榆树下的欲望
个体的失败与困境——《榆树下的欲望》悲剧原因评析
［ 中图分 类号］ Ｂ ２ ４ ８ ． ２ ［ 文献标识码 ］ Ａ ［ 文章 编号］ １ ０ ０ ４—７ ０ ７ ７ （ ２ ０ １ ４ ） ０ ６—０ ０ １ ４— ０ ３ 下 的农 庄 。年 过 ７ ０的卡 伯 特 是 农 场 主 人 ，
苦 。现代戏剧对个体 主义与 自由意志 的推崇 ， 使 历史 和社会力 量对悲剧 人物命 运的影 响在作 品中被弱化 。个 体心理
的、 伦理的 、 以及信仰 的因素成为悲剧 的主要动 因。无论是农场主人老卡伯特 ， 还是伊 本和艾 比， 都受制于 表现为强烈
的物质欲望 ， 都受本能欲望所驱使。此外 ， 伦理道德的缺失 ， 是 导致剧 中个体悲剧 的另一重要原 因。
不 可 为 而 为 之 的豪 决 ， 而 多 是 因 为 个 体 本
身 ， 其 后 果 也 只能 由 自己承 担 。
伯 特 娶 艾 比 是 希 望 她 能 生 下 农 场 的 继 承
人 ， 而 艾 比嫁 给 年 过 半 百 的 卡 伯 特 则 完 全
是 为 了 占有 这 ｆ ｌ－ 农 庄 。对 农 场 的 欲 望 使 艾
的一 笔 金 币 后 离 家 出走 ， 远 赴 西 部 淘 金 ， 并 与 他 们 签 下农 场 所 有 权 转 让 的 协 议 。就 在 伊 本 对 农 场 志 在 必 得 的 时 候 ， 继 母 艾 比 的 到来 给 他 带来 了严 峻 的威 胁 和 挑 战 。老 卡
切 。 悲 剧 的 产 生 不 是 来 自于 主 人 公 明 知
・
１ ４ ・
胡媛媛
个体 的失败与困境— — 《榆树 下的欲望》 悲剧原 因评析
《榆树下的欲望》的生态解读
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人与人之间关系的异化： 人与人之间缺乏温情、 缺乏信 在《 剧 ， 榆》 自然环 境是一 个不可忽视 的重要背 任、 冷漠隔离… …最后 ， 关照现代人的内心世界 ， 我们 景。故事发生在新英格兰的农场上 ， 田庄和农舍是剧 触 目于其中的孤独和空虚 。所 以说 ， 生态危机不仅发 中人物生存的物理环境 。奥尼尔在该剧中通过家庭成 生在 自 然领域、 同时也发生在社会领域和精神领域。 员与这片土地 的纠葛 ， 恰如其分地 回答 了生态批评理 生态批评是以 自 然生态 的立场来重新反思人类已 论家们所提出的物理环境在推动情节发展中的作用问 存 的价值观念、 生活方式 、 明取 向， 文 并将这种反思作 题及人类与土地之间的相互关联问题。 为文学批评 的有效 内容。由 自 然生态引向文学与人的 《 剧中， 榆》 土地是被物化 的。这个农场在 自然界 内在生态的关注 ， 以生态 的视角来重新认识文学与人 里存在了千百年 ， 历经风吹雨打 ， 表面上看与其他土地 的内在 自然生态和精神生态， 以生态的平等性和整体 性来批判违背生态原则 的现象。 【 生态批 评 ２ ２ ０世纪
我国著名生态理论专家鲁枢元先 生说 ： 人不仅 “ 仅是 自 然性的存在 ， 不仅仅是社会性的存在 ， 人同时还 是精神性的存在。 人 类在改造 自然追求财 富的过 ” 程 中， 面临着越来越严重 的生态危机。首先 ， 由于人类
景是 １ 世纪中美国西部 的加利福尼亚州发现了金矿 ９ 后， 全美掀起了淘金热潮 以及西进运动。故事围绕着 家庭矛盾展开 ， 家庭成员为争夺田庄兄弟反 目、 父子成 仇、 母亲杀死初生婴孩… …这一幕幕悲剧的上演 ， 无 不缘于 自 然生态、 社会生态和精神生态 的严重危机和 失衡 。可以说 ， 正是 因为剧 中主人公 与 自然、 与他人、
《榆树下的欲望》中的爱与精神救赎
摘要《榆树下的欲望》描写的是一个为利益争夺而导致的家庭悲剧，在这场争夺中继母爱碧与儿子伊本产生了爱情。
爱碧为了证明自己的真情将他们的儿子杀死了。
奥尼尔希望他的爱情角色能克服自私，消除贪欲，唤醒精神的力量，超越现实的束缚。
故事以爱碧与伊本甘愿共同赴死、正视死亡结束。
他们的爱得以升华，人性得以净化，灵魂得以拯救。
奥尼尔想通过其剧本告诉我们，唯有爱以及一切积极意义的情感方能将我们的精神救赎。
关键词：爱碧爱救赎一《榆树下的欲望》描写的是1850年新英格兰一座田庄上的家庭悲剧。
作为一家之主的父亲凯勃特冷酷自私，他是对物质利益追求的集中代表，他的眼里只有田庄这份看得到的财产。
他的前两任妻子被他逼迫为田庄辛勤劳作，终因过度劳累而早早离开人世。
他在七十多岁竟又娶了三十多岁的第三任妻子――爱碧。
凯勃特的三个儿子与他们的父亲一样，内心充满着占有田庄的强烈愿望。
小儿子伊本甚至不惜利用计谋给他的两个哥哥每人300元，将他们的田庄份额买走，将两个哥哥逼走，从而使他自己争夺田庄的压力减小许多。
之后，他又与继母爱碧，展开了争夺田庄的斗争，从而在这场斗争中上演了一幕丧失伦常却最终撞击心灵的悲剧。
麻木不仁、冷漠无情的不止是这个家庭，这个家庭所在的小镇亦是如此。
在第三幕中的舞会上镇上人们的言行向我们展示了一幅人心冰凉的画面。
舞会上，人们大声谈笑，挤眉弄眼，推推搡搡，有的还意味深长地向凯勃特点头。
这样的举止足以说明他们都知道一个秘密，只是心照不宣而已。
奥尼尔利用这些细节描写为读者所呈现的这幅画面中的人际关系状态图让人觉得窒息，农民所应具备的淳朴与良善荡然无存。
小提琴师甚至还提议“让咱们为老色鬼戴绿帽子庆祝一番”，这是多么具有讽刺意义的一幅场景，人们醇良本性消失殆尽的本质被展露无遗。
人们似乎一个个成了没有道德、丧失人性美好的驱壳。
这个场景所呈现的是一幅人性是多么漠然、邻里关系是多么畸形的悲凉画面。
作为局部代表的一个小小的闭塞村庄已然如此，社会的整体就会是一座被畸形心理和畸形人际关系所充满的精神荒原，整个社会也如同一座坚不可摧的石头牢笼。
奥尼尔《榆树下的欲望》戏剧语言分析
作者： 郭志艳
作者机构： 大连外国语学院公共外语教学部,辽宁大连116000
出版物刊名： 通化师范学院学报
页码： 71-73页
年卷期： 2011年 第5期
主题词： 奥尼尔 《榆树下的欲望》 戏剧语言
摘要：作为美国戏剧的奠基人,奥尼尔凭借《榆树下的欲望》誉满天下。
此剧本透过写作技巧、人物塑造,深刻反映了现实社会的思想主题,关注人性本质意义。
犀利剖析的笔触深深地吸引着评论家和广大读者。
事实上,《榆树下的欲望》的艺术魅力与它的语言系统息息相关,因此从戏剧的听觉语言和视觉语言两方面着手,对剧本进行全方位的语言剖析,有助于戏剧爱好者深刻领会戏剧语言的艺术特色。
从剧本《榆树下的欲望》窥探其所处创作时代的美国社会现实
从剧本《榆树下的欲望》窥探其所处创作时代的美国社会现实蔡晓芝华南师范大学 历史文化学院摘要：《榆树下的欲望》是一部反映美国现代悲剧思想的戏剧作品，着重表现了剧中人物在特殊社会环境中的心理和本性，与其所处的创作时代紧密相联。
文章通过分析该戏剧创作与所处创作时代社会现实的关系，对剧本的文字描写和所处创作时代的社会现实进行比较研究，从中窥探并总结这一时期美国的社会现实。
关键词：《榆树下的欲望》；尤金·奥尼尔；20世纪20年代；社会现实1《榆树下的欲望》与其所处创作时代的社会现实的关系《榆树下的欲望》是尤金·奥尼尔完成于1924年的戏剧，以剧本《榆树下的欲望》为研究对象分析《榆树下的欲望》与其所处创作时代的社会现实的关系，能从中窥探其所反映的美国社会现实。
首先是奥尼尔写实的创作风格和思想，奥尼尔在创作该戏剧时以尖锐地反映美国的社会现实和病症为突出特点，不仅有对美国社会的反思，也包含对个体精神价值的追求和对生命本质的思考；其次是该戏剧注重刻画人物，在呈现每一个平凡但有血有肉的人物表象背后，奥尼尔更多关注人物内心和挖掘人物的深层次意识及精神冲突；最后是当时美国社会对奥尼尔戏剧的态度，当时奥尼尔的创作环境十分艰难，该剧曾因乱伦题材在波士顿遭禁演，1940年以前在美国不准公演，1925年在洛杉矶演出时全体演员遭逮捕，批评家对他的作品争议很大，连观众也表现得难以接受，他们极不愿承认“在舞台上惊奇地看到了自己。
”总而言之，这一时期奥尼尔戏剧作品与其所处时代的社会现实的关系包含一种冲突色彩。
2剧本《榆树下的欲望》与社会现实的比较将剧本《榆树下的欲望》中的文字描述与其所属创作时代的社会现实进行比较分析，能从人物刻画的细节当中窥探到一些重要特征。
2.1繁荣景象下享乐和物质主义的盛行《榆树下的欲望》一个突出特征是精神与物质冲突，物质主义是奠定小说悲剧基调的根源。
戏剧围绕争夺农庄继承权开展，凯勃特一生对农庄有强烈的占有欲和控制欲，农庄成为他获取安全感的精神载体；两个儿子执着于前往加利福尼亚淘金，渴望摆脱父亲的控制，对幻想中极具诱惑力的物质世界充满向往；而伊本和爱碧的冲突是由对农庄的争夺展开的，他们对物质的渴求狂热露骨，对于伊本，占有田庄是向父亲和苦难生活报复的最有力方式，唯有夺得田庄他才可能与自己和解，戏剧中杀子悲剧也根源于他无法完全占有物质的不安全感，以及引对人、生活和社会的不信任。
反抗命运的女性悲歌——《榆树下的欲望》中的爱碧与《雷雨》中的蘩漪形象比较
反抗命运的女性悲歌 中的蘩漪形象 吕玉梅
作品研究２刚ｌ ２ ８ 《榆树下的欲望》中的爱碧与《雷雨》 比较
