经典话剧剧本《Hamlet哈姆雷特ACT5》英文完整版

经典话剧剧本《Hamlet哈姆雷特ACT5》英文完整版

SCENE I. A churchyard.

Enter two Clowns, with spades, & c

First Clown

Is she to be buried in Christian burial that

wilfully seeks her own salvation?

Second Clown

I tell thee she is: and therefore make her grave

straight: the crowner hath sat on her, and finds it

Christian burial.

First Clown

How can that be, unless she drowned herself in her

own defence?

Second Clown

Why, 'tis found so.

First Clown

It must be 'se offendendo;' it cannot be else. For

here lies the point: if I drown myself wittingly,

it argues an act: and an act hath three branches: it

is, to act, to do, to perform: argal, she drowned

herself wittingly.

Second Clown

Nay, but hear you, goodman delver,--

First Clown

Give me leave. Here lies the water; good: here

stands the man; good; if the man go to this water,

and drown himself, it is, will he, nill he, he

goes,--mark you that; but if the water come to him

and drown him, he drowns not himself: argal, he

that is not guilty of his own death shortens not his own life.

Second Clown

But is this law?

First Clown

Ay, marry, is't; crowner's quest law.

Second Clown

Will you ha' the truth on't? If this had not been

a gentlewoman, she should have been buried out o'

Christian burial.

First Clown

Why, there thou say'st: and the more pity that

great folk should have countenance in this world to

drown or hang themselves, more than their even

Christian. Come, my spade. There is no ancient

gentleman but gardeners, ditchers, and grave-makers:

they hold up Adam's profession.

Second Clown

Was he a gentleman?

First Clown

He was the first that ever bore arms.

Second Clown

Why, he had none.

First Clown

What, art a heathen? How dost thou understand the

Scripture? The Scripture says 'Adam digged:'

could he dig without arms? I'll put another

question to thee: if thou answerest me not to the

purpose, confess thyself--

Second Clown

Go to.

First Clown

What is he that builds stronger than either the

mason, the shipwright, or the carpenter?

Second Clown

The gallows-maker; for that frame outlives a

thousand tenants.

First Clown

I like thy wit well, in good faith: the gallows

does well; but how does it well? it does well to

those that do in: now thou dost ill to say the

gallows is built stronger than the church: argal,

the gallows may do well to thee. To't again, come.

Second Clown

'Who builds stronger than a mason, a shipwright, or

a carpenter?'

First Clown

Ay, tell me that, and unyoke.

Second Clown

Marry, now I can tell.

First Clown

To't.

Second Clown

Mass, I cannot tell.

Enter HAMLET and HORATIO, at a distance

First Clown

Cudgel thy brains no more about it, for your dull

ass will not mend his pace with beating; and, when

you are asked this question next, say 'a

grave-maker: 'the houses that he makes last till

doomsday. Go, get thee to Yaughan: fetch me a

stoup of liquor.

Exit Second Clown

He digs and sings

In youth, when I did love, did love,

Methought it was very sweet,

To contract, O, the time, for, ah, my behove,

O, methought, there was nothing meet.

HAMLET

Has this fellow no feeling of his business, that he

sings at grave-making?

HORATIO

Custom hath made it in him a property of easiness.

HAMLET

'Tis e'en so: the hand of little employment hath

the daintier sense.

First Clown

[Sings]

But age, with his stealing steps,

Hath claw'd me in his clutch,

And hath shipped me intil the land,

As if I had never been such.

Throws up a skull

HAMLET

That skull had a tongue in it, and could sing once:

how the knave jowls it to the ground, as if it were

Cain's jaw-bone, that did the first murder! It

might be the pate of a politician, which this ass

now o'er-reaches; one that would circumvent God,

might it not?

HORATIO

It might, my lord.

HAMLET

Or of a courtier; which could say 'Good morrow,

sweet lord! How dost thou, good lord?' This might

be my lord such-a-one, that praised my lord

such-a-one's horse, when he meant to beg it; might it not?

