Federico García Lorca’s The Public (El Público), written in 1930, is not merely a play; it is a manifesto for a revolutionary “Theater Beneath the Sand.” While the traditional “Theater of the Open Air” contents itself with masks, social conventions, and comfortable lies, Lorca’s vision demands an excavation of the human soul.
In this bilingual edition, we navigate a dreamscape where identity is fluid and the boundary between the actor and the role dissolves. Lorca challenges the audience to look behind the screen—to witness the “Truth of the Tombs” where love is not a polished performance of gender, but a raw, shifting force.
ACT 1 | 第一幕 ［导演坐着。穿着晨礼服。蓝色布景。墙上印着一只巨大的手。窗户是X光片。］ [The DIRECTOR is seated. He wears a morning coat. Blue setting. A large hand is printed on the wall. The windows are X-ray films.]
男仆： 先生。 SERVANT: Sir.
导演： 什么事？ DIRECTOR: What is it?
男仆： 公众到了。 SERVANT: The public has arrived.
导演： 让他们进来。 DIRECTOR: Let them in.
［（四匹白马走进来。）］ [(Four white horses enter.)]
导演： 你们想要什么？［（马群吹响号角。）］ 如果我是个会叹气的人，事情就会是这样。我的剧院将永远是露天的！但我赔光了所有家产。否则，我会毒化这露天的空气。我只需要一支能刮掉伤口血痂的注射器。滚出去！从我家里滚出去，马群！和马睡觉的床早就发明出来了。［（哭泣。）］ 我的小马。 DIRECTOR: What do you want? [(The horses sound their horns.)] If I were a man who sighed, this is how things would be. My theater will always be outdoors! But I’ve lost my entire fortune. Otherwise, I would poison this open air. I only need a syringe capable of scraping the scabs from a wound. Get out! Get out of my house, horses! The bed for sleeping with horses has already been invented. [(Weeping.)] My little horses.
马群： ［（哭泣。）］ 为了三百比塞塔。为了两百比塞塔，为了一碗汤，为了一个空香水瓶。为了你的唾液，为了你剪下的指甲。 HORSES: [(Weeping.)] For three hundred pesetas. For two hundred pesetas, for a bowl of soup, for an empty perfume bottle. For your saliva, for your fingernail parings.
导演： 出去，出去，出去！［（按响铃铛。）］ DIRECTOR: Out, out, out! [(He rings a bell.)]
马群： 为了虚无！曾经，你的双脚发臭，而我们才三岁。我们在厕所里等，在门后等，然后我们的泪水浸湿了你的床。［（男仆进来。）］ HORSES: For nothing! Once, your feet stank, and we were only three years old. We waited in the toilets, we waited behind doors, and then our tears soaked your bed. [(The SERVANT enters.)]
导演： 给我皮鞭！ DIRECTOR: Give me the whip!
马群： 你的鞋子里全是汗水，但我们懂得，月亮与草丛中腐烂的苹果有着同样的联系。 HORSES: Your shoes are full of sweat, but we understand that the moon has the same connection to a rotting apple in the grass.
导演： ［（对男仆。）］ 把门打开！ DIRECTOR: [(To the Servant.)] Open the door!
马群： 不，不，不。太可恶了！你浑身长毛，还偷吃不属于你的墙皮石灰。 HORSES: No, no, no. How loathsome! You are covered in hair, and you steal the plaster from walls that doesn’t belong to you.
男仆： 我不开门。我不想走进剧场里去。 SERVANT: I won’t open the door. I don’t want to walk into the theater.
导演：［（打他。）］ 给我打开！ DIRECTOR: [(Striking him.)] Open it!
［（马群掏出长长的金色号角，伴随着它们的歌声节奏缓慢起舞。）］ [(The horses pull out long golden horns and dance with a slow rhythm to the sound of their singing.)]
导演： 露天剧院！滚出去！快走！露天剧院。从这儿滚出去！［（马群退出。对男仆：）］ 继续。［（他坐到桌子后面。）］ DIRECTOR: Open-air theater! Get out! Go! Open-air theater. Get out of here! [(The horses exit. To the Servant:)] Continue. [(He sits behind the desk.)]
男仆： 先生。 SERVANT: Sir.
男仆： 公众到了！ SERVANT: The public has arrived!
导演： 让他们进来。 DIRECTOR: Let them in.
［（导演将他的金色假发换成了一顶深色的。三个男人走进来，穿着同样的晨礼服，长得一模一样。他们都留着黑胡须。）］ [(The DIRECTOR exchanges his golden wig for a dark one. Three men enter, wearing identical morning coats, looking exactly alike. All three have black beards.)]
男 1： 您就是“露天剧院”的导演吗？ MAN 1: Are you the director of the “Open-air Theater”?
导演： 愿为您效劳。 DIRECTOR: At your service.
男 1： 我们是来祝贺您的新作的。 MAN 1: We have come to congratulate you on your new work.
导演： 谢谢。 DIRECTOR: Thank you.
男 3： 极具原创性。 MAN 3: Deeply original.
男 1： 还有那个美丽的书名！《罗密欧与朱丽叶》。 MAN 1: And that beautiful title! “Romeo and Juliet.”
导演： 一个男人和一个女人的相爱。 DIRECTOR: The love of a man and a woman.
男 1： 罗密欧可以是一只鸟，朱丽叶可以是一块石头。罗密欧可以是一粒盐，朱丽叶可以是一张地图。 MAN 1: Romeo can be a bird and Juliet can be a stone. Romeo can be a grain of salt and Juliet can be a map.
导演： 但他们永远不会停止作为罗密欧与朱丽叶。 DIRECTOR: But they will never cease to be Romeo and Juliet.
男 1： 而且在相爱。您相信他们是在相爱吗？ MAN 1: And in love. Do you believe they are in love?
导演： 我亲爱的朋友……我又不在他们身体里…… DIRECTOR: My dear friend… I am not inside their bodies…
男 1： 够了！够了！你在自投罗网。 MAN 1: Enough! Enough! You are falling into your own trap.
男 2：［（对男 1：）］ 慎重行事。这是你的错。你为什么要来剧院门口？你可以呼唤森林，它也许会轻而易举地让你的耳朵听见树液流动的声音。但这可是剧院！ MAN 2: [(To Man 1:)] Proceed with caution. This is your fault. Why did you come to the theater door? You could have called the forest, and it might have easily let your ears hear the sound of the sap flowing. But this is the theater!
男 1： 人们必须敲响的就是剧院的门；是在剧院，为了…… MAN 1: The door of the theater is precisely the one that must be knocked upon; it is in the theater, for the sake of…
男 3： 为了让坟墓的真相大白。 MAN 3: For the truth of the tombs to be revealed.
男 2： 带着煤气灯、广告和长排座位的坟墓。 MAN 2: Tombs with gaslights, advertisements, and long rows of seats.
导演： 先生们…… DIRECTOR: Gentlemen…
男 1： 是的，是的。“露天剧院”的导演，《罗密欧与朱丽叶》的作者。 MAN 1: Yes, yes. The Director of the “Open-air Theater,” the author of “Romeo and Juliet.”
男 2： 导演先生，罗密欧是怎么撒尿的？看到罗密欧撒尿难道不美吗？为了陷入那场受难的喜剧，他多少次假装从塔楼上跳下去，只为了被人接住？导演先生，当什么都没发生的时候，到底在发生着什么？还有那座坟墓呢？为什么到最后，你没有走下坟墓的台阶？你本可以看见一个天使带走了罗密欧的性别，却留下了另一个——他自己的，那个本就属于他的性别。如果我告诉你，这一切的主角其实是一朵有毒的花，你会怎么想？回答我。 MAN 2: Mr. Director, how does Romeo urinate? Wouldn’t it be beautiful to see Romeo urinating? How many times, to fall into that comedy of suffering, did he pretend to jump from the tower only to be caught? Mr. Director, when nothing is happening, what exactly is happening? And what about the tomb? Why, in the end, did you not go down the steps of the tomb? You could have seen an angel take away Romeo’s sex, only to leave another—his own, the sex that truly belonged to him. What would you think if I told you the protagonist of all this was actually a poisonous flower? Answer me.
导演： 先生们，那不是问题所在。 DIRECTOR: Gentlemen, that is not the issue.
男 1：［（打断：）］ 没有别的问题了。因为大家的懦弱，我们不得不埋葬这座剧院，而我也不得不对自己开枪。 MAN 1: [(Interrupting:)] There is no other issue. Because of everyone’s cowardice, we have to bury this theater, and I am forced to shoot myself.
男 2： 冈萨罗! [2] MAN 2: Gonzalo! [2]
男 1（缓慢地）： 我必须对自己开枪，以此来开启真正的剧院：沙幕下的剧院。 MAN 1: (Slowly): I must shoot myself to inaugurate the true theater: the theater beneath the sand.
导演： 冈萨罗…… DIRECTOR: Gonzalo…
男 1： 什么？……［（沉默。）］ MAN 1: What?… [(Silence.)]
导演（反应过来）： 但我做不到。一切都会崩塌。那就像是刺瞎我孩子们的双眼，到那时，我该拿公众怎么办？如果我拆掉了大桥的扶手，我该拿公众怎么办？面具会反过来吞噬我。我曾见过一个人被面具吞噬。城里最强壮的青年举着带血的长矛，把一团团废旧报纸塞进他的屁股；在美国，曾有一个少年被面具吊死，就挂在他自己的肠子上。 DIRECTOR: (Recovering): But I cannot do it. Everything would collapse. It would be like blinding my own children; in that case, what would I do with the public? If I tore down the handrails of the bridge, what would I do with the public? The masks would turn and devour me. I once saw a man devoured by the masks. The strongest youth in the city, holding bloodied spears, stuffed wads of old newspaper into his behind; in America, a boy was hanged by the mask, suspended by his own intestines.
男 1： 壮丽！ MAN 1: Magnificent!
男 2： 你为什么不在剧院里说这些？ MAN 2: Why don’t you say these things in the theater?
男 3： 这是剧情的开端吗？ MAN 3: Is this the beginning of the plot?
导演： 无论如何，这是一个结局。 DIRECTOR: Regardless, it is an ending.
男 3： 一个由恐惧造成的结局。 MAN 3: An ending caused by fear.
导演： 这很清楚，先生。您不会以为我有能力把面具带上舞台吧。 DIRECTOR: That is clear, sir. You surely don’t think I am capable of bringing the mask onto the stage.
男 1： 为什么不呢？ MAN 1: Why not?
导演： 那道德呢？观众的胃口呢？ DIRECTOR: And morality? The appetite of the audience?
男 1： 有些人看到章鱼被翻转过来会呕吐，有些人听到带着某种意图说出“癌症”这个词会脸色苍白；但你知道，对抗这些，我们有锡箔、石膏、迷人的云母，最后还有纸板——这些都是任何财力都能负担得起的表达手段。［（他站起身。）］ 但你想要的只是欺骗我们。欺骗我们，好让一切保持原样，让我们永远无法拯救死者。我准备好的四千瓶橙汁里掉进了苍蝇，这都要怪你。我必须再次开始铲除根基。 MAN 1: Some people vomit when they see an octopus turned inside out; some turn pale when they hear the word “cancer” spoken with a certain intent. But you know that to fight these things, we have tin foil, plaster, charming mica, and finally cardboard—means of expression affordable to any budget. [(He stands up.)] But all you wanted was to deceive us. To deceive us so that everything stays the same, so that we can never save the dead. Flies have fallen into the four thousand bottles of orange juice I prepared, and it’s all your fault. I must begin to uproot the foundations once again.
导演（站着）： 我不想争论，先生。但你到底想从我这里得到什么？你是带了新剧本吗？ DIRECTOR: (Standing): I don’t want to argue, sir. But what exactly do you want from me? Have you brought a new script?
男 1： 还有什么戏能比留着胡须的我们……和你，更像新戏呢？ MAN 1: What play could be newer than us with our beards… and you?
导演： 和我……？ DIRECTOR: And me…?
男 1： 是的……你。 MAN 1: Yes… you.
男 2： 冈萨罗！ MAN 2: Gonzalo!
男 1（看着导演）： 我还能认出他，我仿佛看见那个早晨，他把一只跑得飞快的野兔锁进一个书包里。还有一次，在他第一次发现中分发型的那天，他在耳朵里插了两朵玫瑰。而你，你认得我吗？ MAN 1: (Looking at the Director): I can still recognize him; I seem to see that morning when he locked a fast-running hare into a small satchel. And another time, on the day he first discovered a center part in his hair, he stuck two roses in his ears. And you, do you recognize me?
导演： 这不是剧情。看在上帝的份上！［（大喊。）］ 艾琳娜，艾琳娜！［（他跑向门口。）］ DIRECTOR: This is not the plot. For God’s sake! [(Screaming.)] Elena, Elena! [(He runs toward the door.)]
男 1： 但我必须把你带上舞台，不管你愿不愿意。你让我受了太多的苦。快！屏风！屏风！［（男 3 搬出一扇屏风，放在舞台中央。）］ MAN 1: But I must bring you onto the stage, whether you like it or not. You have made me suffer too much. Quick! The screen! The screen! [(MAN 3 brings out a screen and places it in the center of the stage.)]
导演（哭泣）： 公众会看见我的。我的剧院会倒塌。我创作了本季最好的戏剧，可现在！…… DIRECTOR: (Weeping): The public will see me. My theater will collapse. I created the best play of the season, and now!…
［（马群的号角声响起。男 1 走到后方打开门。）］ [(The horses’ horns sound. MAN 1 goes to the back and opens the door.)]
男 1： 进来吧，和我们在一起。这出戏里有你们的位置。所有人。［（对导演：）］ 而你，走到屏风后面去。 MAN 1: Come in, be with us. There is a place for you in this play. Everyone. [(To the Director:)] And you, go behind the screen.
［（男 2 和男 3 推着导演。他走过屏风，从另一边出来时变成了一个穿着白色缎面衣服、脖子上戴着白色拉夫领的少年。这个角色必须由女演员扮演。他背着一把黑色的小吉他。）］ [(MAN 2 and MAN 3 push the Director. He walks behind the screen and emerges from the other side transformed into a youth dressed in white satin with a white ruff around his neck. This role must be played by an actress. He carries a small black guitar on his back.)]
男 1： 恩里克（Enrique）！恩里克！［（他用手捂住脸。）］ MAN 1: Enrique! Enrique! [(He covers his face with his hands.)]
男 2： 别让我穿过屏风。让我清静会儿。冈萨罗！ MAN 2: Don’t make me go behind the screen. Leave me in peace. Gonzalo!
导演（冷冷地，拨动吉他弦）： 冈萨罗，我得朝你身上狠狠地吐唾沫。我想朝你吐唾沫，用小剪刀剪碎你的晨礼服。给我丝线和针。我想绣花。我不喜欢纹身，但我喜欢用丝线绣花。 DIRECTOR: (Coldly, plucking the guitar strings): Gonzalo, I must spit on you with all my might. I want to spit on you and shred your morning coat with small scissors. Give me silk thread and a needle. I want to embroider. I don’t like tattoos, but I like embroidering with silk thread.
男 3（对马群）： 随便坐吧。 MAN 3: (To the horses): Sit anywhere.
男 1（哭泣）： 恩里克！恩里克！ MAN 1: (Weeping): Enrique! Enrique!
导演： 我要在你的肉体上绣花，我喜欢看你睡在屋顶上。你兜里有多少钱？烧了它！［（男 1 划着火柴，烧掉了钞票。）］ 我永远看不清那些图案是如何在火焰中消失的。你没钱了吗？你真穷，冈萨罗！我的口红呢？你没有胭脂吗？真讨厌。 DIRECTOR: I want to embroider upon your flesh; I love watching you sleep on rooftops. How much money do you have in your pocket? Burn it! [(MAN 1 strikes a match and burns the bills.)] I can never see clearly how the patterns disappear into the flames. Are you out of money? You are so poor, Gonzalo! Where is my lipstick? You have no rouge? How annoying.
男 2（怯生生地）： 我有一点。［（他从胡须下掏出口红递过去。）］ MAN 2: (Timidly): I have a little. [(He reaches under his beard, pulls out a lipstick, and hands it over.)]
导演： 谢谢……但是……但是你也在吗？去屏风那儿！你也去屏风那儿。你还忍得下去吗，冈萨罗？ DIRECTOR: Thank you… but… are you here too? To the screen! You go to the screen too. Can you still endure this, Gonzalo?
［（导演粗暴地推搡男 2，屏风另一边出现了一个穿着黑色睡裤、头戴罂粟花冠的女人。她拿着一把粘着金色胡须的长柄眼镜，她会在戏里的某些时刻把胡须贴在唇上使用。）］ [(The DIRECTOR roughly shoves MAN 2; on the other side of the screen appears a woman dressed in black pajamas, crowned with poppies. She holds a lorgnette with a golden beard attached, which she places to her lips at certain moments in the play.)]
男 2（干巴巴地）： 把口红给我。 MAN 2: (Dryly): Give me the lipstick.
男 1（大声地）： 别叫艾琳娜。 MAN 1: (Loudly): Don’t call Elena.
导演： 为什么不？当我的剧院还是露天的时候，她是那么爱我。艾琳娜！ DIRECTOR: Why not? When my theater was still outdoors, she loved me so much. Elena!
［（艾琳娜从左侧上场。她穿着希腊服装。蓝色的眉毛，白发，石膏做的脚。她的衣服正面完全敞开，露出穿着粉色紧身网袜的大腿。男 2 把胡须贴在唇边。）］ [(ELENA enters from the left. She is dressed in Greek costume. Blue eyebrows, white hair, plaster feet. Her garment is completely open at the front, revealing thighs clad in pink fishnet stockings. MAN 2 holds the beard to her lips.)]
艾琳娜： 又来这套？ ELENA: This again?
导演： 又来了。 DIRECTOR: Again.
男 3： 你为什么出来，艾琳娜？如果你不打算爱我，你为什么要出来？ MAN 3: Why have you come out, Elena? If you have no intention of loving me, why did you come out?
艾琳娜： 谁告诉你的？可你为什么这么爱我？如果你惩罚我，跟别的女人走，我会亲吻你的脚。但你太崇拜我了，而且只崇拜我一个。这一切必须有个了断。 ELENA: Who told you that? But why do you love me so much? If you punished me, if you went off with another woman, I would kiss your feet. But you adore me too much, and only me. All this must come to an end.
导演（对男 3）： 那我呢？你不记得我了吗？你不记得我被拔掉的指甲吗？我怎么可能认识别人而不认识你？我为什么要叫你，艾琳娜？我为什么要叫你，我的折磨？ DIRECTOR: (To Man 3): And what about me? Don’t you remember me? Don’t you remember my torn-out fingernails? How could I possibly know anyone else and not know you? Why should I call you Elena? Why should I call you my torment?
艾琳娜（对男 3）： 跟他走吧！现在向我坦白你瞒着我的真相。我不在乎你是不是喝醉了想找借口，但你吻了他，你们睡在同一张床上。 ELENA: (To Man 3): Go with him! Now confess to me the truth you’ve been hiding. I don’t care if you’re drunk and looking for excuses, but you kissed him, and you slept in the same bed.
男 3： 艾琳娜！［（他迅速走过屏风，出来时没有胡须，脸色惨白，手里拿着鞭子。他戴着镶有金钉的皮护腕。）］ MAN 3: Elena! [(He quickly walks behind the screen and emerges without a beard, pale-faced, holding a whip. He wears leather wristbands studded with gold.)]
男 3（鞭打导演）： 你总是在说，你总是在撒谎，我必须毫不留情地结果了你。 MAN 3: (Whipping the Director): You are always talking, you are always lying; I must finish you off without mercy.
马群： 怜悯！怜悯！ HORSES: Mercy! Mercy!
艾琳娜： 你可以继续打上一个世纪，我也不会相信你。［（男 3 走向艾琳娜，捏住她的手腕。）］ 你可以继续捏着我的手指打上一个世纪，也别想让我发出一声呻吟。 ELENA: You could keep striking for a century, and I still wouldn’t believe you. [(MAN 3 walks toward Elena and squeezes her wrist.)] You can keep squeezing my fingers for a century, and you won’t get a single groan out of me.
男 3： 我们走着瞧，看谁更强！ MAN 3: We shall see who is stronger!
艾琳娜： 是我，永远是我。 ELENA: It is I, always I.
［（男仆出现。）］ [(The SERVANT appears.)]
艾琳娜： 快带我离开这儿！带上我！带走我！［（男仆走过屏风，以同样的方式——他的“真实”自我——出来。）］ 带走我！去远方！［（男仆把她抱在怀里。）］ ELENA: Quick, take me away from here! Take me! Carry me away! [(The SERVANT walks behind the screen and emerges in the same way—as his “true” self.)] Take me away! Somewhere far! [(The SERVANT takes her in his arms.)]
导演： 我们可以开始了。 DIRECTOR: We can begin.
男 1： 随时奉陪。 MAN 1: At your service.
马群： 怜悯！怜悯！ HORSES: Mercy! Mercy!
［（马群吹响长长的号角。角色们僵在原地。）］ [(The horses sound their long horns. The characters freeze in place.)]
)(*)(
ACT 2 | 第二幕 ［幕布缓缓升起。第二场。罗马废墟。一个全身覆盖着红藤叶的人坐在一个柱头上吹着笛子。另一个全身覆盖着金色铃铛的人在舞台中央跳舞。］ [The curtain rises slowly. Scene Two. Roman Ruins. A man completely covered in red vine leaves sits on a capital playing a flute. Another man, completely covered in golden bells, dances in the center of the stage.]
铃铛人： 如果我变成一朵云？ FIGURE IN BELLS: What if I turned into a cloud?
藤叶人： 我就变成一只眼睛。 FIGURE IN VINES: Then I would turn into an eye.
铃铛人： 如果我变成排泄物？ FIGURE IN BELLS: What if I turned into excrement?
藤叶人： 我就变成一只苍蝇。 FIGURE IN VINES: Then I would turn into a fly.
铃铛人： 如果我变成一个苹果？ FIGURE IN BELLS: What if I turned into an apple?
藤叶人： 我就变成一个吻。 FIGURE IN VINES: Then I would turn into a kiss.
铃铛人： 如果我变成乳房？ FIGURE IN BELLS: What if I turned into a breast?
藤叶人： 我就变成一张白床单。 FIGURE IN VINES: Then I would turn into a white sheet.
铃铛人： 如果我变成一条翻车鱼？ FIGURE IN BELLS: What if I turned into a moonfish?
藤叶人： 我就变成一把刀。 FIGURE IN VINES: Then I would turn into a knife.
铃铛人（停止跳舞）： 但为什么？你为什么要折磨我？如果你爱我，无论我带你去哪儿，你为什么不跟我走？如果我变成翻车鱼，你会变成海浪，或者海藻——如果你因为不想吻我而想去很远的地方，你会变成满月——但你却要变成一把刀！你以打断我的舞蹈为乐。而跳舞是我爱你的唯一方式。 FIGURE IN BELLS (Stopping his dance): But why? Why must you torture me? If you love me, why won’t you follow me wherever I take you? If I turn into a moonfish, you should turn into a wave, or seaweed—or if you wanted to go far away because you didn’t want to kiss me, you would turn into the full moon—but instead, you turn into a knife! You take pleasure in interrupting my dance. And dancing is the only way I know how to love you.
藤叶人： 当你在床边和屋里的物件周围徘徊时，我跟着你；但当你想满腹诡计地把我引向某些地方时，我不跟。如果你变成翻车鱼，我会用刀把你切开，因为我是个男人，因为我别无他求：一个男人，比亚当更像男人的男人，我希望你比我更像男人。像到当你走过时，枝头不会发出一点声响。但你不是个男人。如果我没有这支笛子，你会逃到月亮上去——那个盖满蕾丝手帕、沾满女人鲜血的月亮。 FIGURE IN VINES: I follow you when you wander around the bed and the objects in the room; but I will not follow when you try to lead me to certain places with your tricks. If you turn into a moonfish, I will cut you open with a knife, because I am a man, and because I desire nothing else: a man, more of a man than Adam, and I want you to be more of a man than I am. So much so that when you pass by, not a single branch makes a sound. But you are not a man. If I didn’t have this flute, you would escape to the moon—that moon covered in lace handkerchiefs and stained with the blood of women.
铃铛人（怯生生地）： 如果我变成一只蚂蚁？ FIGURE IN BELLS (Timidly): What if I turned into an ant?
藤叶人（有力地）： 我就变成大地。 FIGURE IN VINES (Forcefully): Then I would turn into the earth.
铃铛人（更强硬地）： 那如果我变成大地？ FIGURE IN BELLS (Harder): And what if I turned into the earth?
藤叶人（变弱了）： 我就变成水。 FIGURE IN VINES (Weakening): Then I would turn into water.
铃铛人（响亮地）： 那如果我变成水？ FIGURE IN BELLS (Loudly): And what if I turned into water?
藤叶人（虚弱地）： 我就变成一条翻车鱼。 FIGURE IN VINES (Faintly): Then I would turn into a moonfish.
铃铛人（颤抖着）： 那如果我变成翻车鱼？ FIGURE IN BELLS (Trembling): And what if I turned into a moonfish?
藤叶人（站起身）： 我就变成一把刀。一把磨了四个漫长春天的刀。 FIGURE IN VINES (Standing up): Then I would turn into a knife. A knife sharpened over four long springs.
铃铛人： 带我去浴室，把我淹死。那是你能看到我赤裸全身的唯一方式。你以为我怕血吗？我知道怎么征服你。你以为我不了解你？我要征服你到这种程度：如果我问“如果我变成翻车鱼？”，你会回答我“我会变成一袋微小的鱼卵”。 FIGURE IN BELLS: Take me to the bath and drown me. That is the only way you will ever see me completely naked. Do you think I fear blood? I know how to conquer you. You think I don’t understand you? I will conquer you to such an extent that if I ask, “What if I turned into a moonfish?”, you will answer me, “I would turn into a sack of tiny fish eggs.”
藤叶人： 拿把斧子砍断我的腿。让废墟里的昆虫来来往往。因为我鄙视你。我希望你沉入最深处。我唾弃你。 FIGURE IN VINES: Take an axe and chop off my legs. Let the insects of the ruins come and go. Because I despise you. I want you to sink to the deepest depths. I spit on you.
铃铛人： 这就是你想要的吗？再见。我很冷静。如果我走下废墟，我会继续寻找爱，越来越多的爱。 FIGURE IN BELLS: Is this what you want? Goodbye. I am calm. If I go down into the ruins, I will continue to search for love, more and more love.
藤叶人（苦恼地）： 你要去哪儿？你要去哪儿？ FIGURE IN VINES (Distressed): Where are you going? Where are you going?
铃铛人： 你不想让我走吗？ FIGURE IN BELLS: You don’t want me to go?
藤叶人（声音微弱）： 不，别走。那如果我变成一粒砂？ FIGURE IN VINES (Weakly): No, don’t go. What if I turned into a grain of sand?
铃铛人： 我就变成一条皮鞭。 FIGURE IN BELLS: Then I would turn into a whip.
藤叶人： 那如果我变成一袋微小的鱼卵？ FIGURE IN VINES: And what if I turned into a sack of tiny fish eggs?
