Abstract: The Homecoming，a play created by Harold Pinter，the 2005 Nobel Prize winner  in  literature and British contemporary playwright，is regarded by Pinter himself as his best play．As ‘art originates in reality’，Pinter who was born and grew up in Hackney of London had a complex feeling of love and hatred for Hackney —— ‘Hackney Complex’．The Homecoming is ‘la ?eur du mal’ blooming in the fertile soil of Pinter’s ‘Hackney Complex’．It remains controversial that how Ruth the wife would choose to abandon her husband and children， and how Teddy the husband could look on so indifferently．The author of the present paper states that both Teddy and Ruth are the ‘victims’ of Pinter’s sticking to his ‘Hackney brotherhood’．Pinter’s characterization of Ruth’s duality as a lady and a prostitute is the projection of Pinter’s contradictory ideal of woman as both a wife and a lover，a lady and a prostitute in and out of the play．The morbid love of Ruth and Teddy re?ects Teddy’s silly loyalty to  the metamorphosed brotherhood，which  is also  the dramatic means of Pinter’s catharsis of his personal ‘Hackney Complex’，and  thus makes Pinter’s success in his social criticism by means of the absurdity of his ‘Comedies of Menace’．

Keywords: Harold Pinter; The Homecoming; Hackney Complex; victim; la ?eur du mal

摘要： 《回家》是2005年诺贝尔文学奖得主、英国当代剧作家哈罗德·品特自己认为最好的作品。“艺术来源于生活”，在伦敦哈克尼出生长大的品特对哈克尼有着爱恨纠结的“哈克尼情结”，《回家》就是一朵盛开在品特“哈克尼情结”沃土上的“恶之花”。对于剧中妻子露丝怎么会愿意抛夫弃子、而丈夫泰迪又怎么能够袖手旁观历来颇有争议。笔者以为泰迪和露丝都是品特坚守“哈克尼兄弟情”的“牺牲品”，品特对露丝淑女和妓女双重性的刻画投射了品特戏里戏外对女性作为妻子与情人、淑女与妓女合二为一的理想的矛盾与纠结；泰迪和露丝病态的夫妻情背后折射出的是泰迪对兄弟情的变态愚忠，露丝的“愿意”和泰迪的“能够”都是品特借戏剧创作来“卡塔西斯”他的个人“哈克尼情结”，也因此成就了他荒诞的“威胁喜剧”对社会的批判。

关键词: 品特, 《回家》, 哈克尼情结, 牺牲品, “恶之花”