HORATIO

Ay, my lord.

HAMLET

Why, e'en so: and now my Lady Worm's; chapless, and

knocked about the mazzard with a sexton's spade:

here's fine revolution, an we had the trick to

see't. Did these bones cost no more the breeding,

but to play at loggats with 'em? mine ache to think on't.

First Clown

[Sings]

A pick-axe, and a spade, a spade,

For and a shrouding sheet:

O, a pit of clay for to be made

For such a guest is meet.

Throws up another skull

HAMLET

There's another: why may not that be the skull of a

lawyer? Where be his quiddities now, his quillets,

his cases, his tenures, and his tricks? why does he

suffer this rude knave now to knock him about the

sconce with a dirty shovel, and will not tell him of

his action of battery? Hum! This fellow might be

in's time a great buyer of land, with his statutes,

his recognizances, his fines, his double vouchers,

his recoveries: is this the fine of his fines, and

the recovery of his recoveries, to have his fine

pate full of fine dirt? will his vouchers vouch him

no more of his purchases, and double ones too, than

the length and breadth of a pair of indentures? The

very conveyances of his lands will hardly lie in

this box; and must the inheritor himself have no more, ha?

HORATIO

Not a jot more, my lord.

HAMLET

Is not parchment made of sheepskins?

HORATIO

Ay, my lord, and of calf-skins too.

HAMLET

They are sheep and calves which seek out assurance

in that. I will speak to this fellow. Whose

grave's this, sirrah?

First Clown

Mine, sir.

Sings

O, a pit of clay for to be made

For such a guest is meet.

HAMLET

I think it be thine, indeed; for thou liest in't.

First Clown

You lie out on't, sir, and therefore it is not

yours: for my part, I do not lie in't, and yet it is mine.

HAMLET

'Thou dost lie in't, to be in't and say it is thine:

'tis for the dead, not for the quick; therefore thou liest.

First Clown

'Tis a quick lie, sir; 'twill away gain, from me to

you.

HAMLET

What man dost thou dig it for?

First Clown

For no man, sir.

HAMLET

What woman, then?

First Clown

For none, neither.

HAMLET

Who is to be buried in't?

First Clown

One that was a woman, sir; but, rest her soul, she's dead.

HAMLET

How absolute the knave is! we must speak by the

card, or equivocation will undo us. By the Lord,

Horatio, these three years I have taken a note of

it; the age is grown so picked that the toe of the

peasant comes so near the heel of the courtier, he

gaffs his kibe. How long hast thou been a

grave-maker?

First Clown

Of all the days i' the year, I came to't that day

that our last king Hamlet overcame Fortinbras.

HAMLET

How long is that since?

First Clown

Cannot you tell that? every fool can tell that: it

was the very day that young Hamlet was born; he that

is mad, and sent into England.

HAMLET

Ay, marry, why was he sent into England?

First Clown

Why, because he was mad: he shall recover his wits

there; or, if he do not, it's no great matter there.

HAMLET

Why?

First Clown

'Twill, a not be seen in him there; there the men

are as mad as he.

HAMLET

How came he mad?

First Clown

Very strangely, they say.

HAMLET

How strangely?

First Clown

Faith, e'en with losing his wits.

HAMLET

Upon what ground?

First Clown

Why, here in Denmark: I have been sexton here, man

and boy, thirty years.

HAMLET

How long will a man lie i' the earth ere he rot?

First Clown

I' faith, if he be not rotten before he die--as we

have many pocky corses now-a-days, that will scarce

hold the laying in--he will last you some eight year

or nine year: a tanner will last you nine year.

HAMLET

Why he more than another?

First Clown

Why, sir, his hide is so tanned with his trade, that

he will keep out water a great while; and your water

is a sore decayer of your whoreson dead body.

Here's a skull now; this skull has lain in the earth

three and twenty years.

HAMLET

Whose was it?