铃铛人： 我就变成另一条皮鞭。一条用吉他弦做的皮鞭。 FIGURE IN BELLS: Then I would turn into another whip. A whip made of guitar strings.
藤叶人： 别抽我！ FIGURE IN VINES: Don’t lash me!
铃铛人： 一条用船缆做的皮鞭。 FIGURE IN BELLS: A whip made of ship’s cables.
藤叶人： 别打我的肚子！ FIGURE IN VINES: Don’t hit my stomach!
铃铛人： 一条用兰花雄蕊做的皮鞭。 FIGURE IN BELLS: A whip made of orchid stamens.
藤叶人： 你会弄瞎我的！ FIGURE IN VINES: You’ll blind me!
铃铛人： 弄瞎你，因为你不是个男人。我是个男人。一个男人，像到当猎人们醒来时我会昏倒。一个男人，像到当有人折断一根茎秆时——无论它多么细小——我的牙齿都会感到剧痛。一个巨人。一个巨人，大到我能在新生儿的指甲上绣出一朵玫瑰。 FIGURE IN BELLS: Blind you, because you are not a man. I am a man. A man, so much so that when the hunters wake up, I faint. A man, so much so that when someone breaks a stalk—no matter how tiny—my teeth feel a sharp pain. A giant. A giant, so big that I could embroider a rose on a newborn’s fingernail.
藤叶人： 我在等待黑夜，废墟的洁白令我苦恼，这样我才能爬到你的脚下。 FIGURE IN VINES: I am waiting for the night; the whiteness of the ruins distresses me. Only then can I crawl to your feet.
铃铛人： 不。不。你为什么要告诉我这些？是你必须强迫我这么做。你不是个男人吗？一个比亚当更像男人的男人？ FIGURE IN BELLS: No. No. Why are you telling me this? It is you who must force me. Aren’t you a man? A man more of a man than Adam?
藤叶人（倒在地上）： 哎！哎！ FIGURE IN VINES (Falling to the ground): Ay! Ay!
铃铛人（低声走近）： 如果我变成一个柱头？ FIGURE IN BELLS (Approaching in a whisper): What if I turned into a capital?
藤叶人： 我命苦啊！ FIGURE IN VINES: Woe is me!
铃铛人： 你会变成柱头的影子，仅此而已。然后艾琳娜会来到我的床边。艾琳娜，我的心肝！而你，躲在垫子下面，浑身流汗——那汗水不是你的，是属于马车夫、消防员和给癌症做手术的医生的。然后我会变成一条翻车鱼，而你只不过是一个在人手之间传递的小粉盒。 FIGURE IN BELLS: Then you would turn into the shadow of the capital, and that’s all. And then Elena would come to my bedside. Elena, my sweetheart! And you, hiding under the cushions, covered in sweat—sweat that isn’t yours, but belongs to coachmen, firefighters, and doctors who operate on cancer. Then I would turn into a moonfish, and you would be nothing more than a small powder compact passed between human hands.
藤叶人： 哎！ FIGURE IN VINES: Ay!
铃铛人： 又来了？你又在哭？我得昏倒好让农民们过来。我得叫黑人们来——那些被丝兰刀刺伤、日夜与河泥搏斗的巨大黑人们。从地上爬起来，懦夫。昨天我在铸工家里定了一根链条。别离开我！一根链条。我哭了一整夜，因为我的手腕和脚踝都在疼，可当时我甚至还没戴上它。［（藤叶人吹响了银哨子。）］ 你在干什么？［（哨声再次响起。）］ 我知道你想干什么，但我有时间逃跑。 FIGURE IN BELLS: Again? You’re crying again? I must faint so the peasants will come. I must call the Black men—those giants stabbed by yucca knives, who fight day and night with the river mud. Get up from the ground, coward. Yesterday I ordered a chain at the foundry. Don’t leave me! A chain. I cried all night because my wrists and ankles hurt, even though I hadn’t even put it on yet. [(The Figure in Vines blows a silver whistle.)] What are you doing? [(The whistle sounds again.)] I know what you want to do, but I have time to escape.
藤叶人（站起身）： 想逃就逃吧。 FIGURE IN VINES (Standing up): Escape if you want.
铃铛人： 我会用野草保护自己。 FIGURE IN BELLS: I will protect myself with weeds.
藤叶人： 试试保护你自己。［（哨声响。从天花板掉下一个穿着红色网袜的孩子。）］ FIGURE IN VINES: Try and protect yourself. [(Whistle. A child wearing red fishnet stockings falls from the ceiling.)]
孩子： 皇帝！皇帝！皇帝！ CHILD: Emperor! Emperor! Emperor!
藤叶人： 皇帝。 FIGURE IN VINES: The Emperor.
铃铛人： 我会演你的角色。别露面。这会要了我的命。 FIGURE IN BELLS: I will play your part. Don’t show your face. This will be the death of me.
孩子： 皇帝！皇帝！皇帝！ CHILD: Emperor! Emperor! Emperor!
铃铛人： 我们之间的一切都只是个游戏。我们只是在玩。现在我要模仿你的声音来服侍皇帝。你可以躺在那根大柱头后面。我从没告诉过你。那儿有一头牛在给士兵们做饭。 FIGURE IN BELLS: Everything between us is just a game. We’re only playing. Now I’m going to imitate your voice to serve the Emperor. You can lie behind that large capital. I never told you—there’s an ox there cooking for the soldiers.
藤叶人： 皇帝！现在没救了。你扯断了蜘蛛丝，我已经感觉到我那巨大的双脚正变得微小又恶心。 FIGURE IN VINES: Emperor! Now it’s hopeless. You’ve torn the spider’s silk, and I can already feel my giant feet becoming tiny and disgusting.
铃铛人： 你想喝茶吗？在这废墟里上哪儿去找热饮呢？ FIGURE IN BELLS: Would you like some tea? Where would one find a hot drink in these ruins?
孩子（在地上）： 皇帝！皇帝！皇帝！ CHILD (On the ground): Emperor! Emperor! Emperor!
［（号角响起，罗马皇帝出现。随行的是一名穿着黄色长袍、皮肤灰暗的百夫长。在他们身后是四匹吹着号角的马。孩子走向皇帝。皇帝把他抱在怀里，他们消失在柱头林中。）］ [(Horns sound, the Roman Emperor appears. He is accompanied by a Centurion wearing a yellow robe with dusky skin. Behind them are four horses blowing horns. The child goes toward the Emperor. The Emperor takes him in his arms, and they disappear into the forest of capitals.)]
百夫长： 皇帝在寻找那个“唯一”。 CENTURION: The Emperor is searching for the “One.”
藤叶人： 我就是那个。 FIGURE IN VINES: I am the One.
铃铛人： 我就是那个。 FIGURE IN BELLS: I am the One.
百夫长： 你们两个中哪一个是？ CENTURION: Which of you two is it?
藤叶人： 我。 FIGURE IN VINES: Me.
铃铛人： 我。 FIGURE IN BELLS: Me.
百夫长： 皇帝会猜出你们两个谁才是那个“唯一”。用刀还是用炙叉。该死的，你们这种人！就是因为你们，我才在路上奔波，睡在沙地上。我的妻子像大山一样美丽。她能同时在四五个地方分娩，中午在树下打鼾。我有两百个孩子。我还会生更多。该死的，你们这种人！ CENTURION: The Emperor will guess which of you is the “One.” With a knife or a spit. Damn you, people like you! It’s because of you that I’m always on the road, sleeping on the sand. My wife is as beautiful as a mountain. She can give birth in four or five places at once, and snores under the trees at noon. I have two hundred children. I’ll have more. Damn you, people like you!
［（百夫长吐唾沫，唱歌。柱子后面传来一声长长的、持续的尖叫。皇帝出现，擦着额头。他脱下黑手套，接着是红手套，他的双手显露出一种古典的洁白。）］ [(The Centurion spits and sings. From behind the columns comes a long, sustained scream. The Emperor appears, wiping his forehead. He takes off black gloves, then red gloves, and his hands reveal a classical whiteness.)]
皇帝（冷淡地）： 你们两个中哪一个是那个“唯一”？ EMPEROR (Coldly): Which of you two is the “One”?
铃铛人： 是我，陛下。 FIGURE IN BELLS: It is I, Your Majesty.
皇帝： 一就是一，永远是一。我已经砍了四十多个不肯这么说的男孩的头。 EMPEROR: One is one, and always one. I have already cut off the heads of more than forty boys who refused to say so.
百夫长（吐唾沫）： 一就是一，不多不少就是一。 CENTURION (Spitting): One is one, no more and no less than one.
皇帝： 没有二。 EMPEROR: There is no two.
百夫长： 因为如果有两个，皇帝就不会在路上寻找了。 CENTURION: Because if there were two, the Emperor would not be out on the road searching.
皇帝（对百夫长）： 剥光他们！ EMPEROR (To the Centurion): Strip them!
铃铛人： 我才是那个，陛下。那个人是废墟里的乞丐。他以草根为食。 FIGURE IN BELLS: I am the One, Your Majesty. That man is a beggar in the ruins. He feeds on roots.
皇帝： 闪开。 EMPEROR: Step aside.
藤叶人： 你认识我。你知道我是谁。［（他剥下藤叶，呈现为一个白色石膏裸体。）］ FIGURE IN VINES: You know me. You know who I am. [(He strips off the vine leaves, appearing as a white plaster nude.)]
皇帝（拥抱他）： 一就是一。 EMPEROR (Embracing him): One is one.
藤叶人： 永远是一。如果你吻我，我张开嘴，只是为了让你随后把剑刺进我的脖子。 FIGURE IN VINES: Always one. If you kiss me, I open my mouth only so that you may later plunge the sword into my neck.
皇帝： 我会这么做的。 EMPEROR: I will do so.
藤叶人： 把我那颗充满爱的头颅留在废墟里。那一颗永远是一的头颅。 FIGURE IN VINES: Leave my love-filled head in the ruins. That head which is always one.
皇帝（叹息）： 一。 EMPEROR (Sighing): One.
百夫长（对皇帝）： 这很难，但就在这儿了。 CENTURION (To the Emperor): It was difficult, but here it is.
藤叶人： 他得到了，是因为他永远无法得到。 FIGURE IN VINES: He got it because he could never get it.
铃铛人： 背叛！背叛！ FIGURE IN BELLS: Treachery! Treachery!
百夫长： 闭嘴，老耗子！扫帚生的儿子！ CENTURION: Shut up, you old rat! Son of a broom!
铃铛人： 冈萨罗！救我，冈萨罗！ FIGURE IN BELLS: Gonzalo! Save me, Gonzalo!
［（铃铛人拉动一根柱子，柱子展开成了第一幕里的那扇白色屏风。三名留胡须的男人和舞台导演从后面走出来。）］ [(The Figure in Bells pulls a column, which unfolds into the white screen from Act One. Three bearded men and the Stage Director emerge from behind it.)]
男 1： 背叛！ MAN 1: Treachery!
铃铛人： 他背叛了我们！ FIGURE IN BELLS: He betrayed us!
导演： 背叛！ DIRECTOR: Treachery!
［（皇帝正拥抱着的藤叶人。）］ [(The Emperor is embracing the Figure in Vines.)]
落幕。 [Curtain.]
)(*)(
ACT 3 | 第三幕 ［第三场。沙墙。左边墙上画着一个透明的月亮，几乎像果冻一样。中央有一片巨大的、长矛形状的绿叶。］ [Scene Three. A wall of sand. On the left wall, a transparent moon is painted, almost like jelly. In the center, a giant, spear-shaped green leaf.]
男1：（上场）这不是所需要的。在发生了那一切之后，如果我再回去和孩子们说话、观察天空的喜悦，那将是不公正的。 MAN 1: (Entering) This is not what is needed. After all that has happened, it would be unjust if I went back to speak with children or observe the joy of the sky.
男2： 这是个坏地方。 MAN 2: This is a bad place.
导演： 你目睹了那场博弈吗？ DIRECTOR: Did you witness that game?
男3：（上场）他们两个都该死。我从未见过比这更血腥的盛宴。 MAN 3: (Entering) They both deserve to die. I have never seen a bloodier feast.
男1： 两头狮子。两个半神。 MAN 1: Two lions. Two demigods.
男2： 两个半神，如果他们没有肛门的话。 MAN 2: Two demigods, if only they didn’t have an anus.
男1： 但肛门是人类的惩罚。肛门是人类的失败；是他的羞耻，也是他的死亡。他们两个都有肛门，所以谁也无法与那闪耀的大理石的纯粹之美抗衡，那些大理石保留着被无瑕表面保护着的隐秘欲望。 MAN 1: But the anus is man’s punishment. The anus is man’s failure; it is his shame and his death. Both of them have an anus, so neither could withstand the pure beauty of that shining marble, which keeps its secret desires protected by a flawless surface.
男3： 当月亮出来时，乡下的孩子们聚在一起排便。 MAN 3: When the moon comes out, the children in the country gather together to defecate.
男1： 在芦苇丛后，在回水的清凉岸边，我们发现了人类的脚印，这让赤裸的自由变得恐怖。 MAN 1: Behind the reeds, on the cool banks of the backwaters, we found human footprints, which made naked freedom terrifying.
男3： 他们两个都该死。 MAN 3: They both deserve to die.
男1：（有力地）他们本该胜利。 MAN 1: (Forcefully) They should have triumphed.
男3： 怎么赢？ MAN 3: How?
男1： 通过双双成为真正的男人，不让自己被虚假的欲望拖走。通过成为彻底的男人。一个男人能停止成为男人吗？ MAN 1: By both becoming true men, not allowing themselves to be dragged away by false desires. By becoming total men. Can a man ever stop being a man?
［（男3 用手捂住脸。）］ [(MAN 3 covers his face with his hands.)]
男1：（对导演）就是他——你现在认出他了吗？那个勇敢的人，在咖啡馆里，在书本里，把我们的血管压碎成细长的鱼刺。那个在孤独中爱着皇帝、在港口酒馆里寻找他的人。恩里克，仔细看他的眼睛。看他肩膀上垂下的那一小串葡萄。他骗不了我。但现在我要去杀掉皇帝。不用刀，就用这对连女人都嫉妒的脆弱双手。 MAN 1: (To the Director) It’s him—do you recognize him now? That brave man who, in cafes and in books, crushes our veins into thin fishbones. The one who loves the Emperor in solitude and searches for him in harbor taverns. Enrique, look closely at his eyes. Look at that small bunch of grapes hanging from his shoulder. He cannot deceive me. But now I am going to kill the Emperor. Not with a knife, but with these fragile hands that even women envy.
［（墙壁打开，维罗纳的朱丽叶墓出现了。朱丽叶躺在墓穴里。她穿着白色的歌剧礼服。她那两个由粉色赛璐珞制成的乳房袒露在外。）］ [(The walls open, revealing the Tomb of Juliet in Verona. Juliet lies in the tomb. She is wearing a white opera gown. Her two breasts, made of pink celluloid, are exposed.)]
朱丽叶：（从墓中跳起）请帮帮我。尽管穿过了三千多个空荡荡的拱门，这一路上我连一个女性朋友也没碰见。请帮帮我。一点帮助，和一片睡眠的海。（唱道）：睡眠的海。白色的土地和天空中空荡荡的拱门。我穿过船只、穿过海藻的长裙。我穿过时间的长裙。时间的海。伐木工人蠕虫的岸边，穿过樱桃树的水晶海豚。噢，终点那纯净的石棉！噢，废墟！噢，没有拱门的孤独！睡眠的海！ JULIET: (Leaping from the tomb) Please help me. Though I have passed through more than three thousand empty arches, I haven’t met a single female friend along the way. Please help me. A little help, and a sea of sleep. (Sings): Sea of sleep. White earth and empty arches in the sky. I pass through ships, through my long skirt of seaweed. I pass through the long skirt of time. Sea of time. Shore of the woodcutter-worm, crystal dolphins through the cherry trees. Oh, pure asbestos of the end! Oh, ruins! Oh, solitude without arches! Sea of sleep!
白马1：（上场，手里握着一把剑）去爱！ WHITE HORSE 1: (Entering, holding a sword) To love!
朱丽叶： 是的。用一种只持续一瞬间的爱。 JULIET: Yes. With a love that lasts only a moment.
朱丽叶：（哭泣）够了。我不想再听了。你为什么要带我走？“欺骗”就是爱的代名词——破碎的镜子，水中的脚步。在那之后，你会再次把我留在坟墓里，就像所有人试图说服听众“真爱是不可能的”时所做的那样。我已经累了。我站起来寻求帮助，要把那些对我心存幻想的人，和那些用大理石小镊子撬开我嘴巴的人，通通赶出我的坟墓。 JULIET: (Weeping) Enough. I don’t want to hear anymore. Why do you want to take me away? “Deception” is a synonym for love—broken mirrors, footsteps in the water. After that, you will leave me in the tomb again, just as everyone does when they try to convince an audience that “true love is impossible.” I am tired. I stand up to seek help, to drive out from my tomb all those who harbor fantasies about me, and those who pry open my mouth with little marble tweezers.
三匹白马： 脱吧，朱丽叶，露出你的臀部，迎接我们尾巴的鞭打。我们要复活！［（朱丽叶躲到黑马身后。）］ THREE WHITE HORSES: Strip, Juliet, show us your hips and receive the lashing of our tails. We want to be resurrected! [(JULIET hides behind the Black Horse.)]
朱丽叶：［（有力地：）］我不是让琥珀尖刺钉进乳房的奴隶，也不是那些在城门前因爱颤抖的人的神谕。我整个梦境都是无花果树的香气，和那个割断茎秆的人的腰身。谁也别想穿过我！是我穿过你们！ JULIET: (Forcefully): I am not a slave to let amber spikes be driven into my breasts, nor am I an oracle for those who tremble with love at the city gates. My entire dream is the scent of fig trees and the waist of the man who cuts the stalks. No one shall pass through me! It is I who pass through you!
导演： 恩里克？恩里克就在那儿。［（他迅速脱下戏服扔到柱子后。哈莱奎因戏服出现了。）］ DIRECTOR: Enrique? Enrique is right there. [(He quickly strips off his costume and throws it behind a column. The Harlequin Costume appears.)]
哈莱奎因戏服： 我冷。电光。面包。他们在烧橡胶。［（他变得僵硬。）］ HARLEQUIN COSTUME: I’m cold. Electric light. Bread. They are burning rubber. [(He becomes rigid.)]
男1：（大喊）变成翻车鱼；我只想要你变成翻车鱼！变成翻车鱼！［（他猛地追了出去。）］ MAN 1: (Screaming) Turn into a moonfish; I only want you to turn into a moonfish! Turn into a moonfish! [(He rushes out in pursuit.)]
［（那个蛋脸人不停地用手拍打着脸。在雨声之上，真正的夜莺开始歌唱。）］ [(The egg-faced man continuously slaps his face with his hands. Above the sound of the rain, a real nightingale begins to sing.)]
落幕。 [Curtain.]
)(*)(
ACT 4 | 第四幕 ［舞台中央有一张面向前方且垂直摆放的床，仿佛是由一位原始艺术家画出来的；床上躺着一个戴着蓝色荆棘冠的红色裸人。背景中，拱门和阶梯通向一座大剧院的包厢。右边是大学的入口。幕布升起时，传来一阵掌声。］ [In the center of the stage is a bed facing forward and placed vertically, as if drawn by a primitive artist; on the bed lies a red naked man wearing a crown of blue thorns. In the background, arches and stairs lead to the boxes of a large theater. To the right is the entrance to the University. As the curtain rises, a burst of applause is heard.]
裸人： 你什么时候能完事？ NAKED MAN: When will you be finished?
护士：（匆匆上场）等骚乱停止的时候。 NURSE: (Entering hurriedly) When the riot stops.
裸人： 他们在要求什么？ NAKED MAN: What are they demanding?
护士： 他们在要求处死舞台导演。 NURSE: They are demanding the execution of the Stage Director.
裸人： 那他们怎么说我？ NAKED MAN: And what are they saying about me?
护士： 没提你。 NURSE: They haven’t mentioned you.
学生1： 这种时刻才来通知？ STUDENT 1: Why are we not lining up to crawl out through the iron bars?
学生2： 小巷里全是武装人员；从那儿很难逃掉。 STUDENT 2: The alleys are full of armed men; it’s hard to escape from there.
学生4： 当人们看到罗密欧和朱丽叶是真心相爱时，骚乱开始了。 STUDENT 4: The riot began when people saw that Romeo and Juliet truly loved each other.
学生2： 恰恰相反。骚乱是在他们意识到两人并不相爱、甚至永远无法相爱时开始的。 STUDENT 2: On the contrary. The riot began when they realized the two did not love each other, and could never even love each other.
学生1： 这就是所有人犯的大错，也是剧院濒死的原因。公众不该窥探诗人在卧室里升起的丝绸和纸板。罗密欧可以是一只鸟，朱丽叶可以是一块石头。罗密欧可以是一粒盐，朱丽叶可以是一幅地图。这对公众有什么关系？ STUDENT 1: This is the great mistake everyone makes, and the reason the theater is dying. The public should not spy on the silk and cardboard the poet raises in the bedroom. Romeo can be a bird, and Juliet can be a stone. Romeo can be a grain of salt, and Juliet can be a map. What does that matter to the public?
［（两个小偷拿着点燃的蜡烛坐在床脚。场景陷入半黑暗。提示员出现。）］ [(Two Thieves sit at the foot of the bed with lit candles. The scene falls into semi-darkness. The PROMPTER appears.)]
裸人： 还要多久？ NAKED MAN: How much longer?
护士： 快了。第三遍铃已经响了。就在皇帝把自己伪装成旁提乌斯·彼拉多的时候。 NURSE: Soon. The third bell has already rung. Just as the Emperor is disguising himself as Pontius Pilate.
裸人： 父啊，我将我的灵魂交托在你手里。 NAKED MAN: Father, into your hands I commend my spirit.
护士： 你抢先了两分钟。 NURSE: You’re two minutes early.
裸人： 成了。 NAKED MAN: It is finished.
［（床轴转动，裸人消失。床的另一面躺着男1，依然穿着燕尾服，留着黑胡子。）］ [(The bed pivots; the Naked Man disappears. On the other side of the bed lies MAN 1, still in his evening coat with his black beard.)]
男1：（闭上眼睛）临终的苦难！ MAN 1: (Closing his eyes) The agony of death!
学生4： 公众的态度太差劲了。 STUDENT 4: The attitude of the public is wretched.
学生1： 差劲透顶。观众永远不该成为戏剧的一部分。人们去水族馆时，不会去谋杀海蛇、水鼠或长满麻风病的鱼；相反，他们的目光滑过玻璃，并在其中学习。 STUDENT 1: Beyond wretched. The audience should never become part of the drama. When people go to an aquarium, they don’t go to murder the sea snakes, the water rats, or the leprous fish; instead, their gaze glides over the glass, and they learn within it.
学生5：（非常快乐地）看，我拿到了朱丽叶的一只鞋。修女们在给她裹尸，我偷出来的。 STUDENT 5: (Very happily) Look, I’ve got one of Juliet’s shoes. The nuns were wrapping her shroud, and I stole it.
学生4：（惊讶地）难道你没意识到，墓穴里的那个朱丽叶是个伪装的少年，是舞台导演的诡计，而真正的朱丽叶被塞住嘴关在座位底下吗？ STUDENT 4: (Surprised) Don’t you realize that the Juliet in the tomb was a boy in disguise, a trick of the Stage Director, while the real Juliet was gagged and shut away under the seats?
学生5：（爆发出一阵大笑）嘿，我喜欢！她看起来非常美。如果是个伪装的少年，我一点也不在乎；反倒是那个像猫一样在椅子底下呻吟、满身灰尘的女孩，我是绝不会去捡她的鞋子的。 STUDENT 5: (Bursting into laughter) Hey, I like it! She looked beautiful. If it’s a boy in disguise, I don’t care at all; on the contrary, that girl groaning like a cat under the chairs, covered in dust—I would never go and pick up her shoe.
男1： 临终的苦难。人在梦境中的孤独，充满了电梯和火车，在那里你以无法掌控的速度旅行。建筑、角落、沙滩的孤独，在那里你再也不会出现了。 MAN 1: The agony of death. The solitude of man in dreams, full of elevators and trains, where you travel at an uncontrollable speed. The solitude of buildings, of corners, of beaches, where you will never appear again.
男1：（声音微弱）恩里克！恩里克！ MAN 1: (Faintly) Enrique! Enrique!
［（场景陷入黑暗。男孩1 的手电筒照亮了男1 死去的脸。）］ [(The scene falls into darkness. BOY 1’s flashlight illuminates the dead face of MAN 1.)]
落幕。 [Curtain.]
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INTERLUDE | 间奏 ［蓝色幕布。中央有一个巨大的衣柜，里面装满了表情各异的白色面具。每个面具前都有一盏微小的灯。痴愚的小牧人从右侧上场。他穿着野蛮人的兽皮，头上戴着一个塞满羽毛和小轮子的漏斗。他摇着手摇风琴（aristón），迈着缓慢的节奏跳舞。］ [A blue curtain. In the center is a giant wardrobe filled with white masks of various expressions. In front of each mask is a tiny lamp. The Foolish Shepherd enters from the right. He wears barbarian skins and a funnel on his head stuffed with feathers and small wheels. He cranks a hand-organ (aristón) and dances with a slow rhythm.]
牧羊人： 痴愚的小牧人守着这些面具。那些乞丐的面具，还有那些在胡兀鹫飞过静水时将其杀死的诗人们的面具。那些动用拳头、在蘑菇下腐烂的孩子们的面具。撑着拐杖的老鹰的面具。那个用克里特石膏制成、在谋杀朱丽叶时化作紫罗兰色粉末的面具中的面具。谜语。小谜语。这没有池座的剧院和满是椅子、留着面具空洞的天空的微型谜语。咩——，咩——，咩——，叫吧，面具们。 SHEPHERD: The Foolish Shepherd guards these masks. Masks of beggars, and masks of poets who kill the bearded vulture as it flies over still waters. Masks of children who use their fists and rot under mushrooms. Masks of eagles on crutches. The mask of masks, made of Cretan plaster, which turned into violet powder during the murder of Juliet. Riddles. Tiny riddles. The miniature riddle of this theater without a pit, full of chairs and the hollowed sky of the masks. Baa—, baa—, baa—, cry out, masks.
［（面具们像羊一样发出“咩咩”的叫声，其中一个在咳嗽。）］ [(The masks bleat like sheep; one of them is coughing.)]
牧羊人： 马群吃掉了蘑菇，在风向标下腐烂。老鹰动用拳头，在彗星下沾满泥土，而彗星吞噬了那只曾抓伤诗人胸膛的胡兀鹫。咩——，咩——，咩——，叫吧，面具们！欧洲撕掉了她的乳房，亚洲失去了她的池座，而美国是一只不需要面具的鳄鱼。小小的音乐，那受伤的尖刺与药瓶的微型音乐。 SHEPHERD: The horses ate the mushrooms and rot beneath the weather vanes. The eagles used their fists and are covered in mud beneath the comet, and the comet devoured the bearded vulture that once clawed the poet’s chest. Baa—, baa—, baa—, cry out, masks! Europe has torn off her breasts, Asia has lost her theater pit, and America is a crocodile that needs no mask. Tiny music, the miniature music of wounded spikes and medicine vials.
