آيُلف كوچولو

by Henrik Ibsen, هنریک ایبسن, بهزاد قادری (Translator)

RITA. [Throwing her arms passionately round his neck.] For then, at last, I should have you to myself alone! And yet--not even then! Not wholly to myself! [Bursts into convulsive weeping.] Oh, Alfred, Alfred--I cannot give you up!

Genres: Plays, Drama, Classics, Theatre, Scandinavian Literature, Fiction, Literature

146 pages, Paperback

First published January 1, 1894

About the author

Henrik Johan Ibsen was a major Norwegian playwright largely responsible for the rise of modern realistic drama. He is often referred to as the "father of modern drama." Ibsen is held to be the greatest of Norwegian authors and one of the most important playwrights of all time, celebrated as a national symbol by Norwegians.

His plays were considered scandalous to many of his era, when Victorian values of family life and propriety largely held sway in Europe and any challenge to them was considered immoral and outrageous. Ibsen's work examined the realities that lay behind many facades, possessing a revelatory nature that was disquieting to many contemporaries.

Ibsen largely founded the modern stage by introducing a critical eye and free inquiry into the conditions of life and issues of morality. Victorian-era plays were expected to be moral dramas with noble protagonists pitted against darker forces; every drama was expected to result in a morally appropriate conclusion, meaning that goodness was to bring happiness, and immorality pain. Ibsen challenged this notion and the beliefs of his times and shattered the illusions of his audiences.

Reviews

[Kiana · Rating 3 out of 5]

ولى شادى ، يعنى مى‌گين اين رو آدم بايد باكسی شريک بشه؟
آره. وگرنه ، در شادى چه لذتى هست؟

[Narjes Dorzade · Rating 5 out of 5]

از تراژیک‌ترین نمایشنامه‌های ایبسن
و یا چهره‌ی مونک در عشق و درد

[Mahdi · Rating 2 out of 5]

وقتی نمایشنامه‌های یه نویسنده رو پشت سر هم می‌خونی کم کم متوجه تغییرات شخصیتی نویسنده هم می‌شی... نمایشنامه‌های قدیمی‌تر ایبسن که اتفاقاً معروف‌تر هم هستند روایت هویداتری داره و بیشتر روی تغییرات شخصیتی در یک سیر روایت تمرکز داره اما نمایشنامه‌هایی مثل «آیلف کوچولو» و «مردگان سربرآرند» بیشتر به معنای زندگی توجه دارند... احتمالاً ایبسن هرچقدر سنش بالاتر می‌ره بیشتر با این معانی درگیر می‌شه!

[Matthew · Rating 5 out of 5]

Lost sons are a regular motif in Ibsen's work. (With the exception of The Wild Duck, they are always sons and not daughters.) Typically, the hero or heroine bases their hopes for the future on this son, but the son is lost as a result of their own corrupt motivations and actions.

Little Eyolf is different from those other plays in two respects. Firstly, the loss of the son is not just one more detail in the story, but rather the entire focus of this particular play. Secondly, the action does not occur at the end of the play, but at the end of Act 1, leaving us with two acts to see how the other characters manage their lives after the death of their son.

Little Eyolf is the son of Alfred and Rita Allmers. He has been crippled by an accident, which his parents feel guilty about. After returning from some time away from his family, Alfred decides to educate Eyolf and base his plans for a better future around Eyolf. This incites the jealousy of his wife.

However, the husband/wife conflict is ended by the shocking news that Eyolf has been drowned in the fjord. The remainder of the play is spent watching the two of them come to terms with their grief, and some realisation that they never really loved Eyolf.

Meanwhile, Alfred's sister Asta discovers that she is not really Alfred's sister at all. Sensing the unspoken incestuous desire between them, she decides to hastily leave with a roadbuilder called Borghejm, who is in love with her. The play ends with Alfred and Rita deciding to stay together to care for the local orphans as a substitute for Eyolf.

It is not exactly a happy ending, and the couple have not restored their love for one another or for humanity. However, they have taken the first step towards a more redemptive path that may lead to better things, perhaps. Admittedly, we saw an orphanage in Ibsen's play, 'Ghosts', that was also built on bad intentions and burnt to the ground. However, this time we feel that Ibsen is supportive of their wish to expiate their guilt.

The play may be said to be the last truly realistic prose play that Ibsen made, although there are hints of fantastic elements. This is especially the case in the character of the Rat Wife. It is suggested that maybe she lured Eyolf into the water, as she did the rats, but this could just be superstitious belief.