《榆树下的欲望》于１９２４年首演，是“美国现代戏剧之 父”尤金・奥尼尔早期的代表作品之一。 《雷雨》创作于１９３３ 年，不仅奠定了曹禺在文坛上的地位，同时也是中国话剧史 上的一座里程碑。 《榆树下的欲望》与《雷雨》在创作背 景、表现主题和人物性格等方面具有惊人的相似性，本文拟 就两剧中的中心人物之一爱碧与蘩漪的悲剧人生进行对比， 并揭示造成其悲剧命运的根源。 悲剧人生 爱碧和蘩漪具有相似的悲剧人生，她们都与继子发生了 不伦之恋，并最终走向毁灭。下面是她们的人生三部曲。 一、困境 爱碧有着不幸的身世，幼年时是个孤儿，不得不替别 人干活，饱尝了人间的辛酸和苦难。成年后又遇人不淑，嫁 了个酒鬼。后来孩子死了，丈夫也死了，只好继续给别人 干活。这时她遇见了老凯勃特，尽管老凯勃特比她大四十多 岁，她还是嫁给了他。 这桩纯粹为了物质利益而缔结的婚姻毕竟是违反人性 的。老凯勃特吝啬贪财，他逼迫妻子、儿子和自己一起拼命 劳作，以至于前两任妻子都因劳累过度而死去，两个大儿子 也被累跑，第三个儿子只是希望继承农场才留了下来。老凯 勃特在精神上一无所有。因此，爱碧虽然拥有了自己的家， 温饱问题暂时得到了解决，但是她的生活中依然潜伏着危 机。 首先，如果她不能按老凯勃特的意愿为他生一个继承人 的话，很可能被扫地出门，再次过上劳碌不堪、居无定所的 生活。其次，爱碧毕竟是个年轻健康的女性，有着正常的感 情和生理上的需求。 蘩漪是富家小姐出身，受过很好的教育，她理想中的伴 侣应该是一位和她门当户对、年貌相当的富家子弟。可希望 越大，失望越大，结果却是她在十七岁的花样年华嫁给了比 自己大二十岁的中年男人周朴园做填房。 周朴园曾经到德国留过学，年轻时也曾恋爱过，可和梅侍 萍的那场刻骨铭心却被拆散的爱情早已耗尽了他的感情。他已 经无法再爱上别的女人，于是就把感情的重心转移到社会上， 最终彻底地蜕变成残酷地压榨和剥削工人的资本家。他看上蘩 漪的只不过是她出身名门的大家闺秀身份，一位能为他装点门 面的周公馆的女主人而已。蘩漪是一个敢爱敢恨的女人，她不 甘心自己耗尽青春之后，像梅侍萍之后的那位富家小姐一样无 声无息地死去。虽然长久地被禁闭在周公馆里，但只要有合适 的时机，她就要冲破这牢狱般的家。 二、抗争 爱碧虽然对伊本存有防范之心，但还是禁不住被这个高 大健美、面容俊秀的年轻男人吸引，又怀着利用伊本生一个 财产继承人的目的，主动勾引他。伊本对爱碧想要夺取农场 也满怀仇恨和戒心，但是作为一个长年处于饥渴状态中的年 轻男子，也禁不住情欲的诱惑，而且出于报复父亲的心理， 于是和爱碧两人一拍即合。但在这各怀目的的偷情中，两人 却渐渐产生了感情，真正爱上了对方。 蘩漪生活在几乎与世隔绝的周公馆里，已经十多年了， 寂寞烦闷的生活使她喘不过气来。忽然，周萍从乡下来到了 周公馆。周萍的童年时代既缺乏父爱也缺乏母爱，潜意识里 对造成他这种处境的父亲充满恨意，从而滋生出恋母仇父情 结。因此，当繁漪给了他关怀和温存，并向他诉说自己的忧 伤和痛苦时，他产生了强烈的精神共鸣，对她表示了爱慕。 而此时周萍的到来填补了蘩漪情感沙漠的空白，也符合她心 目中男人的标准，他点燃了蘩漪心中的爱情之火。于是她不 顾一切，抛弃了传统伦理道德，而接受了周萍的“爱情”。 自从同周萍在一起后，蘩漪感到了从未有过的幸福。 三、毁灭 然而，幸福的时光总是过得很快，爱碧和伊本不久就有了 爱的结晶。在庆祝婴儿出生的宴会上，老凯勃特私下里告诉伊 本农场将会留给爱碧和婴儿，伊本什么也得不到。伊本痛苦、 愤怒极了，认为爱碧并不真爱他，而只是在利用他，为了从他 身上得到个孩子而把田庄弄到手，于是决定第二天就到加利福 尼亚去淘金。爱碧无法想象失去伊本的生活，因为这是她“唯
英文版《榆树下的欲望》
A Play in Three PartsbyEugene O'Neill (1888-1953)CharactersEPHRAIM CABOTSIMEONPETER--his sonsEBENABBIE PUTNAMYoung Girl, Two Farmers, The Fiddler, A Sheriff, and other folk from the neighboring farmsThe action of the entire play takes place in, and immediately outside of, the Cabot farmhouse in New England, in the year 1850. The south end of the house faces front to a stone wall with a wooden gate at center opening on a country road. The house is in good condition but in need of paint. Its walls are a sickly grayish, the green of the shutters faded. Two enormous elms are on each side of the house. They bend their trailing branches down over the roof. They appear to protect and at the same time subdue. There is a sinister maternity in their aspect, a crushing, jealous absorption. They have developed from their intimate contact with the life of man in the house an appalling humaneness. They brood oppressively over the house. They are like exhausted women resting their sagging breasts and hands and hair on its roof, and when it rains their tears trickle down monotonously and rot on the shingles.There is a path running from the gate around the right corner of the house to the front door. A narrow porch is on this side. The end wall facing us has two windows in its upper story, two larger ones on the floor below. The two upper are those of the father's bedroom and that of the brothers. On the left, ground floor, is the kitchen--on the right, the parlor, the shades of which are always drawn down.《榆树下的欲望》PART I SCENE ONEDESIRE UNDER THE ELMSExterior of the Farmhouse. It is sunset of a day at the beginning of summer in the year 1850. There is no wind and everything is still. The sky above the roof is suffused with deep colors, the green of the elms glows, but the house is in shadow, seeming pale and washed out by contrast.A door opens and Eben Cabot comes to the end of the porch and stands looking down the road to the right. He has a large bell in his hand and this he swings mechanically, awakening a deafening clangor. Then he puts his hands on his hips and stares up at the sky. He sighs with a puzzled awe and blurts out with halting appreciation.EBEN--God! Purty! (His eyes fall and he stares about him frowningly. He is twenty-five, tall and sinewy. His face is well-formed, good-looking, but its expression is resentful and defensive. His defiant, dark eyes remind one of a wild animal's in captivity. Each day is a cage in which he finds himself trapped but inwardly unsubdued. There is a fierce repressed vitality about him. He has black hair, mustache, a thin curly trace of beard. He is dressed in rough farm clothes. He spits on the ground with intense disgust, turns and goes back into the house. Simeon and Peter come in from their work in the fields. They are tall men, much older than their half-brother [Simeon is thirty-nine and Peter thirty-seven], built on a squarer, simpler model, fleshier in body, more bovine and homelier in face, shrewder and more practical. Their shoulders stoop a bit from years of farm work. They clump heavily along in their clumsy thick-soled boots caked with earth. Their clothes, their faces, hands, bare arms and throats are earth-stained. They smell of earth. They stand together for a moment in front of the house and, as if with the one