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In the final act, Christine tells Crocs Dodd that she's always loved him and Crocs Dodd says, "Okay, i'm so happy. I'll take back the letter."
最后一幕里 克里斯汀告诉柯洛克斯泰她一直都爱他 于是柯洛克斯泰说：好吧 我很开心 那我把信拿回来吧
But christina's like, "No, it's time everyone knows the truth."
但是克里斯汀说：不 是时候让大家知道真相了
Nora and Torvald returned from the costume party with Dr. Rank who tells them he has to go off and die now.
娜拉和托瓦尔从化装舞会上回来后 兰克医生告诉他们他现在必须离开并死去
And Torvald finally checks the mail.
然后托瓦尔查看了信
He reads the letter and instead of praising Nora for her ingenuity and sacrifice,
他看了信之后 非但没有赞扬诺拉的聪明才智和牺牲精神
he turns on her and tells her that she's ruined them all and that she's not a fit mother.
反而怒斥她 说她把他们都毁了 说她不是一个称职的母亲
Then a letter arrives from Krogstad returning the forged document.
之后克鲁格斯塔德寄来一封信 把那份伪造的文件还给了他
Torvalds all, "Haha, just kidding. We're saved. Yay."
托瓦尔说：哈哈哈 玩笑而已 我们得救了 耶！
But Nora's all, "Boy, wait. You've just shown me that our marriage was always a hollow fiction.
但是娜拉说：等等 伙计 你让我明白了我们的婚姻一直都是虚伪的
I'm leaving you and the children and going out into the world to discover who I really am. Here's your ring back. Okay. Thanks. Bye."
我要离开你和孩子 走进这个世界 去寻找真正的自我 这是你的戒指 就这样 谢谢 再见
Door slam. Heard round the world.
然后门一甩 全世界都听到了
Ibsen borrows from bourgeois drama and melodrama, but also inverts their conclusions.
易卜生借鉴了资产阶级戏剧和音乐剧 但同时也颠覆了他们的结论
Earlier dramas imply a return to conservative values.
早期的戏剧暗示“保守价值观的回归”
But Ebson's work suggests that these values are all wrong, and that they keep people from realizing their full humanity and potential.
而易卜生的戏剧则表明这些价值观都是错误的 它们阻碍了人们充分实现自己的人性和潜能
In the late 19th century, it's hard to imagine an act more brave and subversive than Nora's.
在19世纪晚期 很难想象还有什么行为能比诺拉的行为更勇敢、更具颠覆性
Ibsen continued to write prose dramas. But in his late plays, like "The wild duck" And especially "When we dead awakened",
后来易卜生继续写散文戏剧 但在他的晚期戏剧中 比如《野鸭》 尤其是《我们死人再生时》
he returned to a kind of mystical symbolism.
他又开始写一种神秘的象征主义
Ducks aren't just ducks. Mountains aren't just mountains.
鸭子不是单纯的鸭子 山也不是单纯的山
These tragic beautiful plays became a huge in son later writers who argued that maybe realism actually isn't the best way to capture the experience of life.
这些美丽的悲剧后来成为剧作家们争论的焦点：或许现实主义并不是捕捉生活经历最好的方式
After his tryst with the pharmacists made, Ibsen's life for the record was impeccably upright moral and budva itself.
在与药剂师“幽会”之后 易卜生的一生本身就是无可挑剔的正直的道德化身(外语)
That was just one of the many things that Strindberg hated about him.
这只是斯特林堡讨厌他的很多点中的其中一点
The newman absence Seinfeld Strindberg was a playwright, historian, and alchemist.
斯特林堡是一个剧作家 历史学家和炼金术士
And apparently, a really fun guy when he wasn't having bouts of extreme paranoia or raging against the jews.
显然 在他没有极端偏执或者愤怒地反对犹太人的时候 他确实是一个非常有趣的人
Strindberg was born in 1849 to a mother who had been a servant.
斯特林堡出生于1849年 母亲曾是一个仆人
After a brief stint as a pharmacists assistant coincidence he studied modern languages and wrote a bunch of history plays while working as a librarian.
巧合的是 在做了短暂的药剂师助理之后 他学习了现代语言 并在做图书管理员的同时写了一大堆历史剧
He married Siri Van Essen, an actress from an aristocratic family and together they left sweden.
他与来自贵族家庭的女演员西里·范·埃森结了婚 之后一起离开了瑞典
In the 1880s, Strindberg began to correspond with zola and discovered naturalism before eventually turning to symbolism.
19世纪80年代 斯特林堡开始与左拉一致 在最终转向象征主义之前 他发现了自然主义
He had two more marriages and periodic breakdowns, including instances of paranoia where he thought the world was full of Strindberg impersonators.
他还有过两次婚姻和周期性的崩溃 其中包含一些偏执：他认为世界上到处都是自己的模仿者
Why did he hate Ibsen so much?
他为什么这么讨厌易卜生呢
Well, he thought that Ibsen had modeled a couple of ineffectual characters after him.
他认为易卜生在他之后模仿了几个无名鼠辈
"Do you know that my seed has fallen into Ibsen's brainpan—and fertilized! Now he carries my seed and is my uterus." Strindberg wrote.
“你可知道，我的种子掉进了易卜生的脑袋里——而且已经施肥了！现在他用的是我的种子、我的子宫。”斯特林堡写道
So first, for the record, Strindberg also hated Ebson's focus on independent women, calling him an "IgNorant woman's writer".
因此 首先 强调一下：斯特林堡还痛恨易卜生对独立女性的关注 并称他为“无知的女性作家”
Niall, I'm pretty much reading exclusively for Ibsen all the way in this rivalry,
尼尔 在这场竞争中 我不遗余力地支持易卜生
but we're gonna see what Strindberg got up to when he wasn't paranoid or whinging.