The Rat Wife serves symbolically in the play, representing all those hidden and wrong desires in the characters. She works by luring rats into the water, even though they do not want to go. Similarly, in causing Eyolf's death (if she really did), she removes the rats from the lives of the leading characters, even if they do not want it. Rita and Alfred are obliged to seek a more truthful life, and Asta and Alfred are no longer held in a problematic incestuous bind.

Other elements of the play hint at symbolism too. Hence Borghejm is a roadbuilder. He is another one of those Ibsen characters who seeks joy in life, and he offers this road to Asta, as well as a road to take her away from her brother. It is worth noting that Eyolf was named after Asta, as this was a nickname Alfred once had for her, so his relationship with Eyolf is already tinged with his relationship with Asta. Indeed, he only married Rita for her money, so she could provide for him and Asta.

Eyolf's crutch is also a symbol of guilt and sexual impotency. He incurred his accident while Rita had lured Alfred away for sex, and Alfred has been unable to have sexual relationships with Rita since then as a result of his guilt.

The play is possibly nobody's favourite Ibsen work. It deals with painful and difficult subjects, and it has almost no events or incidents in it all, apart from the death of a small boy. Compare this with the many eventful scenes in Peer Gynt, Brand or The Pretenders.

However, the main interest in Ibsen has always lain more in how the characters interact with one another and how they change and develop within themselves. Viewed on this level, Little Eyolf is another deeply satisfying Ibsen play.

[Hameed Younis · Rating 3 out of 5]

للمسرح نكهة خاصة... لا يشاركه اي شيء من الاعمال الابداعية حيث ان بإمكانه ان يحوّل مشاعر معقدة بحوارات وافكار مركزة.
تحكي المسرحية قصة صراع بين زوجين بعد فقدانهما ولدهما، وكيف بامكانهما التخلص من الحزن والحداد... بل ان موت الطفل كان بداية انبعاث لهما استطاعا من خلاله ان يكشفا الاقنعة والاكاذيب.
من اجل المزيد من الاستمتاع ادعوا القاريء الى مشاهدة المسرحية والاستمتاع بالتمثيل الرائع من انتوني هوبكينز وديانا ريغ
‏https://youtu.be/mkJesaRz9K0

[Melika Khoshnezhad · Rating 4 out of 5]

ایبسن واقعاً جسور است، بعد از مرغابی وحشی انتظار نداشتم دوباره مرگ و کودکان را کنار هم بیاورد، اما این کار را کرد. ریتا و آلفرد غریب‌ترین والدینی بودند که در ادبیات دیده بودم، اما چقدر ریتا را با تمام بی‌رحمی ظاهری‌اش درک می‌کردم. این‌که زنی نخواهد بچه‌دار شود یا به نقش مادرانگی تقلیل پیدا کند بسیار ملموس و قابل‌درک است. کمی مرا یاد فیلم «ضد مسیح» می‌انداخت و حالا نه به آن شدت، اما خواندنش با همان جنس اذیت شدن همراه بود انگار. و آلفرد، مثل خیلی از کاراکترهای مرد ایبسن که بلندپرواز اما توخالی‌اند، در نهایت فقط می‌خواست آسان‌ترین راه را برای جاودانگی برگزیند
اما موضوع دیگری هم که از روسمرسهلم انگار در آثار ایبسن تکرار می‌شود و شاید ریشه در دغدغه‌های شخصی خودش هم داشته ایده‌ی عشق افلاطونی (عشق بدون رابطه‌ی جنسی) است که مدام به شکل‌های مختلف در آثارش تکرار می‌شود و دلم می‌خواهد در این زمینه بیشتر بخوانم که چرا ایبسن رابطه‌ی جنسی را نشانه‌ی تنزل رتبه‌ی ژرفا و حقانیت رابطه می‌داند انگار.