impulse, stare dumbly up at the sky, leaning on their hoes. Their faces have a compressed, unresigned expression. As they look upward, this softens.)SIMEON--(grudgingly) Purty.PETER--Ay-eh.SIMEON--(suddenly) Eighteen years ago.PETER--What?SIMEON--Jenn. My woman. She died.PETER--I'd fergot.SIMEON--I rec'lect--now an' agin. Makes it lonesome. She'd hair long's a hoss' tail--an' yaller like gold!PETER--Waal--she's gone. (this with indifferent finality--then after a pause)They's gold in the West, Sim.SIMEON--(still under the influence of sunset--vaguely) In the sky?PETER--Waal--in a manner o' speakin'--thar's the promise. (growing excited) Gold in the sky--in the West--Golden Gate--Californi-a!--Goldest West!--fields o' gold!SIMEON--(excited in his turn) Fortunes layin' just atop o' the ground waitin' t' be picked! Solomon's mines, they says! (For a moment they continue looking up at the sky--then their eyes drop.)PETER--(with sardonic bitterness) Here--it's stones atop o' the ground--stones atop o' stones--makin' stone walls--year atop o' year--him 'n' yew 'n' me 'n' then Eben--makin' stone walls fur him to fence us in!SIMEON--We've wuked. Give our strength. Give our years. Plowed 'em under in the ground--(he stamps rebelliously)--rottin'--makin' soil for his crops! (a pause) Waal--the farm pays good for hereabouts.PETER--If we plowed in Californi-a, they'd be lumps o' gold in the furrow!SIMEON--Californi-a's t'other side o' earth, a'most. We got t' calc'late--PETER--(after a pause) 'Twould be hard fur me, too, to give up what we've 'arned here by our sweat. (A pause. Eben sticks his head out of the dining-room window, listening.)SIMEON--Ay-eh. (a pause) Mebbe--he'll die soon.PETER--(doubtfully) Mebbe.SIMEON--Mebbe--fur all we knows--he's dead now.PETER--Ye'd need proof.SIMEON--He's been gone two months--with no word.PETER--Left us in the fields an evenin' like this. Hitched up an' druv off into the West. That's plumb onnateral. He hain't never been off this farm 'ceptin' t' the village in thirty year or more, not since he married Eben's maw. (A pause. Shrewdly) I calc'late we might git him declared crazy by the court.SIMEON--He skinned 'em too slick. He got the best o' all on 'em. They'd neverb'lieve him crazy. (a pause) We got t' wait--till he's under ground.EBEN--(with a sardonic chuckle) Honor thy father! (They turn, startled, and stare at him. He grins, then scowls.) I pray he's died. (They stare at him. He continues matter-of-factly.) Supper's ready.SIMEON AND PETER--(together) Ay-eh.EBEN--(gazing up at the sky) Sun's downin' purty.SIMEON AND PETER--(pointing) Ay-eh. They's gold in the West.EBEN--(pointing) Ay-eh. Yonder atop o' the hill pasture, ye mean?SIMEON AND PETER--(together) In Californi-a!EBEN--Hunh? (stares at them indifferently for a second, then drawls) Waal--supper's gittin' cold. (He turns back into kitchen.)SIMEON--(startled--smacks his lips) I air hungry!PETER--(sniffing) I smells bacon!SIMEON--(with hungry appreciation) Bacon's good!PETER--(in same tone) Bacon's bacon! (They turn, shouldering each other, their bodies bumping and rubbing together as they hurry clumsily to their food, like two friendly oxen toward their evening meal. They disappear around the right corner of house and can be heard entering the door.)(The Curtain Falls)《榆树下的欲望》PART I SCENE TWODESIRE UNDER THE ELMSThe color fades from the sky. Twilight begins. The interior of the kitchen is now visible. A pine table is at center, a cook-stove in the right rear corner, four rough wooden chairs, a tallow candle on the table. In the middle of the rear wall is fastened a big advertizing poster with a ship in full sail and the word "California"in big letters. Kitchen utensils hang from nails. Everything is neat and in order but the atmosphere is of a men's camp kitchen rather than that of a home.Places for three are laid. Eben takes boiled potatoes and bacon from the stove and puts them on the table, also a loaf of bread and a crock of water. Simeon and Peter shoulder in, slump down in their chairs without a word. Eben joins them. The three eat in silence for a moment, the two elder as naturally unrestrained as beasts of the field, Eben picking at his food without appetite, glancing at them with a tolerant dislike.SIMEON--(suddenly turns to Eben) Looky here! Ye'd oughtn't t' said that, Eben. PETER--'Twa'n't righteous.EBEN--What?SIMEON--Ye