［（他推着装有轮子的衣柜消失了。面具们继续咩咩叫着。）］ [(He pushes the wheeled wardrobe and disappears. The masks continue to bleat.)]
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ACT 5 | 第五幕 ［布景同第一幕。左边地上放着一个巨大的马头。右边，一个巨大的眼睛和一组带着云朵的树木靠墙放着。舞台导演与魔术师一起上场。魔术师穿着燕尾服，一件垂到脚面的白色缎面斗篷，戴着大礼帽。导演穿着第一幕里的西装。］ [Setting the same as Act One. On the left, a giant horse’s head lies on the floor. On the right, a giant eye and a group of trees with clouds lean against the wall. The Stage Director enters with the Prestidigitator. The Prestidigitator wears a tuxedo, a white satin cape reaching his feet, and a top hat. The Director wears the suit from Act One.]
导演： 无论是魔术师、医生、天文学家，还是任何人都解决不了这件事。放走狮子，然后往它们身上撒硫磺，这很简单。别再说了。 DIRECTOR: Neither a magician, nor a doctor, nor an astronomer, nor anyone else can solve this. Releasing lions and then throwing sulfur on them is easy. Say no more.
魔术师： 在我看来，你作为一个戴面具的人，并不记得我们使用的是黑幕。 PRESTIDIGITATOR: It seems to me that you, as a man in a mask, do not remember that we use a black curtain.
导演： 当人们身处天堂时是那样；但告诉我，在这样一个空气如此狂暴、连人们都被剥光，甚至连孩子都带着小刀去割背景幕布的地方，能用什么样的幕布呢？ DIRECTOR: That’s how it is when people are in heaven; but tell me, what kind of curtain can be used in a place where the air is so violent that even people are stripped bare, and even children carry knives to slash the backdrops?
导演： 所有的戏剧都源于幽闭的潮湿。所有真正的戏剧都带着一股陈年岁月的腐臭。当戏服开口说话时，活人早已成了髑髅地墙上的骨制纽扣。我挖通隧道是为了夺取那些戏服，并通过它们，在公众除了关注别无选择时，向他们展示一股隐藏力量的轮廓，让他们充满精神并被行动所征服。 DIRECTOR: All drama originates from a claustrophobic dampness. All true theater carries the stench of rotted years. By the time the costumes begin to speak, the living have long since become bone buttons on the walls of Calvary. I dug those tunnels to seize those costumes, and through them—when the public has no choice but to pay attention—to show them the outline of a hidden force, to fill them with spirit and conquer them through action.
魔术师： 毫不费力地，我就能把一瓶墨水变成一只戴满古老戒指的断手。 PRESTIDIGITATOR: Without any effort, I could turn a bottle of ink into a severed hand covered in ancient rings.
导演：（恼怒地） 但那是谎言，那是戏！如果我花了三天时间与根须和巨浪搏斗，那就是为了摧毁戏剧。 DIRECTOR: (Exasperated) But that is a lie, that is theater! If I spent three days struggling with roots and giant waves, it was to destroy the theater.
导演： 一个人必须摧毁剧院，或者生活在剧院里！从窗户里吹口哨是没用的。如果狗儿温柔地呻吟，就必须毫无防备地拉开幕布。 DIRECTOR: One must either destroy the theater or live within it! It is useless to whistle from the windows. If the dogs groan softly, the curtain must be pulled back without defense.
魔术师： 当你说“爱”时，我感到惊讶。 PRESTIDIGITATOR: I am surprised when you say “love.”
导演： 我看到每一颗沙粒都变成了一只非常有活力的蚂蚁。 DIRECTOR: I see every grain of sand turning into a very energetic ant.
魔术师： 有可能。（停顿）但对于一个在沙幕下开启剧院的民族，还能指望什么呢？如果你打开那扇门，这里就会塞满猛犬、疯子、暴雨、畸形的叶子和下水道的老鼠。 PRESTIDIGITATOR: It’s possible. (Pause) But what can one expect from a people who open a theater beneath a curtain of sand? If you open that door, this place will be filled with rabid dogs, madmen, rainstorms, deformed leaves, and sewer rats.
女士： 我的儿子在哪儿？今天早上渔民们给我带回来一条巨大的翻车鱼，苍白、腐烂，他们对我喊道：“这就是你的儿子！” LADY: Where is my son? This morning the fishermen brought me a giant moonfish, pale and rotten, and they shouted at me: “This is your son!”
TIĀN MǓ ~ Elderly military commander. DÀ LÁNG ~ Head of the Five Poisons Sect, whom Tiān Mǔ has been waging war against for decades. SÀTǓN ~ Eldest daughter to the late Empress. BÁI SĪ ~ Youngest daughter to the late Empress; in a power struggle with Sàtǔn for the throne. TIĚ GŪ ~ Court official and Tiān Mǔ’s sister. BǍ XĪ LĀ ~ European, Nestorian Christian missionary with a demonic appetite for destruction. TIĀN YÒU ~ Scholar, poet and Tiān Mǔ’s son. IRON MOUNTAIN BLADES ~ Tiān Mǔ’s personal guards. TIĚ YĪNG, TIĚ LIÁN, TIĚ LÍNG and TIĚ XUÈ ~ Tiān Mǔ’s Daughters. HUĪ DÚ, LÁN DÚ and HĒI DÚ ~ Dà Láng’s Daughters. LǏGUĀN, YÙSHǏ and JINYIWEI ~ Imperial Court Officials.
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[第一幕·第一场] [ACT I. SCENE I]
《铁碎骨，羽没血，双姝启神不可封之伤。》 [Iron grinds bone, feathers drown in blood, two sisters open the wound no god can close.]
[玉门国·千剑宫外。] [Yumen Kingdom · Outside the Thousand Swords Palace.]
([战鼓裂云，幕启时，白思与萨囤对峙宫阶之上。铁牛、天鹤两派弟子于阶下血战。宫门处，礼官肃立，御史执笔，锦衣卫刀出半鞘，静若石雕。] / [War drums tear at the clouds as the curtain rises, BÁI SĪ and SÀTŪN stand frozen on the palace steps. Below, their Iron Ox and Heavenly Crane disciples wage war. At the gates, LǏGUĀN officers stand rigid, YÙSHǏ scribes clutch ink-brushes and JINYIWEI guards rest hands on half-drawn blades, silent as carved sentinels].)
SÀTŪN / 萨囤 ([斩马刀啸空而过，尘暴如龙卷起。] / [Her Zhanmadao screams through air, whipping up a dust-whirlwind].) 铁牛门下！ Sons and daughters of the Iron Ox! 朕即凤诏，天命在刃！ I am the Phoenix’s living edict, the Mandate burns in my steel! 和我一起站起来，铸就历史的栋梁！ Stand with me and be forged into history’s pillars! 叛龙者…… Betray me … ([刀光一闪，宫灯齐灭。] / [A blade-flash—every palace lantern gutters out].) … 九族诛尽，宫门悬颅！ … And I’ll hang your bloodline’s skulls from the palace gates!
BÁI SĪ / 白思 ([双针剑作鹤翼式，冷笑。] / [Needle-swords flash into crane-wing stance, her sneer colder than moonlight].) 天命？([冷笑。] / [Laugh like cracking ice].) The Mandate? 弑亲之血，也配称凤？ Can a kinslayer’s hands still clutch the Phoenix’s crown? 天鹤展翅！ Heavenly Crane spreads its wings! ([她的双剑如振翅之羽轻颤——鹤之优雅中藏蝎之毒。她的门人齐声高鸣，宛如绢帛被利刃撕裂的尖啸。] / [Her blades shiver like pinions mid-strike—the crane’s grace laced with scorpion’s venom. Her faction echoes with choral crane-cries, a sound like silk tearing on sword-edges].) 重器非在冠冕，而在德行。 True power lies not in crowns, but in virtue. 尔自比狂风？不过瘈狗吠日！ You call yourself a storm? A rabid dog barking at heaven! ([她的战士们的呐喊声响彻云霄——铁牛队伍摇摇晃晃，阵型散乱。] / [Her warriors’ cries pierce the air—the Iron Ox ranks stagger, their formation fraying].)
TIĚ GŪ / 铁姑 ([持碧玉令，九节鞭缠腰。满场肃杀。] / [Enters with the Jade Scepter, her 9-section whip coiled around her hips. The air thickens, sharp as a guillotine’s edge].) 骨肉相残之座，未雪先倾。 The throne built on sister-blood collapses, before winter’s first snow can hide its sins. 今奉碎玉令，迎天母将军班师 … By the Broken Jade Seal, I declare General Tiān Mǔ regent … 五毒教之役，当终今日。 Her war against the Five Poisons Sect ends now. 散！ Disperse! … 否则御史以刻石指铭罪，鬼神同泣！ … Or the Yùshǐ’s Stone-Carving Finger will engrave your crimes so deep, even gods and ghosts will wail! ([御史的一击落地——指尖击碎了大理石地板，裂开了蜘蛛网，如同下了判决书一般。] / [The Yùshǐ’s strike lands—fingertips shatter the marble floor, cracks spider-webbing like a verdict].)
SÀTŪN / 萨囤 ([见玉阶旁书生所留的砚台，冷笑。] / [Spots an inkstone left by a fleeing scholar, her lips curl].) ([脚踢翻，墨泼阶如血。] / [Her boot flips it, black ink gushes down the steps like a slit throat].) 刻啊！ Carve this! 让后世记得…… Let history remember … ([锦衣卫刀光映墨，凤鸣凄厉。] / [Jinyiwei blades gleam with reflected ink, their phoenix-cry a funeral dirge].) ([白思的鹤簪坠地，羽尖沾墨。] / [BÁI SĪ’s crane-hairpin clatters, its feather-tip staining black].) ……铁牛将军之妹执印却不敢执刃！ … the Iron General’s sister clutches seals, but flees from steel!
TIĚ GŪ / 铁姑 ([举令，寒声。] / [Raising the Jade Order, her voice colder than a tomb’s breath].) 刻石遗臭，万古流秽。 Let stone etch your reek, let ten thousand generations gag on your name. ([玉阶震颤，如畏其言。] / [The jade steps tremble, as if fearing her decree].) 母皇遗诏刻于玉，非书于血。 The Empress’ will was carved in jade, not scribbled in traitors’ blood. ([锦衣卫刀锋低鸣，似凤泣先帝。] / [Jinyiwei blades hum, a phoenix weeping for the dead sovereign].)
BÁI SĪ / 白思 ([凝视没羽，墨渍如泪，轻叹后扬声道。] / [Gazes at the drowned feather, ink seeping like tears, then her voice lifts, clear and cold].) 血缘始，血缘终。 By blood it began, by blood it ends. ([向铁姑鞠躬，腰如竹折而不断。] / [She bows to TIĚ GŪ, back bent like bamboo, unbroken].) 我臣服 … I yield … 非顺汝刃，乃顺天佑。 Not to your blade, but to Heaven’s decree. ([白袍众退如雪崩，寂然无声。] / [Her disciples retreat like an avalanche in reverse, soundless, deliberate].) 愿鹤唳引慈母之手。 May the crane’s cry guide my Mother’s hand. ([此言如刃，悬于天下咽喉之上。] / [The words hang, a knife at the world’s throat].) 雪退散… The snow withdraws… ([… 然寒入骨，千年不化。] / […but frost lingers in the bones and will not thaw for a thousand years].)
SÀTŪN / 萨囤 ([斩马刀寒光隐现，似判决半出鞘。她目光灼烈，胜过大漠热风。] / [Her Zhanmadao gleams, a verdict half-unsheathed. Her gaze burns hotter than the desert wind].) 名铸剑出，不悔不归。 My name is forged in steel, my blade thirsts without remorse. ([铁牛派虽退，手不离刀。] / [The Iron Ox faction withdraws, but every finger still curls around cold steel].) 让玉门断壁 … Let the ruins of the Jade Gate … ([刀锋划地，裂石如骨碎。] / [Her saber splits the earth, stone shatters like a spine].) …由此断定，谁之血脉承载真凤天命！ … decide whose veins bear the Phoenix’s truth!
([众人退却之际，守卫扬起玉尘，五行阵于空中隐现旋转，倏然破散，恍若凤凰涅槃重生。] / [As factions retreat, guards raise jade-ash, the Wuxing symbols form then dissolve like a phoenix’s rebirth from the ash].)
([幕落，唯余 –] / [The curtains close on –]) 萨囤之刀 [Sàtūn’s blade] 插于玉阶 [Embedded in jade steps] 白思之羽 [Bái Sī’s feather] 飘向冷月 [Drifting toward the icy moon] 铁姑的鞭 [Tiě Gū’s whip] 缠着半截断诏 [Coiled around a torn edict] 上书： [which reads:] 朕死之年… The year I die… …血菩萨现。 …the Blood Bodhisattva comes.
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[第一幕，第二场] [ACT I. SCENE II]
[剑冢森森，魂灯荧荧] [A forest of grave-swords; ghost-lanterns flicker blue.]
[祖剑堂 · 地宫] [Ancestral Sword Hall · Underground Crypt.]
([战鼓渐歇，丧钟低鸣。地宫穹顶垂百剑，剑柄为碑。二十石台空置，待天母众女。青烟如蛇，盘绕尸骨未寒之刃。] / [War drums fade; funeral bells toll low. A cavern glows with yin-blue lanterns. From the ceiling hang a hundred swords, hilt-down, each a grave-marker. Twenty empty stone plinths await TIĀN MǓ’s fallen daughters. Incense coils like serpents around blades still slick with death].)
([铁链声响。铁链与铁翎押阵，铁山刀卫捧灵位与佩剑次入，后随铁英、铁血。天母戎装未卸，甲上犹带草原尘沙。大狼与其女[灰毒、蓝毒、黑毒]棘链缚身。末入巴悉拉，景教十字暗芒浮动。] / [Chains rattle. TIĚ LIÁN and TIĚ LÍNG march at the front, followed by Iron Mountain Blades bearing spirit tablets and sheathed swords. TIĚ YĪNG and TIĚ XUÈ come next. Then TIĀN MǓ, her armor still caked in steppe dust. Behind her, DÀ LÁNG and her daughters [HUĪ DÚ, LÁN DÚ, HĒI DÚ] shuffle forward, bound in barbed chains. Last enters BǍ XĪ LĀ, his Nestorian cross glinting like a hidden blade].)
([众人迫大狼一族跪于五眼蟾蜍铜魂炉前。] / [The prisoners are forced to kneel before a bronze soul-brazier shaped like a Five-Eyed Toad].)
TIĀN MǓ / 天母 ([举碎玉令，诵咒如刃。] / [Raising her broken Jade Seal, chanting like a whetstone on steel].) 玄女兵主—— Xuánnǚ, Dark Mother of War— 开黄泉之扉。 Open the Yellow Springs’ gate. ([抚剑墙，声裂金石。] / [Her gauntlet scrapes the sword-walls; her voice splits metal and stone].) 吾女今与鬼同行。 My daughters walk with ghosts now. 以刃镇幽冥。 Let their swords guard the underworld’s edge. ([铁山刀卫置灵位于石台，朱砂名讳如血。无棺椁，以剑代尸。] / [The Iron Mountain Blades place spirit tablets upon the plinths, names written in blood-red cinnabar. No coffins. No corpses. Only swords to stand in their stead].) ([抚空台，甲缝渗沙。] / [Her armored fingers brush an empty plinth, steppe-dust sifting from the joints].) 祖剑冢啊… O sacred crypt … 汝怀吾欢，亦纳吾悲。 You who cradle my joy and grief alike. 为何贪噬无厌？ Why must you gorge so ravenously?
TIĚ YĪNG / 铁英 ([执刃穿魂幡，幡动如濒死之息。] / [A dagger-pierced soul-banner trembles in her grip like a death rattle].) 母亲，赐一囚破丹田。 Mother, grant us a prisoner to shatter. 以炁饲亡魂。 Let her qi feed the dead. 化其息为香。 Let her breath become their incense.
TIĀN MǓ / 天母 ([戟指灰毒，甲上反光如狼瞳。] / [Her gauntlet points to HUĪ DÚ, armor-scratches glint like wolf-eyes].) 取可汗长女。 Then take the Da Khagan’s eldest. 草原狼种，正合燃薪。 a steppe-wolf’s whelp, fit kindling.
HUĪ DÚ / 灰毒 ([颤声，气将断未断。] / [Her voice trembles, breath not yet broken].) 吾非薪。 I am not kindling.
DÀ LÁNG / 大狼 ([锁链暴起，棘刺入肉。] / [Chains rattle as manacles bite into flesh].) 这也配称’道’？ You call this the Tao? 这不是道。 This is no Tao. 是屠宰场！ It is the abattoir! ([唾血] / [Spits blood].) 玉皇必降天罚—— The Jade Empress will curse your—
TIĀN MǓ / 天母 ([抬手如闸，声寒于铁。] / [A raised hand silences like decapitation].) 天道不悯豺狼。 The Tao has no mercy for wolves. 汝女之息，当饲吾殇。 Your daughter’s breath will feed my dead.
TIĚ YĪNG / 铁英 ([并指为鹤喙，点向灰毒后腰。] / [Fingers coiled like a crane’s beak, pressing to HUĪ DÚ’s spine].) 道予炁，道夺炁。 The Tao gives qi. The Tao takes it. ([三击如钟。] / [Three strikes toll like a funeral bell].) 命门。 [Mìngmén.] ([闷响，灰毒气息骤滞。] / [A dull thud—HUĪ DÚ’s breath seizes].) 脊中。 [Jǐzhōng.] ([玉裂之声，肌骨僵锁。] / [A crack like splitting jade, her body locks rigid].) 大椎。 [Dàzhùi.] ([折骨脆响，银炁自七窍喷涌，旋入魂炉。] / [A final snap, silver qi bursts from her seven apertures, swirling into the brazier].)
([炁凝’仇’字，瞬散。铁山刀卫置灰毒于碑前，形存神灭，永跪为鬼奴。] / [The qi forms the character 仇 《vengeance》before dissolving. HUĪ DÚ’s hollowed body is propped before the plinths; a living ghost forced to kneel for eternity].)
TIĀN YÒU / 天佑 ([三叩入殿，额抵冷石。] / [Entering with three kowtows, forehead pressed to stone].) 母亲… Mother… ([捧纸马，声颤。] / [Clutching paper effigies, voice trembling].) 儿带冥驹，助姊远行。 I bring paper horses for their journey. ([天佑一边吟诵诗歌，一边焚烧人像。] / [TIĀN YÒU begins burning the effigies while reciting poetry].) 双蛇缠… Two snakes entwined … ([纸灰突燃碧火。] / [The ashes flare emerald].) 无首尾 … Neither head nor tail … ([焚纸，灰烬化鹤形——白思之徽。] / [The ashes twist into a crane—BÁI SĪ’s crest].) 唯饥无宴。 Only hunger. Never feast. ([魂炉中五眼骤睁。] / [The Toad-brazier’s eyes snap open].) ([天佑退后，诗成谶言。] / [TIĀN YÒU staggers back, the poem now a curse spoken out loud].)
TIĀN MǓ / 天母 ([捧子面，甲锈沾颊。] / [Cupping his face, her gauntlet leaves dried blood like tear-stains].) 吾儿… My son… 男儿总被讥弱。 The world calls boys weak. 然你乃吾德所铸之身。 But you are my virtue made flesh. ([低语切齿。] / [A whisper like grinding steel].) 活得比我久。 Outlive me. ([按剑柄，刃吟如泣。] / [Her palm on a sword-hilt, the blade hums a mourner’s tune].) 安息吧，吾刃。 Rest, my blades. 未斩之恨，生者必断。 The living will cut what you could not.
([所有人都退场。] / [Everyone exits].) ([门阖。终余：灰毒游丝之息……与万剑饥鸣。] / [The doors seal. All that remains: HUĪ DÚ’s shallow breath … and the starving chorus of ten thousand blades].)
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[第一幕，第三场] [ACT I. SCENE III]
[宫阙深似海，血誓染阶红] [Palaces deeper than oceans; blood-oaths stain the steps.]
([天母携女将入殿，新袍未掩战尘；铁姑率御史、锦衣卫盛装迎驾。萨囤与白思随后，影如刀割。] / [TIĀN MǓ and her daughters enter in clean robes still smelling of battlefield ash. TIĚ GŪ leads the YÙSHǏ and Jinyiwei in court regalia. SÀTŪN and BÁI SĪ follow, their shadows sharp as unsheathed blades].)
TIĚ GŪ / 铁姑 ([捧碎玉玺，单膝触地。] / [Kneeling with the broken Jade Seal].) 天母吾姊—— Tiān Mǔ, my sister— 万民乞您登极。 The people beg you to take the throne. ([拥抱时指甲陷其肩甲] / [Her fingers dig into TIĀN MǓ’s pauldrons during their embrace].)
TIĀN MǓ / 天母 ([推玺如避毒。] / [Pushing the seal away like poisoned wine].) 民心若水，载舟覆舟。 The people’s hearts are water, they buoy empires or drown them. 老身只识马背，不解庙蛇之毒。 I am a creature of the saddle, not court-serpents’ venom. ([抚腰间断剑。] / [Touching her broken sword’s hilt].) 六百三十九女埋骨边关… Six hundred thirty-nine daughters buried on the frontier… 赐我荣杖，非九鼎之重。 Grant me an honor-staff, not the weight of the Nine Tripods.
SÀTŪN / 萨囤 ([突然拔剑抵天母喉。] / [A blade flashes to TIĀN MǓ’s throat].) 姊妹们！ Sisters! 为吾正名 … Justify my name … 剑不出鞘，萨囤不休！ Sheathe no swords until I am crowned!
TIĀN MǓ / 天母 ([无视颈间刃。] / [Ignoring the blade].) 礼官、御史、锦衣卫。 Lǐguān, Yùshǐ, Jinyiwei. 尔等可愿托命于天母？ Will you entrust your wills to me? ([举起染血军旗。] / [Raising a bloodstained banner].) 请立萨囤为帝—— Name Sàtūn Empress— 愿其德照玉门，如日临土。 May her virtue light the realm as the sun lights the land.
SÀTŪN / 萨囤 ([突然执天佑手。] / [Seizing TIĀN YÒU’s wrist].) 为酬天母… To honor Tiān Mǔ… 朕纳其子为君侍。 I take her son as Consort. ([贴近耳语。] / [Whispers in his ear].) 心榻之爱，非汝莫属。 No one else shall warm my bed.
TIĀN YÒU / 天佑 ([面无波澜。] / [Face blank as jade].) 陛下隆恩，臣当结草以报。 This undeserved grace I’ll repay even in death.
BÁI SĪ / 白思 ([拽回天佑。] / [Yanking him back].) 且慢！ Hold! 此子早与我盟誓连理。 He and I swore oaths years ago. ([亮出袖中婚书。] / [A marriage contract flutters from her sleeve].)
([混战爆发。天母剑光如电，直取白思咽喉——] / [Melee erupts. TIĀN MǓ’s sword flashes toward BÁI SĪ’s throat—].) ([铁翎旋身插入二人之间，剑刃贯胸而入。] / [TIĚ LÍNG pivots between them—the blade plunges into her chest].)
TIĚ LÍNG / 铁翎 ([双手握剑刃，步步前趋。] / [Gripping the blade, stepping forward].) 母亲… ([咳血] / [Coughs blood].) Mother… ([剑柄抵至胸前，金属摩擦骨声刺耳。] / [The hilt grinds against her sternum—bone screeches on steel].) …这一剑若为军令… …If this strike is your command… ([猛然将剑横向心脏。] / [Wrenches the blade sideways toward her heart].) …该刺准些！ …then strike true! ([天母瞳孔骤缩，手颤如遭雷击。] / [TIĀN MǓ’s hands tremble, lightning-struck].)
SÀTŪN / 萨囤 ([突然揽大狼入怀。] / [Abruptly pulling DÀ LÁNG into her arms].) 朕改主意了。 I’ve changed my mind. ([高声。] / [To the court].) 五毒可汗大狼—— Dà Láng of the Five Poisons— 才配为朕君侍！ Is fit to be my Consort! ([低声对大狼。] / [Whispering to DÀ LÁNG].) 做朕的刀，朕许你复仇。 Be my blade, and I’ll grant your vengeance.
DÀ LÁNG / 大狼 ([跪吻萨囤靴。] / [Kissing SÀTŪN’s boot].) 臣妾愿为陛下爪牙。 This humble servant will be Your Majesty’s fangs. ([瞥向天母，眼藏毒光。] / [A venomous glance at TIĀN MǓ].)
TIĀN MǓ / 天母 ([独留殿中，捶地泣血。] / [Alone, pounding the floor in rage].) 此朝无规，唯存野心！ This dynasty has no rules, only hunger!
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[第一幕，第四场] [ACT I, SCENE IV]
玉门碎，朕为疆。 The Gate is Shattered, I Am the Frontier.
同夜，剑静室。 [Same night · The Sword-Quiet Room.]
([宫殿下方是一座寂静的石室。一排排尊贵的刀剑直立在漆架上。上方，祈祷卷轴如同褪色的皮肤般悬挂。一盏灯笼静静地停放在靠近中心的位置，没有亮起。] / [A silent stone chamber beneath the palace. Rows of honored blades rest upright in lacquered racks. Above, prayer-scrolls hang like faded skin. A single lantern sits unlit near the center].)
([场景开始，铁鹰点亮了灯笼。玉焰熊熊燃烧，在房间里投下怪异的阴影。铁凌的尸体躺在凸起的石台上，周围环绕着二十块未完成的剑坯。灯光将一切都笼罩在一种病态的绿色之中。] / [As the scene begins, TIĚ YĪNG lights the lantern. The jade flame flares to life, casting monstrous shadows across the room. TIĚ LÍNG’s body lies upon a raised stone plinth, surrounded by twenty unfinished sword blanks. The light bathes all in a sickly green hue].)
TIĚ YĪNG / 铁鹰 ([拉开裹尸布，露出伤口。] / [Pulls back the shroud, revealing the wound].) 她应得英雄之葬。 She earned a hero’s rest.
TIĀN MǓ / 天母 ([仍然握着从女儿身上拔出的剑。] / [Still holding the sword pulled from her daughter’s body].) 叛徒只配喂剑炉。 Traitors are only fit to be fed to the sword furnace.
([达朗默默地划开自己的手掌。她的鲜血滴落在剑坯上。每一滴都发出回响，在石头上发出尖锐的撞击声——] / [DÀ LÁNG silently slices her palm open. Her blood falls onto one of the sword blanks. Each drop echoes, sharp against stone—].) 滴—— 滴—— 滴—— ([——在这种节奏之下，几乎难以察觉地，第二个声音响起：低沉的喉音’嘟嘟’声，就像记忆中井里蟾蜍的呼吸。] / [—and beneath that rhythm, almost imperceptibly, a second sound stirs: a low, guttural, a wet-throated rattle, like the memory of a toad’s breath buried in a well].) ([其他人没有反应。声音消失了。] / [The others do not react. The sound vanishes].)