[Laleh · Rating 5 out of 5]

درون مایه این نمایشنامه هم مثل خیلی از نمایشنامه های ایبسن،ازدواج،عشق و خانواده است.بررسی تاثیر ازدواج بر منش و خوشبختی انسان و روابط خانوادگی در اثر نمایان است
موضوع مسئولیت به عنوان والدین در مقابل نیاز به ازادی قرار میگیرد.زنی که در تمنای عشق همسر است و مردی که دیگر نمیخواهد با کار ماندگار زندگی اش(کتاب در حال نگارشش)دست و پنجه نرم کند و تصمیمش را میگیرد تا قله هایی که خود هرگز فتح نکرده به وسیله ی فرزندی که به دلیل بی مسئولیتی های والدین ناتوان گشته فتح کند و در نتیجه تمام روزهایش را وقف فرزندش میکند‌.حالا زن ازادی خود را در مرگ بچه میبیند اما بعد مرگ بچه اوضاع از این هم بدتر میشود.
غافل از اینکه درد و رنج انسان هارا شرور می‌کند و اشفتگی های ذهنی،سرگردانی و.. در گوشه کنار زندگی مشاهده میشوند.
کتاب بسیار روانشناختی بود و فارغ از رخداد ها در ان بیشتر به حالات ذهنی پرداخته شده بود.

[aLirEza nEjaTi · Rating 4 out of 5]

می‌تونم بگم جزو تاثیرگذارترین آثار ایبسن برای من بود

[Yas · Rating 3 out of 5]

تاحدی دارک بود اما چنگی به دل نزد.

[Sarah · Rating 5 out of 5]

سلام.
این یک شاهکاره.
خداحافظ.

(با توجه به سابقه‌ی خراب اخیرم قول ری‌ویو نمی‌دم، ولی شایدم نوشتم براش.)

[Amirsaman · Rating 3 out of 5]

موتیف آثار ایبسن، پیدا کردن یک مشغله برای مواجه نشدن با پوچی جهان است - آلمرش ابتدا سال‌ها خود را وقف نوشتن کتابی بنام «مسئولیت انسانی» می‌کند، و بعد که از آن سرخورده شد، خود را سرگرم مسئولیت انسانی‌اش بعنوان پدر می‌کند. در این اثر و نیز جان گابری‌یل بورکمان، به ترتیب پدر و مادر، امید خود را در آینده‌سازی برای پسرشان می‌گنجانند، که همواره هم این امید با «رفتنِ» پسر از دست می‌رود.
دوستی ریویوی خوبی نوشته بود که در قدم اول نشان می‌دهد گاهی نوشته‌های این‌جا خیلی بهتر از مقدمه‌ها و موخره‌های پرطمطراقِ کتاب‌ها در مقام تحلیل عمل می‌کنند. مثلا به همواره «پسر» بودن فرزندِ از دست رفته اشاره کرد. یا به زنی که موش‌ها را (بعنوان امیال نگفتنی و نخواستنی) برای شما در دریا غرق می‌کند.
این جایگزینی چیزی در خلأِ معنای زندگی، برای عشق هم کارکرد دارد. زن پس از اینکه شوهرش می‌گوید می‌خواهد از او جدا شود، برای فراموش کردن این غم (و نیز فراموشی عذاب‌وجدان (؟) از خواست پنهان مرگ فرزند)، تصمیم به سرپرستی بچه‌های فقیر محله می‌گیرد.
بنظرم حرف ایبسن این است که آگاه باشیم از انگیزه‌های جعلی پشت کار‌های‌مان، و بعد که دانستیم همه‌اش بهانه‌ای است برای سرگرم ماندن، آن وقت صادق‌تر باشیم با خود و گذشته‌ی خود. اما نتیجه؟ اتخاذ سبک‌زندگی هیچ کاری نکردن یا غرق کردن خود در لذت‌های زودگذر؟ ایبسنْ برگ‌هیم را هم نشان‌مان می‌دهد که او هم به رستگاری خاصی نمی‌رسد، نشان می‌دهد که او هم سرخورده به راه‌سازی ادامه می‌دهد.
ایبسن وضعیت بشر را به تصویر می‌کشد.

[david · Rating 4 out of 5]

Great writing.

Great play.

A questionable ending.

[Mohammad · Rating 4 out of 5]

ایبسن را نمیشناختم تنها از *عروسکخانه* نمایشنامه‌ی دیگرش، مدح های زیادی شنیده بودم. همین باعث شد که پیشنهاد آیلف کوچولو را بپذیرم. حالا که آیلف کوچولو را خوانده ام از اینکه پیشتر نمیشناختمش حسرت میخورم و بیشتر ترغیب میشوم که عروسکخانه را بخوانم. فکر میکنم همین توضیح مشخص کند که چقدر ایبسن را پسندیده ام. نگاه جالب ایبسن به مسائل زوج ها و دید او نسبت به جنس زن مطمئنا نگاه تازه ای در زمان خودش بوده. زنی که در عشق به کم راضی نمیشود تمامیت خواه است و نمیتواند مهر شوهر را با هیچکس شریک شود حتی با فرزند خودش. شوهری دارد عاشق خواهرش و سرگشته که بدنبال تغییر است و فرزندی که در چنگال این زوج قربانی میشود ...
چه دیالوگهای خوبی دارد این نمایشنامه !
به نظرم ترجمه اش بی ایراد نیست هر چند میشود فهمید و از این نظر مشکلی نخواهید داشت.

