天边外
出版社:漓江出版社
出版日期:1984-11
ISBN:SH10256-107
作者:[美国] 尤金·奥尼尔
页数:601页
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精彩书评 (总计7条)
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这是个比《活着》还残酷悲哀的故事。故事的悲剧根源根本不是什么兄弟俩共同爱上同一个女人，而是在于罗伯特一直把幻想停留在幻想，把兴趣当成了逃避现实的手段，他缺乏勇气冲破环境的桎梏。当他嘲笑安德鲁“But you're the deepest-dyed failure of the three,Andy.You've spent eight years running away from yourself……”我笑了，你自己对于你自己又做了什么呢？你怎能把自己的失败归结为“but we can both justly lay some of the blame for our stumbling on God."这里，我不是指他抛弃了远方选择了爱情，那一刻他的心属于露丝，就留下来——这很好。我说的是他为什么要抛弃掉自我，开始全面倒向眼前的生活——在这个他一直格格不入梦想逃离的环境苟延残喘，“I'm going to settle right down and take a realinterest in the farm,and do my share.I'll prove to you ,pa, that I'm as good a Maya as you are——or Andy ,when I want to be."，天哪，因为爱情他居然想成为他的父亲成为他的哥哥。我一直觉得工作并不是一个人进入社会的标志，婚姻才是。但即使戴着婚姻的镣铐，我们仍然可以和生活打一套太极拳法，不需要如此这般丢盔卸甲弃子认输，甚至逢迎谄媚自欺欺人。为了爱情，我们可以做些妥协调整，但把整个核心的自我搞丢了，努力成为爱人期许的完全与自己无关的人是不是太愚蠢了？无怪乎他把自己的生活搞得像走了味的酒那样难以下咽。当然，考虑到后来安德鲁出走，家庭的重负，父亲的伤痛与梦想，我还是能理解罗伯特起初受困于农场的无奈（但前面那段告白可是他在爱情的恍惚中做出的自我期许，与后面命运的作弄丝毫无关），即使如此，一年后父亲死去——至少在三年后哥哥归来、与露丝产生裂痕以后，他就应该挥剑摆脱农场的枷锁，而不是到快要死的时候才认识到本该早已认识到的问题“after all ,why shouldn't we have a future?we're young yet.if we can only shake off the curse of this farm! it's the farm that's ruined our lives,damn it! And now that Andy's coming back——i'm going to sink my foolish pride,Ruth! i'll borrow the money from him to give us a good start in the city. we'll go where people live instead of stagnating,and start all over again.i won't be the failure there that i've been here,Ruth.You won't need to be ashamed of me there.i'll prove to you the reading i've done can be put to some use.I'll write, or something of that sort.i've always wanted to write."谈谈剧中的爱情。读过这部悲剧后，你们还相信有爱情这种东西吗？露丝嫁给罗伯特一个月就后悔了，觉得真正爱的是安德鲁，而被他拒绝过之后也不再爱他，到最后的最后，是真的”感觉不会再爱了“。其实露丝真正爱的人还是罗伯特，她顶撞母亲为罗伯特打圆场， 尽管他从来不按时吃饭，还一直为他热着直到他回来，这一件件小细节不是爱是什么，而最后她也向罗伯特承认并不爱安德鲁尽管罗伯特不信。”脆弱，你的名字是女人！“莎士比亚说的真对啊。她只是受不了生活的压迫，才想起了安德鲁的好，那不是爱，她要的是生活的安逸舒适。露丝才是他们三人中最大的失败者，是一个被生活完全打翻在地，再踏上一万只脚的人，在困苦生活的折磨下，她丢掉的不只爱情，还有母女的温情——她丢掉了生活的全部希望和美。”she remains silent ,gazing at him dully with the sad humility of exhaustion,her mind already sinking back into that spent calm beyond the further troubing of any hope.(她的心已经沉入精疲力竭的宁静，不会用任何希望打扰自己了）"英国作家艾伦·西利托有句座右铭：“It's a fine life, if you don't weaken,”(你若坚强，生活就美好)。这也是我想说的，你若坚强，爱便久长。最后，我要说的是——苦难。罗伯特在生活中受尽了苦头，开始产生一种受虐快感之类的情感，一种苦难的宗教式形而上意义。在生命的最后时日他多次启示安德鲁，“so you'll be punished.you'll have to suffer to win back""remeble,Andy——only through sacrifice——the secret beyong there"。这本质上不过是人性太人性的表现，人是种形而上的动物，他要从苦痛中发明出意义，在无意义中创造出意义，借以，再一次的，肯定自己，肯定生命。而在我看来，苦难，它本身是没有任何意义益处的，它就是它只是对生命对自由的戕害消耗剥夺。