上帝的儿女都有翅膀
All God's Childern Got Wings

  • 作   者:

    尤金·奥尼尔
    Eugene O'Neill

  • 译   者:

    福建农林大学编译组

  • 出版社:

    外语教学与研究出版社
    Foreign Language Teaching and Research Press

  • 语   言:

    双语

  • 支   持:

  • 电子书:

    ¥3.90

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《上帝的儿女都有翅膀》是美国现代剧作家尤金·奥尼尔于1923年创作的一部作品,《上帝的儿女都有翅膀》作为其三部现代主义作品之一,很好地体现了象征主义,表现主义戏剧的一些特点。剧作围绕一对白人和黑人爱情悲剧展开,时空跨度大。通过设置了人物的不同的笑声自然音响和乐声等戏剧意象,来表现和象征在背景和剧情发展中突显的种族的对立和人物内心情感的外化,更好地体现了种族主义对杰姆和埃拉爱情的摧毁,以及种族主义对人格的毁灭和践踏,身心的摧残和折磨。

《上帝的儿女都有翅膀》是一出反映种族问题的爱情悲剧。白人姑娘埃拉嫁给了黑人青年杰姆,但是这个婚姻给两人带来的精神创伤远比带给他们的幸福要为多,这个婚姻最终把他们压垮了。

尤金·奥尼尔(EugeneO'Neill,1888-1953年)美国著名剧作家,表现主义文学的代表作家。主要作品有《琼斯皇》、《毛猿》、《天边外》、《悲悼》等。尤金·奥尼尔是美国民族戏剧的奠基人。评论界曾指出:“在奥尼尔之前,美国只有剧场;在奥尼尔之后,美国才有戏剧。”一生共4次获普利策奖(1920,1922,1928,1957),并于1936年获诺贝尔文学奖。

纽约下城,黑人区边缘的一个街角。三条狭窄的街道汇聚在一起。街道后面是一座三角形建筑,红色砖墙,共有四层,底层是家杂货店。一幢幢四层公寓沿着两条街道的轮廓线向两边延伸。太平梯上都挤满了人。通往左边的那条街上全是白人,而通向右边的街道上则皆为黑人。这是个炎热的春日。人行道上有八个孩子,四男四女。男孩和女孩中各有两个白人两个黑人。他们正在玩弹珠。黑人男孩中有个名叫吉姆·哈里斯。坐在他身后帮他拿着弹珠的金发白人小女孩叫埃拉·唐尼,皮肤粉嫩而白皙。她今年八岁。他们全神贯注地玩了一会儿弹珠。穿梭而过的行人中有黑人也有白人,黑人自在地享受着美好的春光,白人们则强作欢笑,表情显得不自然。人们听不清他们在说什么。只能听见他们的笑声。通过笑声可以区分出他们的种族。街道上满是嘈杂声——高架铁路的轰隆声,火车头的噗噗声,沉闷缓慢的马车声,以及马蹄踏在大卵石地面上发出的嘚嘚声。从白人街区传来高亢且带有鼻音的男高音,唱着《金丝笼中的孤鸟》的副歌部分。黑人街区则有一个黑人开始唱《我想我得给我的宝贝发个电报》的副歌部分。曲子终了时,从两个街区传来迥然不同的笑声。接着又安静下来。街道旁的路灯逐渐亮了起来,与夕阳的余晖交相辉映。孩子们继续着弹珠游戏。

A corner in lower New York, at the edge of a colored district. Three narrow streets converge. A triangular building in the rear, red brick, four-storied, its ground floor a grocery. Four-story tenements stretch away down the skyline of the two streets. The fire escapes are crowded with people. In the street leading left, the faces are all white; in the street leading right, all black. It is hot Spring. On the sidewalk are eight children, four boys and four girls. Two of each sex are white, two black. They are playing marbles. One of the black boys is Jim Harris. The little blonde girl, her complexion rose and white, who sits behind his elbow and holds his marbles is Ella Downey. She is eight. They play the game with concentrated attention for a while. People pass, black and white, the Negroes frankly participants in the spirit of Spring, the whites laughing constrainedly, awkward in natural emotion. Their words are lost. One hears only their laughter. It expresses the difference in race. There are street noises—the clattering roar of the Elevated, the puff of its locomotives, the ruminative lazy sound of a horse-car, the hooves of its team clacking on the cobbles. From the street of the whites a high-pitched, nasal tenor sings the chorus of "Only a Bird in a Gilded Cage." On the street of the blacks a Negro strikes up the chorus of "I Guess I'll Have to Telegraph My Baby." As this singing ends, there is laughter, distinctive in quality, from both streets. Then silence. The light in the street begins to grow brilliant with the glow of the setting sun. The game of marbles goes on.

  • 第一幕 

  • 第二幕  

  • 版权页

  • ACT ONE

  • ACT TWO

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