[David Sarkies · Rating 5 out of 5]

Ibsen’s Pied Piper
15 March 2020

This is actually a really sad play, though I’m not sure if I would go as far as calling it a tragedy. In a way though it seems to be just what one would expect from a master like Ibsen, and it is certainly a play that definitely cuts to the heart. Sure, it may not actually be what I would call ‘Ibsen’s Pide Piper’, but in a way there are elements that are the same, but also elements that I quite different, particularly since the play continues on after the tragic conclusion to act 1.

So, we have this gentleman Alfred Allmers who seems to spend most of his time away from home. He has a child named Eyolf who happens to be lame, and as such they have kept him rather sheltered. The problem is that Eyolf really doesn’t like living such a sheltered existence, and he actually wants to go out and experience the world. The other problem is that Alfred hasn’t spent all that much time with him, something that he has decided that will change.

Well, during the first act they are visited by this woman known as the rat-wife. Namely she is pretty much like the Pied Piper in that she can lead rats away through the use of music. However, Alfred seems to think that she is a bit of a crank so sends her on her way. The problem is that when she leaves, she entices Eyolf to go with her, and later in the day he is found drowned down in the nearby fjord.

See, I did mention that it is heart wrenching, and act 2 has the main character trying to deal the the loss, but there is also an instance of Alfred’s sister Asta, and a young man that wishes to marry her. At first she doesn’t like the idea, but after the tragedy happens, she eventually changes her mind, and in marrying him, they are able to begin to deal with the guilt of Eyolf’s death.

I guess the major thing that comes out of this play is how many of us don’t realise what we have until they have been taken away from us. Sure, Alfred had already made the decision to spend some more time with his son, but in a way it feels as if it had come too late. This isn’t a case of remorse, but in a way it is, though there does seem to be some realisation that maybe they could have been better.

In fact, the first part of the play has a lot to do with the problems between Alfred and his wife Rita, who are blaming each other for Eyolf’s injuries, and in part also blaming Eyolf for the fact that their marriage seems to be disintegrating. Of course, during this argument, they don’t actually realise that Eyolf has left to follow the rat wife.

As I mentioned, Eyolf really didn’t like the idea of living a sheltered life – he wants to live a normal life like everybody else, but of course there was concern that he might not be able to. This is a key point because disabled people do seem to have problems integrating into society, not because there is a problem with them, but because there is a problem with society. This is especially the case when they are younger, since children can be incredibly mean and visicious at times. I still remember when I was at primary school, we had a special education unit for disabled children, yet the whole concept of integration really didn’t seem to work. Yeah, this is another one of those wonderful things that governments do, claiming that it would be better for the children, but in the end it is just an excuse to cut back on services, much in the same way that all of the mental hospitals were closed down because it was believed that would be much better living in society, though people I have spoken to have suggested that this is when the homelessness rate skyrocketed.

Yet one must also consider the nature of relationships, particularly when there is a disruption in the family. Here we have Alfred and Rita fighting, no doubt once again, and poor Eyolf is caught in the middle of it. No doubt hearing his parents wish that he was never born, and blaming each other for his injury, alienated him all the more, so one does wander whether it was the rat-wife that actually lured him out because Alfred said that he did not want her services, or whether he followed her simply because he basically wanted to get out of this toxic environment.

[Hend · Rating 5 out of 5]

Henrik Ibsen excelled in the analysis of the psychological motives of the characters in this dramatic play, On his excavation on the depth of human nature ,he focuses on highlighting its internal conflicts between desire love ,and duty...

Rita's jealousy and possessiveness become unacceptable when it gets out of hand and begins to consume her relationship with her husband. She doesn’t feel desired any more as her husband Alfred displays affectionate pitty and love to their little child Eyolf who is paralyzed in one of his legs ,Rita feels he is more important and beloved than her
she even wishes that Eyolf had never been born, as he diverts Alfred's attention from herself.
She needs Alfred wholly

After this conversation they heard sounds of shouts down by the sea, which reveal that Eyolf has drowned .....