DÀ LÁNG / 大狼 ([低语。] / [Whispers].) 此血，是誓言。 This blood… is a vow. 用我血淬的刀… A blade quenched in my blood… …能杀神。 …Can kill gods.
([萨顿突然吻住她，咬着她的嘴唇。鲜血染红了两人的嘴唇。然后她转向其他人。] / [SÀTŪN pulls her into a sudden kiss, biting her lip. Blood touches both mouths. Then she turns to the others].)
SÀTŪN / 萨囤 朕宣布—— I declare— 明晨猎场完婚——神为证，血为誓。 At dawn, we wed in the hunt—blood-bound, with the gods as witness.
([其他人开始退场。灯笼噼啪作响，阴影伸展交错。唯有天佑一言不发。他跪在基座旁，将手指浸入妹妹的鲜血，在冰冷的石头上画出两条蛇。] / [The others begin to exit. The shadows stretch and tangle as the lantern sputters. Only TIĀN YÒU remains, silent. He kneels by the plinth, dips his fingers into his sister’s blood, and draws twin serpents on the cold stone].)
TIĀN YÒU / 天佑 雙蛇纏… Two snakes entwined …
([血蛇荡漾，滑进地板的裂缝中。] / [The blood-snakes ripple, slither into the cracks of the floor].) ([灯笼闪烁…摇晃…熄灭——只剩下一颗发光的玉色余烬。] / [The lantern flickers… falters… dies—except one glowing jade ember].) ([余烬闪烁一次。然后熄灭。] / [The ember pulses once—like a heartbeat. Then dies].) ([黑暗。] / [Darkness].)
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第二幕，第一场 ACT II, SCENE I
发烧梦 FEVER DREAM.
《天如焦帛，血肉未忘所吞之誓。》 [The sky like scorched silk; the flesh has not forgotten the vows it was forced to swallow.]
[沙漠边缘，枯树下。] [Edge of the desert, under a dead tree.]
LÁN DÚ / 蓝毒 昨日身陷桎梏……今日？ Yesterday, in chains … Today? ([她将手按向地面；大地发出痛苦的哀鸣。] / [She lays a hand against the ground; it cries in anguish].) 哈。连沙砾都畏惧我的触碰。 Hah. Even the sand recoils from my touch.
HĒI DÚ / 黑都 如今我们被抛弃了，母亲却在宫里舔着萨顿的靴子。 Now we are abandoned, and Mother licks Sàtǔn’s boots in the Palace.
([巴希拉从阴影中现身。] / [BǍ XĪ LĀ rises from out of the shadows].)
BǍ XĪ LĀ / 巴希拉 迷途的小蛇，你们和我一样饥肠辘辘吧？想尝尝神明的血肉么？ Lost little snakes, are you as hungry as I am? Do you want to taste the flesh and blood of the gods? ([巴希拉作势要拥抱蓝毒。她后退一步。] / [BǍ XĪ LĀ moves as if to embrace LÁN DÚ. She steps back].)
LÁN DÚ / 蓝毒 吻我，就是自取灭亡。 To kiss me is to destroy yourself.
HĒI DÚ / 黑都 你向一个无人得见的神明祈祷，但这救不了你。我们的贪欲……足以招致灭顶之灾。 You pray to a god no one can see, but it cannot save you. Our greed … is enough to bring disaster.
([巴希拉猛地拽过黑都，粗暴地吻住她。他的脸并未因她的毒液而溃烂……毫无异状。] / [BǍ XĪ LĀ suddenly grabs HĒI DÚ and roughly kisses her. Instead of his face melting from her poison … nothing happens].)
LÁN DÚ / 蓝毒 怎么可能？那绝非武学！那是…… How is that possible? That’s no martial art! That’s …
BǍ XĪ LĀ / 巴希拉 邪术？’那兽被赐予一张口，用以吐出狂言与亵渎之语。’ Deviltry? ‘And the beast was given a mouth to utter proud words and blasphemies.’
HĒI DÚ / 黑都 你为何跟踪我们？有何企图？ Why are you following us? What do you want?
BǍ XĪ LĀ / 巴希拉 小丫头，你的毒液连耶和华都要避让，而我，早已凌驾于耶和华之上。 Little girl, even Yahweh would shun your venom—but I have already surpassed Yahweh.
HĒI DÚ / 黑都 ‘耶和华？’ ‘Yahweh’?
BǍ XĪ LĀ / 巴希拉 异族语言的异族词汇。我的舌头尝过你，滋味……妙不可言。 A foreign word from a foreign tongue. My tongue has tasted you, and the flavor … divine.
LÁN DÚ / 蓝毒 你究竟想要什么？ What exactly do you want?
BǍ XĪ LĀ / 巴希拉 《五毒女经》有云：’凡以腹匍匐者，皆为不洁。’我只要你们最珍视之物。 The Five Poisons Scripture says: ‘All that crawl on their bellies are an abomination.’ I want only what you hold most dear.
HĒI DÚ / 黑都 我们的贞洁岂容你玷污！ We won’t let you defile our chastity!
BǍ XĪ LĀ / 巴希拉 ‘处女之身’？真古怪。不，小蛇们，我渴望的是你们丹田里盘绕的……你们毒液般的黑色莲花。 ‘Chastity’? Quaint. No, little snakes, I desire the black lotus curled in your Dāntián … your venomous core.
LÁN DÚ / 蓝毒 我不明白。 I don’t understand.
BǍ XĪ LĀ / 巴希拉 当然。你、你母亲、宫里那群蠢货……无人知晓末日为何物，更不知它如何降临。 Of course you don’t. You, your mother, those fools in the Palace … none of you know what the end of days means, let alone how it arrives.
HĒI DÚ / 黑都 ‘末日’？无稽之谈。 ‘Doomsday’? Ridiculous.
LÁN DÚ / 蓝毒 你说话像打哑谜。 You speak in riddles.
BǍ XĪ LĀ / 巴希拉 唯有不信者才觉得晦涩。你们渴望不可得之物。只要忠于这份渴望，自会得偿所愿。 Only the faithless find it obscure. You hunger for what cannot be had. Stay loyal to that hunger—and it shall be fed.
LÁN DÚ / 蓝毒 ‘有奖励吗？’ ‘Rewarded’?
HĒI DÚ / 黑都 你岂知我们心中所想？ How do you know what lies in our hearts?
BǍ XĪ LĀ / 巴希拉 呵！我岂会不知？明日，我们尊贵的新皇后将携众人出宫透气。沙漠中有片绿洲时隐时现，人称诅咒之地……却有鹿群冒险饮水。 Hah! How could I not know? Tomorrow, our noble new empress will lead the court beyond the palace walls. There’s an oasis in the desert, a cursed place that comes and goes … yet the deer still dare drink from it.
LÁN DÚ / 蓝毒 然后呢？ Then what?
BǍ XĪ LĀ / 巴希拉 不仅仅是欲望。不仅仅是荣耀。你所追求的是…… Not just desire. Not just glory. What you seek is …
HĒI DÚ / 黑都 复仇。 Revenge.
BǍ XĪ LĀ / 巴希拉 为你妹妹。为你母亲。明日，那群蝇营狗苟之徒将散落在诅咒之水畔，浑然不觉……任人宰割。For your sister. For your mother. Tomorrow, those petty parasites will be spread along the banks of cursed waters, oblivious … ripe for slaughter.
LÁN DÚ / 蓝毒 ([恍然] / [Suddenly]) 便于我们……设伏。 It’ll make it easy for us … to set an ambush.
HĒI DÚ / 黑都 ……如果我们自己去打猎的话！ … if we do a little hunting of our own!
BǍ XĪ LĀ / 巴希拉 正是。 Exactly.
LÁN DÚ / 蓝毒 巴希拉，妙极！初来时还以为你不过是母亲的玩物……没想到竟是五毒宗高人。 Bǎ Xī Lā, brilliant! When I arrived, I thought you were just Mother’s pet … but you’re a true master of the Five Poisons Sect.
HĒI DÚ / 黑都 姐姐，回宫！明日必有好戏。 Sister, let’s return to the Palace! Tomorrow, the real show begins.
([双胞胎离去，她们的残影如热浪中的蜃楼，缓缓消散。] / [The twins depart. Their afterimages shimmer like heat mirages and slowly vanish].)
BǍ XĪ LĀ / 巴希拉 快滚吧，小蜈蚣。你们五毒教终将覆灭。纵是耶和华也会骇然背过脸去。’……见有一匹灰色马，骑在马上的，名为死亡，阴府紧随其后。’ Run along, little centipedes. Your Five Poisons Sect will be destroyed. Even Yahweh would turn his face in horror. ‘And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him.’
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[第二幕，第二场] [ACT II, SCENE II]
《无童之地传童笑，大地屏息忘自生。》 [When children laugh where none should be, the earth forgets to breathe.]
[努尔绿洲，塔克拉玛干沙漠某处。] [Nur Oasis, somewhere in the Taklimakan Desert.]
TIĀN MǓ / 天母 ……此地的风水已绝。我戎马半生，从未感受过这般死寂。连龙脉都凝滞不行。 …The feng shui of this place is dead. I have been a soldier half my life, and never have I felt such dead silence. Even the dragon veins are stagnant.
([铁血检查水池。] / [TIĚ XUÈ inspects the pool].)
TIĚ XUÈ / 铁血 绿洲将枯，无花果树亦干渴哀鸣。 The oasis is dying, and the fig trees cry out in thirst.
([铁影见一只蝎子从无花果树上窜下，自蜇而亡，死状痛苦。] / [TIĚ YĪNG sees a scorpion scurry down from a fig tree and sting itself, dying in agony].)
TIĚ YĪNG / 铁影 连蝎子都宁可自戕，也不愿困死于此。 Even the scorpion kills itself rather than be trapped here.
([一具鹿尸侧卧水边，似中毒而亡。秃鹫盘旋其上。] / [A deer carcass lies on its side near the water, as if poisoned. Vultures circle above].)
TIĚ XUÈ / 铁血 食腐的秃鹫盘旋不落，尽管… The carrion birds circle, yet do not land, even though… ([铁血踢向鹿尸，尸身骤然翻涌出饥饿的蛆虫。] / [TIĚ XUÈ kicks the deer; the carcass erupts with ravenous maggots].) …噁，尽是蛆虫！ …Disgusting—maggots everywhere!
TIĀN MǓ / 天母 唯有死神，方对这盛宴趋之若鹜。 Only the god of death is drawn to such a feast.
([天母、铁影、铁血、铁炼下。蝉鸣骤止。远处忽闻孩童笑声…然方圆数里，杳无人迹。蓝毒与黑毒自阴影中现身。] / [TIĀN MǓ, TIĚ YĪNG, TIĚ XUÈ, and TIĚ LIÁN exit. The cicadas fall silent. In the distance, a child’s laughter echoes… but for miles around, there is no one. From the shadows step LÁN DÚ and HĒI DÚ].)
LÁN DÚ / 蓝毒 姐姐，让他们逐鹿去吧。 Sister, let them chase deer if they wish.
HĒI DÚ / 黑都 猎人也终成猎物。瞧！ Even hunters become prey. Look!
([白丝与天佑自水池对侧上，浑然不觉周遭异样。二人未察双胞胎，旋即离去。] / [BÁI SĪ and TIĀN YÒU enter from the opposite side of the pool, oblivious to the strange aura. They do not see the Twins and quickly leave].)
LÁN DÚ / 蓝毒 是皇后那妹妹！ The Empress’s little sister!
HĒI DÚ / 黑都 还有那个迂腐的小诗人… And that foolish little poet…
LÁN DÚ / 蓝毒 …写那首歪诗的家伙。 …the one who wrote that crooked poem.
HĒI DÚ / 黑都 ‘双蛇交缠’……我记得是这句。 ‘Two snakes entwined’… I remember the line.
LÁN DÚ / 蓝毒 如果我们用猩红色书写，听起来会不会更美丽？ Would it not be more beautiful, written in scarlet?
HĒI DÚ / 黑都 题在他胸口如何？ Perhaps carved into his chest?
([二人身影融入热浪。绿洲骤归死寂, 忽而无花果树泣泪。浓稠琥珀泪珠顺树皮滚落，在根部汇成诡谲形状。阴影中，童声再度响起，此番却成歌谣：] / [The Twins melt into the heat shimmer. The oasis is still once more, until the fig trees begin to weep. Thick amber tears roll down their bark and pool at the roots, forming strange shapes. From the shadows, the child’s voice returns, this time in rhyme:])
CHILD’S VOICE / 童声 金木水火土… 五行倒逆， 尸骨绽花。 Metal, wood, water, fire, earth… The Five Elements invert, Corpses bloom like flowers.
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[第二幕，第三场] [ACT II. SCENE III]
《她跪如祭台，他灌她以诅咒、烈火与深渊之种。》 [She knelt like an altar; he filled her with curse, flame and the seed of the Abyss.]
[绿洲之心，一棵根系焦黑、枝干虬结的无花果树下。] [The Oasis’s Heart, a gnarled fig tree with blackened roots.]
([巴希拉登场，手握一颗燃烧的人心，其中充盈着窃来的真气。他低语时，心脏搏动，血管中黑金光芒流转。] / [BǍ XĪ LĀ enters, holding a burning human heart he has been filling with stolen qi. It pulses as he talks to it, veins glowing black and gold].)
BǍ XĪ LĀ / 巴希拉 瘟疫啊！我一点一滴将你铸成——用幻象、谶语与邪咒。三十枚银币？犹大般的交易，换这一杯渎神的元气。 Pestilence! I fashioned you piece by piece—with visions, prophecies, and curses. Thirty pieces of silver? A Judas-like bargain for a cup of blasphemous spirit.
([一声异响。心脏骤冷，倏然生出蟹足般的附肢，钻入他的衣袍。] / [A noise. The heart cools. It sprout crab-like legs and scurries into his robes].)
BǍ XĪ LĀ / 巴希拉(CONT’D) 啊，第十一灾, 蝗虫之母亲临。 Ah, here comes the Eleventh Plague, the Mother of Locusts herself.
DÀ LÁNG / 大狼 ([大狼上。] / [Entering].) 爱人！终得独处。我对你的爱，如风将阴影缝入大地之肤，永不可解。 Lover! At last we are alone. My love for you is like the wind stitching shadows into the earth’s skin, it can never be undone.
BǍ XĪ LĀ / 巴希拉 好诗。我的爱人……渴求何物？ Pretty poetry … What does my love desire?
DÀ LÁNG / 大狼 将那蠢妇天母驱至我面前，听她子嗣的哀哭…… To drive that fool Tiān Mǔ before me and hear the lamentation of her children … ([大狼的手滑向他胸膛。] / [DÀ LÁNG’s hand slides down his chest].) 但首先，请让我把你的祈祷吞进喉咙……直到欲呕。 But first let me swallow your prayers down my throat … until I gag.
BǍ XĪ LĀ / 巴希拉 红鸾星指引你的欲望……利维坦的疯狂在我的血液中流淌。翡翠帝国今日必须覆灭，因为主只爱破碎的容器。 The Crimson Luan Star guides your lust … but the madness of Leviathan flows in my blood. Today the Jade Empire will shatter for the Lord loves a Broken Vessel.
DÀ LÁNG / 大狼 哦？ Oh?
BǍ XĪ LĀ / 巴希拉 ([递信。] / [Hands her a letter].) 将此信呈予你的皇后。莫问。 Give this to your Empress. Ask nothing.
([二人接吻时，大狼血脉骤染漆黑。她狂喜战栗，巴希拉微笑如尸，目光死寂。大狼踉跄退场，神魂俱醉。] / [As they kiss DÀ LÁNG’s veins briefly turn black. She is in rapture. BǍ XĪ LĀ smiles like a corpse, his eyes dead. DÀ LÁNG staggers away, intoxicated].)
BǍ XĪ LĀ / 巴希拉(CONT’D) 达朗，别祈求，耶和华早已注定你的结局。你真是个’破碎的器皿’。我的儿子会从你的腹中诞生……而’他必以铁杖击碎众生。’ Ask for nothing, Dà Láng, for Yahweh has already decreed your end. ‘Broken vessel’ indeed. From your womb alone my son will burst … and ‘He shall break them with a rod of iron’. ([下。] / [Exits].)
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[第二幕，第四场] [ACT II. SCENE IV]
[被诅咒的绿洲另一隅。] [Another corner of the cursed Oasis.]
([白丝与天佑上。此处的绿洲死寂——连风都凝滞。大狼自阴影中浮现，手中已无信笺。] / [BÁI SĪ and TIĀN YÒU enter. The Oasis here is too quiet—even the wind has died. DÀ LÁNG melts out of the shadows. She no longer carries the letter].)
BÁI SĪ / 白丝 ([惊退] / [Startled].) 玉门妃……为何独行？你的狼群何在？ Consort of the Jade Gate… why are you walking alone? Where are your wolves?
DÀ LÁNG / 大狼 我独行无狼，而命运……悬于发丝。 I run with no wolves but my fate hangs from a hair’s breadth.
([黑毒与蓝毒现形——非自树间，而是从绿洲池水的倒影中渗出。] / [HĒI DÚ and LÁN DÚ emerge—not from the trees, but from reflections in the oasis pool].)
LÁN DÚ / 蓝毒 母亲，您燃如烈火。这些飞蛾……是否扑得太近了？ Mother, you burn like fire … Did these moths flutter too close?
DÀ LÁNG / 大狼 飞蛾？确实。这些恼人的小翅膀……该如何处置？ Moths? Yes, it is so … What do we do with irritating little wings?
LÁN DÚ / 蓝毒 此乃孝道。 Our filial duty. ([同刺白丝] / [She also stabs BÁI SĪ].)
([白丝任脉如琵琶弦骤断，末音哽于喉间。她呕出尘土，气绝身亡。远处，萨屯的猎号声隐约可闻。] / [BÁI SĪ’s Ren meridian snaps like a lute string, the last note chokes in her throat. She vomits dust and dies. In the distance SÀTŪN’s hunting horn sounds].)
DÀ LÁNG / 大狼 命运发丝，已成谶语。够了。 A hair’s breadth of fate was prophetic. Enough. ([指向蜷缩的天佑。] / [Indicating the cowering TIĀN YÒU].) 扔去鸦雀不食之地。 Dump them both where even crows won’t peck. ([下。] / [Exits].)
([黑毒与蓝毒拖走天佑与白丝尸身。] / [HĒI DÚ and LÁN DÚ drag TIĀN YÒU and the body of BÁI SĪ away].)
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[第二幕，第五场] [ACT II. SCENE V]
《道如腐果裂，众徒以人之残息哺养深渊。》 [The Tao split open like rotten fruit and from its guts they fed the pit with men’s torn breath.]
[绿洲另一隅——天启之渊。] [Another part of the Oasis – Abyss of Revelation.]
([此坑非寻常洞穴，乃大地溃烂之创。空中蝇群嗡鸣，蓝黑肥躯振翅，声如丧钟哀歌。坑缘沙地染同心圆痕，层层淤黑，似地面自渗污血。] / [The pit isn’t just a hole—it’s a festering wound in the earth. The air hums with flies, their bodies fat and blue-black, their drone like a funeral dirge. The sand around the rim is stained in concentric rings—darker with each layer, as if the ground itself bleeds inward].)
([黑毒与蓝毒将白丝尸身掷入其中，复推天佑抵于无花果树。蓝毒挥刃刺穿其掌，将其钉于树干。] / [HĒI DÚ and LÁN DÚ dump BÁI SĪ’s body into the pit. They shove TIĀN YÒU against a fig tree. LÁN DÚ drives her blade through his palm, pinning him to the trunk].)
LÁN DÚ / 蓝毒 ([以指甲描画其发黑血管。] / [Tracing the blackening veins with her nail].) 让我们以猩红墨汁……重谱你的诗篇。 Let’s rewrite your poetry… in scarlet ink.
([黑毒上前，钩剑泛着腐煞黑光。她精准刻下『逆』字于其胸。腐毒与其真气相触，字符处青烟嘶嘶。] / [HĒI DÚ steps forward, her hook-sword glowing dully with Black Rot. With surgical precision, she carves the character 逆 [Rebel] into his chest. Smoke hisses where the necrotic poison touches his qi].)
([天佑惨叫惊起栖鸦，黑羽纷飞如风暴。其唇上黑筋盘曲，扭曲成诡笑。] / [TIĀN YÒU’s scream startles the nesting crows. They explode into flight, black feathers whipping like a storm. His lips, veined with black, curl into something grotesque].)
HĒI DÚ / 黑都 ([模仿昔日对其姊妹所施之仪。] / [Mimicking the ritual once performed on their sister].) 道生一， 一生二， 二生三， 三生……尸骸。 The Tao begets One, One begets Two, Two begets Three, Three begets… corpses. ([她的手指敲击——大杵，杵中，命门。] / [Her fingers strike—Dàzhùi, Jǐzhōng, Mìngmén].) ([每个穴位都破裂了。银色的气从天佑身上喷涌而出。] / [Each pressure point cracks. Silver qi erupts from TIĀN YÒU’s body].) ([以拔罐术吸取逸散真气。] / [Cupping the escaping qi].) 多刺耳的乐音啊… Such ugly music… ([雾气凝成『仇恨』二字，复从其指间流散。] / [The mist shapes into the characters for ‘hatred’ [仇恨], then dissolves between her fingers].) …配你这丑角，倒也相宜。 …for such an ugly boy.
([天佑昏死，手掌仍钉于树。黑血沿树纹淤积，汇成不可辨之咒纹。] / [TIĀN YÒU collapses unconscious, his hand still pinned to the tree. Black blood pools in the bark’s grooves, forming illegible curse-script].)
LÁN DÚ / 蓝毒 ([踢其瘫躯。] / [Kicking his limp form].) 滚回家吧，小诗人。若有人问起谁将你’去势’……便以沉默代我等作答。 Run home, little poet. If anyone asks who castrated you… let silence speak for us.
([黑毒与蓝毒狞笑退场，独留天佑瘫于巨坑之畔。鸦群归来，默然盘旋，在其顶上结成黑冕。] / [Laughing, HĒI DÚ and LÁN DÚ exit, leaving TIĀN YÒU crumpled beside the yawning pit. The crows return—circling silently above, forming a cursed black crown over his head].)
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[第二幕，第六场] [ACT II. SCENE VI]
《鲜血沿饥渴深渊滴落，古神舔唇欲动。》 [Where blood weeps down the hungry pit, the old gods lick their lips.]
([铁血与铁炼仍在狩猎，自空地另一端上。二人骤停，紧盯天启之渊，却未见天佑瘫倒树后。二人趋近渊缘，俯身窥视。蝇群嗡鸣。] / [Still part of the hunt, TIĚ XUÈ and TIĚ LIÁN enter from the opposite side of the clearing. They stop and stare at the sinkhole. They fail to see the motionless body of TIĀN YÒU, crumpled behind the tree. They approach the edge and cautiously peer down into it. The air buzzes with flies].)
TIĚ XUÈ / 铁血 ([眯眼] / [Squinting].) 我看见……阴影蠕动。如蛆虫自渊底攀爬。([干呕] / [Retches].) 这腐臭——！ I see… shadows writhing. Like maggots crawling up from the bottom. The stench—!
([蝇群骤然散开，二女骇然失色。] / [Suddenly the cloud of flies parts. Both women recoil in horror].)
TIĚ LIÁN / 铁炼 狼母在上！是白丝！她双目尽失……蝇群正在她口中产卵！ Wolf Mother! It’s Bái Sī! Her eyes … gone! The flies, laying eggs in her mouth!
([铁血和铁炼惊恐地对视着。突然，铁血注意到了弟弟的尸体。] / [TIĚ XUÈ and TIĚ LIÁN stare at each other, sick with horror. Suddenly TIĚ XUÈ sees her brother’s lifeless body].)
TIĚ XUÈ / 铁血 不不不不不不！小弟弟！ No, no, no, no, no! Little brother!
([未及反应，萨屯与达朗率皇后亲卫冲入空地。] / [Before they can react, SÀTŪN and DÀ LÁNG rush in with the Empress’s Guards].)
SÀTŪN / 萨囤 ([凝视深渊] / [Staring into the abyss].) 不，这不可能……白丝岂会…… No… this can’t be… Bái Sī would never…
DÀ LÁNG / 大狼 ‘地狱之渊，地狱之行’——信中所言，分毫不差。 ‘A hellish hole for a hellish deed’—exactly as the letter warned.
TIĚ XUÈ / 铁血 陛下，我们未曾——！方至此处——！ Your Majesty, we didn’t—! We only just arrived—!
DÀ LÁNG / 大狼 ‘恶兽当自深渊崛起’……此信亦早有预警！ ‘The beast shall rise from the pit’… That was in the warning, too!
SÀTŪN / 萨囤 ([仍陷震骇] / [Still reeling].) 吾姐素恨沙漠……曾说风声如鬼魅咀嚼骨渣。她…… My sister hated the desert… said the wind there sounded like ghosts chewing bone shards. She… ([如初见般瞪视铁血二人。] / [She turns to TIĚ XUÈ and TIĚ LIÁN as if seeing them for the first time].) 尔等！天母之女！满口谎言！ You! Daughters of Tiān Mǔ! You speak nothing but lies!
([天母与铁影上，浑然未觉渊边异状。] / [TIĀN MǓ and TIĚ YĪNG enter, unaware of what has transpired by the pit].)
TIĀN MǓ / 天母 皇后陛下，闻号角声便速至。此绿洲每每移目即变……狩猎如何？可擒得猎物？ My Empress, I came at once upon hearing the horn. This oasis shifts each time I look away… How goes the hunt? Have you trapped the prey?
DÀ LÁNG / 大狼 ‘绿洲变幻’？荒唐！老妪妄言，孰能信之！ ‘The oasis shifts’? Nonsense! Mad talk from an old crone—who would believe it?
SÀTŪN / 萨囤 ([暴怒] / [Exploding in fury].) 天母！汝竟敢现身于此！？ Tiān Mǔ! You dare show your face here!?
DÀ LÁNG / 大狼 待她与*([冷笑] / [sneering])* ‘铁刃’残杀白丝之后…… After she and her ‘Iron Blades’ butchered Bái Sī…
TIĀN MǓ / 天母 ([惊颤] / [Shaken].) ‘谋杀’？ Murdered…?
DÀ LÁNG / 大狼 ……偏等我们抵达，才故作悠哉现身，与信中所预言如出一辙。 …And now she waits to appear calm and composed—exactly as the letter foretold.
SÀTŪN / 萨囤 亲卫！此乃叛国弑君之罪！朕早知不该信尔等！ Guards! This is treason—regicide! I knew we should never have trusted you!
DÀ LÁNG / 大狼 装傻！你再看看…… ([指着天佑] / [Points to TIĀN YÒU].) ……为了制造一个完美的不在场证明，她竟然折磨自己的儿子！ Feigning ignorance now, are you? Look again… To craft her perfect alibi, she tortured her own son!
([萨屯、天母、铁影俱震，望向天佑残躯。一时寂然。天母踉跄上前，双臂虚悬，面如槁木。] / [SÀTŪN, TIĀN MǓ, and TIĚ YĪNG all stare in stunned silence at TIĀN YÒU’s broken body. TIĀN MǓ staggers forward, arms trembling in the air, her face ashen and hollow].)
