本文以李健吾剧作中的女性形象作为研究对象，通过对戏剧情境中的女性人物分析来探究李健吾的创作动因。一方面，剧作家赓续“五四”传统，着重关注、表现女性群体的命运遭际，另一方面，表现悲剧色彩的女性又同剧作家的现实生活经历、文学选择息息相关。

第一章所论李健吾剧作中的悲剧色彩的女性群体，从人物特性上划分，主要包括两类，被侮辱与被损害和勇于抗争的女性形象，她们身上都笼罩着人物气质上的悲哀。

第二章聚焦于剧作家对女性形象的理解与呈现，分析喜剧手法在刻画女性悲剧命运中所产生的美学效果和艺术风格。本文侧重从戏剧情境的人物关系、生活化的事件和突转的设置三方面论述。

第三章以李健吾代表作《这不过是春天》为个案，进一步关注女性形象是如何在剧作家对剧作的修改中被遮蔽的现象。从历时性的角度，梳理比较《这不过是春天》不同版本的修改情况，旨在打开以李健吾剧作女性形象透视作家创作心理的一个窗口。

第四章在前文分析的基础上，探索李健吾表现悲剧色彩女性形象的创作动因。分别从剧作家人生经历的原型考察、早期演戏的心理体验和对福楼拜笔下女性形象的借鉴这三个角度出发，对李健吾剧作中的女性形象探源溯流，发现李健吾在剧作原创之外的借鉴和模仿。

This paper takes the female figures in Li Jianwu's plays as the object of study, and explores Li's creative motivation through the analysis of female characters in dramatic situations. On the one hand, the dramatist continues the "May Fourth" tradition of focusing on the fate of women, and on the other hand, the tragic women are closely related to the dramatist's real-life experiences and literary choices.

The first chapter discusses the tragic groups of women in Li Jianwu's plays, which are divided into two categories in terms of character features, the insulted and damaged and the courageous and resistant women, who are shrouded in the sadness of the characters' temperament.

The second chapter focuses on the dramatist's understanding and presentation of the female figure, and analyzes the aesthetic effect and artistic style of comic techniques in portraying the tragic fate of women, focusing on three aspects of the dramatic situation: character relationships, lived events, and the setting of sudden turns.

The third chapter uses Li Jianwu's masterpiece, This Is Only Spring, as a case study to further focus on how the female figure is obscured in the dramatist's revision of the play. From the perspective of chronology, it compares the revisions of different versions of This Is Only Spring, aiming to open a window to the writer's creative psychology through the image of women in Li Jianwu's play.

Based on the previous analysis, chapter 4 explores the creative motivation of Li Jianwu. The three perspectives of the playwright's life experience, his early psychological experiences in acting, and his borrowings from Flaubert's female figures are used to explore the origins of the female figures in Li Jianwu's plays and to discover the borrowings and imitations that Li Jianwu made in his plays beyond the original ones.