没有那种意义的上帝，不要像罗伯特很傻很天真的相信什么"life owes us some happiness after what we've been through.It must!Otherwise our suffering would be meaningless——and that is unthinkable"，黑夜之后并不一定是光明，还可能是终结——就像剧中的罗伯特，这个世界比你我所能想象的残酷的多，因为这个世界并没有残酷的概念，“天地不仁，以万物为刍狗”。苦难的唯一意义只是在于应对它的方式，我们和苦难死磕，力量就会加强；我们沉思苦难的因缘，智慧就会加深；而如果只是幻想一种虚幻的平衡什么否极泰来苦尽甘来等待我们的只会是更大的失望，就像日本的加藤说的，别轻易相信有明天，就像马云说的，今天很残酷，明天更残酷……这两位还是指在积极应对苦难的条件下呢。陀思妥耶夫斯基说：“我只害怕一件事，我怕我配不上我的苦难。”而托尔斯泰又一针见血的指出：“苦行者和受难者很少不是专横者和暴虐者。”，这里的区别就在于苦难者如何面对苦难，与其说苦难升华了他们不如说苦难粹取净化了他们 ，毕竟，说到底，人如何应对苦难最终还取决于这个人本身。面对自身的不幸，报复社会，甚至伤害幼儿园小学生在当今天朝不是屡见不鲜吗？说了罗伯特那么多坏话，我还是喜欢这个人，不管怎样，虽然太晚了，他终于决定走出农场勇敢的开拓新生活了，在病魔缠身，贫困潦倒，爱女早夭，爱妻冷漠，一败涂地的黑暗中他依然没有失去光明，失去信心，失去尊严，在生命的最后他依然在仰望天边外的世界，依然在渴求美感受美，面对死亡，如此从容，如此豁达。是的，他没有被生活打倒，他不是一个失败者。当罗伯特耗尽生命中最后的元气，挣扎着、跌跌撞撞地爬到儿时凝望、憧憬天边外的堤岸，虚弱的倒下时at last ,tears come into my eyes……以周国平老师的这段话结尾吧：我喜欢奥尼尔的剧本《天边外》。它使你感到﹐一方面﹐幻想毫无价值﹐美毫无价值﹐一个幻想家总是实际生活的失败者﹐一个美的追求者总是处处碰壁的倒霉鬼﹔另一方面﹐对天边外的秘密的幻想﹐对美的憧憬﹐仍然是人生的最高价值。那种在实际生活中即使一败涂地还始终如一地保持幻想的憧憬的人﹐才是真正的幸运儿。 -
大学时读的，一点小感想吧。A tall, slender young man of twenty-three, a touch of the poet him expressed in his high forehead and wide, dark eyes. His feature are delicate and refined, leading to the weakness to the mouth and chin.(O’Neill,10)That is Robert Mayo, who’s reading a book by the fading sunset light, comes into view.Sunset of a day in spring, a diagonal road that can be seen in the distance widing towards the horizon. That is really a peaceful sight with a poetic boy.And Ruth, a girl of twenty, who is at her age of dreaming of romance, falls in love with Robert Mayo. Actually, she falls in love with Robert’s poetic nature rather than he himself. As a result, the misunderstanding or incomprehension of Ruth herself leads her into the permanent tragedy.This tragedy rises its curtain with Robert’s “one other” reason for his going with Captain Dick Scott ---He loves Ruth. And obviously, Ruth loves him, too. So she asks Robert not to go and stay with her. When Robert tries to persuade her to go with him, she is afraid. Though Robert described a wonderful picture---I could actually hear them calling him in soft whispers to hide-and-seek to find out where the sun was hiding himself. They sang their little songs to me, songs that told all of the wonderful things they had in their home on the other side of the hills; and they promised to show me all of them, if I’d only come, come! (19)---Ruth’s afraid. No sooner than they got married did the unreality of Ruth appear. What she loves is just the poetic nature of Robert , but not his poetic dream and characteristic. Instead, she is afraid of it for she cannot join in it. It is