SÀTŪN / 萨囤 ([怒极] / [Furious beyond reason].) 将这老狐孽种捆了！朕要亲创酷刑——天命昭昭，必令其痛彻神魂！ Bind these vixen whelps! I’ll invent tortures myself—by Heaven’s Mandate, they’ll suffer in soul and flesh!
([皇后的侍卫拖走铁雪和铁莲。寂静。天母踉跄地走向被绑在树上的天右。] / [The Empress’s Guards drag off TIĚ XUÈ and TIĚ LIÁN. Silence. TIĀN MǓ stumbles toward TIĀN YÒU, who still hangs from the tree].)
TIĀN MǓ / 天母 ([跪下] / [Kneeling beside him].) 没有呼吸。 No breath. 没有声音。 No sound. 连疼痛都没有。 Not even pain. ([她将手靠近他的皮肤。空气一动不动。] / [She holds her hand close to his skin. The air does not move].) ([低语] / [Whispers].) 这死寂…… This stillness … 我曾见过。 I have known it before. 那年在雪地上，积雪不化。 Once, on a field where the snow would not melt. 五毒门斩断一名少年之气，任乌鸦来温他的骨。 Where the Five Poisons cut the qi from a boy and left him to warm the crows. ([她轻轻触碰伤口。] / [She gently touches the wounds].) 这沉默之中，有他们的歌。 A silence that sings of them. ([她将天右抱入怀中。] / [She gathers him in her arms].) 可这沉默太整齐，太冷静， 像是被人为剪断的呼吸。 像是恶意，刻意留下的空白。 ——一封用静默写的信。 那就让我来读。 But this silence—it’s too neat, too calm, like a breath cut by design. Like malice, leaving behind a blank on purpose. —A letter written in silence. Then let me read it.
([她站起。众人随她而去。退场。] / [She rises. The others follow. Exits].)
([静场良久。五目蟾蜍上，体沾墓灰，喉间第五目——一道竖隙——搏动不止。其鸣三声同现：临终牧师的祷词、新娘喉间的窒泣、利齿碾骨的脆响。蟾蜍转目，锁定深渊。长舌突伸——节节畸长——舔舐渊缘白丝凝血，战栗欢愉。] / [A long silence. Then the Five-Eyed Toad enters, its skin dusted with tomb-ash. Its fifth eye— a vertical slit on its throat—pulses. It croaks, and three sounds emerge at once: — A priest’s final prayer — A bride’s strangled gasp — The crunch of bone between teeth. The toad’s eyes swivel, fixing on the sinkhole. Its tongue lashes out—jointed, grotesquely long—and tastes the blood BÁI SĪ left behind. It quivers in ecstasy].)
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[第三幕，第一场] [ACT III. SCENE I]
([舞台空荡，唯中央一平台，上置两包裹，以朱绳捆缚的白布覆之。钟鸣一声，静默。天母着白色将袍上，铁骨与铁鹰随侧。她徐行至萨屯与皇室前，肃然跪地。] / [A single bell chimes. The stage is bare save for a platform, center, upon which rest two bundles, wrapped in white cloth tied with red ceremonial cord. The silence holds. TIĀN MǓ enters in white general’s robes, flanked by TIĚ GŪ and TIĚ YĪNG. She walks slowly, then kneels in front of SÀTŪN and the royal court].)
TIĀN MǓ / 天母 太平之年，臣执此剑，以彰武德。 In times of peace, I held this sword with honor. 战乱之时，臣以血饲之。帝国之下——唯忠而已。 In war, I fed it blood. Under the empire, there is only loyalty. 今臣之忠义遭疑，剑锈心枯…… Now my loyalty is doubted, my sword is rusted and my heart is withered… 然若老朽一臂，可洗吾女之辱…… But if my old arm can still wash away the shame of my daughter… 则不必多言。 then there is no need to say more. ([她以盆净手，默然片刻。旋即拔剑，左手覆白鉢巻，抵地稳刃，断腕自戕。闷哼一声，断掌落盆，血水相融。她伏地叩首，额触砖石。] / [She washes her hands in the basin. A pause. Then, unsheathing her blade, she steadies it with one hand on the ground. She wraps her left wrist with white silk, braces and swiftly cuts off her own hand. A sharp exhale. The hand falls into the basin. Blood swirls in water. She bows forward, kowtows, forehead touching the floor].) 为帝国。 For the Empire. 为仁慈。 For Mercy. 为陛下。 For you, my Empress.
([萨屯起身，神色慵懒。她踱至台前，审视包裹，忽莞尔一笑。] / [SÀTŪN stands, slow and unbothered. She approaches the dais, examining the bundles. Then, with the barest smile, she speaks].)
SÀTŪN / 萨囤 一臂？将军，朕要的是忠心, 而非残羹。 Just one hand, General? I asked for loyalty, not leftovers. ([她做了个手势，一位侍从默默地解开一捆布。观众什么也没看到——只有田牧的脸。她的表情僵住了，然后破碎了。] / [She gestures, and an Attendant silently unties one of the cloth bundles. The audience sees nothing—only TIĀN MǓ’s face. Her expression freezes, then shatters].) 朕赐你双礼……合该感激才是。 I have given you two gifts… you should be grateful. 她们的头颅, 沉甸甸的，压着羞耻。 Their heads were heavy, weighed down with shame. 朕已为尔…… 轻如鸿毛。 I have made them… as light as a feather.
([天母凝望包裹，面色骤僵，形同槁木。腕间滴血无声。铁鹰缓步上前。] / [TIĀN MǓ says nothing. She does not scream. She does not move. Her severed wrist drips blood onto the floor. TIĚ YĪNG steps forward slowly].)
TIĚ YĪNG / 铁影 这就是帝国对待女儿的方式吗？ Is this how empire honors its daughters?
([萨屯不答，含笑携众退场。铁鹰跪于天母身侧，视血刃与朱绳包裹。] / [SÀTŪN does not respond. She smiles, turns, and exits with the Court, leaving the bundles behind. TIĚ YĪNG kneels beside TIĀN MǓ, who still kneels, broken. She looks to the blood, the sword, the silent cloth-covered heads].)
TIĚ YĪNG / 铁影(CONT’D) 此地，已无吾立锥之所。 There is no place for me to stand here. 非陛下的宫阙，非宗庙，非沙场。 Not in your majesty’s palace, not in the ancestral temple, not on the battlefield. 母亲所授，儿当永志—— What my mother taught me, I will always remember –– 但绝非……为这般帝国。 but it is definitely not… for this empire.
([她拾起血刃，如抱婴孩，下。天母独跪，静默如渊。] / [She picks up the bloodied sword, cradles it like a child and exits. TIĀN MǓ remains kneeling in silence].)
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[第三幕・第二场] [ACT III. SCENE II] (This scene heading appears twice in the original, I will assume the first is Act III Scene II and the next one should be Act III Scene III. If this is incorrect, please let me know! For now, I will label them sequentially.)
[内宫秘殿。绢屏影绰，香烟如鬼萦绕。殿外：法锣沉沉，诵经隐隐——铁血与铁炼正赴黄泉。殿内：时间凝滞，寂静亵渎。巴悉拉跪坐冥想，身侧大狼仅着薄绸单衣，面泛潮红，眸含期待。青铜炉中紫焰幽曳，卷轴如舌展，朱砂墨溢地如血。] [A private chamber in the inner palace. Shadowed silk screens. Incense drifts like ghosts. Outside: ritual gongs, muffled chanting—the execution of TIĚ XUÈ and TIĚ LIÁN proceeds without interruption. Inside: stillness, sacred and wrong. Time bends. A hush. BǍ XĪ LĀ kneels in meditation beside DÀ LÁNG, who wears only thin silken robes, flushed and expectant. A bronze brazier flickers with violet flame. Scrolls unfurl like tongues. A bowl of cinnabar ink bleeds across the floor.]
BǍ XĪ LĀ / 巴希拉 ([轻语] / [Whispering]) 此处唯你我。星宿亦阖目—— It’s just you and me here. The stars are also closed –– 似这九天十地……不敢窥伺。 just like the nine heavens and ten earths… dare not peek.
DÀ LÁNG / 大狼 苍天何曾容得……情人欢好？ How can heaven allow… lovers to enjoy each other? ([褪去外袍，仰卧祭坛，闭目] / [Slips off her robes, lies on the altar with her eyes closed]) 快些，郎君。妾身……已难耐。 Hurry up, my love. I can’t wait anymore.
([长寂。她睁眼。巴悉拉伫立如石，唇动无声，诵念畸变经文——喉音沉浊，似古庙残碑之语。] / [Long silence. She opens her eyes. BǍ XĪ LĀ stands like stone, fully clothed, lips moving. The words are twisted scripture—glottal, guttural—spoken in a broken, holy tongue older than any temple].)
BǍ XĪ LĀ / 巴希拉 ‘此妇当为吾怒之器，备以毁殁。’ ‘She shall be for Me a vessel of wrath, prepared for destruction.’ ([炉火骤燃。屏风影动，如逃如窜。] / [The brazier flares. Shadows crawl up the silk screens, as if fleeing].) 首当净器。 First, we anoint the vessel. ‘其额题名：奥秘哉，大巴比伦，娼妓与地上可憎物之母。’ ‘And upon her forehead was a name written: Mystery, Babylon the Great, the Mother of Harlots and Abominations of the Earth.’ ([他捧起朱砂墨碗，以颤指绘经咒于大狼肌肤——腹、胸、腿。字迹隐泛幽光。] / [He lifts the bowl of cinnabar ink. With trembling fingers, he paints sutras in black and rust-red across DÀ LÁNG’s skin—belly, breasts, thighs. They glow faintly].) ‘吾言岂非如火，亦如击磐之锤？’ ‘Is not My word like fire, and like a hammer that breaks the rock in pieces?’ ([他将一柄浸透腐煞的玉刃掷入火中。刃嘶鸣，泣血，渗黑。大狼喘息渐促——如堕幻境。] / [He places a jade dagger, black with corruption, into the flame. It hisses. Screams. Bleeds blackness. DÀ LÁNG’s breath quickens—entranced].) ([柔声，几近爱怜] / [Softly, almost tender].) 产门已闭。 The mouth of birth is closed. ‘地开口，吞没妇人与其神裔。’ ‘The earth opened her mouth and swallowed up the woman and her seed.’ 今吾当启新门。 Now I will open a new gate.
([未及她反应，刃已刺落。血肉绽裂声。血溅胸股祭石。她弓身痉挛，无欢愉呻吟，唯闻痛喘。忽其掌按她丹田，湿濡扭曲之声——如血肉自绽为花，裂作齿渊。腹开巨口，荧荧蠕噬，淫亵而饥。大狼惨嚎。] / [Before she can move, the dagger plunges. The sound of flesh bursting apart. Blood hisses onto her breasts, her thighs, the altar stone. Her body arches in shock. No moans of ecstasy, only pain. Then his palm presses to her navel. A twisting, wet sound——like flesh folding back upon itself. Her belly splits, not by blade nor wound, but like a flower blooming into teeth. A gaping, glowing maw opens, wet, obscene, hungry. DÀ LÁNG screams].)
BǍ XĪ LĀ / 巴希拉(CONT’D) ‘彼倾魂至死……与罪同列。’ ‘He poured out His soul unto death… and was numbered among the transgressors.’ ([他从袍中取一燃烧之心——尚搏动，银脉盘错。倾入她体内渊口。殿外诵经声渐狂。待最后真气尽耗，心化灰烬。荧芒黯，渊口闭如沙漩。] / [From his robe, BǍ XĪ LĀ removes a burning heart—still pulsing, riddled with veins of silver qi. He pours it into her, into the maw. The chanting outside grows frantic. As the last of the qi is spent, the heart withers to ash. The glow dims. The dentata closes like swirling sand in the desert].) ‘人将称其为可憎之母。彼将再孕，产兽。’ ‘They will call her mother of abominations. She will conceive once more and it shall be a beast.’
DÀ LÁNG / 大狼 ([喘促] / [Gasping].) 冷极—— It’s cold— 不——灼如焚……此为何物？ No—it burns … what is it?
([巴悉拉漠然掷袍掩其残躯。仪毕。他目中已无她。] / [Almost absently, BǍ XĪ LĀ tosses her robes across her ruined body. The ceremony is over. His eyes are empty of her now].)
BǍ XĪ LĀ / 巴希拉 ([自语] / [To himself].) ‘彼已成魔居，聚万秽灵，囚诸不洁憎鸟之笼。’ ‘She is become the habitation of devils, the hold of every foul spirit, and a cage of every unclean and hateful bird.’ ([朗声] / [Aloud].) 盘绕之暗。 The coiled dark. 汝已成终焉之杯。 You are now the chalice of ending.
DÀ LÁNG / 大狼 ([气若游丝] / [Barely above a whisper].) 妾觉……其已动。此刻便动。 I feel… it moving. Already.
BǍ XĪ LĀ / 巴希拉 待皇后啖女肉， When the Empress eats the flesh of her daughters, 待尸月裂， when the corpse-moon cracks, 待五毒蔽天—— when the heavens darken with five poisons— 其将破汝而出。 then it will crawl free.
([地底深处，古物蠢动。非肺所生之呻，无名之饥。] / [Far below, something ancient shifts in the roots of the earth. A moan not born of lungs. A hunger without name].) ([他走向殿门。他驻足，回望。] / [He walks to the door. He pauses. Looks back once].)
DÀ LÁNG / 大狼 ([恍惚呢喃] / [Dazed, whispering].) 妾身……将为彼之母。 I … will be his mother. 吾儿。 Our son. 吾儿。 Our son. 吾儿。 Our son.
BǍ XĪ LĀ / 巴希拉 ([低语] / [To himself].) 然。 Yes. 亦为……首飨。 And its first meal.
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[第三幕，第三场] [ACT III. SCENE III] (Previously Act III, Scene II – second instance)
《天转其面，唯有鬼魂凝视。》 [Heaven turns its face, only ghosts stay to watch.]
[天母府邸颓门前，阴风阵阵。大狼、蓝毒、黑毒戴破碎戏面登场，扮作血煞星、白无常、黑无常。衣袍浸透丧香与疯癫。手持仪杖,一杖悬绞索，一杖铸淫鬼铭文铜阳。大狼提滴落腐液的幽灯。空气弥漫灰烬与霉绸之气。] [Before crumbling gate of TIĀN MǓ’s residence. A cold wind blows. DÀ LÁNG, LÁN DÚ and HĒI DÚ enter, masked as the god and judges of the dead: Xuè Shà Xīng, Bái Wúcháng and Hēi Wúchāng. Their costumes reek of funeral incense and madness. They wear cracked opera masks. They pound on the door with ceremonial staffs –– one with a noose, the other with a bronze yang inscribed with the inscription of a lustful ghost. DÀ LÁNG holds a black lantern dripping with putrid liquid. The air is filled with the smell of ash and moldy silk.]
TIĀN MǓ / 天母 ([自高窗窥下。] / [Peering down from an upper window].) 何人叩门？血煞星？本将不需神明,我即复仇！ Who dares knock? Xuè Shà Xīng? I need no goddess. I am vengeance! ([铁链残腕铿然作响。] / [Rattles her stump-chain].)
DÀ LÁNG / 大狼 ([覆面低语] / [Veiled].) 吾乃血煞星，踏血途而来。此二者，白无常与黑无常。 I am Xuè Shà Xīng, who walks the blood-red path. These are my judges: Bái and Hēi Wúchāng.
TIĀN MǓ / 天母 ([眯眼] / [Squinting].) 倒也巧合。地府判官，竟生得像那蛇妇的孽种。 How convenient. The Judges of Hell, who just happen to look like the Viper’s whelps.
LÁN DÚ / 蓝毒 ([扮白无常] / [As BÁI WÚCHÁNG].) 谁斩鹿首于少女之坛？ Who beheaded the deer on the altar of girlhood?
HĒI DÚ / 黑都 ([扮黑无常] / [As HĒI WÚCHÁNG].) 谁碎珠门而听血之歌？ Who cracked the pearl-gate and laughed as the blood sang?
DÀ LÁNG / 大狼 谁以箫塞喉，却谓之合卺之乐？ Who silenced her with a flute and called it a wedding song?
TIĀN MǓ / 天母 ([狂笑] / [Laughing].) 那便让本将赐尔等明镜——照见诸神所不屑之相。 Then let me show you mirrors—you’ll see what the gods turned away from. ([唾于黑毒铜阳杖上，嗤嗤作响] / [Spits, it lands on HĒI DÚ’s phallus staff. The metal hisses].) 要我下来？你们和那’慈悲’的巴希拉同是一丘之貉。 Come down? You are just like that kind-hearted, Bǎi Xī Lā. ([退场。] / [Exits].)
DÀ LÁNG / 大狼 ([对女儿们] / [To her daughters].) 巴希拉？慈悲？哈！就这？这就是让老妇疯魔的手段。 Bǎi Xī Lā? Kind? Haha! This is how you drive an old woman crazy.
([天母从下方现身，绕三人行如狼影。大狼三人战栗。] / [TIĀN MǓ enters below. DÀ LÁNG, LÁN DÚ and HĒI DÚ shiver as she circles them like a wolf].)
LÁN DÚ / 蓝毒& HĒI DÚ / 黑都 ([齐声] / [In unison].) 吾等地府判官。 We are the Judges of Hell.
TIĀN MǓ / 天母 你们是来责罚我的阴魂？ Are you a spirit come to punish me? ([旁白] / [Aside].) 还是如今连妖魔也穿得如此劣绸？ Or do demons wear such cheap silk now?
LÁN DÚ / 蓝毒& HĒI DÚ / 黑都 ([齐声] / [In unison].) 诉尔罪孽，吾等必惩恶徒。 Tell us of a crime and we will punish the malefactors.
TIĀN MǓ / 天母 ([抓住大狼] / [Grabbing DÀ LÁNG].) 血煞星，你的小穴怎么有鬼尿味儿？ Tell me, Xuè Shà Xīng, why does your flesh smell like ghost piss?
([天母猛吻大狼，撕破面纱，惊现真容一瞬。] / [TIĀN MǓ kisses DÀ LÁNG violently. DÀ LÁNG’s veil tears, revealing a glimpse of her face].)
DÀ LÁNG / 大狼 ([慌乱] / [Flustered].) 你以为我是来羞辱你？ You think I’ve come to mock you? ([转为冷静] / [Recovering].) 我原欲赐你武者之终……如今看来，你早已疯癫。 I wanted to give you a warrior’s death… but now it seems that you have gone insane.
TIĀN MǓ / 天母 疯癫？对……这必是地狱。我……我定已疯魔。 Insane? Oh yes. Then … this must be Hell. I … I must be mad. ([旁白] / [Aside].) 疯到仍困此地，疯到仍见你等幻影。 Mad to still be here. Mad to see you.
LÁN DÚ / 蓝毒&HĒI DÚ / 黑都 ([齐声] / [In unison].) 被诅咒者无权评判法官。 The damned do not get to judge the Judges.
TIĀN MǓ / 天母 ([跪地，哭声过大] / [Falling to her knees, sobbing a little too loudly].) 求你们！求你们！不要将我独留此处！空有悔恨！我一生心血付诸流水……让我向吾皇、玉门妃、与铁刃妹妹诀别…… Please! I beg you! Please … do not leave me here! Alone! Full of regrets! All my work undone!… Let me say goodbye to my Empress, her Consort, my sister, my Iron Mountain Blades …
LÁN DÚ / 蓝毒&HĒI DÚ / 黑都 ([齐声] / [In unison].) 被诅咒者没有权利—— The damned do not get —
DÀ LÁNG / 大狼 ([打断] / [Interrupting].) 或许可破例。 Perhaps an exception can be made. ([对女儿们] / [To her daughters].) 看看她，真是可怜。这可比我想象中乏味多了。若在满朝文武前羞辱她，不更妙？说不定她还会吓得尿裤子！满殿皆笑！ Look at her, she’s pathetic. This isn’t as fun as I was hoping. Wouldn’t it be a whole lot more delicious to humiliate her in front of the whole Court? She might even piss herself in fright! Everyone will laugh at that. ([对天母] / [To TIĀN MǓ].) 可怜的魂灵，你愿以何物交换，换一次向皇后诀别的机会？ Miserable soul! What would you give to say goodbye to your Empress one last time?
TIĀN MǓ / 天母 ([感激抬首] / [Looking up gratefully].) 只此一次？一切都行！我这只手！这双腿！我的灵魂！我的肉体！全归你……只求让我无悔而终！ One last time? Anything! My other hand! Both my legs! My soul! My flesh! They’re all yours … just don’t let me die with regrets!
DÀ LÁNG / 大狼 ([对女儿们] / [To her daughters].) 姑娘们，意下如何？我去筹备一场终极盛宴，你们先照顾这位老妇人。 What do you say, girls? Can you babysit a crone while I go make preparations for a feast to end all feasts?
LÁN DÚ / 蓝毒 听起来有趣极了！ This will be fun!
HĒI DÚ / 黑都 去吧，母亲。我们这儿有玩具可供消遣…… Go, mother. We have our plaything and will amuse ourselves …
LÁN DÚ / 蓝毒 ……还能趁机磨磨我们的爪子。 … by sharpening our claws.
DÀ LÁNG / 大狼 ([对天母] / [To TIĀN MǓ].) 可怜的凡人！地狱的判官竟起恻隐之心，实属罕见。我将为你筹备一场盛宴，庆祝你的一生、你的英勇、你的伟业。届时，所有生者皆将受邀，所有先你堕入地狱的女儿魂魄亦将莅临。 Wretched mortal! The Judges of Hell are in a rare and kind mood. I will prepare a banquet to celebrate your life, your bravery, your accomplishments. I will invite all the living and all the souls of your daughters who have gone to Hell before you.
TIĀN MǓ / 天母 ([伏地叩谢] / [Groveling on the floor].) 谢天！谢地！谢你们！ Thank you! Thank you! Thank you! ([呼喊] / [Calls].) 姐姐——快出来听我赐福！ Tiě Gū! Sister! Come out here and hear my blessing!
([铁姑进来，一脸震惊。她像看疯子一样看着大郎、蓝毒和黑毒，却什么也没说。] / [TIĚ GŪ enters, visibly stunned. She stares at DÀ LÁNG, LÁN DÚ, and HĒI DÚ as if they’ve lost their minds, but says nothing].)
TIĀN MǓ / 天母(CONT’D) ([仍然跪着。] / [Still kneeling].) 看！看！我不用像个懦夫一样悲惨地死去了！谢谢你！ Look! Look! I won’t have to die like some wretched coward! Thank you!
([大郎微笑着退场。一阵长长沉默，房间里的气氛变得阴冷阴森。天牧站起身，缓缓转身，面对双胞胎。] / [DÀ LÁNG exits with a smile. A long silence settles; the air in the room turns cold and grim. TIĀN MǓ rises and slowly turns to face the Twins].)
([天牧一拳打碎了蓝毒，打碎了她舌头遮盖的面具。铁骨一拳打碎了黑毒的面具，将他的面具从中间撕开。双胞胎倒地——喘息着，挥舞着。他们的手被丧葬绳绑着。天牧把他们像鹿一样倒吊在沾满鲜血的竹子上。他们的经脉被朱砂勾勒成一幅痛苦的地图。] / [TIĀN MǓ punches LÁN DÚ, whose mask flies off. TIĚ GŪ smashes HĒI DÚ’S mask, tearing it clean down the center. The Twins collapse—gasping, thrashing. Their hands are bound with funeral cord. TIĀN MǓ strings them up like butchered deer from blood-soaked bamboo. Their meridians are traced in cinnabar: a map of agony].)
LÁN DÚ / 蓝毒 傻瓜！我们才是法官—— Fool! We are the Judges of —
HĒI DÚ / 黑都 ([惊慌。] / [Urgently].) 我们是公主的女儿！ We’re the daughters of the Imperial Consort!
TIĀN MǓ / 天母 你是生肉。 You’re raw meat.
LÁN DÚ / 蓝毒 ([惊慌失措,疯狂的盯着黑都。] / [Panicked and wide-eyed, staring at HĒI DÚ wildly].) 当我们出生时,助产士说—— When we were born, the midwife said—
HĒI DÚ / 黑都 ‘两条蛇，来自同一个蛋。’ —’two snakes, from the same egg.’
TIĀN MǓ / 天母 不，这是我亲爱的儿子说的。你对他做的比杀了他还要糟糕。现在，他会审判你们俩。 No. That was what my beloved son said. What you did to him was worse than death. Now he will judge you both.
([天佑赤脚进来，一声不吭。他双眼朦胧，脸上刻满了禁灵符。他手里拿着一个宽大的铜盆，上面刻着周朝的刑罚。他的指甲染成了黑色，沾满了墓泥。] / [TIĀN YÒU enters barefoot and silent. His eyes are clouded, his face marked with spirit-binding talismans. He carries a wide bronze basin etched with Zhou Dynasty execution rites. His nails are stained black, crusted with grave-dirt].)
TIĀN YÒU / 天佑 ([喉音呻吟。] / [Guttural moan].)
TIĀN MǓ / 天母 他不再能说话，但他的生命力记得……正义。 He no longer speaks, but his qi remembers … justice.
TIĚ GŪ / 铁姑 ([模仿巴希拉] / [Speaking like BǍ XĪ LĀ].) ‘尔等当食亲生子。女肉，儿骨。’ ‘You shall eat your own children. Daughters’ flesh, sons’ bones.’
([天牧引导天佑的手，将盆子捧在双胞胎身下，天佑如同木偶般服从。] / [TIĀN MǓ guides TIĀN YÒU’s hands to hold the basin beneath the Twins. He obeys like a puppet].)
TIĚ GŪ / 铁姑(CONT’D) 地狱的审判官们受了审判，然后被打入地狱。真是讽刺。 The Judges of Hell being judged and sent to Hell. Ironic, really.
TIĀN MǓ / 天母 ([对双胞胎。] / [To the Twins].) 这就是你们母亲的绝妙计划？掏空我子宫的女人的女儿？在我家人被屠杀时，她竟然还笑着？你们以为生于丝绸与毒药之中就能拯救你们吗？不。让孩子们的恐惧成为他们母亲现在的噤声。 This was your mother’s brilliant plan? The daughters of the woman who hollowed out my womb? Who smiled as my family was butchered? You thought being born into silk and poison would save you? No. Let your fear now be your mother’s silence. ([她举起杀戮之刃。空气变得凝重。雷声低沉。她的眼睛反射着微弱的血光。] / [She raises the killing blade. The air thickens. Thunder murmurs. Her eyes glow faintly with reflected bloodlight].) 仇…仇…仇… Revenge… Revenge… Revenge…
([田牧割断了两个女孩的喉咙。鲜血从她们的脖子喷涌而出，染红了水盆、墙壁和地板。’复仇’二字鲜血淋漓，如同伤口般跳动。舞台外，一群幽灵般的女人一遍又一遍地低声念叨着这个词。] / [TIĀN MǓ slices both throats. Blood arcs from their necks, painting the basin, the walls, the floor in living strokes. The character ‘仇’ bleeds itself into being, pulsing like a wound. Somewhere offstage, a chorus of ghostly women whisper the word over and over].)