prayed he'd died.EBEN--Waal--don't yew pray it? (a pause)PETER--He's our Paw.EBEN--(violently) Not mine!SIMEON--(dryly) Ye'd not let no one else say that about yer Maw! Ha! (He gives one abrupt sardonic guffaw. Peter grins.)EBEN--(very pale) I meant--I hain't his'n--I hain't like him--he hain't me!PETER--(dryly) Wait till ye've growed his age!EBEN--(intensely) I'm Maw--every drop o' blood! (A pause. They stare at him with indifferent curiosity.)PETER--(reminiscently) She was good t' Sim 'n' me. A good Step-maw's scurse.SIMEON--She was good t' everyone.EBEN--(greatly moved, gets to his feet and makes an awkward bow to each of them--stammering) I be thankful t' ye. I'm her--her heir. (He sits down in confusion.)PETER--(after a pause--judicially) She was good even t' him.EBEN--(fiercely) An' fur thanks he killed her!SIMEON--(after a pause) No one never kills nobody. It's allus somethin'. That's the murderer.EBEN--Didn't he slave Maw t' death?PETER--He's slaved himself t' death. He's slaved Sim 'n' me 'n' yew t' death--on'y none o' us hain't died--yit.SIMEON--It's somethin'--drivin' him--t' drive us!EBEN--(vengefully) Waal--I hold him t' jedgment! (then scornfully) Somethin'! What's somethin'?SIMEON--Dunno.EBEN--(sardonically) What's drivin' yew to Californi-a, mebbe? (They look at him in surprise.) Oh, I've heerd ye! (then, after a pause) But ye'll never go t' the gold fields!PETER--(assertively) Mebbe!EBEN--Whar'll ye git the money?PETER--We kin walk. It's an a'mighty ways--Californi-a--but if yew was t' put all the steps we've walked on this farm end t' end we'd be in the moon!EBEN--The Injuns'll skulp ye on the plains.SIMEON--(with grim humor) We'll mebbe make 'em pay a hair fur a hair!EBEN--(decisively) But t'ain't that. Ye won't never go because ye'll wait here fur yer share o' the farm, thinkin' allus he'll die soon.SIMEON--(after a pause) We've a right.PETER--Two thirds belongs t' us.EBEN--(jumping to his feet) Ye've no right! She wa'n't yewr Maw! It was her farm! Didn't he steal it from her? She's dead. It's my farm.SIMEON--(sardonically) Tell that t' Paw--when he comes! I'll bet ye a dollar he'll laugh--fur once in his life. Ha! (He laughs himself in one single mirthless bark.)PETER--(amused in turn, echoes his brother) Ha!SIMEON--(after a pause) What've ye got held agin us, Eben? Year arter year it's skulked in yer eye--somethin'.PETER--Ay-eh.EBEN--Ay-eh. They's somethin'. (suddenly exploding) Why didn't ye never stand between him 'n' my Maw when he was slavin' her to her grave--t' pay her back fur the kindness she done t' yew? (There is a long pause. They stare at him in surprise.)SIMEON--Waal--the stock'd got t' be watered.PETER--'R they was woodin' t' do.SIMEON--'R plowin'.PETER--'R hayin'.SIMEON--'R spreadin' manure.PETER--'R weedin'.SIMEON--'R prunin'.PETER--'R milkin'.EBEN--(breaking in harshly) An' makin' walls--stone atop o' stone--makin' walls till yer heart's a stone ye heft up out o' the way o' growth onto a stone wall t' wall in yer heart!SIMEON--(matter-of-factly) We never had no time t' meddle.PETER--(to Eben) Yew was fifteen afore yer Maw died--an' big fur yer age. Why didn't ye never do nothin'?EBEN--(harshly) They was chores t' do, wa'n't they? (a pause--then slowly) It was on'y arter she died I come to think o' it. Me cookin'--doin' her work--that made me know her, suffer her sufferin'--she'd come back t' help--come back t' bile potatoes--come back t' fry bacon--come back t' bake biscuits--come back all cramped up t' shake the fire, an' carry ashes, her eyes weepin' an' bloody with smoke an' cinders same's they used t' be. She still comes back--stands by the stove thar in the evenin'--she can't find it nateral sleepin' an' restin' in peace. She can't git used t' bein' free--even in her grave.<!