不过我们会来看看斯特林堡在不偏执或者不牢骚满腹的情况下做了些什么
Strindberg's first artistic successes were a trio of naturalistic plays—"The Father", "Miss Julie" And "The Creditors".
斯特林堡在艺术方面的第一次成功是他的三部自然主义戏剧——《父亲》、《朱丽小姐》和《债主》
In his most famous play "Miss julie", written in 1888, an aristocratic woman has sex with her father's manservant,
在他最著名的戏剧《朱莉小姐》(写于1888年)中 一个贵族女子与父亲的男仆发生了性关系
realizing she is now in his power, she commits suicide.
之后意识到自己被父亲控制时自杀了
Strindberg published a preface to the play, explaining his naturalistic theories.
斯特林堡为这部剧发表了序言 解释了他的自然主义理论
In his preface, he wrote that "The theatre has always been a public school for the young, half-educated, and women.
在他的序言中 他写道：剧院一直是一所公立学校 面向的是年轻人、半文盲和女性
Who still possess that primitive capacity for deceiving themselves or letting themselves be deceived."
他们仍然拥有欺骗自己或者让自己被欺骗的原始能力
And that he was going to work to write something more truthful.
他打算写一些更真实的东西
Yeah, if it isn't entirely clear by now, Strindberg had huge borderline psychotic issues with women.
是的，如果你现在还不完全清楚的话：斯特林堡和女人之间有着很大的边缘性精神问题
Like Ibsen and the French naturalists, Strindberg believed that character was way more important than plot.
就像易卜生和法国的自然主义一样 斯特林堡认为角色比情节更重要
And he spent a lot of time exploring the psychological aspects of his characters,
他花了很多时间来探索他笔下人物的心理状态
especially as they related to our good friends heredity and environment.
特别是和我们的好朋友“遗传”和“环境”相关时
Here's his explanation for what leads to Miss Julie's tragic fate.
以下是他对朱莉小姐悲惨命运的解读：
Her mother's primary instincts. Her father raising her incorrectly. Her own nature and the influence of her fiance on.
她母亲的本能、她父亲的错误教导、她自己的性格和未婚夫对她的影响
Her weak and degenerate brain. Also, more particularly, the festive atmosphere of midsummer night. Her father's absence.
她那软弱退化的大脑 还有 比较特殊的一点是：仲夏夜的节日气氛、她父亲的缺席
Her monthly in disposition. Her preoccupation with animals. The provocative effect of the dancing.
每月的“坏脾气”、她对动物的痴迷、跳舞的刺激效果
At the midsummer twilight to the powerfully aphrodisiac influence of flowers.
在仲夏的暮色中 花朵具有强烈的催情作用
And finally, the chance that drives the couple together into a room alone. Plus the boldness of the aroused man.
最后就是让这俩人单独进入一个房间的契机 再加上“性奋”的男人的胆大包天
So for the record again, ah. Yes, the guy doesn't take psychology lightly or actually.
所以 再次强调：呃 没错 这家伙真的很重视心理
After some periods of occultism and insanity, don't ask Strindberg like Ibsen made a late turn towards symbolism.
在经历了一段神秘主义和精神错乱之后 别指望斯特林堡会像易卜生一样在后期转向象征主义
He began to write plays that have the feel of dreams or nightmares, including "To Damascus", "A Dream Play", and "The Ghost Sonata".
他开始写“有梦的感觉”或者“有噩梦的感觉”的剧本 包括《到大马士革去》、《梦的戏剧》和《鬼魂奏鸣曲》
Like his earlier realist works, these are about people seeking meaning in a seemingly meaningless universe.
与他早期的现实主义作品一样 这些戏剧讲述的是人们在一个看似毫无意义的宇宙中寻找意义的故事
But in these symbolist works, Strindberg abandoned psychological realism for something stranger and more fragmented.
但在这些象征主义作品中 斯特林堡抛弃了心理现实主义 而去追求一些更陌生、更碎片化的东西
"The author," He wrote, "Has sought to imitate the disconnected but apparently logical form of a dream...
他写道：剧作家试图模仿不连贯但显然符合逻辑的梦境形式……
Upon an insignificant background of real-life events, the imagination spins and weaves new patterns:
在现实生活事件那无关紧要的背景之上 想象力编织出新的模式：
A blend of memories, experiences, pure inventions, absurdities, and improvisations."
记忆、经历、纯粹的创作、荒诞和即兴创作的混合
Strindberg's late play's anticipate expressionism and surrealism styles will explore in upcoming episodes.
接下来的几集里 我们会讲到斯特林堡的晚期戏剧中预见的表现主义和超现实主义风格
These two guys who hated each other pretty much established or anticipated most of the major forms of 19th century drama.
这两个互相憎恨的家伙几乎确立或者预见了19世纪大部分的主要戏剧形式
And it's worth noting that even though they loathed each other personally, they did kind of sneakily admire each other's work.
值得注意的是 尽管他们彼此讨厌对方 但也在偷偷欣赏对方的作品
Ibsen couldn't deny that Strindberg had real talent and Strindberg once wrote that
易卜生不能否认斯特林堡是个真正有才华的人 而斯特林堡曾经也写道：
since Ebsent had written a play as good as Ghosts, it was impossible to hate on him completely.
因为易卜生写了《群鬼》这部好剧 所以不可能完全讨厌他
Next time, we're off to russia to hang with that bespectacled modernist colossus anton chekhov.
下集我们将前往俄罗斯 与戴眼镜的现代主义巨匠契诃夫一起玩耍
But until then, curtain.
下集见 闭幕！