like the story of Lord Ye professed to love dragons in China. There is a beautiful picture in her mind but when it could come true, she feels afraid of it. So that is the first time that the gap between dream and reality appears. Ruth prevent Robert from going by the reason of his loving her, and yes, he stays, but the gap stays still. Robert’s eye’s still fixed on the horizon even when he half turns to follow Ruth.The tragedy revealed it’s veil during the five years since Ruth and Robert got married. At the beginning of act two, scene one, the room appears with little significant details that give evidence of carelessness and inefficiency. The furniture show brokenness and shabby; there are holes on the curtains; one arm of Mary’s toll has gone and is through under the table. We can imagine that people who love their family could absolutely not keep it like this. Instead, they will clean the windows and tables, to keep there home clean, tide and warm. Even when May says she want her Dolly, Ruth just irritably pulls her beak and says“ It’s time for your nap. You can’t play with Dolly now. ” (41) She is impatient with Mary and the same with Robert. When Robert plays with Mary, she stops him in annoyance. The used love between them has gone away. Why? Perhaps we can attribute all of these into the unsuccessful management of the farm by Robert.After the death of James Mayo, the farm deteriorate . Robert is obviously not born to be a farmer. As Mrs. Atkin’s says, maybe he works hard, but it doesn’t accomplish anything. The farm has been going from bad to worse, and Robert can’t get money from any other way except to mortgage the far for he cannot pull through ‘til harvest without it .As a result of Robert’s poor management, Ruth could not meet her basic material need, and she feels that she can’t help to not loving Robert any more when she is working in a hot kitchen in hunger. Life is not poetry, Ruth need a steady life and that reminds her Andrew. She turns to Andy for she can’t get all she want from the life of being Robert’s wife and being accompany with his spiritual joy. Ruth realizes that Robert is not her real love and that committed a blunder in measuring her feeling for the two brothers hence she waits for Andrew to return from beyond the horizon where her treasure of happiness would be his knapsack. The play is like a fugue, developing with variations the theme of the suspension of life between opposites. We feel the balancing pull not only between reality and idealism, but also between the earthy and the spiritual joy and sorrow, love and hate, hope