First Clown

A whoreson mad fellow's it was: whose do you think it was?

HAMLET

Nay, I know not.

First Clown

A pestilence on him for a mad rogue! a' poured a

flagon of Rhenish on my head once. This same skull,

sir, was Yorick's skull, the king's jester.

HAMLET

This?

First Clown

E'en that.

HAMLET

Let me see.

Takes the skull

Alas, poor Yorick! I knew him, Horatio: a fellow

of infinite jest, of most excellent fancy: he hath

borne me on his back a thousand times; and now, how

abhorred in my imagination it is! my gorge rims at

it. Here hung those lips that I have kissed I know

not how oft. Where be your gibes now? your

gambols? your songs? your flashes of merriment,

that were wont to set the table on a roar? Not one

now, to mock your own grinning? quite chap-fallen?

Now get you to my lady's chamber, and tell her, let

her paint an inch thick, to this favour she must

come; make her laugh at that. Prithee, Horatio, tell

me one thing.

HORATIO

What's that, my lord?

HAMLET

Dost thou think Alexander looked o' this fashion i'

the earth?

HORATIO

E'en so.

HAMLET

And smelt so? pah!

Puts down the skull

HORATIO

E'en so, my lord.

HAMLET

To what base uses we may return, Horatio! Why may

not imagination trace the noble dust of Alexander,

till he find it stopping a bung-hole?

HORATIO

'Twere to consider too curiously, to consider so.

HAMLET

No, faith, not a jot; but to follow him thither with

modesty enough, and likelihood to lead it: as

thus: Alexander died, Alexander was buried,

Alexander returneth into dust; the dust is earth; of

earth we make loam; and why of that loam, whereto he

was converted, might they not stop a beer-barrel?

Imperious Caesar, dead and turn'd to clay,

Might stop a hole to keep the wind away:

O, that that earth, which kept the world in awe,

Should patch a wall to expel the winter flaw!

But soft! but soft! aside: here comes the king.

Enter Priest, & c. in procession; the Corpse of OPHELIA, LAERTES and Mourners following; KING CLAUDIUS, QUEEN GERTRUDE, their trains, & c

The queen, the courtiers: who is this they follow?

And with such maimed rites? This doth betoken

The corse they follow did with desperate hand

Fordo its own life: 'twas of some estate.

Couch we awhile, and mark.

Retiring with HORATIO

LAERTES

What ceremony else?

HAMLET

That is Laertes,

A very noble youth: mark.

LAERTES

What ceremony else?

First Priest

Her obsequies have been as far enlarged

As we have warrantise: her death was doubtful;

And, but that great command o'ersways the order,

She should in ground unsanctified have lodged

Till the last trumpet: for charitable prayers,

Shards, flints and pebbles should be thrown on her;

Yet here she is allow'd her virgin crants,

Her maiden strewments and the bringing home

Of bell and burial.

LAERTES

Must there no more be done?

First Priest

No more be done:

We should profane the service of the dead

To sing a requiem and such rest to her

As to peace-parted souls.

LAERTES

Lay her i' the earth:

And from her fair and unpolluted flesh

May violets spring! I tell thee, churlish priest,

A ministering angel shall my sister be,

When thou liest howling.

HAMLET

What, the fair Ophelia!

QUEEN GERTRUDE

Sweets to the sweet: farewell!

Scattering flowers

I hoped thou shouldst have been my Hamlet's wife;

I thought thy bride-bed to have deck'd, sweet maid,

And not have strew'd thy grave.

LAERTES

O, treble woe

Fall ten times treble on that cursed head,

Whose wicked deed thy most ingenious sense

Deprived thee of! Hold off the earth awhile,

Till I have caught her once more in mine arms:

Leaps into the grave

Now pile your dust upon the quick and dead,

Till of this flat a mountain you have made,

To o'ertop old Pelion, or the skyish head

Of blue Olympus.