CHORUS / 合唱 仇…仇…仇… Revenge… Revenge… Revenge…
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[第四幕，第一场] [ACT IV. SCENE I]
[田母家的庭院如今已改建为仪式宴会场。华丽的旗帜在微风中轻轻飘扬。一张漆桌居中，摆满了美味佳肴——座位按严格的等级排列：萨顿居首，大郎与巴希拉分列左右，官员们位于下座。其后是一座高台，田母身穿沾满污渍的厨娘长袍伫立其上，铁骨如刀锋般站在她身旁。远处战鼓如垂死心脏般低沉跳动。] [The courtyard of TIĀN MǓ’S house, now transformed into a ceremonial banquet ground. Ornate banners flap gently in the breeze. A lacquered table dominates, set with delicacies—yet the seats are arranged in strict hierarchy: SÀTŪN at the head, DÀ LÁNG and BǍ XĪ LĀ at her right and left, lesser officials below. Behind them, a dais where TIĀN MǓ stands, dressed in the stained robes of a cook. TIĚ GŪ looms beside her, a shadow sharp as a blade. Distant war drums pulse like a dying heart.]
([萨顿、达朗[面容憔悴，玉色肌肤上缠绕着黑色血管]、巴希拉[笑容过于灿烂]、朝臣与可汗使者依次入座。他们落座——不知不觉间重现了双胞胎的最后晚餐。] / [Enter SÀTŪN, DÀ LÁNG [Sickly, her jade-pale skin threaded with black veins], BǍ XĪ LĀ [smiling too wide], Courtiers, and the Khagan’s Envoy. They take their seats—unknowingly mirroring the Twins’ last supper].)
SÀTŪN / 萨囤 ([冷笑] / [Sneering].) 泥土地上的盛宴？真是……粗鄙。伟大的天牧竟然把她的剑换成了一把勺子？ A feast in the dirt? How… rustic. Has the great Tiān Mǔ traded her sword for a ladle?
TIĚ GŪ / 铁姑 ([冷冷地] / [Coldly].) 将军今晚提供的是款待，而不是荣耀。 The General serves hospitality tonight—not glory.
([巴希拉勉强地笑了笑。达朗摇摇晃晃地捂着腹部。仆人们端上热气腾腾的饺子，皮上沾满了浓汤。] / [BǍ XĪ LĀ chuckles nervously. DÀ LÁNG sways, clutching her stomach. Servants bring steaming dumplings, their skins glossy with broth].)
TIĀN MǓ / 天母 ([鞠躬，声音如丧钟。] / [Bowing, voice like a funeral gong].) 这位卑微老妇感谢各位的到来。正如每场宴席中所言, 愿暴君之肉，从其骨上剥落。 This humble old woman thanks you for partaking. As they say at every feast, may the flesh of tyrants fall from their bones.
([客人们开始吃饭。巴希拉吃得很卖力。达朗脸色苍白，满头大汗，却一动不动。] / [The guests begin to eat. BǍ XĪ LĀ eats with forced gusto. DÀ LÁNG, pale and sweating, does not touch her plate].)
SÀTŪN / 萨囤 天牧，你为何乔装打扮？一个衣衫褴褛的将军？ Tiān Mǔ, why the disguise? A general in rags?
TIĀN MǓ / 天母 即便是将军，也需亲手沾泥，方可赢得荣誉。([停顿] / [Pause].) 皇后，你还记得孔雎将军的传说吗？那位未能替亲子复仇，却亲手掐死了孩子的母亲？ Even a general must soil their hands to win honor. Tell me, Empress: Do you remember the legend of General Kǒng Jū? How she smothered her own child after she failed to avenge her?
SÀTŪN / 萨囤 ([漫不经心地] / [Casually].) 当然。失败就要承担后果。一个连自己孩子都保护不好的母亲，简直就是一头野兽。 Of course. Failure demands consequence. A mother who cannot protect her own is little more than a beast.
TIĀN MǓ / 天母 我同意。 I agree.
([天牧鼓掌。两名侍从半拖着天佑的尸体进来，天佑奄奄一息，脸上和胸口贴着束缚气功的符箓。他的四肢怪异地抽搐。人群中传来阵阵喘息声。] / [TIĀN MǓ claps. Two attendants enter, half-dragging the body of TIĀN YÒU, barely alive, with qi-binding talismans plastered to his face and chest. His limbs twitch grotesquely. Gasps ripple through the crowd].)
TIĀN MǓ / 天母(CONT’D) ([轻声] / [Softly].) 我的儿子，我唯一的儿子。灵魂和筋骨都被玷污了，而我们——我——却什么也没做。 My son, my only boy. Defiled in soul and sinew and we—I—did nothing.
([客人们继续吃饭。达朗犹豫了一下，咬了一口……然后干呕起来，筷子发出咔哒咔哒的声音。] / [The guests resume eating. DÀ LÁNG hesitates, takes a bite … then gags, her chopsticks clattering].)
DÀ LÁNG / 大狼 这味道——！ This taste—!
TIĀN MǓ / 天母 ([微笑] / [Smiling].) 公主，您认得它吗？ Do you recognize it, Princess?
([倒吸一口气。皇后僵住了，半嚼的饺子从她的嘴唇上滴落下来。] / [Gasps. The Empress freezes, a half-chewed dumpling dripping from her lips].)
DÀ LÁNG / 大狼 ([不是问题。] / [Not a question].) 我的女儿们—— My daughters—
TIĀN MǓ / 天母 ([平静地] / [Calmly].) 母亲应该知道自己血液的味道。 A mother should know the taste of her own blood.
SÀTŪN / 萨囤 ([惊慌地转过身] / [Turning in alarm].) 坚持住，我们会得到帮助的！ Hold on, we’ll get help!
TIĀN MǓ / 天母 哦，是的，正义即将到来。 Oh yes, justice is coming.
([一片混乱。群臣呕吐。可汗使者哀号。达朗尖叫起来，腹部膨胀、破裂，流出腐烂和焦黑的内脏。她在哀号中死去，尸体仍在咀嚼自己的舌头。天牧转身对着巴希拉吐口水。] / [Chaos erupts. Courtiers vomit. The Khagan’s envoy wails. DÀ LÁNG screams as her belly swells, splits— spilling corruption and blackened viscera. She dies mid-wail, her corpse still chewing its own tongue. TIĀN MǓ turns and spits on BǍ XĪ LĀ].)
BǍ XĪ LĀ / 巴希拉 ([干呕着，向后退去] / [Retching, scrambling back].) 不——不，这不是——！我才不——！ No—no, this isn’t—! I never—!
([巴希拉转身逃离了院子。他的十字架掉在地上，摔得粉碎。没有人阻止他。] / [BǍ XĪ LĀ turns and flees from the courtyard. His cross clatters to the ground—shattering. No one stops him].)
TIĀN MǓ / 天母 ([在他身后喊道] / [Calling after him].) 快跑，神父。你的末日已经把你抛弃在你的盛宴残渣里了！ Run, priest. Your apocalypse has abandoned you in the crumbs of your feast!
([铁古向前迈步，拔出刀子跟随，但天牧举起了一只手。] / [TIĚ GŪ steps forward, drawing her blade to follow, but TIĀN MǓ raises a hand].)
TIĀN MǓ / 天母(CONT’D) 不，让他跑吧……现在。 No. Let him run … for now.
([天母走到儿子身边，轻轻摸了摸他的额头，然后撕下符箓。天佑的尸体发出一声叹息，如万只死蟋蟀同时低鸣，随即化为尘土，随风而散。] / [TIĀN MǓ walks to her son. Gently, she touches his brow. Then she tears the talismans free. TIĀN YÒU’S corpse exhales—a sigh like a thousand dead crickets—then crumbles to dust. The wind carries him away].)
SÀTŪN / 萨囤 ([站起来，气得浑身发抖] / [Rises, trembling with rage].) 你以为这样就能证明你正义？你不过是这腐败世界中另一团腐肉！ You think this proves you are righteous? You are just another piece of rotten meat in this corrupt world!
([随着达朗腐烂的尸体最后一次抽搐，庭院中一片寂静。随后，从墙外传来号角声、马蹄声和战鼓声。铁鹰虽然血迹斑斑，但却取得了胜利，身后跟着一队蒙古战士和叛逆的边防将领。] / [A beat of silence falls over the courtyard as DÀ LÁNG’S corrupted corpse twitches one last time. Then, from beyond the walls: a cry of horns. The sound of hooves. War drums. TIĚ YĪNG enters, bloodied but victorious, followed by a battalion of Mongol Warriors and Rogue Border Generals].)
TIĚ YĪNG / 铁英 城门敞开。天命已然在此腐朽。我们不征服——我们只是扫荡。 The city gates lie open. The Mandate of Heaven has rotted here. We do not conquer—we scour.
SÀTŪN / 萨囤 ([挑衅地] / [Defiant].) 你竟敢把外国狗带进我的宫里？ You dare bring foreign dogs into my court?
TIĚ YĪNG / 铁英 狗？也许吧。但我们还是会咬人。 Dogs? Perhaps. But we still bite.
([萨顿咆哮着，猛扑过去——但一支蒙古长矛刺穿了她的喉咙。她在咯咯的笑声中死去，鲜血溅满了宴会桌。她的身体倒在达朗身边。] / [SÀTŪN snarls, lunging—but a Mongol spear pierces her throat. She dies gurgling laughter, her blood splattering the banquet table. Her body collapses beside DÀ LÁNG].)
TIĚ YĪNG / 铁英(CONT’D) 暴君已死，唯有风暴残存。而风暴，从不请求许可。 The tyrant is dead and only the storm remains. And storms do not ask permission. ([铁引望向巴希拉逃出的宫门。] / [TIĚ YĪNG looks toward the palace gates where BǍ XĪ LĀ fled].)
TIĀN MǓ / 天母 我还有一道菜要上。 I have one more course to serve. ([天牧甩开围裙，拔出武器，用一只好手将残链绑在手腕上。] / [TIĀN MǓ tosses aside her apron and draws out her weapon. Her one good hand straps her stump-chain to her wrist].) ([平静地] / [Quietly].) 让甜点成为判断。 Let the dessert be judgment.
([天牧走进了燃烧的夜色中。] / [TIĀN MǓ walks off into the burning night].)
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[第四幕，第二场] [ACT IV. SCENE II]
[漆黑天幕下的诅咒绿洲。星辰寒冷刺骨，悬得近乎压人。枯树如骸骨，枝桠扭曲，如亡魂向天哀求赦免。沙地发出嘶嘶声响，风如骨骼摩擦般低语。水池泛着病态而诡异的光芒。池边裂开一道深渊——那是天佑气息破碎之地。深渊之下，某种可怖之物潜伏等待。] [The cursed desert oasis under a black sky. The stars hang too close, too cold. The trees are skeletal, clawing upward like the dead begging absolution. The sand hisses. The wind whispers like shifting bones. The pool glows with a sickly, unnatural light. A dark pit yawns beside it—the place where TIĀN YÒU’S qi was shattered. Something waits beneath.]
([巴西拉上场。] / [BǍ XĪ LĀ enters].) ([他原本华贵的传教士长袍如今破烂不堪、污秽不洁。他紧紧捂着胸口，那是他十字架原本所在的位置——如今空空如也。他踉跄而入，气喘如牛，满脸惊恐。] / [His fine missionary robes are torn and filthy. He clutches his chest where a cross once hung—now gone. He staggers, panting in terror].)
BǍ XĪ LĀ / 巴希拉 ([惊恐] / [Terrified].) 不……不不不……不能是这里！别是这里！ No…no no no…not here! Not here! ([跌倒在地，手在沙里乱抓] / [Falls to the ground, clawing in the sand].) 这不可能……他们向我承诺过！皇后听我说了！ This can’t be…they promised me! The Empress heard me! ([带着狂乱的祈求] / [With frantic pleading].) 大郎！大郎！她明明……我明明已得教皇恩宠！圣印！火舌的赐福！ Da’lang! She… I still have the Pope’s favor! The Seal! The blessing of the Tongue of Fire! ([仰望天空] / [Looking up at the sky].) 他们都说我会赢！我信仰的神是真理！他不会抛弃我…… They all said I would win! The God I believe in is the truth! He will not abandon me…
([隐约传来金属刮地的拖行声，低沉而节奏分明。巴西拉骤然僵住。从漆黑扭曲的树影中，天母缓缓现身。] / [A faint, metallic dragging begins, low and rhythmic. He freezes. From the trees, TIĀN MǓ enters].) ([她步伐缓慢，链条拴在断臂上，拖曳沙地。她看上去更老，更疲惫，身体微微颤抖。然而，空气却因她的到来而沉寂无声。] / [She moves slowly, dragging her chain-bound stump through the sand. She looks older, wearier, trembling. Yet the air stills around her].)
TIĀN MǓ / 天母 ([嗓音低沉如石碾] / [Low, raspy].) 这片土地的神灵，没你想象的那么容易消亡，巴西拉。 The spirits of this land are not so easily dismissed, Bǎ Xī Lā. 它的神明……还在饥饿。 And its gods…they hunger. 你以为你会死在教堂里，香气缭绕？ Did you think you’d die in a chapel, perfumed with incense? 衣冠整齐，沐光而逝，被你的主亲吻接引？ Righteous and clean, kissed by your god? ([缓步前行，链条拖行声刺入耳中] / [She takes another slow step, the chain dragging].) 不。 No. 你会死在这里。死在你播下恶果之地的泥土与污秽中。 You will die here. In this filth where you sowed your evil.
BǍ XĪ LĀ / 巴希拉 ([惊恐倒退，注意到她的状态] / [Startled, defensive].) 是你！你追我到这？你流血了……你连站都站不稳了…… You! You followed me? You’re bleeding. You’re… barely standing … ([突现疯狂之光，拔剑] / [He draws his sword—erratic confidence flaring].) 我还有胜算！我主与我同在！击倒你这妖女！ I still have the edge! My God is with me! He will strike you down, witch!
TIĀN MǓ / 天母 ([发出干涩冷笑] / [Chuckling, dry as sand].) 你的主……遥不可及。 Your god seems… distant. 而我的神们……近在咫尺。 Mine, however, are very near. 来吧。来夺你所谓的’优势’吧，传教士。 Come then. Take your ‘edge,’ priest.
([他们开战。] / [They fight].) ([巴西拉怒吼着猛冲，剑势狂乱，全凭蛮力毫无章法。天母不与他硬碰，只巧妙闪避。一息之距，一旋之差，一转之间——他的剑只斩中衣角、风声与寂静。铿然一声——她用链条挡下他的劈砍，火花四溅。一甩之间，链头缠住他的脚踝。他踉跄后退，一树枝猛然刺破他的衣袖。] / [BǍ XĪ LĀ charges—his blade slashes wildly, strength without technique. TIĀN MǓ does not counter—she evades. A breath’s lean, a pivot, a turn—his sword cuts only cloth, wind, silence. CLANG. Her chain blocks a direct strike. Sparks hiss. A flick—his ankle is caught. He stumbles. A tree limb spears his sleeve].)
BǍ XĪ LĀ / 巴希拉 ([喘息着，兴奋] / [Panting, excited].) 看见了吗？你那虚假的力量正在衰退！ See? Your false power is fading! 你那魔鬼的法术失效了！ Your devilish spells are failing! 你不过是个女人，一个老寡妇！ You are only a woman, an old widow! 一个在神脚下爬行的野兽！你那些泥胎木偶的伪神祇早就该死！ A beast crawling at the feet of God! Your clay puppet gods should have died long ago!
TIĀN MǓ / 天母 那么就和我一起流血吧，牧师。 Then bleed with me, priest. ([她动了。起初很慢——然后越来越快。铁链划出一道弧线，在空中轰鸣。他猛扑过去——她不在。他转身——太迟了。链风啸过——大腿。回扫——侧腹。反劈——后背。] / [She moves now. Slowly at first—then faster. The chain arcs in figure-eights, whispering through the air. He lunges—she’s not there. He turns—too late. The chain whistles – hits his thigh. Sweeps his flank. Counter-slash across his back].) ([水池仿佛叹息一声，荡起层层涟漪，幽光乍现。他气喘吁吁地退入池边，眼神迷茫。] / [The pool sighs. Ripples flash with ghostlight. He backs into it, panting, uncertain].) ([枯树虬曲，幻象骤生——他竟见天佑缚于树下，泣血哀嚎。] / [The dead tree suddenly twists and a hallucination appears – he sees TIĀN YÒU tied to it, crying and wailing].)
TIĀN MǓ / 天母 ([声音骤变，如冰刃] / [Voice suddenly changes, like an ice blade].) 没错。 Yes. ([她挺直腰身，气息归稳，目光如刃] / [She straightens her back, her breath becomes steady, her eyes are like blades].) 你将我儿的魂魄在此撕裂。你将他奉献给那地狱之口。 You tore my son’s soul apart here. You offered him to the mouth of hell. ([她挺直身躯，不再衰弱，不再疲惫。风停了。沙也安静地倾听。她高举链条，此刻，它不再是负担，而是利刃。] / [She straightens. No longer frail. No longer tired. The wind stills. The sand listens. She raises her chain—not as burden, but as a blade].) 斩魂之缚——斩断灵魂的束缚。([一位母亲的复仇，被炼化为武学。] / [A mother’s vengeance perfected into technique].) The Binding That Severs the Soul. ([她旋身一转，链光如电。他斩出一剑——却扑了空。她已绕到他身后——啪！右脸一道血痕。啪！左脸又一道。血如对称的面具，在他脸上浮现。] / [She spins once. The chain flickers. He slashes—she is gone. Behind him— Whip—his right cheek. Whip—his left. Twin lines of blood. A mask].) ([语气如鞭] / [Tongue like a whip].) 你曾许诺报偿。你谈过天恩。 You promised rewards. You talked about grace. 那你来——用金银收买我吧，传教士。 Then come on—buy me with gold and silver, missionary. 你的命换财宝。公平的交易，不是么？ Your life for treasure. A fair deal, isn’t it?
BǍ XĪ LĀ / 巴希拉 ([捂脸，语无伦次] / [Sobbing, babbling].) 是！金子！银子！ Yes! Gold! Silver! 在聂斯脱里那边藏着的财宝！西方来的珠宝！都给你！ Nestorian gold! Jewels from the West! All for you! ([链条轻弹，右脸一痕血线。] / [The chain flicks, a streak of blood runs down the right side of his face].)
TIĀN MǓ / 天母 ([冷笑] / [Coldly amused].) 你来吧。承诺我一个天堂的位置。你们常说的,在你主的右边，永远的荣耀。 Then promise me salvation. Place me next to your god, at his right hand. For eternity. ([链条再次飞出，死死缠住他的脖子。他挣扎窒息，踉跄着退到深渊边缘，脚下沙土不断崩塌。] / [The chain lashes again, coiling his neck. He chokes. He stumbles—teetering at the pit’s edge].) ([倾身靠近，愤怒地低语] / [Leaning close, whispering with wrath].) 巴希拉，请满足我的一切愿望吧。 Offer me everything I ask for, Bǎ Xī Lā. 一切。 Everything. 像你这样的灵魂，要付出什么代价？ What is the price for a soul like yours?
BǍ XĪ LĀ / 巴希拉 ([哽咽、挣扎] / [Gurgling].) 什么都行！我命也给你！ Anything! I’ll give you my life! 我做你奴仆都行…… I’ll be your slave…
TIĀN MǓ / 天母 ([怒啸，声震天地] / [Suddenly roaring, voice quaking of grief].) 我要把我的孩子们还回来，你这个狗杂种！ I WANT MY CHILDREN BACK, YOU SON-OF-A-DOG! 我要我的手！ I WANT MY HAND! 我要你凭那邪信窃走的一切！ I WANT EVERYTHING YOU STOLE WITH YOUR CURSED FAITH! ([她缓缓地，从断臂上解下链条。动作坚定而冷静。链落。人坠。四野寂静无声。] / [She unbuckles the chain from her stump. A single, deliberate motion. It falls. He falls. Silence].) ([没有冲击。没有尖叫。只有消失。] / [No impact. No scream. Just absence].) ([她孑然而立。抬头望向冷漠无情的星辰。她低头看向自己的断臂，看向深渊，然后转身望向东方——城市的方向。] / [She stands alone. The stars stare down—distant, indifferent. She looks at her stump. At the pit. Then to the east—toward the city].) ([低语] / [Quiet].) 我已一无所有。没有喜悦。没有够甜的复仇。 No joy. No vengeance sweet enough. 但，我的孩子……天佑……我的女儿们……你们可以安息了。 But my children… Tiān Yòu… My daughters… You can now rest. ([她转身，独自踏上归途。形单影只，却终得完整。] / [She turns. Begins walking. Alone, but complete].)
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[尾声] [EPILOGUE]
祖剑堂密室 Ancestral Sword Hall Crypt.
([大殿幽暗，空气凝滞。石骆驼沉睡于尘埃之下。祖剑微微泛光。新香在祭坛上袅袅燃起。铁鹰、铁姑与天母缓步而出，立于城门前。他们身后，立着一块崭新的纪念碑。碑上刻着：「天佑之碑」] / [The hall is dark, the air still. Stone camels sleep beneath layers of dust. The ancestral swords gleam faintly. New incense burns at the altar. TIĚ YĪNG, TIĚ GŪ, and TIĀN MǓ exit and stand before the City Gates. Behind them stands a fresh memorial stone. Carved upon it: The Tablet of TIĀN YÒU].)
TIĀN MǓ / 天母 铁家之子。 Son of the House of Iron. 他身负母伤， He bore the wound of his mother, 以我之苦书写预言。 and wrote my pain into prophecy.
TIĚ GŪ / 铁姑 他从未举过刀—— He never lifted a blade— 却也让他在此与姐妹们安眠。 And yet let him sleep here with his sisters.
TIĚ YĪNG / 铁英 ([低声] / [Quietly].) 他不需要剑。 He didn’t need a sword. 但他无需剑也勇敢。 But was brave without one.
([风起，呜咽如哭。] / [The wind begins to howl].)
TIĚ GŪ / 铁姑 ([轻轻地] / [Lightly].) 都城那边……有人在议论。 There’s talk … in the capital. 说我该戴上凤冠。 That I should wear the Phoenix crown.
TIĚ YĪNG / 铁英 我会在你右手而骑。 I’ll ride at your right hand. 但你需要的不只是将军。你需要一个记得我们失去过什么的朝廷。 But you’ll need more than a general. You’ll need a Court who remembers what we lost.
TIĀN MǓ / 天母 ([淡淡一笑] / [Smiling faintly].) 那就去建一个吧。 Then make one. ([顿。] / [Beat].) 我已完成了我的部分。 I’ve finished my part.
([风势渐强。远方沙暴翻卷，吞噬地平线。] / [The wind grows louder. A sandstorm curls along the horizon].)
TIĚ YĪNG / 铁英 ([焦急] / [Concerned].) 城门—— The gates— 我们该关上它。 We should close them.
([天母越过他们，走出门槛。] / [TIĀN MǓ steps out ahead of them, across the threshold].)
TIĀN MǓ / 天母 敞着吧。让死者有一道门。 Leave them open. The dead should have a door. 他们也需要这样的地方。 They’ll need a place like this.
([天母回首。铁鹰与铁姑仍立于城中，肩并肩，立于昏光之下。天母抬手一挥，又放下。沙暴渐渐吞没苍穹。] / [TIĀN MǓ turns. TIĚ YĪNG and TIĚ GŪ remain in the city, standing side by side in the muted light. TIĀN MǓ lifts her hand once, then lowers it. The sandstorm begins to swallow the sky].)
TIĀN MǓ / 天母(CONT’D) ([低语] / [Softly].) 唤我之名——我之魂必应。 Speak my name—and my spirit will answer.
([她步入风暴。身影渐隐，足迹无痕。无尸，无葬，唯有其传。] / [She walks out into the storm. Her figure fades. Her footsteps leave no mark. There will be no bones, no burial. Only the story].)
[结束] [END]
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GLOSSARY OF TERMS
Bái Sī [白丝]: Literally “White Silk.” Youngest daughter to the late Empress.
Bái Wúcháng [白无常]: “White Impermanence.” One of the two Heibai Wuchang, deities in Chinese folk religion responsible for escorting spirits of the dead to the underworld. Often depicted in white robes.
Bǎ Xī Lā [巴悉拉]: The Chinese transliteration for “Basilas” or a similar European name; in this play, an evil Nestorian Christian missionary.
Dà Láng [大狼]: Literally “Big Wolf.” Head of the Five Poisons Sect.
Dāntián [丹田]: “Cinnabar field” or “Elixir field.” Energy centers in the body, crucial in traditional Chinese medicine, martial arts, and meditation for the cultivation and storage of Qi. Often refers to a point in the lower abdomen.
Dàzhùi [大椎]: “Great Hammer.” An acupressure point on the spine, considered a vital point.
Feng Shui [风水]: Literally “Wind-Water.” A traditional Chinese practice of arranging spaces to achieve harmony with the natural world and harness positive energy flows (Qi).
Five Poisons Sect [五毒教]: A fictional martial arts sect common in wuxia, specializing in poisons and often portrayed as villainous. The “Five Poisons” traditionally refer to the centipede, snake, scorpion, toad, and spider.
Five-Eyed Toad [五眼蟾蜍]: A mythical toad, often associated with poisons, dark magic, or wealth in Chinese folklore. The “five eyes” imply heightened perception or a connection to the five elements.
Hēi Dú [黑毒]: Literally “Black Poison.” One of Dà Láng’s daughters.
Hēi Wúcháng [黑无常]: “Black Impermanence.” One of the two Heibai Wuchang, deities in Chinese folk religion responsible for escorting spirits of the dead to the underworld. Often depicted in black robes.
Huī Dú [灰毒]: Literally “Grey Poison.” One of Dà Láng’s daughters.
Jade Empress [玉皇]: Often refers to the Jade Emperor (玉皇大帝, Yù Huáng Dà Dì), a supreme deity in Chinese folk religion and Taoism. Here, potentially gender-bent or a specific title.
Jade Gate [玉门]: Yumen, a historical frontier pass in Gansu province, China, marking an entrance to the Western Regions on the Silk Road. Symbolically, a gateway or border.
Jade Scepter / Jade Order [碧玉令 / 玉令]: A symbol of authority or imperial decree, made of precious jade.
Jǐzhōng [脊中]: “Center of the Spine.” An acupressure point on the spine, considered a vital point.
Jinyiwei [锦衣卫]: “Brocade-Clad Guard.” Imperial secret police and bodyguards during the Ming Dynasty in China, known for their power and often feared.
Kowtow [叩首]: The act of deep respect shown by kneeling and bowing so low as to touch one’s head to the ground.
Lán Dú [蓝毒]: Literally “Blue Poison.” One of Dà Láng’s daughters.
Leviathan [利维坦]: A biblical sea monster, here used by Bǎ Xī Lā to invoke a sense of monstrous, chaotic power.
Lǐguān [礼官]: “Officials of Rites.” Court officials responsible for ceremonies, protocol, and rituals.
Mandate of Heaven [天命]: An ancient Chinese political and religious doctrine used to justify the rule of the Emperor. Heaven grants the emperor the right to rule, but this mandate can be lost if the ruler becomes unjust or ineffective.