--pagebreak-->SIMEON--She never complained none.EBEN--She'd got too tired. She'd got too used t' bein' too tired. That was what he done. (with vengeful passion) An' sooner'r later, I'll meddle. I'll say the thin's I didn't say then t' him! I'll yell 'em at the top o' my lungs. I'll see t' it my Maw gits some rest an' sleep in her grave! (He sits down again, relapsing into a brooding silence. They look at him with a queer indifferent curiosity.)PETER--(after a pause) Whar in tarnation d'ye s'pose he went, Sim?SIMEON--Dunno. He druv off in the buggy, all spick an' span, with the mare all breshed an' shiny, druv off clackin' his tongue an' wavin' his whip. I remember it right well. I was finishin' plowin', it was spring an' May an' sunset, an' gold in the West, an' he druv off into it. I yells "Whar ye goin', Paw?" an' he hauls up by the stone wall a jiffy. His old snake's eyes was glitterin' in the sun like he'd been drinkin' a jugful an' he says with a mule's grin: "Don't ye run away till I come back!"PETER--Wonder if he knowed we was wantin' fur Cali-forni-a?SIMEON--Mebbe. I didn't say nothin' and he says, lookin' kinder queer an' sick: "I been hearin' the hens cluckin' an' the roosters crowin' all the durn day. I been listenin' t' the cows lowin' an' everythin' else kickin' up till I can't stand it no more. It's spring an' I'm feelin' damned," he says. "Damned like an old bare hickory tree fit on'y fur burnin'," he says. An' then I calc'late I must've looked a mite hopeful, fur he adds real spry and vicious: "But don't git no fool idee I'm dead. I've sworn t' live a hundred an' I'll do it, if on'y t' spite yer sinful greed! An' now I'm ridin'out t' learn God's message t' me in the spring, like the prophets done. An' yew gitback t' yer plowin'," he says. An' he druv off singin' a hymn. I thought he was drunk--'r I'd stopped him goin'.EBEN--(scornfully) No, ye wouldn't! Ye're scared o' him. He's stronger--inside--than both o' ye put together!PETER--(sardonically) An' yew--be yew Samson?EBEN--I'm gittin' stronger. I kin feel it growin' in me--growin' an' growin'--till it'll bust out--! (He gets up and puts on his coat and a hat. They watch him, gradually breaking into grins. Eben avoids their eyes sheepishly.) I'm goin' out fur a spell--up the road.PETER--T' the village?SIMEON--T' see Minnie?EBEN--(defiantly) Ay-eh!PETER--(jeeringly) The Scarlet Woman!SIMEON--Lust--that's what's growin' in ye!EBEN--Waal--she's purty!PETER--She's been purty fur twenty year!SIMEON--A new coat o' paint'll make a heifer out of forty.EBEN--She hain't forty!PETER--If she hain't, she's teeterin' on the edge.EBEN--(desperately) What d'yew know--PETER--All they is . . . Sim knew her--an' then me arter--SIMEON--An' Paw kin tell yew somethin' too! He was fust!EBEN--D'ye mean t' say he . . . ?SIMEON--(with a grin) Ay-eh! We air his heirs in everythin'!EBEN--(intensely) That's more to it. That grows on it! It'll bust soon! (then violently) I'll go smash my fist in her face! (He pulls open the door in rear violently.)SIMEON--(with a wink at Peter--drawlingly) Mebbe--but the night's wa'm--purty--by the time ye git thar mebbe ye'll kiss her instead!PETER--Sart'n he will! (They both roar with coarse laughter. Eben rushes out and slams the door--then the outside front door--comes around the corner of the house and stands still by the gate, staring up at the sky.)SIMEON--(looking after him) Like his Paw.PETER--Dead spit an' image!SIMEON--Dog'll eat dog!PETER--Ay-eh. (Pause. With yearning) Mebbe a year from now we'll be in Californi-a.SIMEON--Ay-eh. (A pause. Both yawn.) Let's git t' bed. (He blows out the candle. They go out door in rear. Eben stretches his arms up to the sky--rebelliously)EBEN--Waal--thar's a star, an' somewhar's they's him, an' here's me, an' thar's Min up the road--in the same night. What if I does kiss her? She's like t'night, she's soft 'n' wa'm, her eyes kin wink like a star, her mouth's wa'm, her arms're wa'm, she smells like a wa'm plowed field, she's purty . . . Ay-eh! By GodA'mighty she's purty, an' I don't give a damn how many sins she's sinned afore mine or who she's sinned 'em with, my sin's as purty as any one on 'em! (He strides off down the road to the left.)《榆树下的欲望》PART I SCENE THREEDESIRE UNDER THE ELMSIt is the pitch darkness just before dawn. Eben comes in from the left and goes around to the porch, feeling his way, chuckling bitterly and cursing half-aloud to himself.EBEN--The cussed old miser! (He can be heard going in the front door. There is a pause as he goes upstairs, then a loud knock on the bedroom door of the brothers.) Wake up!SIMEON--(startledly) Who's thar?EBEN--(pushing open the door and coming in, a lighted candle in his hand. The bedroom of the brothers is revealed. Its ceiling is the sloping roof. They can stand upright only close to the center dividing wall of the upstairs. Simeon and Peter are in a double bed, front. Eben's cot is to the rear. Eben has a mixture of silly grin and vicious scowl