HAMLET

[Advancing] What is he whose grief

Bears such an emphasis? whose phrase of sorrow

Conjures the wandering stars, and makes them stand

Like wonder-wounded hearers? This is I,

Hamlet the Dane.

Leaps into the grave

LAERTES

The devil take thy soul!

Grappling with him

HAMLET

Thou pray'st not well.

I prithee, take thy fingers from my throat;

For, though I am not splenitive and rash,

Yet have I something in me dangerous,

Which let thy wiseness fear: hold off thy hand.

KING CLAUDIUS

Pluck them asunder.

QUEEN GERTRUDE

Hamlet, Hamlet!

All

Gentlemen,--

HORATIO

Good my lord, be quiet.

The Attendants part them, and they come out of the grave

HAMLET

Why I will fight with him upon this theme

Until my eyelids will no longer wag.

QUEEN GERTRUDE

O my son, what theme?

HAMLET

I loved Ophelia: forty thousand brothers

Could not, with all their quantity of love,

Make up my sum. What wilt thou do for her?

KING CLAUDIUS

O, he is mad, Laertes.

QUEEN GERTRUDE

For love of God, forbear him.

HAMLET

'Swounds, show me what thou'lt do:

Woo't weep? woo't fight? woo't fast? woo't tear thyself?

Woo't drink up eisel? eat a crocodile?

I'll do't. Dost thou come here to whine?

To outface me with leaping in her grave?

Be buried quick with her, and so will I:

And, if thou prate of mountains, let them throw

Millions of acres on us, till our ground,

Singeing his pate against the burning zone,

Make Ossa like a wart! Nay, an thou'lt mouth,

I'll rant as well as thou.

QUEEN GERTRUDE

This is mere madness:

And thus awhile the fit will work on him;

Anon, as patient as the female dove,

When that her golden couplets are disclosed,

His silence will sit drooping.

HAMLET

Hear you, sir;

What is the reason that you use me thus?

I loved you ever: but it is no matter;

Let Hercules himself do what he may,

The cat will mew and dog will have his day.

Exit

KING CLAUDIUS

I pray you, good Horatio, wait upon him.

Exit HORATIO

To LAERTES

Strengthen your patience in our last night's speech;

We'll put the matter to the present push.

Good Gertrude, set some watch over your son.

This grave shall have a living monument:

An hour of quiet shortly shall we see;

Till then, in patience our proceeding be.

Exeunt

SCENE II. A hall in the castle.

Enter HAMLET and HORATIO

HAMLET

So much for this, sir: now shall you see the other;

You do remember all the circumstance?

HORATIO

Remember it, my lord?

HAMLET

Sir, in my heart there was a kind of fighting,

That would not let me sleep: methought I lay

Worse than the mutines in the bilboes. Rashly,

And praised be rashness for it, let us know,

Our indiscretion sometimes serves us well,

When our deep plots do pall: and that should teach us

There's a divinity that shapes our ends,

Rough-hew them how we will,--

HORATIO

That is most certain.

HAMLET

Up from my cabin,

My sea-gown scarf'd about me, in the dark

Groped I to find out them; had my desire.

Finger'd their packet, and in fine withdrew

To mine own room again; making so bold,

My fears forgetting manners, to unseal

Their grand commission; where I found, Horatio,--

O royal knavery!--an exact command,

Larded with many several sorts of reasons

Importing Denmark's health and England's too,

With, ho! such bugs and goblins in my life,

That, on the supervise, no leisure bated,

No, not to stay the grinding of the axe,

My head should be struck off.

HORATIO

Is't possible?

HAMLET

Here's the commission: read it at more leisure.

But wilt thou hear me how I did proceed?

HORATIO

I beseech you.

HAMLET

Being thus be-netted round with villanies,--

Ere I could make a prologue to my brains,

They had begun the play--I sat me down,

Devised a new commission, wrote it fair:

I once did hold it, as our statists do,

A baseness to write fair and labour'd much

How to forget that learning, but, sir, now

It did me yeoman's service: wilt thou know

The effect of what I wrote?