Mìngmén [命门]: “Gate of Life.” A crucial acupressure point on the lower back, considered a vital center of Qi.
Nestorian [景教]: An early branch of Christianity that spread along the Silk Road and reached China (where it was known as Jǐngjiào, 景教).
Nine Tripods [九鼎]: Legendary bronze cauldrons said to have been cast by Yu the Great of the Xia dynasty, symbolizing the sovereignty and unity of ancient China. Possessing them signified legitimate rule.
Paper Effigies [纸马 / 人像]: Paper representations of objects (like horses, servants, money) burned as offerings to the dead in traditional Chinese funerary rites, believed to provide for the deceased in the afterlife.
Phoenix [凤]: A mythical bird in Chinese mythology, symbolizing virtue, grace, and often associated with the Empress or auspicious occasions.
Qi [炁]: “Vital energy,” “life force,” or “spiritual breath.” A fundamental concept in Chinese philosophy, medicine, and martial arts, believed to flow through all living things. Its destruction can lead to death or a zombie-like state.
Ren Meridian [任脉]: The “Conception Vessel,” one of the extraordinary meridians in traditional Chinese medicine, running along the front midline of the body.
Sàtǔn [萨吞]: Eldest daughter to the late Empress, her name might be a transliteration or a chosen powerful-sounding name.
Spirit Tablet [灵位]: A plaque inscribed with the name of a deceased person, used in ancestral worship to house the spirit of the ancestor.
Tao [道]: “The Way” or “The Path.” A fundamental concept in Chinese philosophy, particularly Taoism, referring to the natural order of the universe, the underlying principle of existence.
Tiān Mǔ [天母]: Literally “Heavenly Mother” or “Sky Mother.” An elderly female general, the protagonist.
Tiān Yòu [天佑]: Literally “Heaven’s Blessing” or “Protected by Heaven.” Tiān Mǔ’s son.
Tiě Gū [铁姑]: Literally “Iron Aunt.” Court official and Tiān Mǔ’s sister.
Tiě Líng [铁翎], Tiě Lián [铁链], Tiě Xuè [铁血], Tiě Yīng [铁英]: Daughters of Tiān Mǔ. Their names often incorporate “Tiě” (Iron) and another character: Líng (Feather/Plume), Lián (Chain), Xuè (Blood), Yīng (Eagle/Hero).
Wuxing [五行]: The Five Elements or Five Phases (Wood, Fire, Earth, Metal, Water). A conceptual scheme in traditional Chinese thought used to explain a wide array of phenomena, from cosmic cycles to interactions within the human body.
Xuánnǚ [玄女]: The “Mysterious Woman” or “Dark Woman.” A Chinese goddess of war, sex, and longevity, often credited with aiding historical figures in battle.
Xuè Shà Xīng [血煞星]: “Blood Fiend Star” or “Star of Baleful Blood.” A malevolent deity or astrological influence associated with bloodshed and disaster.
Yahweh [耶和华]: The Hebrew name for God in the Old Testament, used by Bǎ Xī Lā.
Yellow Springs [黄泉]: The Chinese mythological underworld or realm of the dead.
Yùshǐ [御史]: Censor or Imperial Inspector. High-ranking officials in imperial China responsible for investigating and impeaching other officials, maintaining discipline and protocol.
Zhanmadao [斩马刀]: “Horse-Chopping Saber.” A type of long, single-edged Chinese sword, often wielded with two hands, known for its power.
“我本应是你的亚当，但我更像是堕落的天使” —— 玛丽·雪莱（1818） “I ought to be thy Adam, but I am rather the fallen angel.” — Mary Shelley (1818)
剧中人物 –Dramatis Personae
贝尔曼德罗 – 比阿特丽斯之父。
VERMANDERO, father to Beatrice.
托马佐·德·皮拉奎奥 – 贵族领主
TOMAZO de Piracquo, noble lord.
阿隆索·德·皮拉奎奥 – 托马佐之弟，比阿特丽斯的求婚者。
ALONZO de Piracquo, his brother, suitor to Beatrice.
阿尔塞梅罗 – 贵族，后与比阿特丽斯成婚。
ALSEMERO, nobleman, afterwards married to Beatrice.
贾斯珀里诺 – 阿尔塞梅罗之友
JASPERINO, his friend.
弗拉维奥·菲勒蒙 – 不幸的丈夫。
FLAVIO Philemon, hapless husband.
弗朗西斯科斯 – 电击疗法受试者。
FRANCISCUS, subject of electroshock therapy.
德·弗洛雷斯 – 贝尔曼德罗之仆。
DE FLORES, servant to Vermandero.
阿尔塞梅罗的两名仆人
TWOSERVANTS to Alsemero.
贝尔曼德罗的一名仆人
SERVANT to Vermandero.
弗兰肯斯坦夫人 – 疯狂的科学家。
LADY FRANKENSTEIN, mad scientist.
比阿特丽斯 【乔安娜】 – 贝尔曼德罗之女。
BEATRICE [Joanna], daughter to Vermandero.
狄凡塔 – 比阿特丽斯的侍女。
DIAPHANTA, her waiting woman.
泰坦妮亚 – 一位极度疯狂的妻子
TITANIA, extremely deranged wife.
场景：西班牙阿利坎特
SETTING: Alicant, Spain
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序幕 PROLOGUE [黑暗。风中传来窃窃私语。] [Darkness. Whispers carry on the wind.]
弗兰肯斯坦夫人： 我知道你在看着我。我知道你在哪里。 LADY FRANKENSTEIN: I know you are watching me. I know where you are.
提塔妮娅： 当然。你是个迷人的生物。我想了解更多。 TITANIA: Of course. You are a fascinating creature. I wish to know more.
弗兰肯斯坦夫人： 从绝望的尖叫声里，能学到很多。 LADY FRANKENSTEIN: Much can be learned from the screams of despair.
提塔妮娅： 用三个字形容你的生活。 TITANIA: Describe your life in three words.
弗兰肯斯坦夫人： 无尽的折磨。 LADY FRANKENSTEIN: Endless, agonizing torment.
[同下。] [Exeunt together.]
)(*)(
第一幕，第一场 [Act 1, Scene 1]
[阿尔塞梅罗走进一条城市街道。Alsemero walks down a city street.]
阿尔塞梅罗： 我初次见到她，是在圣堂之中；如今再见，依然是在此地。这预兆着什么？除了幻象，一无所有。为什么我的希望与命运要如此胆怯？这地方是神圣的，我的意图亦然。ALSEMERO: It was in the temple where I first beheld her, and now again the same, what omen yet follows of that? None but imaginary, why should my hopes or fate be timorous? The place is holy, so is my intent.
阿尔塞梅罗： 我以神圣之志爱慕她的美貌，这或许堪比人类最初的创世：在蒙福之地，回归其真正的家园。教会在我们初见时拉开了序幕，也必将在此处将我们合而为一；如此，此地既是开端，亦是圆满。ALSEMERO: I love her beauties to the holy purpose, and that perhaps admits comparison with man’s first creation, the place blessed and is his right home back. The church has first begun our interview and that’s the place must join us into one, so there’s beginning and perfection too.
[贾斯珀里诺上。Jasperino enters.]
贾斯珀里诺： 噢，先生，您在这儿？来吧，顺风正送您启程，您本该有一段快捷而愉快的航程。JASPERINO: O Sir, are you here? Come, the wind’s fair with you, you are like to have a swift and pleasant passage.
阿尔塞梅罗： 朋友，你肯定搞错了，这与我最好的判断背道而驰。ALSEMERO: Sure you are deceived friend, it is contrary to my best judgement.
贾斯珀里诺： 什么，不去马耳他了？即便你能从女巫那儿买来狂风，她们开出的价码也绝比不上这份上天
赐予的好运。JASPERINO: What for Malta? If you could buy a gale among the Witches, they could not serve you such a lucky pennyworth as comes with God’s name.
阿尔塞梅罗： 就在刚才，我观察到圣堂的风向标正对着我的脸转动，我知道，风向是对我不利的。ALSEMERO: Even now I observed the temple’s vane to turn full in my face, I know it is against me.
贾斯珀里诺： 难道您身体不适，先生？ JASPERINO: Are you not well, sir?
阿尔塞梅罗： 不适？是的，贾斯珀里诺！除非我内心潜伏着某种连我自己都不了解的隐疾。 ALSEMERO: Yes? Yes, Jasperino! Unless there be some hidden malady within me, that I understand not.
贾斯珀里诺： 对此我也开始怀疑了，先生。我从未见过您的旅行志向会因任何缘故而停滞，直到现在。在陆地上，您总是唤起仆从，帮着给马匹套上马具以求神速。在海上，我见您与水手一同起锚，唯恐失去那一丝先头的微风。您总是在祈求顺风，难道您现在改变了祈祷的对象？ JASPERINO: And that I begin to doubt sir, I never knew your inclinations to travels at a pause with any cause to hinder it until now. Ashore you were wont to call your servants up, and help to trap your Horses for the speed. At sea I have seen you weigh the anchor with them, hoist sails for fear to lose the foremost breath, be in continual prayers for fair winds, and have you changed your orisons?
阿尔塞梅罗： 不，朋友，我守着同一座教堂，同样的虔诚。 ALSEMERO: No, friend, I keep the same church, same devotion.
贾斯珀里诺： 我敢肯定您绝非坠入爱河。很久以前我就发现您骨子里是个斯多葛派禁欲主义者。您的母亲和挚友们曾设下各种美的圈套，而且都是上等之选，却从未能以此困住您。这究竟是为什么？ JASPERINO: Lover I’m sure you have none, the Stoic was found in you long ago, your mother nor best friends, who have set snares of beauty, ay and choice ones too, could never trap you that way what might be the cause?
阿尔塞梅罗： 天哪，你何必如此激进；我不过是在沉思刚才在圣堂里听到的只言片语。 ALSEMERO: Lord, how violent you are; I was but meditating of somewhat I heard within the temple.
贾斯珀里诺： 这算激进吗？比起您昨天的急促，这简直是无所事事。 JASPERINO: Is this violence? it is but idleness compared with your haste yesterday.
阿尔塞梅罗： 我这不是一直都在走着嘛，伙计。 ALSEMERO: I’m all this while a-going, man.
[仆人甲、乙上。1 & 2 Servants enter.]
贾斯珀里诺： 我看是往后走吧，先生。瞧您的仆人们。 JASPERINO: Backwards, I think, sir. Look your servants.
仆人甲： 海员们在呼唤了，我们要把您的箱子搬上船吗？ 1 SERVANT: The seamen call, shall we board with your trunks?
阿尔塞梅罗： 不，今天不搬。 ALSEMERO: No, not today.
贾斯珀里诺： 看来今天是个关键的日子，而星象正落在宝瓶座。 JASPERINO: It is the critical day, it seems, and the sign in Aquarius.
仆人乙： 今天我们绝不能出海，这场烟雾必将引来烈火。 2 SERVANT: We must not to sea today, this smoke will bring forth fire.
[仆人甲、乙随比阿特丽斯与狄凡塔上。1 & 2 Servants exit as Beatrice and Diaphanta enter.]
贾斯珀里诺： 瞧瞧！这波斯人的法律想必是改了，他竟然去向女人致意，甚至还亲吻。不可思议！他在哪儿学到这一手的？而且做得如此完美；在我看来，他以前绝没排练过。不，继续，这消息传回巴伦西亚，准比他从亚美尼亚人手里赎回半座阿拉拉特山还要新奇、还要震撼。 JASPERINO: How now! The Laws of the Medes are changed sure, salute a woman, he kisses too. Wonderful? Where learn he this? and does it perfectly too; in my conscience he never rehearsed it before. No, go on, this will be stranger and better news at Valencia, than if he had ransomed half Mount Ararat from the Armenians.
比阿特丽斯： 您是个学者，先生。 BEATRICE: You are a scholar, sir.
阿尔塞梅罗： 才疏学浅，小姐。 ALSEMERO: A weak one, lady.
比阿特丽斯： 那您所谈论的这门“恋爱”，属于哪一类科学？ BEATRICE: Which of the sciences is this love you speak of?
阿尔塞梅罗： 从您的口中听来，我认为那是音乐。 ALSEMERO: From your tongue I take it to be music.
比阿特丽斯： 您对此颇有造诣，一见之下便能随谱歌唱。 BEATRICE: You are skilful in it, and can sing at first sight.
阿尔塞梅罗： 我已经一下子展现了全部的技巧。我词穷了，无法更深地表达自己。只好被迫重复：我深爱着您。 ALSEMERO: And I have showed you all my skill at once. I want more words to express me further. And must be forced to repetition. I love you dearly.
比阿特丽斯： 还请三思，先生。我们的眼睛是判断力的哨兵，应当对所见之物给出确凿的判断；但它们有时过于鲁莽，把寻常事物传达得如奇迹一般；而当我们的判断力察觉真相时，便会反过来指责眼睛，称它们为盲目。 BEATRICE: Be better advised, sir. Our eyes are Sentinels unto our judgements, and should give certain judgement what they see; but they are rash sometimes, and tell us wonders of common things, which when our judgements find, they can then check the eyes, and call them blind.
阿尔塞梅罗： 但我已更进了一步，小姐；昨日我的眼睛负责观察，今日它们带来了我的判断，而两者已达成共识。既然“两院”都已同意，此议便已定下，唯独缺少“王室”的御准——小姐，那便是您的旨意了。 ALSEMERO: But I am further, lady; yesterday was mine eye’s employment, and here now they brought my judgement, where are both agreed. Both Houses then consenting, it is agreed, only there wants the confirmation by the hand Royal, that’s your part, Lady.
比阿特丽斯： （旁白）噢，我上头还有一个人，先生，那是五天前无法撤回的决定；想必是我的眼睛看错了，这才是注定给我的男人，他来得如此接近，却终究错过了时机。 BEATRICE: (Aside) Oh there’s one above me, sir, for five days past to be recalled; sure, mine eyes were mistaken, this was the man was meant me, that he should come so near his time, and miss it.
贾斯珀里诺： 我们要是从巴伦西亚坐马车来就好了，我看还能省下不少海上口粮。既然到了这儿，我也得出点力，我本想在这趟航程中当个探险家。那边还有另一艘“船”，我要上船看看，如果她是合法的猎物，那就降下她的顶帆。 JASPERINO: We might have come by the carriers from Valencia, I see and saved all our sea-provision. we are at farthest sure, perhaps I should do something too, I meant to be a venturer in this voyage. Yonder’s another vessel, I’ll board her, if she be lawful prize, down goes her topsail.
[德·弗洛雷斯上。DE FLORES enters.]
德·弗洛雷斯： 小姐，您的父亲来了。 DE FLORES: Lady, your father.
比阿特丽斯： 我希望他身体康健。 BEATRICE: Is in health, I hope.
德·弗洛雷斯： 您的眼睛马上就会告诉您，小姐。他正往这边走来。 DE FLORES: Your eye shall instantly instruct you, Lady. He’s coming hitherward.
比阿特丽斯： 那何必还要你那多礼的开场白？我倒宁愿他是不期而至，你偏要用这些没用的废话来摆出一副尽职的臭架子。至于你有多受欢迎，我想你自己心里清楚。 BEATRICE: What needed then your duteous preface? I had rather he had come unexpected, you must stall a good presence with unnecessary blabbing. And how welcome for your part you are, I’m sure you know.
德·弗洛雷斯： （旁白）难道这种轻蔑永远没个完吗？难道非得让我一边被禁止跟随，一边又忍不住追逐她？好吧，命运尽管使坏吧，只要有机会我就要盯着她看，哪怕只是为了气她。我知道她恨不得我死，可她自己也说不出个缘由，全凭那股执拗的性子。 DE FLORES: Will never mend this scorn one side nor other? Must I be forbid to follow still whilst she flies from me? Well, fates do your worst, I’ll please myself with sight of her, at all opportunities, if but to spite her anger, I know she had rather see me dead than living, and yet she knows no cause for it, but a peevish will.
阿尔塞梅罗： 小姐，您看起来突然有些不悦。 ALSEMERO: You seemed displeased Lady on the sudden.
比阿特丽斯： 请原谅，先生，这是我的顽疾。我也说不出理由，正如有些人天生厌恶某种东西，必须像躲避致命毒药一样避开它，而对其他千万人来说那却是无害的。在那个人身上，我的眼睛看到的正是传说中的毒蜥。 BEATRICE: Your pardon sir, it is my infirmity, nor can I other reason render you, than his or hers, or some particular thing they must abandon as a deadly poison, which to a thousand other tastes were wholesome, such to mine eyes is that same fellow there, the same that report speaks of the basilisk.
阿尔塞梅罗： 这是人性中常见的弱点，千人之中难寻一个完人，谁都有点缺陷。有人闻不得玫瑰香，而那对大众来说却是芳香宜人的。有人怕油，那本是毒药的克星；有人怕酒，那本是悦人身心、焕发容光的妙品。这种毛病其实很普遍，几乎没有什么东西不是既被人爱又被人恨的。我本人也有同样的怪癖。 ALSEMERO: This is a frequent frailty in our nature, there’s scarce a man among a thousand sound, but has his imperfection. One distastes the scent of roses, which to infinites most pleasing is, and odoriferous. One oil, the enemy of poison, another wine, the cheerer of the heart, and lively refresher of the countenance. indeed this fault is general, there’s scarce a thing but is both loved and loathed, myself have the same frailty.
比阿特丽斯： 那么您的“毒药”是什么呢，先生？恕我冒昧。 BEATRICE: And what may be your poison sir? I am bold with you.
阿尔塞梅罗： 那或许就是您的心头好，比如一颗樱桃？ ALSEMERO: And what might be your desire perhaps, a cherry?
比阿特丽斯： 记忆所及，我不仇视任何生灵，除了那边那位绅士。 BEATRICE: I am no enemy to any creature my memory has, but yonder gentleman.
阿尔塞梅罗： 他若知道的话，就不该来试探您的视线。 ALSEMERO: He does ill to tempt your sight, if he knew it.
比阿特丽斯： 他不可能不知道，先生，我不止一次这样告诉他。我真想躲开，可他在我父亲面前颇受尊重，总跟着他。 BEATRICE: He cannot be ignorant of that sir, I have not spared to tell him so, and I want to help myself, since he’s a gentleman in good respect with my father, and follows him.
阿尔塞梅罗： 那他现在可站错地方了。 ALSEMERO: He’s out of his place then now.
贾斯珀里诺： 我可是个疯狂的浪子，姑娘。 JASPERINO: I am a mad wag, wench.
狄凡塔： 也许吧。不过为了宽你的心，我可以告诉你，城里有个医生专门治这种病。 DIAPHANTA: So, perhaps, but for your comfort I can tell you, we have a doctor in the city that undertakes the cure of such.
贾斯珀里诺： 呸，呸，我最清楚什么样的泻药最适合我这身体。 JASPERINO: Pish posh, I know what purgative is best for the state of mine own body.
狄凡塔： 我看那绝不是个治理有方的身体。 DIAPHANTA: It is scarce a well governed state, I believe.
贾斯珀里诺： 我可以给你看个成分，咱俩一起调配，要是两小时内降不下这城里最狂躁的火气，我再也不吃单方的泻药了。 JASPERINO: I could show you such a thing with an ingredient that we two would compound together, and if it did not tame the maddest blood in the town for two hours after, I’ll never accept a single purgative again.
狄凡塔： 来点罂粟吧，先生，好让你睡个觉。 DIAPHANTA: A little poppy, sir, were good to cause you sleep.
贾斯珀里诺： 罂粟？我先往你唇上“扑”一个吻，就从那儿开始。罂粟的确是一味药，布谷鸟又是一味。我现在不多说了，下次都显给你看。 JASPERINO: Poppy; I’ll give you a pop in the lips for that first, and begin there. Poppy is one simple indeed, and cuckoo another. I’ll discover no more now, another time I’ll show you all.
比阿特丽斯： 我父亲来了，先生。 BEATRICE: My father, sir.
[贝尔曼德罗及随从上。Vermandero and Servants enter.]
贝尔曼德罗： 噢，乔安娜，我来接你，你的祷告结束了。 VERMANDERO: Oh, Joanna, I came to meet you, your devotion’s ended.
比阿特丽斯： 这次恐怕我要换个“圣徒”供奉了，先生，我觉得头晕目眩。先生，刚才多亏这位绅士陪我，他放着自己的路不走来陪我聊天，言谈间他非常渴望见识见识您的城堡。这是他应得的待遇，先生，如果您愿意准许的话。 BEATRICE: For this time, sir, I shall change my saint, I fear me, I find a giddy turning in me; sir, this while I am beholding to this gentleman who left his own way to keep me company, and in discourse I find him much desirous to see your castle. He has deserved it, sir, if you please to grant it.
贝尔曼德罗： 衷心欢迎，先生。不过在此之前我得照章办事，我必须知道您的家乡。我们一般不让陌生人察看我们的要塞，我们的堡垒建在显眼的山岬之巅，人人都看得见，但内部却藏着秘密。 VERMANDERO: With all my heart, sir. Yet there’s an article between, I must know your country; we use not to give survey of our chief strengths to strangers, our citadels are placed conspicuous to outward view, on Promonts’ tops; but within are secrets.
阿尔塞梅罗： 巴伦西亚人，先生。 ALSEMERO: Valencian, sir.
贝尔曼德罗： 巴伦西亚人，那是老乡了，先生。请问贵姓？ VERMANDERO: A Valencian, that’s native, sir; of what name, I beseech you?
阿尔塞梅罗： 阿尔塞梅罗，先生。 ALSEMERO: Alsemero, sir.
贝尔曼德罗： 阿尔塞梅罗；莫非是约翰·德·阿尔塞梅罗之子？ VERMANDERO: Alsemero; not the son of John de Alsemero?
阿尔塞梅罗： 正是，先生。 ALSEMERO: The same, sir.
贝尔曼德罗： 那我要拿出我最大的热情欢迎你。 VERMANDERO: My best love bids you welcome.
比阿特丽斯： （旁白）他以前总这么叫我，而这回他说的是最真切不过的实话了。 BEATRICE: He was wont to call me so, and then he speaks a most unfeigned truth.
贝尔曼德罗： 噢，先生，我认识你父亲，早在我们的下巴还没长出绒毛前我们就相识了，交情一直持续到时光把我们的头发染成银色。唉，他走了，走了一位好军人。 VERMANDERO: Oh sir, I knew your father, we two were in acquaintance long ago before our chins were worth Iulan Down, and so continued until the stamp of time had coined us into silver. Well, he’s gone, a good soldier went with him.
阿尔塞梅罗： 在这一点上，您与他志同道合。 ALSEMERO: You went together in that, sir.
贝尔曼德罗： 不，对着圣雅各起誓，我比他逊色。不过我也算尽了点力。在那不走运的一天，他在直布罗陀与那些叛逆的荷兰人交战时牺牲了，是不是？ VERMANDERO: No by Saint Jaques, I came behind him. Yet I have done somewhat too, an unhappy day swallowed him at last at Gibralter in fight with those rebellious Hollanders, was it not so?
阿尔塞梅罗： 若不是后来的停战协议拦住了我，我本该为他报仇，或随他而去。 ALSEMERO: Whose death I had revenged, or followed him in fate, had not the late league prevented me.
贝尔曼德罗： 是啊，是该喘口气了。噢，乔安娜，我本该告诉你个消息，我最近见过皮拉奎奥。 VERMANDERO: Ay, ay, itwas time to breathe. Oh Joanna, I should have told you news, I saw Piracquo lately.
比阿特丽斯： 那是坏消息。 BEATRICE: That’s ill news.
贝尔曼德罗： 他正热火朝天地准备大典呢，这一周内你就得做新娘。 VERMANDERO: He’s hot preparing for this day of triumph, you must be a Bride within this seven-night.
阿尔塞梅罗： 哈？ ALSEMERO: Ha?
比阿特丽斯： 不，好先生，别这么急。我还没能好好告别我灵魂的挚友——童贞。我与它相伴这么久，如此粗暴仓促地分离，老友一别永不相见，难道不该有个庄重的告别吗？ BEATRICE: No good sir, be not so violent, with speed I cannot render satisfaction unto the dear companion of my soul, virginity, whom I thus long have lived with, and part with it so rude and suddenly, can such friends divide never to meet again, without a solemn farewell?
贝尔曼德罗： 胡说，胡说，那是小孩子脾气。 VERMANDERO: Tush, tush, there’s a toy.
阿尔塞梅罗： （旁白）我也必须离开了，人间再无欢乐可言；先生，请包涵，我公务在身。 ALSEMERO: I must now part, and never meet again with any joy on earth; sir, your pardon, my affairs call on me.
贝尔曼德罗： 怎么，先生？那可不行，我希望你别这么快变卦。你在走之前非得看看我的城堡，接受她最好的招待，不然我会觉得自己失礼了。来吧，走，我还指望你在阿利坎特多待一阵儿呢，我本来还想请你参加我女儿的婚礼。 VERMANDERO: How sir? By no means, not changed so soon, I hope, you must see my castle, and her best entertainment ere we part, I shall think myself unkindly used else. Come, come, let’s on, I had good hope your stay had been a while with us in Alicant; I might have bid you to my daughter’s wedding.
阿尔塞梅罗： （旁白）他想设宴款待我，却是先给我灌了毒药。先生，如果时间允许，我当然非常乐意。 ALSEMERO: He means to feast me, and poisons me beforehand, I should be dearly glad to be there, sir, did my occasions suit as I could wish.
比阿特丽斯： 事情办完时如果您不在场，我会很遗憾的，先生，但别这么突然。 BEATRICE: I shall be sorry if you be not there when it is done sir, but not so suddenly.
贝尔曼德罗： 我告诉你，先生，那位绅士出类拔萃，既是廷臣又是勇士，才华横溢、品德高尚。哪怕全西班牙最显赫的人摆在我面前，我也不换这个女婿。咱们这儿可是有不少大人物，这你是知道的。 VERMANDERO: I tell you, sir, the gentleman’s complete, a courtier and a gallant, enriched with many fair and noble ornaments, I would not change him for a son-in-law, for any he in Spain, the proudest he, and we have great ones, that you know.
阿尔塞梅罗： 那他欠您的人情可大了，先生。 ALSEMERO: He’s much bound to you, sir.
贝尔曼德罗： 他会跟我紧紧拴在一起的，只要这婚约奏效，否则我就白活了。 VERMANDERO: He shall be bound to me, as fast as this tie can hold him, I’ll want my will else.
比阿特丽斯： （旁白）要是你得逞了，我就要失去我的“意愿”了。 BEATRICE: I shall want mine if you do it.
贝尔曼德罗： 走，路上我再多跟你讲讲他的事儿。 VERMANDERO: But come, by the way, I’ll tell you more of him.
阿尔塞梅罗： （旁白）门外就是凶手，我怎敢进他的城堡？但我必须前行，因为已无退路。 ALSEMERO: How shall I dare to venture in his castle, when he discharges murderers at the gate? But I must on, for back I cannot go.
比阿特丽斯： （看向德·弗洛雷斯）这条蛇还没走吗？ BEATRICE: Not this serpent gone yet?
贝尔曼德罗： 瞧，孩子，你的手套掉了。等等，等等。德·弗洛雷斯，帮个忙。 VERMANDERO: Look girl, your glove’s fallen, stay, stay. De Flores help a little.