and despair.She goes to Andy’s letter again after letting Mary go to bed---yes, she has read it several times---and her movements indicate a guilty fear of discovery. An because of Andy, we see the first time Robert and his wife quarreled and Ruth shows her regret of marrying with Robert in a fierce way. And it is the first time that Ruth speaks out her consciousness of her love in the dream is unreality. She wants Robert to go she will be glad to get rid of him. In front of Robert’s angry face, she repeats or declares her true opinion “Yes, I do mean it. I’d say if you was to kill me! I do love Andy. I do ! I do! I always loved him. And he loves me! He loves me! I know he does. He always did! And you know he did, too! So go! Go if you want to!” The above dialogue not only focuses verbal rivalry but also asserts Ruth's newly discovered truth of having really loved Andy and that her love for her husband was infatuation. This is the first stage of the breaking of Ruth’s dream and then follows the second.Ruth's illusion that the farm will look natural with Andy's brilliance and technology on one hand disheartens Robert who passively accepts domestic alienation, where as, Ruth looses herself in the world of fantasy with Andy as a magician. The conflict widens to polar extremities. When Andy tells her he doesn’t love her or in some extent, he never falls in love with her, and he would go again. Life is continue. The withdrawal in the case of Ruth as well as Robert is their attempt to resolve conflict by moving away from the people. But it is a matter of whether they could find the exit of the confusion between the dream and the real world rather than whether to live with people or the farm.Life is not easy. Robert has gone, leaving Ruth alone in the world. All the things she suffered corners her to desperate and lifeless. She has no feeling and no sense of love.CONCLUSIONRuth has suffered—and for your own sake and hers—remember, Andy—only through sacrifice—the secret beyond there—— The sun! Remember!Through the study of Ruth, we can see that she’s not clearly know what she want and what she need. Her behavior is much like Scarlett O'Hara in the novel Gone with the Wind.Ashley Wilkes, who she loves is just a portrait that she paint by herself. It’s the same with Ruth, too much idealism illusion at last make herself desperate and all the tragedy is made by her own. -