I think this conversation resemble Maurice and Henriette,conversation in the play(There are Crimes and Crimes)
by August Strindberg....

after the accident They blame each other for Eyolf's injury (as a baby, he fell off a table while they were making love), with Alfred accusing Rita of distracting him from his duty to watch over Eyolf…..
Rita was willing to help the poor children who live down by the sea. Trying to give them better live,Alfred sees something positive again in Rita, and he decides to remain, so that together they can correct their mistakes.and have patience to bear his loss ,and that what they do can give a meaning to their life and peace to his soul…...

[Roula · Rating 4 out of 5]

"-... Κι αν ακομα εγινε ετσι, το κανε απο αγαπη.
-Αυτο! Αυτο ειναι! Δε θελω να μοιραζομαι τιποτε με καποιον αλλο! Δε θελω να με μοιραζουν στην αγαπη!"

Ο μικρος Εγιολφ, ειναι ενα παιδι 9 ετων που ζει μια ζωη περιορισμενη εξαιτιας μιας αναπηριας που απεκτησε απο τη βρεφικη ηλικια του. Ο πατερας του, συγγραφεας, λειπει καιρο σε ενα ταξιδι αυτοβελτιωσης και ανακαλυψης ενος σκοπου στη ζωη(κεντρικο θεμα σε πολλα εργα του Ιψεν) στα βουνα και επιστρεφει με την απόφαση να βαλει στην ακρη τη δικη του ζωη και επαγγελματικη πορεία για να φροντισει περισσοτερο το παιδι του και να του χαρισει περισσότερες ελευθεριες. Ωστοσο αυτο δε βρισκει και τοσο συμφωνη τη γυναικα του, η οποια παραπονιεται οτι την παραμελει και οτι το παιδι τους ανηκει και στους δυο εξ ημισιας, αλλα ο ιδιος θα πρεπει να της ανηκει εξ ολοκληρου!!! Ειναι τετοια η ζηλοφθονια και η οργη της που σε καποιο σημειο ευχεται να πεθαινε ο Εγιολφ, ωστε να εχει την απερισπαστη προσοχη του αντρα της. Και επειδη μερικες φορες, η μοιρα παιζει περιεργα παιχνιδια, συμβαινει ακριβως αυτο:ο Εγιολφ πνιγεται σε ενα ασχημο ατυχημα και εμεις παρακολουθουμε πως οι χαρσκτηρες αλλαζουν, οι δυναμικες των σχεσεων, πώς η ευτυχια αξιζει μονο αναλογα με το ποιον τη μοιραζεσαι και αν αλλαξεις έστω και εναν παράγοντα, αυτη σταματα να ισχυει και πώς ακομη και στις πιο χαμενες υποθεσεις, υπαρχει ακομη η ελπιδα του "νομου της αλλαγης "οπως το αποκαλει ο Ιψεν. Και ολα μπορουν να ξαναρχισουν...

[Mina · Rating 5 out of 5]

یکی از بهترین نمایشنامه‌هایی بود که از ایبسن خوندم!

[Ketevan · Rating 3 out of 5]

არ ვიცი მომეწონა თუ არა,დასაწყისში საკმაოდ ბანალური და პროგნოზირებადია ყველაფერი, ბოლოს ბევრად რთულდება და სხვანაირად აღიქვამ პერსონაჟებს , შედარებით საინტერესოდ. მაგრამ ის ფაქტია რომ იბსენის თარგმანები თითქმის არ არის და რაც არის ძალიან ძველია და ამ შემთხვევაში არც ისე კარგი

[Samane⚘️ · Rating 4 out of 5]

آدم تنهایی هم می تواند با سختی بسازد ولی شادی را باید تقسیمش کنی وگرنه مفت هم نمی ارزد.

[Anne-Marie · Rating 4 out of 5]

Tragisk og glitrende.

[Sara · Rating 3 out of 5]

بعد از « ما مردگان سر بر داریم» خوندمش و حقیقتا از کتاب های اخر ایبسن لذتی را که از اثرهای قدیمی ترش میبردم، تو این سری نمی برم.