on his face.) I be!PETER--(angrily) What in hell's-fire . . . ?EBEN--I got news fur ye! Ha! (He gives one abrupt sardonic guffaw.)SIMEON--(angrily) Couldn't ye hold it 'til we'd got our sleep?EBEN--It's nigh sunup. (then explosively) He's gone an' married agen!SIMEON AND PETER--(explosively) Paw?EBEN--Got himself hitched to a female 'bout thirty-five--an' purty, they says . . .SIMEON--(aghast) It's a durn lie!PETER--Who says?SIMEON--They been stringin' ye!EBEN--Think I'm a dunce, do ye? The hull village says. The preacher from New Dover, he brung the news--told it t' our preacher--New Dover, that's whar the old loon got himself hitched--that's whar the woman lived--PETER--(no longer doubting--stunned) Waal . . . !SIMEON--(the same) Waal . . . !EBEN--(sitting down on a bed--with vicious hatred) Ain't he a devil out o' hell? It's jest t' spite us--the damned old mule!PETER--(after a pause) Everythin'll go t' her now.SIMEON--Ay-eh. (a pause--dully) Waal--if it's done--PETER--It's done us. (pause--then persuasively) They's gold in the fields o' Californi-a, Sim. No good a-stayin' here now.SIMEON--Jest what I was a-thinkin'. (then with decision) S'well fust's last! Let's light out and git this mornin'.PETER--Suits me.EBEN--Ye must like walkin'.SIMEON--(sardonically) If ye'd grow wings on us we'd fly thar!EBEN--Ye'd like ridin' better--on a boat, wouldn't ye? (fumbles in his pocket and takes out a crumpled sheet of foolscap) Waal, if ye sign this ye kin ride on a boat. I've had it writ out an' ready in case ye'd ever go. It says fur three hundred dollars t' each ye agree yewr shares o' the farm is sold t' me. (They look suspiciously at the paper. A pause.)SIMEON--(wonderingly) But if he's hitched agen--PETER--An' whar'd yew git that sum o' money, anyways?EBEN--(cunningly) I know whar it's hid. I been waitin'--Maw told me. She knew whar it lay fur years, but she was waitin' . . . It's her'n--the money he hoarded from her farm an' hid from Maw. It's my money by rights now.PETER--Whar's it hid?EBEN--(cunningly) Whar yew won't never find it without me. Maw spied on him--'r she'd never knowed. (A pause. They look at him suspiciously, and he at them.) Waal, is it fa'r trade?SIMEON--Dunno.PETER--Dunno.SIMEON--(looking at window) Sky's grayin'.PETER--Ye better start the fire, Eben.SIMEON--An' fix some vittles.EBEN--Ay-eh. (then with a forced jocular heartiness) I'll git ye a good one. Ifye're startin' t' hoof it t' Californi-a ye'll need somethin' that'll stick t' yer ribs. (He turns to the door, adding meaningly) But ye kin ride on a boat if ye'll swap. (He stops at the door and pauses. They stare at him.)SIMEON--(suspiciously) Whar was ye all night?EBEN--(defiantly) Up t' Min's. (then slowly) Walkin' thar, fust I felt 's if I'd kiss her; then I got a-thinkin' o' what ye'd said o' him an' her an' I says, I'll bust her nose fur that! Then I got t' the village an' heerd the news an' I got madder'n hell an' run all the way t' Min's not knowin' what I'd do--(He pauses--then sheepishly but more defiantly) Waal--when I seen her, I didn't hit her--nor I didn't kiss her nuther--I begun t' beller like a calf an' cuss at the same time, I was so durn mad--an' she got scared--an' I jest grabbed holt an' tuk her! (proudly) Yes, siree! I tuk her. She may've been his'n--an' your'n, too--but she's mine now!SIMEON--(dryly) In love, air yew?<!--pagebreak-->EBEN--(with lofty scorn) Love! I don't take no stock in sech slop!PETER--(winking at Simeon) Mebbe Eben's aimin' t' marry, too.SIMEON--Min'd make a true faithful he'pmeet! (They snicker.)EBEN--What do I care fur her--'ceptin' she's round an' wa'm? The p'int is she was his'n--an' now she b'longs t' me! (He goes to the door--then turns--rebelliously) An' Min hain't sech a bad un. They's worse'n Min in the world, I'll bet ye! Wait'll we see this cow the Old Man's hitched t'! She'll beat Min, I got a notion! (He starts to go out.)SIMEON--(suddenly) Mebbe ye'll try t' make her your'n, too?PETER--Ha! (He gives a sardonic laugh of relish at this idea.)EBEN--(spitting with disgust) Her--here--sleepin' with him--stealin' my Maw's farm! I'd as soon pet a skunk 'r kiss a snake! (He goes out. The two stare after him suspiciously. A pause. They listen to his steps receding.)PETER--He's startin' the fire.SIMEON--I'd like t' ride t' Californi-a--but--PETER--Min might o' put some scheme in his head.SIMEON--Mebbe