲剧一、引言尤金?奥尼尔（Eugene O Neill）在美国戏剧发展史上具有举足轻重的地位。

他一生共四次获普利策奖，并于1936年凭借《天边外》获得诺贝尔文学奖。

奥尼尔曾坦言“多年来，我一直怀揣着一个创作构思，就是以一则古希腊悲剧的神话故事为基础创作一部现代心理剧。

”（2015：133）奥尼尔多年的酝酿构思造就了《悲悼》三部曲。

在1936年诺贝尔文学奖官方致辞中，佩尔?哈尔斯特龙盛赞《悲悼》是“一部堪称恢宏巨作的真正悲剧”（奥尼尔，2015：7），同时总结评论到该作品中所反应的宿命元素手法既有遗传学的依据，也有弗洛伊德流派思想的影响。

（2015：8）《悲悼》的人物心理刻画细致，人性欲望冲突复杂，人物心理活动及行为动机在一定程度上切合弗洛伊德精神分析学说。

本文以弗洛伊德理论思想中的“恋父情结”为切入点，通过分析莱维妮亚厄勒克特拉情结的表现，指出莱维妮亚对其父有违伦理道德的爱是其人生悲剧的罪魁祸首。

通过对儿童心理发展变化的研究，借鉴古希腊神话传说，取材于阿伽门农的传说，弗洛伊德用“厄勒克特拉情结”（即，恋父情结），用于描述女孩与父母的关系。

阿伽门农凯旋归来，被妻子克吕泰涅斯特拉伙同她的情人杀死。

阿伽门农的女儿厄勒克特拉为父报仇，怂恿弟弟欧瑞斯提兹杀死母亲。

他谈到：“她与父亲产生情感依恋，想要除掉母亲并取而代之，有时还仿效成年妇女的撒娇─这只会使我们感到她可爱，尤其是对于小女孩来说，这使我们忘记潜藏于这种婴儿情境背后的严重后果。

”（2014：272）在尤金?奥尼尔的剧作《悲悼》中，女主角莱维妮亚仇恨母亲，为父报仇，伙同弟弟谋杀母亲的情夫。

她的的言行有恋父情结的特征。

二、莱维妮亚“恋父情结”的体现《悲悼》中的莱维妮亚的“恋父情结”主要体现在两个方面，其一是她对父亲异常的爱。

其二是她对母亲的嫉妒与仇视，意欲取代母亲在家庭中的地位。

莱维妮亚对其父的爱超过了正常伦理范围，表现出了极强的恋父情结。

一只狗的遗嘱（中英文对照）The last will and testament of an extremely loved dogBy Eugene O’neillI, silverdene emblem O’neill (familiarly known to my family, friends &acquaintances as Blemie), because the burden of my years and infirmities is heavy upon me, and I realize the end of my life is near, do hereby bury my last will and testament in the mind of my Master. He will not know it is there until after I am dead. Then, remembering me in his loneliness, he will suddenly know of this testament, and I ask him to inscribe it as a memorial to me.我叫席尔维丹•安伯伦•欧尼尔，而家人、朋友和熟识我的人，都叫我伯莱明。

衰老给我带来的负担，和恶魔般的疾病让我承受的痛苦，都让我认识到自己已走到生命的尽头。

因此，我将把最后的情感和遗嘱埋葬于主人的心中。

直到我死之后，他才会蓦然发现，这些情感和遗嘱就埋藏在他心灵的一隅。

当他孤寂时，或许会想起我，或许会在看到这份遗嘱的那一瞬间，他会感受到这份感情的沉重。

我期望他将此铭记于心，当作是对我的纪念。

I have little in the way of material things to leave. Dogs are wiser than men. They do not set great store upon things. They do not waste their days hoarding property. They do not ruin their sleep worrying about how to keep the objects they have, and to obtain objects they have not.我可以遗留的东西少得可怜。