看完了《天边外》，不知道为什么，不由自主地想起了《边城》。如此的相似，都以悲剧结尾。两个女人的悲惨命运，到底改由谁来负责？说实话，我不怎么同情Ruth， 觉得她也不是那么的喜欢Andrew， 她爱的是Robert。当初Robert在离开前向她表白的时候，她立即表面她爱的是Robert而不是Andrew。而且，家中日益败落，她并没有把家中收拾得井井有条，却天天不忘给他做饭，尽管他从来不按时吃饭，还一直为他热着直到他回来。这不是爱吗？后来她天天抱怨Robert无能，说他什么都做不了，她爱的是Andrew。其实，她只是受不了生活的折磨。Robert不适合在经营农场，他整天生活在自己的梦和憧憬中，想象着海上的日子是怎样的美好。而Ruth的唠叨和抱怨让他更是难受。Ruth对Andrew并不是爱，而是把他当做她苦难的终结者，希望她能给她带来幸福生活。如果Andrew在短时期内没有把农场经营好，Ruth会不会像对Robert那样对待他呢？我想是很有可能的，这也注定造成她自己的悲剧。对于《边城》里的翠翠，一点都不去主动追求自己的幸福，即使傩送主动表示，她也无动于衷，甚至躲避他，为什么呢？天保的死又不是翠翠祖孙造成的，船总顺顺为什么那么在意？我不明白。几个人的悲剧，皆因兄弟俩共同爱上同一个女人引起，没有明地里争夺，却深深牵连着几个人未来的幸福。该去责怪谁呢？“一同去生既无法聚首，一同去死当无人可以阻拦。”其实有时候，我会像翠翠一样，我想的很远，很多，可是我不知道想些什么。想起《边城》里的一句话：做梦一辈子更好。
精彩短评 (总计50条)
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4.14-4.26 -
道理我竟然不懂系列 -
错位的人生，宿命论的悲剧，《天边外》是自然主义，因为罗伯特和安朱的命运其实是由遗传决定的，因为罗伯特更像他当教师的母亲而安朱更像农场主父亲；也可以说这剧是象征主义的，因为其中苹果树、道路、日出、室内室外的场景转换都充满了象征主义色彩；甚至可以说这部剧的基调是现实主义。 -
“那种在实际生活中即使一败涂地还始终如一地保持幻想、憧憬的人，才是真正的幸运儿。” -
穿过黑夜的漫长旅程。。。特别喜欢这个名字 -
触目惊心。严肃执着。 -
真想走的人不会彷徨，真想留的人亦不会神伤，去与留哪有对错，全看内心所向，求仁得仁。离开北京的时候真应该读读这一本的。 -
我们最好成为命运要求我们成为的人，即使因此放弃了爱情、家庭、生活，都并不算太悲惨。 -
生活在别处。 -
只有100页的3幕剧，奥尼尔的成名作，也是他前几年的写作经验的结晶。
后感：可怜之人必有可恨之处，心比天高，却不脚踏实地，将境况归咎给自己的妻子、天气，而不是自己，只会蹉跎一生。 -
读人物 -
不愧为诺贝尔文学奖，巧妙的构思，深刻的思考 -
我觉得我非走不可，好像那里有什么东西正在叫我。 -
补记 -
奥尼尔以表现主义著称，但这个选本里几乎都是较为传统的现实主义手法剧作。凭这几个本子很难认清奥尼尔的真面目 -
至少罗伯特还有最后的勇气 -
没有《毛猿》，除了《啊！荒野》其他都很好。 -
用我妈的话说「看完这个故事感觉生活太绝望了。」 -
读过最好的剧本。找到榜样了。 -
那些不得不做的事情，更多的只是为了不被原地囚禁。现实和理想的差距，总有被迫着去逃离。 -
读的英文版，有些不懂得地方所以看得不是很细，但这样的结局实在是……，该说他们当年年轻气盛太冲动还是太不了解自己呢？太悲哀啦 -
看出了兄弟基情怎么办… -
你想到达的，是早就有人到达过的未来。 -
林中路 -
读来平平淡淡，但是却不住的揪心。如果当年去天边外的是罗伯特，会怎样？ -
童话的后来。 -
年少時太過於懵懂，以為獲得了所謂的愛情，以為失去了所謂的愛情，放棄了夢想，離開了家鄉，最終在病痛之中行將朽木之時，才發覺天邊外的世界是如此的珍貴，在陸續失去至親至愛之人丟失靈魂之際才發現天邊外的世界不如腳下的一畝三分地更能實現人生的價值！ -
很多故事都是这么发生的，一个玩笑的开始以为不会有后来，但后来却接踵而至，不受你掌控。有些人，光是遇见，就已经赚了。
有些人的出现，只为了惊艳时光，不负责陪你到永远，但她教会了你爱，让你明白原来有的爱情，有的人，真的值得你赴汤蹈火，拿命去换。 -
真不是每个人都有智慧去判断什么是适合自己的，更少有人有勇气去承认错误并且从头来过，极少有人可以拒绝带给自己利益的有害之物——它伪装得完美。 -
唉 不要高估人生 -
《琼斯皇》剧被恐怖的梦魇追逐，《上帝的儿女都有翅膀》悲观的揭示了阳光下从来没有公正与平等，对黑人来说尤其如此，从奥赛罗到杰姆并非是种族歧视毒瘤的再度复发，事实上它根本未曾削弱。奥尼尔剧里平凡百姓的深度痛苦恐惧体验是美国旧式乐观派的反拨，更确切地说是将理想主义的天边外拉近到生活当中，戳破现实虚假的美好。 -
理想使他不同，理想杀死了他。 -
“爲了今天的瘋狂，明天的沉默、勝利或失望，昨天早把一切準備停當”“喝吧!因為你不知道你從何而來，為何而來。喝吧!因為你不知道你為何而去，去向何方!” -
something make me upset . -
场景设计都有某种意义上的隐喻 -
1. 我们会因为一些事屈服于现实，暂时放弃自己的梦想。这些事可能是爱情，也可能是金钱等等。但是要记住，屈服是暂时的，是为了更好的，更有资格的完成自己的梦想。唯有如此，才可以不忘记本心，被现实变成一个不认识的自己。
2. 要有勇气， 要给自己充分的理由有勇气追逐梦想。这些理由包括对梦想狂热的爱，对实现梦想的渴望，还有对追逐梦想直至实现的信心。
3. 最重要的，要记住，在任何时候，都给自己最好的生活。在屈服于现实时，把现实的事做好，拿到想要的金钱，权利和其他等等有助于你完成梦想的东西。然后挥刀斩断枷锁，完成梦想。
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冲突非常夸张化，让人物间的关系、生存状态都有点失真。私以为这样的故事更适合小说而不是戏剧。背景的设置（海边被群山隔断的村庄）也像是虚拟的，充满表现主义色彩。 -
1936 毛猿。长日入夜行 -
结局悲死 -
多么嘲讽的现实。 -
梦想与现实 -
露丝最后的呆滞麻木好可怕，再次哭到泪眼模糊。今年真的好爱奥尼尔。 -
两个人过着彼此想要的生活，交错的人生带来的是谁都没有犯错的悲剧，不能责怪任何人，不能憎恨爱情。 -
牛的把赵氏孤儿那种臭翔神马的都秒成渣渣！ -
长篇大论在微博已经说过了，五星。 -
苦难者的幻梦 -
人在命运面前的无能 -
大师就是大师！ -
感动了 所以说想走的人千万别为任何人而留嘛 -
悲剧的家庭