“女儿”或“妻子”:论海达·高布乐的伦理身份与伦理选择

Daughter or Wife?—— On Hedda Gabler's Ethical Identity and Ethical Choice

作为易卜生晚期创作的重要女性人物之一,海达·高布乐因为复杂却充满魅力的形象在学界的讨论和研究中始终占有重要地位。本文采用文学伦理学批评的方法,分析海达的两重伦理身份——高布乐将军的女儿和泰斯曼的妻子——承载的不同伦理内涵。海达不能顺应从"女儿"到"妻子"伦理身份的转变使她陷入了伦理困境。海达为解决这种伦理困境亦做出了尝试,但是由于她没有认清问题的本质,海达无法解决自身的伦理困境。剧中海达共五次使用她父亲的手枪,均是她无法解决伦理困境的表现。海达认识不到她的伦理身份具有客观性,幻想通过自己的努力改变其伦理身份,但最终失败而选择自杀。从这个结果看,海达看似缺乏动机的行为背后实则有着深刻的伦理成因。

As an important work of Ibsen＇s late writings, Hedda Gabler has been put on stage thousands of times since it appeared over a century ago. The complex and contradictory characteristics of Hedda have always been critics＇ research interests. This article takes the approach of Ethical Literary Criticism, analyzing the different ethical natures of Hedda＇s two identities, General Gabler＇s daughter and Tesman＇s wife. The inability of Hedda to conform to the transition from Gabler＇s daughter to Tesman＇s wife creates an ethical dilemma for her. In order to solve this problem, Hedda makes several desperate attempts. Throughout the play, Hedda uses her father＇s pistols altogether five times, which shows the irreconcilable conflicts of her two identities. Hedda commits suicide in the end, because she does not realize that any ethical identity is objective, and it carries certain ethical and moral responsibilities and regulations that cannot be altered by individuals. From this perspective, Hedda＇s behavior has profound ethical motivations.