| Acknowledgements | 第5-6页 |
| Abstract (English) | 第6-7页 |
| Abstract (Chinese) | 第8-12页 |
| Part One Introduction | 第12-24页 |
| 1.1 A General Review of O'Neill's Spiritual Progress | 第12-16页 |
| 1.1.1 Nietzsche and the Grecian Tragedy | 第13-14页 |
| 1.1.2 Strindberg as the Pilot to O'Neill | 第14-16页 |
| 1.2 A Literature Review and Appraisement of O'Neill's Drama | 第16-24页 |
| 1.2.1 Recent Study Conditions in China | 第17-20页 |
| 1.2.2 Domestic Feministic Study of O'Neill | 第20-21页 |
| 1.2.3 The Author's Attitude | 第21-24页 |
| Part Two O'Neill's Feministic Consciousness | 第24-36页 |
| 2.1 Sources of His Feministic Consciousness | 第24-30页 |
| 2.1.1 Life under Mother's Shadow | 第24-26页 |
| 2.1.2 Learning from Marriage and Growing up | 第26-29页 |
| 2.1.3 Carlotta's Influence on O'Neill | 第29-30页 |
| 2.2 Conception and Examples of O'Neill's Feministic Consciousness | 第30-36页 |
| 2.2.1 Mary Tyrone and the Desired Fleshy Abbie | 第31-32页 |
| 2.2.2 Evelyn and Ella the Destroyer in All God's Chillun | 第32-33页 |
| 2.2.3 His Early Research of Women Problems | 第33-36页 |
| Part Three Analysis of Characters in A Touch of the Poet | 第36-51页 |
| 3.1 Plot Introduction | 第37-38页 |
| 3.2 Melody's Feminine Depiction | 第38-43页 |
| 3.2.1 Melody's Narcissistic Complex | 第39-41页 |
| 3.2.2 Melody the Anima Prototype | 第41-43页 |
| 3.3 Nora the Standard Female in Parental Society | 第43-46页 |
| 3.4 Sara the Ring of the Awakening of Feministic Consciousness | 第46-47页 |
| 3.5 Analysis of Female Symbols | 第47-51页 |
| 3.5.1 The Tavern and Its Surroundings | 第47-48页 |
| 3.5.2 The Thoroughbred Mare | 第48-49页 |
| 3.5.3 Feministic Naming | 第49-51页 |
| Part Four Feministic Motifs in Stage Arrangement | 第51-54页 |
| 4.1 Feministic Ideas Implied by the Plot | 第51-52页 |
| 4.2 The Implied Meaning of Mare Killing | 第52-54页 |
| Part Five Conclusion | 第54-56页 |
| Bibliography | 第56-57页 |