HORATIO

Ay, good my lord.

HAMLET

An earnest conjuration from the king,

As England was his faithful tributary,

As love between them like the palm might flourish,

As peace should stiff her wheaten garland wear

And stand a comma 'tween their amities,

And many such-like 'As'es of great charge,

That, on the view and knowing of these contents,

Without debatement further, more or less,

He should the bearers put to sudden death,

Not shriving-time allow'd.

HORATIO

How was this seal'd?

HAMLET

Why, even in that was heaven ordinant.

I had my father's signet in my purse,

Which was the model of that Danish seal;

Folded the writ up in form of the other,

Subscribed it, gave't the impression, placed it safely,

The changeling never known. Now, the next day

Was our sea-fight; and what to this was sequent

Thou know'st already.

HORATIO

So Guildenstern and Rosencrantz go to't.

HAMLET

Why, man, they did make love to this employment;

They are not near my conscience; their defeat

Does by their own insinuation grow:

'Tis dangerous when the baser nature comes

Between the pass and fell incensed points

Of mighty opposites.

HORATIO

Why, what a king is this!

HAMLET

拓展阅读

1、经典话剧雷雨观后感优秀

记得是第一次这样完整的在现场看话剧。剧情大概了解一些。整个话剧院的声场建筑设计不错，感觉是比较新的内部装修。毕竟我也做过类似的设计。几次电闪雷鸣都让我身临其境。

言归正转，这部剧的剧情很紧凑，短短一天之内所有的矛盾或情节全部完成。虽然剧中人物的关系与现在的一些韩剧一样―――乱就一个字。雷雨在这么短的章节内交待完成，而又不显突兀。即使这是一部30年代的作品，但今天眼光来看这个情节仍然不觉落伍。让后来者感到名著的恒久魅力和作者写作功力的深厚。

可是任何作品都是有其时代感的，但无论如何投入的专注于剧情，我却无法找到作品的共鸣。一方面是演员的原因：他们太职业化了。流畅的台词、熟悉的动作、做作的表情。始终让人无法进入那个年代。另一方面也许那个时代的生活是我们无法体验的，无法体会到当时社会的等级观念森严和阶级对立的激烈矛盾。

演员本身表演没有太大的问题。繁漪后面是有错台词，但也不失为话剧的魅力之一。鲁贵，演的很好。功力很深厚，让我怀疑是不是本色表演。鲁大海的形象挺高大的，符合作品中的形象。不过，30年代的穷人很难有这种身材吧。周朴园，扎着睡袍很时髦啊。表演的颇具*资本家的味道。周萍的扮相是不讨人喜欢，但我却认为这恰恰可以让观众去猜测这两人女人冒这么大的风险去爱他的背后原因。至少爱上帅哥这种小女生的想法是不会在繁漪这里有市场的。周萍戏份很多，又是很多矛盾的集中点。要把这个角色演好很难，综合来看他还是演的较好的。其它的演员感觉一般，不一一论述。

最后说一下，有几幕最后的定型照灯光打上去让人有旧年代雕塑的感觉。做的很棒。

2、经典话剧雷雨观后感优秀

在我看来，曹禺设置戏剧冲突的技巧是无与伦比的。两代人，分别来自两个对立的阶级，由于多次命运的巧合纠缠在了一起，复杂感情的纠葛使他们那本已伤痕累累的心雪上加霜，在命运的无情摆布和感情的残酷玩弄下，他们已无还击之力，死的死，疯的疯，逃的逃，两个家庭在一天之内毁于一旦。这就是*家庭对人性的摧残。读完之后，莫说剧中人物，连我都痛苦万分，对这个世界彻底绝望了。