it's all a lie 'bout Paw marryin'. We'd best wait an' see the bride.PETER--An' don't sign nothin' till we does!SIMEON--Nor till we've tested it's good money! (then with a grin) But if Paw's hitched we'd be sellin' Eben somethin' we'd never git nohow!PETER--We'll wait an' see. (then with sudden vindictive anger) An' till he comes, let's yew 'n' me not wuk a lick, let Eben tend to thin's if he's a mind t', let's us jest sleep an' eat an' drink likker, an' let the hull damned farm go t' blazes!SIMEON--(excitedly) By God, we've 'arned a rest! We'll play rich fur a change. I hain't a-going to stir outa bed till breakfast's ready.PETER--An' on the table!SIMEON--(after a pause--thoughtfully) What d'ye calc'late she'll be like--our new Maw? Like Eben thinks?PETER--More'n' likely.SIMEON--(vindictively) Waal--I hope she's a she-devil that'll make him wish he was dead an' livin' in the pit o' hell fur comfort!PETER--(fervently) Amen!SIMEON--(imitating his father's voice) "I'm ridin' out t' learn God's message t' me in the spring like the prophets done," he says. I'll bet right then an' thar he knew plumb well he was goin' whorin', the stinkin' old hypocrite!《榆树下的欲望》PART I SCENE FOURDESIRE UNDER THE ELMSSame as Scene Two--shows the interior of the kitchen with a lighted candle on table. It is gray dawn outside. Simeon and Peter are just finishing their breakfast. Eben sits before his plate of untouched food, brooding frowningly.PETER--(glancing at him rather irritably) Lookin' glum don't help none.SIMEON--(sarcastically) Sorrowin' over his lust o' the flesh!PETER--(with a grin) Was she yer fust?EBEN--(angrily) None o' yer business. (a pause) I was thinkin' o' him. I got a notion he's gittin' near--I kin feel him comin' on like yew kin feel malaria chill afore it takes ye.PETER--It's too early yet.SIMEON--Dunno. He'd like t' catch us nappin'--jest t' have somethin' t' hoss us'round over.PETER--(mechanically gets to his feet. Simeon does the same.) Waal--let's git t' wuk. (They both plod mechanically toward the door before they realize. Then they stop short.)SIMEON--(grinning) Ye're a cussed fool, Pete--and I be wuss! Let him see we hain't wukin'! We don't give a durn!PETER--(as they go back to the table) Not a damned durn! It'll serve t' show him we're done with him. (They sit down again. Eben stares from one to the other with surprise.)SIMEON--(grins at him) We're aimin' t' start bein' lilies o' the field.PETER--Nary a toil 'r spin 'r lick o' wuk do we put in!SIMEON--Ye're sole owner--till he comes--that's what ye wanted. Waal, ye got t' be sole hand, too.PETER--The cows air bellerin'. Ye better hustle at the milkin'.EBEN--(with excited joy) Ye mean ye'll sign the paper?SIMEON--(dryly) Mebbe.PETER--Mebbe.SIMEON--We're considerin'. (peremptorily) Ye better git t' wuk.EBEN--(with queer excitement) It's Maw's farm agen! It's my farm! Them's my cows! I'll milk my durn fingers off fur cows o' mine! (He goes out door in rear, they stare after him indifferently.)SIMEON--Like his Paw.PETER--Dead spit 'n' image!SIMEON--Waal--let dog eat dog! (Eben comes out of front door and around the corner of the house. The sky is beginning to grow flushed with sunrise. Eben stops by the gate and stares around him with glowing, possessive eyes. He takes in the whole farm with his embracing glance of desire.)EBEN--It's purty! It's damned purty! It's mine! (He suddenly throws his head back boldly and glares with hard, defiant eyes at the sky.) Mine, d'ye hear? Mine! (He turns and walks quickly off left, rear, toward the barn. The two brothers light their pipes.)SIMEON--(putting his muddy boots up on the table, tilting back his chair, and puffing defiantly) Waal--this air solid comfort--fur once.PETER--Ay-eh. (He follows suit. A pause. Unconsciously they both sigh.)SIMEON--(suddenly) He never was much o' a hand at milkin', Eben wa'n't.PETER--(with a snort) His hands air like hoofs! (a pause)SIMEON--Reach down the jug thar! Let's take a swaller. I'm feelin' kind o' low.PETER--Good idee! (He does so--gets two glasses--they pour out drinks of whisky.) Here's t' the gold in Californi-a!。
尤金·奥尼尔《榆树下的欲望》自然主义解读
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E.奥尼乐(Eugene O'neill)的剧作。
3幕悲剧，1924年首演。
写农场主卡伯特为了农场所有权同儿子埃本和妻子爱碧之间发生的三角纠纷。
前妻所生的埃本对继承农场抱有希望，76岁高龄的父亲又娶了年轻美貌的爱碧做第三任妻子。
爱碧嫁给行将就木的老头，就是为了这份遗产，但是她跟年迈的卡伯特生不出孩子，继承权眼看要落空，于是引诱埃本同她发生关系，并生下了儿子。