[Tuva Kongshaug · Rating 3 out of 5]

Merker dramaene blir mer og mer moderne, noe jeg ikke vet om jeg liker så godt. Misforstå meg rett, eeeelsker Ibsen, men tror jeg er mer fan av den realistiske skrivestilen, oppbyggingen og karakterene. Tror likevel ikke det er Ibsen sin feil at dette ikke nådde helt opp for meg, men at jeg rett og slett ikke er smart nok til å forstå alle lagene i historien. For å være et Ibsen-drama blir det er 3er for meg, men i forhold til mange andre bøker er det en 5🤌🏽

[محمد حسن خليفة · Rating 3 out of 5]

3 فصول أو قل 3 لوحات فى 95 صفحة هكذا كانت المسرحية ، مسرحية ( أيولف الصغير ) لهنريك ابسن .
مرحلة متطورة من مراحل التطور عند ابسن الكتابه عن الإنسان والغوص فى أعماق الشخصية .
اب يريد أن ينهى كتابه عن مسؤلية الإنسان غارق فى هدفه ومنعزل فى الجبال يدرك متأخراً أن الأهم أن يطبق ما يود أن يكتبه فى هذا الكتاب الذى سرق من حياته كثيراً على أرض الواقع ولن يجد أكثر من إبنه أيولف الصغير الكسيح لكى يوجه المسؤلية تجاهه ويشعره أن الاب مهتم بإبنه وأم لا تريد سوى أن يكون زوجها لها هى وحدها أن يكون حبه لها وان لا يقاسمها أحد هذا الحب مع زوجها حتى وإن كان هذا الذي سوف يثاسمها فى الحب هو ابنها الكسيح .
الفصل الثانى من المسرحية ممتلئ أكثر وبه نوع من المحاسبة من الشخصيتين الرئيستين ( الأب والأم ) المعاتبه والمحاسبة تتم من خلا استيراد أحداث من الماضي وبناءاً عليها يدرك الأشخاص أن كلاً منهما أخطاً هنا تأتى مرحلة الإدراك فى الفصل الثالث وتطبيق المسؤلية تجاه الإنسان على أرض الواقع .
مسرحية غنية جداً ، سلسة ليس بها تعقيد فكرتها بسيطه لكن حبكتها قوية جداً .
من أفضل ما قرأت فى فرع المسرحية .

[Abdelrahman Mohamadeen · Rating 3 out of 5]

قد تشعر بعد قراءة هذه المسرحية بمدى لذة قراءة المسرح بصفة عامة
لذة أن تقرأ حواراً بين أشخاص مُتعَبين يعيشون في عالمك المُتعِب هذا

[Shrook · Rating 3 out of 5]

يواجه ابسن هنا زيف المشاعر ولاوعينا ويوضح الاسباب الحقيقية للمشاعر كحزن ريتا واولمرز علي ايولف الذي لم يكن الا مجرد وخزة ضمير او واجب للحزن

[gigi_booksworld · Rating 5 out of 5]

Από τα ωραιότερα βιβλία του Ίψεν. Κρίμα που δεν είναι τόσο γνωστό στην Ελλάδα.

[Espen Åberg · Rating 4 out of 5]

As always with Ibsen, Lille Eyolf (Little Eyolf) is about timeless topics; just as central and important today as they were 130 years ago.
This story has similarities with Hedda Gabler. The topic of responsibilities, as a parent in this case, vs. the need for personal freedom and fulfillment, is explored. Ethics and instincts would have the scales tip in favor of the former, while the parents of little Eyolf narcissistically indulge themselves too much with the latter, resulting in human tragedy.
Eyolf may have been based on Ibsen’s first born son, born outside of marriage and abandoned by Ibsen. Ibsen may have lived with the shame and regret, and finally wrote Lille Eyolf in his late life. Although, he never seemed to have wanted to connect with his first son, who outlived his father.

[Kimia · Rating 5 out of 5]

درباره‌ی نمایشنامه باید بگم که عالی بود‌. حرف دیگه‌ای ندارم که دربارش بزنم جز اینکه واقعا دوسش داشتم:)) اونقدر دوسش داشتم که توی دو ساعت تمومش کردم.
حالا درباره‌ی مقدمه‌ی مترجم؛
مقدمه‌های مترجم خیلی خوندنی و جالب هستن ولی مشکل اینه که قبل از متن اصلی نمایشنامه گذاشته شدن و توشون کامل اسپویل میشه بنابراین بهتر بود این تحلیل‌ها آخرِ نمایشنامه گذاشته بشن که خوندنشون لذت بخش تر باشه. درهرصورت محتوای جالبی دارن و ممکنه گره های ذهن خواننده راجع به نمایشنامه رو هم باز کنن.

[davidalromany · Rating 3 out of 5]

عجبتني فكرة المسرحية في تعامل مع الفقد والمعالجة ان الألم قادر يخلق منك تفكير في الانتقام او تفكير في الحب

[Torjus]

crying in the club