“雷雨”，这个名字取得太妙了。“雷雨”，贯穿于字里行间，贯穿于环境描写之中，贯穿于人物性格、人物感情之中，贯穿于故事情节之中，贯穿于结构形式之中。《雷雨》故事情节的发展具有夏日雷雨的特征:开始时乌云密布，空气闷热难当，随后，空气的气氛渐趋紧张，时不时伴随电闪雷鸣，随后，大雨骤至，雷电轰鸣，整个宇宙都发怒了。再看繁漪那充满愤怒与压抑，最终走向变态极端的感情，周萍那极度悔恨、惧怕与希望并存，罪恶感与歉然同在的感情，鲁侍萍那饱受折磨仍逃脱不了命运残忍玩弄的内心，哪一样不是“雷雨”特征的典型写照。对制度的批判，对罪恶的揭露，对人物的同情与无奈，爱恨交加的复杂感情，都化作了两个字:雷雨。

虽然四幕长剧的时间跨度仅仅是一天，但我却觉得像是过了一年还不止。一天之内，人物的感情发生如此大的变化，情节发生如此大的转折，实在叫人能以想象，但我们不得不相信它是真实的。人物之间的关系形成了一个错综复杂的矛盾网、仇恨网，作者正是通过把各种复杂的矛盾糅合在一起，从而表现作品的主题的。周朴园被迫或自愿抛弃了已生下两个儿子的鲁侍萍，三十年后，周朴园偶遇鲁侍萍，矛盾一触即发。工人鲁大海为争取工人的权益与自己并不认识的亲生父亲发生矛盾，被自己同父同母的哥哥周萍痛打，周萍由于与自己的后妈繁漪发生了不自然的关系而悔恨不已，决定痛改前非，却摆脱不了失去精神依托的繁漪的纠缠、威胁，与此同时，周萍爱上了鲁侍萍的女儿——在周家当侍女的四凤，恰巧，繁漪的儿子周冲——一个善良、真诚的少年也对四凤情有独钟。四凤面临母亲和周萍的抉择，周萍把人交给了四凤，却受到繁漪的牵制，周冲面临母亲和哥哥双方面的压力，这一切的一切交错在一起，终于在周朴园暴露身世之谜后酿成了惨剧。这惨剧是偶然的，太多的巧合，天命，但又是必然的，*制度对人性的扭曲、摧残必定造成这悲惨的结局。作者的高超之处在于，他让矛盾相互交织，无处不在，让人分不清谁是谁，谁爱谁，谁恨谁，但一切又是那么的鲜明，让人的心都能感受到。

我认为繁漪是最具“雷雨”性格的人物，也是剧中人性扭曲最大的人物。*制度对人性的摧残主要体现在繁漪身上。周冲在剧中是最无辜、最悲惨，也是最值得同情的人物。他年仅十七岁，天真烂漫，虽出生在阔家庭，但没有丝毫强权思想、等级观念，他追求平等，追求自由，待人真诚，对下人四凤真心相爱。就是这样一个优秀的青年，在*家庭复杂的矛盾冲突中白白地毁灭了。周冲的死是最不应该发生的，所以周冲的死是对*的*制度最有力的控诉。

3、经典话剧雷雨观后感优秀

说到话剧我就会不自觉的想起不久之前才看过的《雷雨》，它可以说是中国话剧史上不落的太阳。其中跌宕起伏的剧情，人物性格的完美刻画以及社会现象的深刻反映无一不让我拍案叫绝。同时，它也可以说是一部彻头彻尾悲剧，其中的骨肉分离却以仇人的身份相见，兄妹手足却迸发了爱情的火花，对伦理纲常的悖逆，对人情冷暖的无视却又让我悲到无从流泪。

《雷雨》讲述了两个家庭八个人物在一天的时间里牵扯出了三十年的恩恩怨怨，剧中纠缠着周朴园与繁漪，周朴园与侍萍，周朴园与鲁大海三对主要矛盾，最后悲剧爆发在一场倾盆的大雨之中。严酷的现实让四凤无法承受，她冲向了花园，碰到了漏电的电线而死。而周冲为了救他也触电身亡，周萍开枪*了，两个妇人也遭受了巨大的打击。悲剧的结局反映了*思想对人性的摧残与虐杀，痛斥了资本家的虚伪与凶残，表达了对下层劳动人民的同情。这是一个家庭的悲剧，也是一个国家的悲剧。