在利用、引诱埃本的过程中，她对埃本产生了真正的爱情。
而埃本一直认为爱碧对他并无感情，只是为了生个继承人夺取农场。
爱碧百般表白也不能证明自己的真心，于是忍痛杀死了亲生婴儿。
她与埃本的隔阂消除了，但等待着他们的却是法律的制裁。
发生在这个家庭中的悲剧向人们揭示出，在金钱占统治地位的社会里，人的自然的情感与本性是如何被压抑与扭曲的，对财产的欲望使父子、母子、夫妻与兄弟之间尔虞我诈，虎视眈眈，一个个贪婪、狡诈、邪恶、虚伪。
作者也写了人性中美好的一面，当爱情的火花迸发而出，冲破对金钱的占有欲时，他们会变得真诚、善良，为了得到一份真情而奋不顾身地追求。
但是这种追求所表现出的疯狂依然造成了毁灭，这正是悲剧性所在。
Eugene O'Neill(1888-1953)尤金·奥尼尔是美国著名剧作家，他曾经在1936年凭借代表作《天边外》获诺贝尔文学奖，他的获奖理由是：“由于他剧作中所表现的力量、热忱与深挚的感情——它们完全符合悲剧的原始概念”奥尼尔是位多产作家，一生创作独幕剧21部，多幕剧28部。
其中优秀剧作有：《东航卡迪夫》（1914）、《加勒比斯之月》（1917）、《天边外》（1918）、《安娜·克利斯蒂》（1920）、《琼斯皇帝》（1920)、《毛猿》（1921）、《榆树下的欲望》（1924）、《奇异的插曲》（1927）、《啊、荒野》（1923）、《无穷的岁月》（1933）、《送冰人来了》（1939）等。
奥尼尔生前三次获普利策奖。
作家自认为并得到公认的最好作品是《长夜漫漫路迢迢》。
这部带有自传性的剧作，按作家生前声明，在他死后的1956年首次在瑞典上演，并又一次获得普利策奖。
奥尼尔是美国史上的一座丰碑。
他卓有成就的戏剧创作，标志着美国民族戏剧的成熟，并使之赶上世界水平。
奥尼尔的戏剧师承斯特林堡和易卜生的艺术风格，把传统的现实主义手法和现代的表现主义技巧结合起来，开掘人类心灵的底层。
作者一生最关注的主题，是人在外在压力下性格的扭曲，乃至人格的分裂过程。
作为现代悲剧作家，他的大量心理悲剧既烙下了现代各种心理分析学（尤其是弗洛伊德主义）的印记，又沉重地渗透着古希腊的悲剧意识。
1936年，“由于他那体现了传统悲剧概念的剧作作具有的魅力、真挚和深沉的激情”，奥尼尔获诺贝尔文学奖。
以下是尤金·奥尼尔生平及其代表作的相关资料：尤金·奥尼尔：美国戏剧家。
出身于演员家庭，幼时跟随从事旅行演出的父亲在美国各地生活。
1897至1906年曾在几个寄宿学校求学,后进普林斯顿大学肄业。
一年后辍学,从事过多种职业,到过国外许多地方,有丰富的海上生活的经验。
1912年患肺结核，在治疗期间，开始决定从事戏剧创作,曾写了8个独幕剧和2部长剧,自称其中只有《东航加的夫》是值得回忆的。
1914至1915年，在哈佛大学贝克尔教授开办的戏剧写作班学习。
1916年开始参加非商业性的普罗文斯敦剧社的戏剧创作和演出活动。
这时期他创作了许多独幕剧，广泛地反映了他所熟悉的海上生活，在精选题材、烘托背景和塑造人物性格方面，都显露了他的艺术才华。
1920年写了两部多幕剧《天边外》和《琼斯皇帝》，才确立了他在戏剧界的重要地位。
奥尼尔运用各种创作方法反映社会问题，1925年完成的《榆树下的欲望》则是他在创作中又一次取得的重要的现实主义成就。
这个剧本描写资产阶级家庭争夺财产及其后果。
75岁的伊弗拉姆·卡博将前妻的田庄据为己有，希望他的新婚妻子艾比能够生一个孩子继承这一产业。
艾比因此去向卡博和前妻生的儿子埃本调情，两人生了一个孩子，同时也产生了真实的爱情。
埃本向父亲说明了事情真相，卡博也向埃本透露艾比和他生的孩子将继承遗产。
埃本大怒。
艾比为了表明她对埃本的爱情，把孩子掐死。
埃本不得不去报警，并承认自己也参与了这一罪行，和艾比共同接受法律的惩罚。
这部剧作的主题具有普遍的社会意义，从中也可看出古代希腊悲剧的影响。
奥尼尔是美国戏剧史上具有划时代意义的剧作家。
美国戏剧真正成为美国文学的一部分，在20世纪20至30代达到前所未有的发展和繁荣局面，获得世界各国的广泛重视，首先应该归功于奥尼尔在戏剧创作中所取得的成就。
奥尼尔拥有丰富的生活经验，十分关心美国的社会问题，力图通过戏剧形式加以反映，因而他的戏剧创作获得高度的艺术价值和社会意义。
他对于欧洲各国的戏剧也十分重视，从古希腊到现代欧洲的戏剧，他接受了多方面的影响；他勤于探索，勇于实践，不断创新，因此形成了独特的风格，对世界各国的戏剧艺术产生了不同程度的影响。
奥尼尔严肃地对待戏剧事业，他一贯反对美国商业性质的戏剧，对于美国的戏剧改革运动作出了杰出的贡献。
他的作品取材于他所熟悉的现实生活，特别是海上生活和美国新英格兰的生活；他又深入研究了美国社会问题的病根，对它们进行高度的艺术概括，因此他的创作内容具有普遍意义。
但他看不到解决这些社会问题的途径，愈来愈感到烦恼、痛苦和失望，因而给一些作品涂上了悲观主义和神秘主义的色彩。
在他的作品中，悲剧占有重要地位，古代希腊悲剧对它们的影响很深。
古希腊悲剧表现人同命运的搏斗，奥尼尔则表现人同生活环境的斗争。
他企图用生活环境解释古代希腊人的命运观念。
1 一个欲望与道德的故事。
深刻地表现了人性的方方面面：欲望，偏狭，欺骗，仇恨，理性。
最终，道德的回归，不是通过压抑了欲望，而是与欲望融为一体，欲望转化为爱情，而道德内化为自省。
在绞刑架下他们最终由背叛走向回归，回归他们的爱情，也回归了道德。
原罪之下，那是我们残缺却坚贞的爱情。
1 老头劳作，他强壮，有错吗？为什么会把他的老婆都累死了？2 Anna自然地想到杀死自己的孩子，而不是老头。
2.1 这是人性的欺软怕硬的一面？老头是那么的强大，大家都怕他，她甚至连想都没想过杀死他。
人原来可以厉害到像老头那样的地步！难怪生活中有一种说法叫：“ta吃定你了。
”估计ta像老头那样，强势到你连自己被欺负都不觉得，更不用说反抗了。
毛爷爷真是聪明，“先要唤醒民众。
”告诉工人、农民：你们在遭受不公平的待遇，你可以要求1，2，3；有4，5，6种办法可以让地主少拿走你们辛勤劳动的成果。
.......我现在不怕某一个specific person，可是对强大的organizations的恐惧还是很多。
即使不是恐惧，也是无奈。
2.1 一个女人可以为了向她爱的男人表忠心而杀死他们共同的孩子。
3 这最终是一个悲剧。
谁赢了？老头最后站着他的地盘的树下，（莫非就是那棵榆树？）好像他赢了。
4生命的价值是什么？他为什么不愿意把家产传给Eben？为什么一定要再生一个儿子才传家产？如果那两个淘金的不是他亲生的，Eben是他亲生的啊？一个人该怎么对待自己的孩子？一个人该如何处置自己的财产？故事发生在1840年，身体力壮的新英格兰70多岁的农民老头子卡波特.埃普汉继承了第二任太太的农场，独揽大权。
他和第一任太太所生的两个儿子彼得和西蒙十分慵懒，也早已对农场的生活产生厌倦，他们一心向往的是加利福尼亚的黄金。
三儿子伊班是卡波特和第二任太太所生，一母亲从小就教育他将来要夺回自己的土地和农场——卡波特一直都对母亲非常刻薄，因此伊班从小就痛恨父亲。
他为了完成对母亲的诺言先偷出父亲的一笔金币来和两个哥哥作一笔买卖，让哥哥们用这些金币作盘缠实现他们的“淘金梦”，并签订协议土地归伊班所有。
此时，父亲由外地返回，带回一个年轻貌美的意大利女人安娜，并宣布与其再婚。
两个哥哥走后，安娜和伊班开始就谁将来是这块土地的继承权问题互不相让。
卡波特其实并不打算把土地留给费任何人，他看不起三个儿子，也不会把土地留给一个女人——安娜，但在安娜的花言巧语下，卡波特承诺如果将来能与其育有一子，他才会将土地交给新儿子和安娜。
但是没过多久，安娜和伊班两个年轻人竟然相爱了，他们其实在一开始就互生好感。
不久，安娜产下一子，卡波特大喜，并邀请四邻前来庆祝。
庆祝舞会上，谣言四起都说孩子是安娜和伊班两个年轻人所生，老头子年纪一大把根本不可能。
事实的确如此，安娜也向伊班说明孩子是由他俩所生。
而在舞会上，卡波特将安娜的一番话（安娜在爱上伊班之前对卡波特说过的以生子来要求换得土地以及对伊班说过的一些恶毒的话）向伊班全盘托出，伊班一怒之下准备出走。
悲伤的安娜为了证明自己爱伊班杀死了他们的骨肉也向卡波特道出了事情的真相。
但伊班又错以为安娜要诬陷自己为杀人凶手而报案，但之后又被安娜的真情所感动，于是以同谋为由和安娜一起赴坚牢。
卡波特虽然表面看起来很让人厌恶，但他实际上属于正派角色，他没有做任何违背良心和道德的事情，刚毅坚强是他的品性特征，生来就比别人强壮几倍的卡波特即使是如今的古稀之年仍然精力充沛，三个儿子都望尘莫及。
农场屋子的墙都是他当年用血汗堆砌出来了，在伊班母亲死后，他将这整个土地都视为自己所有，任何人将来都不会继承他，如果自己命不长矣也会用最后一口气将农场一把火烧尽。
这种自私的占有欲或许是他唯一的重要缺点。
最后的结局也果然如老头子所愿。
但是当他想通要将土地留给安娜和新生儿的时候，他却因为土地失去了爱妻，失去了唯一能留在他身边的儿子，最重要的是他没有了任何一个这片土地的继承人。
土地在这里代表了贪婪，在爱情来到之前，土地是贪婪的，而爱情来到之后，贪婪也不那么重要了。
卡波特是个孤独的人，前妻怨恨他，三个儿子恨他，新婚妻子不爱他，他在农场里就感觉不自在，只想外出和在谷仓里和小骡（忘记电影里是马还是驴了，就姑且叫它骡子吧，）呆在一起。
小儿子伊班也是一直想完成对母亲的承诺——争回土地，他对谁也不让步，他有着和父亲一样坚韧的性格和对土地及农场的爱。
但这份爱在安娜面前已经变得不重要了。
爱情比贪婪和承诺都要显得伟大，但伊班由安娜而背叛了他的母亲，由爱情背叛了土地，这是不争的事实。
安娜一开始跟随卡波特来到农场，她只想得到在意大利拿波里穷乡村没有的“欲望”——那就是家——农场和土地。
然而随着伊班的介入，她的“欲望”发生了改观，由物变人，由贪婪变为纯洁。
可见爱情在安娜这里的确伟大。
尤其是片尾她为了留住伊班所作的牺牲，所作的努力，但伊班确实如他父亲所说“天生的蠢材”——辜负了女人对他的心。
当回过头来反省时，一切已晚。
影片中含蓄的暗喻有很多处：比如春天代表着父亲对新恋情的渴望；太阳代表着安娜的年轻和美丽，它深深地照射着伊班，以至于他的眼睛、嘴唇都变得发“烫”；片名《榆树下的欲望》中的榆树是农场旁边环绕着的大榆树，它指代的应该是伊班的母亲，在卡波特藏“私房钱”的宝地四处都是浓郁的大榆树，母亲也就是在这里让伊班发誓将来要夺回土地，母亲死后的墓碑旁也都是榆树矗立四周。