在这个剧中我最喜欢的人物是周冲，他是一个受新思想，新文化影响下成长的青年。他冲动、热情、天真善良、富于幻想，生性浪漫，对爱情憧憬，对未来也充满了热情。然而在他明亮的眼睛中无法看到掩藏在黑幕上的波涛汹涌。他看上去只是一个孩子，没有周萍的成熟，没有周朴园的罪恶，有的只是他在这个年纪该有的思想，憨厚，甚至在知道四凤已心有所属之后，也没像繁漪那样妒火中烧，依旧对四凤

一心一意，在四凤冲出去之后，他义无反顾的去救她，致使自己落了个触电而亡的结局。在当时如此污浊的社会环境中，他就如傲立的青莲，然而他的优点也是也是他致命的弱点，从认识到父亲的权威笼罩到大海的鸿沟，再到母亲撕裂的面具既而爱的人又不是真正的伴侣，接踵而来的失望把这个干净的灵魂逼至了绝境，一种幻灭的悲哀占据了他年轻的心，所有的一切最终埋葬了这个圣洁的灵魂，他最终也没有冲破这个丑恶的世界。

与此同时，周朴园是这个剧中让我印象最为深刻的人物。他是那个年代中最典型的标本，在人类无节制的欲望中，他的本性发挥的淋漓尽致。他是一个残酷的资本家，为了私吞工人的工钱不惜放水淹死修江桥的三千小工，他的双手沾满了贫苦劳动者的鲜血和泪水。在矿上，他是盘剥镇压工人的吸血鬼，对工厂实行*把头式的管理，欺压鱼肉工人。他也是一个带有浓厚*思想的控制欲极强的家长，在家庭中他是*“老爷”，独断专权，他极力控制自己的妻儿，不允许他们有任何的自由。他还是一个自私伪善的人。表面怀旧，把家具都按侍萍“生前”的样子排列，但当她真的出现在他的面前时，他恐惧了，害怕有损他的利益。他似乎很疼爱自己的妻子，给他请医生来看病，实际上从不愿意理解她，爱她。总之，无论是对待工人，还是对待情人、妻子还是子女，他的一切皆为了他自己。

《雷雨》里的人物的命运是黑暗的，他们对命运没有一丝丝的反抗就已经被征服了。假如四凤和周冲没有死，也许他们会有一个美好的未来。周萍假如再冷静一些，也许就不会*，两位母亲也就不会因此而疯掉。它描述的不在是一个故事，它是一个时代所铸造的暴风骤雨。风雨之下，世间一切的罪恶丑陋原形毕露，无处藏身。没有什么爱能穿越这无限修长的时间，没有什么事能真正的达到永恒。人生如梦，梦里泪雨滂沱，梦醒之后，我们就要想想我们的人生该怎样去走。

每个人都有自己的梦想，每个人都有自己的命运，在我们通向自己所努力想要达到的目标的过程中，总会历经坎坷，历尽艰辛。在这个过程中，我们也许会抱怨，也许想要放弃，但我们要相信只要努力，只要坚持，就一定能达到梦想彼岸。我们要相信自己命运应该由自己去掌握，虽然命运有时是黑暗的，但在黑暗的尽头就是光明。命运其实不可怕，可怕的是自己都对命运低头，而命运中的黑暗就犹如剧场的幕一样，我们知道会有闭幕的时候，当我们在黑暗中等待时，我们应该清楚，在瞬间漆黑之后会有更精彩的剧目。而不应该让黑暗蒙蔽住自己的眼睛，理智，甚至于心灵。在人生的道路上我们要相信风雨之后就会有彩虹，梦想就在前方。

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