比阿特丽斯： 真倒霉，你这多管闲事的机灵劲儿！谁让你弯腰了？我的手再也不会碰它们了。这只也给你吧，为了配上那一只，拿走它们，连同你自己的皮一起扒下来吧！[下。] BEATRICE: Mischief on your officious forwardness, who bade you stoop? They touch my hand no more. There, for the other’s sake I part with this, take them and draw thine own skin off with them. [Exits.]
德·弗洛雷斯： 这是送上门的恩赐啊，虽然带着诅咒。现在我知道了，她宁愿把我的皮剥下来做成跳舞的便鞋，也不愿让我这根手指——[下流地动了动手指]——伸进她的指套里。我知道她恨我，可我忍不住爱她。没关系，哪怕只是为了烦她，我也要一直缠着她，就算得不到别的，我也要遂了我的愿。[下。] DEFLORES: Here’s a favor come; with a mischief. Now I know she had rather wear my pelt tanned in a pair of dancing pumps, than I should thrust my fingers—[Waggles finger lewdly]—into her sockets here I know she hates me, yet cannot choose but love her. No matter, if but to vex her, I’ll haunt her still, though I get nothing else, I’ll have my will. [Exits.]
)(*)(
第一幕 第二场 Act I, Scene II [另一个空间。环境冰冷，却又令人感到压抑。蒂塔尼亚处于一种高度兴奋、精神恍惚的状态。] [Another space. The atmosphere is cold, yet oppressive. Titania is in a state of high excitement and trance-like delirium.]
蒂塔尼亚：我知道你在看着我。我感觉你的目光，像湿漉漉的手指一样抚摸着我……抚摸着我身体的特殊部位。我湿透了，受不了。我感觉自己……敞开了。你知道什么是羞耻吗？当你感觉到自己的欲望像一个活物一样，在没有勇气的情况下独自运作？一场梦幻般的舞蹈？暴露我吧，主人。消失了，消失了。让我像你的眼球在眼眶里一样扭动。你知道我没有勇气的时候有多么多汁吗？想看吗？你想看我扭动身体吗？我身体深处有一个骚动开关。带走我吧，爸爸，求你了。我是一颗舌尖炸弹。我是来自金星的生命。我知道如何让它火热起来。快乐会让你短路。我可以让你变成一个欲望的空壳。我是你的春梦，还是一个全新的我？有人伤害了我。慢慢来。 TITANIA: I know you are watching me. I feel your gaze, stroking me like damp fingers… stroking the private parts of my body. I am drenched; I cannot bear it. I feel myself… opened. Do you know what shame is? When you feel your desire acting alone, like a living thing, devoid of courage? A phantasmal dance? Expose me, Master. Gone, gone. Let me writhe like your eyeballs within their sockets. Do you know how succulent I am when I lack courage? Do you wish to see? Do you wish to watch me writhe? There is a switch of agitation deep within my body. Take me away, Papa, I beg of you. I am a bombshell on the tip of the tongue. I am life from Venus. I know how to make it burn. Pleasure will short-circuit you. I can turn you into a hollow shell of desire. Am I your fever dream, or a brand new me? Someone hurt me. Take it slow.
弗拉维奥：[喊道，声音嘶哑。]是你吗，弗兰肯斯坦医生？我是弗拉维奥·菲莱蒙。我们需要谈谈我的妻子。 FLAVIO: [Shouting, his voice hoarse.] Is that you, Dr. Frankenstein? I am Flavio Philemon. We need to speak of my wife.
弗兰肯斯坦夫人：当然，菲莱蒙先生。我能为您做些什么？ LADY FRANKENSTEIN: Of course, Mr. Philemon. What can I do for you?
弗拉维奥：我的妻子……又犯病了。 FLAVIO: My wife… she is unwell again.
弗兰肯斯坦夫人：我担心可能会再次发作。 LADY FRANKENSTEIN: I feared there might be a recurrence.
弗拉维奥：但这次更糟。她完全陷入了疯狂。她需要镇静剂。 FLAVIO: But it is worse this time. She has succumbed entirely to madness. She requires a sedative.
弗兰肯斯坦夫人：菲莱蒙先生，如果你想让你的妻子重新获得快乐，你必须学会说‘好’。 LADY FRANKENSTEIN: Mr. Philemon, if you wish for your wife to regain her joy, you must learn to say “yes.”
弗拉维奥：但上次她……她差点没活下来。还有丑闻。我再也受不了再来一次了。 FLAVIO: But last time she… she barely survived. And the scandal. I cannot endure another such ordeal.
弗兰肯斯坦夫人：也许我应该给你开点镇静剂？ LADY FRANKENSTEIN: Perhaps I should prescribe a sedative for you?
弗拉维奥：等等，女士。 FLAVIO: Wait, Madam.
蒂塔尼亚：[听到他们的对话，语无伦次。]那个男人觉得我一文不值。与此同时，只要看我一眼，所有的混混都会流口水。想摸摸吗，伙计？等等，等等，我能听到她的声音。我发誓我能感觉到她从隔壁房间传来的那股热乎气。 TITANIA: [Hearing their conversation, incoherent.] That man thinks I am worthless. Meanwhile, with but a single glance at me, all the ruffians drool. Want a touch, fellow? Wait, wait, I can hear her voice. I swear I can feel that heat of hers radiating from the next room.
弗兰肯斯坦夫人：冷静点。好好想想。她达到高潮多少次了？ LADY FRANKENSTEIN: Calm yourself. Think carefully. How many times has she reached orgasm?
弗拉维奥：如果你说的是高潮次数，我的手指都数不过来了。 FLAVIO: If you speak of the number of climaxes, I have not fingers enough to count them.
弗兰肯斯坦夫人：是阴蒂型，还是阴道型？ LADY FRANKENSTEIN: Was it clitoral, or vaginal?
弗拉维奥：我不知道。 FLAVIO: I do not know.
弗兰肯斯坦夫人：一次还是多次？ LADY FRANKENSTEIN: Single or multiple?
弗拉维奥：我不知道！该死，我现在处境艰难！ FLAVIO: I don’t know! Damn it, I am in a difficult position!
弗兰肯斯坦夫人：这很重要。她高潮了一次还是多次？ LADY FRANKENSTEIN: This is important. Did she climax once, or many times?
弗拉维奥：我说我不知道！ FLAVIO: I said I don’t know!
蒂塔尼亚：我知道我并不孤单。那些男人啃我的骨头。他们闻自己的手指。他们嚎叫。 TITANIA: I know I am not alone. Those men gnaw upon my bones. They smell their own fingers. They howl.
弗拉维奥：看在上帝的份上，她疯了。医生，都是你害的。 FLAVIO: For God’s sake, she is mad. Doctor, this is your doing.
蒂塔尼亚：他们把东西塞进我的路易威登手提箱里。趁你睡觉的时候，他们给你注射东西。性欲管制队。他们在管制。你以为你睡着了，其实没有。 TITANIA: They stuff things into my Louis Vuitton suitcase. They inject you with things while you sleep. The Libido Control Squad. They are in control. You think you are asleep, but you are not.
弗拉维奥：[对蒂塔尼亚，试图让她平静下来]亲爱的，冷静下来。 FLAVIO: [To Titania, attempting to soothe her] My dear, calm yourself.
蒂塔尼亚：蛇脸先生，猪鼻子先生，别跟我装温柔。你想要的是我的私处。 TITANIA: Mr. Snake-face, Mr. Pig-nose, do not feign tenderness with me. It is my private parts you desire.
弗拉维奥：宝贝，我们现在有点复发了。别担心，一切都会好起来的。 FLAVIO: Darling, we are having a bit of a relapse. Do not worry, all will be well.
蒂塔尼亚：我看到那张脸，我就变成了一个荡妇，嗯哼。你这个混蛋。你这个可爱又可恶的混蛋。 TITANIA: When I see that face, I turn into a slut, mm-hmm. You bastard. You lovely, loathsome bastard.
弗拉维奥：[对弗兰肯斯坦夫人]天哪，我妻子好像性欲发作了。 FLAVIO: Heavens, it seems my wife is having an erotomanic fit.
弗兰肯斯坦夫人：从所有迹象来看，你妻子的病情已经完全缓解了。是某些事情刺激了她。 LADY FRANKENSTEIN: By all indications, your wife’s condition was in full remission. Something has triggered her.
弗拉维奥：哦，你不会以为是我…… FLAVIO: Oh, you surely don’t think it was I…
艾莉克莎贝蒂：[幕内，突然尖叫]猪鼻子！猪鼻子！猪鼻子！ Alexabetti: [From within, a sudden scream] Pig-nose! Pig-nose! Pig-nose!
弗拉维奥：我们非得在她面前谈论这些吗？ FLAVIO: Must we discuss these matters in front of her?
弗兰肯斯坦夫人：艾莉克莎贝蒂小姐？她目前正在接受大剂量镇静剂治疗创伤后应激障碍。她比你坐的那把
椅子还要没有意识。 LADY FRANKENSTEIN: Miss Alexabetti? She is currently under heavy sedation for PTSD. She has less consciousness than the chair you are sitting upon.
弗拉维奥：好吧，我想看看蒂塔尼亚的档案。 FLAVIO: Very well, I wish to see Titania’s file.
弗兰肯斯坦夫人：那不可能。 LADY FRANKENSTEIN: That is impossible.
弗拉维奥：如果你要设置这么多障碍…… FLAVIO: If you are going to place so many obstacles…
弗兰肯斯坦夫人：你妻子的档案已经被销毁了。是我销毁的。 LADY FRANKENSTEIN: Your wife’s file has been destroyed. I destroyed it myself.
弗拉维奥：太好了。我该怎么跟蓝十字保险公司解释？你有没有告诉你妻子你销毁了她的档案？ FLAVIO: Splendid. How am I to explain this to Blue Cross Insurance? Have you told your wife that you destroyed her records?
弗兰肯斯坦夫人：我和菲莱蒙夫人一致认为这样做是必要的。 LADY FRANKENSTEIN: Mrs. Philemon and I were in agreement that this was necessary.
弗拉维奥：我应该被告知这件事。 FLAVIO: I ought to have been informed.
弗兰肯斯坦夫人：为什么？你以为你能理解吗？ LADY FRANKENSTEIN: Why? Do you imagine you could comprehend it?
弗拉维奥：她是我的妻子。我有权知道。 FLAVIO: She is my wife. I have a right to know.
弗兰肯斯坦夫人：好吧，既然你坚持：性创伤。你和一个精神严重失常的女人生活在一起。 LADY FRANKENSTEIN: Very well, since you insist: sexual trauma. You are living with a severely deranged woman.
弗拉维奥：你是说，精神失常的女人还是精神错乱的疯子？ FLAVIO: Do you mean a deranged woman, or a stark-raving lunatic?
弗兰肯斯坦夫人：你妻子患有性欲障碍。 LADY FRANKENSTEIN: Your wife suffers from a libidinal disorder.
弗拉维奥：这下好了，说人话吧。 FLAVIO: There we have it—now speak in plain English.
弗兰肯斯坦夫人：她完全失控了。我的诊断是需要住两周精神病院。 LADY FRANKENSTEIN: She is completely out of control. My diagnosis is that she requires a two-week institutionalization.
弗拉维奥：两周？这有点太极端了吧。 FLAVIO: Two weeks? That seems a bit extreme.
弗兰肯斯坦夫人：如果你爱你的妻子，就把她交给我照顾。 LADY FRANKENSTEIN: If you love your wife, entrust her to my care.
弗拉维奥：看来我们已经尝试过你那套疗法了。 FLAVIO: It appears we have already sampled your brand of therapy.
弗兰肯斯坦夫人：有效吗？ LADY FRANKENSTEIN: Was it effective?
弗拉维奥：我承认你改变了她，但我不会为了让你今天拿到心理学博士学位而拿我妻子的健康冒险。 FLAVIO: I admit you have changed her, but I will not gamble with my wife’s health just so you can obtain your PhD in Psychology today.
弗兰肯斯坦夫人：我没时间听你胡言论。 LADY FRANKENSTEIN: I have no time for your nonsense.
艾莉克莎贝蒂：猪鼻子！ Alexabetti: Pig-nose!
蒂塔尼亚：[突然，清晰的旁白]小心你的神经末梢，亲爱的。 TITANIA: [Suddenly, a clear aside] Watch your nerve endings, darling.
弗兰肯斯坦夫人：恐怕艾莉克莎贝蒂小姐需要我全神贯注地照顾。所以，今晚晚些时候再见…… LADY FRANKENSTEIN: I fear Miss Alexabetti requires my undivided attention. Therefore, until later tonight…
弗拉维奥：等等，你！ FLAVIO: Wait, you!
弗兰肯斯坦夫人：我怎么知道？我是本地最著名的心理治疗师。查尔斯·达尔文？玛丽·居里？维克多·弗兰肯
斯坦博士？ LADY FRANKENSTEIN: How should I know? I am the most renowned psychotherapist in these parts. Charles Darwin? Marie Curie? Dr. Victor Frankenstein?
弗拉维奥：别跟我说这些。我知道你帮助过我的妻子，但你的一些方法…… FLAVIO: Do not give me that. I know you have helped my wife, but some of your methods…
弗兰肯斯坦夫人：哼，“非传统”？好吧，你的妻子本来就不是个循规蹈矩的人。她的自负。她的幻觉。她严重的性欲亢进症。 LADY FRANKENSTEIN: Hmph, “unconventional”? Well, your wife was never one for convention. Her ego. Her hallucinations. Her severe hypersexuality.
弗拉维奥：好了，我已经听够了。我只是不想你对蒂塔尼亚做任何极端的事情。 FLAVIO: Enough, I have heard quite enough. I simply do not want you doing anything extreme to Titania.
弗兰肯斯坦夫人：你十点钟会来这里。你会签署免责声明，然后把你的妻子交给我。 LADY FRANKENSTEIN: You will be here at ten o’clock. You will sign the waiver, and then you will surrender your wife to me.
弗拉维奥：我有选择吗？ FLAVIO: Do I have a choice?
)(*)(
[第二幕第一场。Act 2, Scene 1]
[比阿特丽斯与贾斯珀里诺分别从两边上。Beatrice and Jasperino enter severally.]
比阿特丽斯： 噢，先生，我已经准备好接受那高尚的服务了，它会让“朋友”之名在您身上闪耀光芒。愿天使与这番操守为您引路，时间与地点的安排都写在那儿了。 BEATRICE: Oh Sir, I’m ready now for that fine errand, which makes the name of friend sit glorious on you. Good Angels and this conduct be your guide, fitness of time and place is there set down, sir.
贾斯珀里诺： 我将带回的喜悦便是对我服务最好的奖赏。[下。] JASPERINO: The joy I shall return rewards my service. [Exits.]
比阿特丽斯： 阿尔塞梅罗能交到这样的朋友，真是明智。这说明他选择友人时极具眼光。那么，我选择了他，便是证明我眼光最好的体现；因为有一条准则：能选好一个分享思想的知己的人，在每一次选择中都会表现得最慎重。我想我现在是用“理智之眼”在恋爱。我看到了通往功绩之路，看得真真切切。真正的贤才正如钻石般闪耀，在黑暗中你也能看见他——即便是在分离时，那是落在爱情上最深的黑暗，但他那时反倒最容易被智慧之眼所辨识。那个我父亲费尽口舌推崇的皮拉奎奥又算什么？只有我重视他的名号，他的祝福才属于我，否则它就会背离我，变成诅咒。必须想个快捷的法子，他逼得太紧、太急了，简直不让我喘口气去享受新得的慰藉。 BEATRICE: How wise is Alsemero in his friend? It is a sign he makes his choice with judgement. Then I appear in nothing more approved, than making choice of him; for it is a Principle, He that can choose that bosom well, who of his thoughts partakes, proves most discreet in every choice he makes. I think I love now with the eyes of judgement. And see the way to merit, clearly see it. A true deserver like a Diamond sparkles, in darkness you may see him, that’s in absence, which is the greatest darkness falls on love, yet is he best discerned then with intellectual eyesight; what’s Piracquo my Father spends his breath for, and his blessing is only mine, as I regard his name, else it goes from me, and turns head against me, transformed into a curse; some speedy way must be remembered, he’s so forward too, so urgent that way, scarce allows me breath to speak to my new comforts.
[德·弗洛雷斯上。DE FLORES enters.]
德·弗洛雷斯： （旁白）她在那儿。不管我是中了什么邪，特别是最近，如果不看她一眼，我简直像被绞死了一样难受；一天二十来回，只多不少，我强找差事、编造借口，只为出现在她的视线里。我其实没什么理由这么做，更得不到鼓励；因为她总在羞辱我，一回比一回狠。她声称自己是城里最痛恨我这张脸的死对头，无论如何也受不了看见我，仿佛我的相貌里藏着危险或噩运。我得承认我这张脸确实够丑，但我知道更丑的人命却更好，不但没人嫌弃，反而被人溺爱。瞧瞧那些胡须稀疏、下巴像女巫的人，脸上这儿那儿攒着几根毛，像在角落里交头接耳，生怕长得比对方快；皱纹像水槽，猪一样的丑态就在里边吞食着背弃誓言的泪水，那是从卑劣阴森的眼里流出的脏水。可就这样的人也能肆无忌惮地品尝甜头，美人在怀；而我虽然命苦沦为奴仆，可投生到这世上时好歹也是个绅士。她现在正把她那蒙福的目光投向我，哪怕是狂风暴雨，我也要赖着不走。 DE FLORES: (Aside) Yonder’s she whatever ails me, now a-late especially, I can as well be hanged as refrain seeing her; some twenty times a day, no not so little, do I force errands, frame ways and excuses to come into her sight, and I have small reason for it, and less encouragement; for she baits me still every time worse than other, does profess herself the cruelest enemy to my face, in town, at no hand can abide the sight of me, as if danger, or ill luck hung in my looks. I must confess my face is bad enough, but I know far worse has better fortune, and not endured alone, but doted on, and yet such pickhaired faces, chins like Witches, here and there five hairs, whispering in a corner, as if they grew in fear one of another, wrinkles like troughs, where swine deformity swills the tears of perjury that lie there like wash, fallen from the slimy and dishonest eye, yet such a one plucked sweets without restraint, and has the grace of beauty to his sweet, though my hard fate has thrust me out to servitude, I tumbled into the world a gentleman. She turns her blessed eye upon me now, and I’ll endure all storms before I part with it.
比阿特丽斯： 又来了——这个阴魂不散、面目可憎的家伙，比我所有的烦心事儿都更让我心烦。 BEATRICE: Again — this ominous ill-faced fellow more disturbs me, than all my other passions.
德·弗洛雷斯： （旁白）又开始了。我就站在这冰雹阵里，随它砸个痛快。 DE FLORES: Now it begins again, I’ll stand this storm of hail though the stones pelt me.
比阿特丽斯： 你有什么事？到底什么事？ BEATRICE: Your business? What’s your business?
德·弗洛雷斯： 慢点儿，斯文点儿，我现在可不能走得这么快。 DE FLORES: Soft and fair, I cannot part so soon now.
比阿特丽斯： （旁白）这恶棍赖着不走了——（大声地）你这潭死水里的癞蛤蟆！ BEATRICE: (Aside) The villain’s fixed — (Aloud) You standing toad-pool.
德·弗洛雷斯： （旁白）这阵雨下得正猛呢。 DE FLORES: The shower falls amain now.
比阿特丽斯： 谁派你来的？你有什么差事？滚出我的视线。 BEATRICE: Who sent you? What’s your errand? leave my sight.
德·弗洛雷斯： 您的父亲大人命我来给您传个信。 DE FLORES: My Lord your father charged me to deliver a message to you.
比阿特丽斯： 什么？刚走又来一个？快说，然后滚一边吊死去，让我耳根清净。 BEATRICE: What another since, do it and be hanged then, let me be rid of you.
德·弗洛雷斯： 忠诚的服务应当换来仁慈。 DE FLORES: True service merits mercy.
比阿特丽斯： 你的信到底是什么？ BEATRICE: What’s your message?
德·弗洛雷斯： 请大美人儿先耐下心来，您自然会听到一切。 DE FLORES: Let beauty settle but in patience, you shall hear all.
比阿特丽斯： 真是个磨磨蹭蹭、琐碎至极的折磨鬼。 BEATRICE: A dallying trifling torment.
德·弗洛雷斯： 是阿隆索·德·皮拉奎奥大人，小姐。托马佐·德·皮拉奎奥唯一的亲兄弟。 DE FLORES: Signior Alonzo de Piracquo Lady, sole brother to Tomazo de Piracquo.
比阿特丽斯： 奴才，你什么时候才能说完？ BEATRICE: Slave, when wilt make an end?
德·弗洛雷斯： 快了，我这就说完。 DE FLORES: Too soon I shall.
比阿特丽斯： 磨蹭了这么半天，关于他到底怎么了？ BEATRICE: What all this while of him?
德·弗洛雷斯： 刚才提到的那位阿隆索，和刚才提到的那位托马佐—— DE FLORES: The said Alonzo, with the foresaid Tomazo.
比阿特丽斯： 又是这句！ BEATRICE: Yet again.
德·弗洛雷斯： ——刚下马进门。 DE FLORES: Is new alighted.
比阿特丽斯： 愿复仇女神击碎这个消息！你这最招人恨的东西，就为了这点事儿，值得你跑到我面前来吗？ BEATRICE: Vengeance strike the news, you thing most loathed, what cause was there in this to bring you to my sight?
德·弗洛雷斯： 您的父亲大人命我四处找您。 DE FLORES: My Lord your father charged me to seek you out.
比阿特丽斯： 难道就没有别人可以替他传话吗？ BEATRICE: Is there no other to send his errand by?
德·弗洛雷斯： 看来我运气好，总是正好撞在路口上。 DE FLORES: It seems it is my luck to be in the way still.
比阿特丽斯： 滚开！ BEATRICE: Get you from me.
德·弗洛雷斯： （下，旁白）呵——我是不是傻啊，非得变着法子找骂？可我就是忍不住想见她。我知道不出一小时，我又要犯病了，就像公立园子里的斗牛一样，我喘口气只是为了再被人拽着耳朵遛。这预示着什么我不知道，但我没那么绝望，因为每天都有先例：那些丑脸也会无缘无故地受宠。总有一天，这张臭脸也会在同僚中交好运的。争吵往往是欢愉的前戏；就像小孩哭累了就会睡着，我也见过女人骂累了就跟男人上了床。 DE FLORES: (Aside, exiting) So — why am not I an ass to devise ways thus to be railed at? I must see her still, I shall have a mad qualm within this hour again, I know it, and like a Common Garden Bull, I do but take breath to be lugged again. What this may bode I know not, I’ll despair the less, because there’s daily precedents of bad faces beloved beyond all reason; these foul chops may come into favor one day, among his fellows. Wrangling has proved the mistress of good pastime, as children cry themselves asleep, I have seen women have chid themselves abed to men. [Exits.]
比阿特丽斯： 我每回见到这家伙，总觉得会有祸事临头。危险盘踞在脑海中，挥之不去，见完他之后我总要颤抖上个把钟头。下次趁我父亲心情好，我一定要让他把这人打发走。噢，我竟为了这点小小的干扰而失了神，竟忘了那更凶猛的灾难洪流正滚滚而来，要将我所有的慰藉一举冲垮。 BEATRICE: I never see this fellow, but I think of some harm towards me, danger’s in my mind still, I scarce leave trembling of an hour after. The next good mood I find my father in, I’ll get him quite discarded. Oh I was lost in this small disturbance and forgot affliction’s fiercer torrent that now comes, to bear down all my comforts.
[贝尔曼德罗、阿隆索与托马佐同上。Vermandero, Alonzo and Tomazo all enter.]
贝尔曼德罗： 欢迎二位，但这一份特殊的欢迎属于您，先生。为了向您那高贵的姓氏致敬，我们的爱为您奉上一个“儿子”的名号——我们的准女婿，阿隆索。 VERMANDERO: You are both welcome, but an especial one belongs to you, sir, to whose most noble name our love presents the addition of a son, our son Alonzo.
阿隆索·德·皮拉奎奥： 先生，荣誉的宝库中再找不出比这更让我欣喜的头衔了。 ALONZO DE PIRACQUO: The treasury of honor cannot bring forth a title I should more rejoice in, sir.
贝尔曼德罗： 你受之无愧。女儿，准备好，好日子眨眼就要到了。 VERMANDERO: You have improved it well; daughter prepare, the day will steal upon you suddenly.
比阿特丽斯： 无论如何，如果那一刻真的逼近，我一定会守住“夜晚”的。 BEATRICE: However, I will be sure to keep the night, if it should come so near me.
托马佐·德·皮拉奎奥： 阿隆索？ TOMAZO DE PIRACQUO: Alonzo?
阿隆索·德·皮拉奎奥： 兄弟？ ALONZO DE PIRACQUO: Brother?
托马佐·德·皮拉奎奥： 我在她眼里可看不出半点欢迎的意思。 TOMAZO DE PIRACQUO: I see small welcome in her eye.
阿隆索·德·皮拉奎奥： 得了，你对爱情的评价各方面都太严苛了。要是情人们把每件事都当成过错，那我们就没法相处了；那感情就像一本排版拙劣的书，勘误表都能占去半本书的篇幅。 ALONZO DE PIRACQUO: Fie, you are too severe a censurer of love in all points, there’s no bringing on you if lovers should mark every thing a fault, affection would be like an ill-set book, whose faults might prove as big as half the volume.
比阿特丽斯： 那正是我唯一的恳求。 BEATRICE: That’s all I do entreat.
贝尔曼德罗： 这要求并不过分，我听听我儿子怎么说。阿隆索，这里有个提议，想让姑娘家再保留三天童贞；这要求并非没道理，因为之前的期限确实太紧了。 VERMANDERO: It is but reasonable, I’ll see what my son says to it. Son Alonzo, here’s a motion made but to reprieve a maidenhead three days longer; the request is not far out of reason, for indeed the former time is pinching.
阿隆索·德·皮拉奎奥： 虽然我巴不得喜事提前，但这让我的喜悦延后了，不过既然是她的心愿，这个期限也一样令我愉悦，我并不觉得少了什么快乐。 ALONZO DE PIRACQUO: Though my joys be set back so much time as I could wish they had been forward, yet since she desires it, the time is set as pleasing as before, I find no gladness wanting.
贝尔曼德罗： 愿我永远能见到这种和气。各位，荣幸之至。[下。] VERMANDERO: May I ever meet it in that point still. You are nobly welcome, sirs. [Exits.]
[贝尔曼德罗与比阿特丽斯下。Vermandero and Beatrice exit.]
托马佐·德·皮拉奎奥： 瞧见没？刚才她临走时那副冷淡样儿，你注意到了吗？ TOMAZO DE PIRACQUO: So, did you mark the dulness of her parting now?
阿隆索·德·皮拉奎奥： 什么冷淡？你总是这么挑剔。 ALONZO DE PIRACQUO: What dulness? You art so exceptious still.
托马佐·德·皮拉奎奥： 行吧，随它去吧，我真是个傻瓜，非得这么留心你的祸事。 TOMAZO DE PIRACQUO: Why let it go then I am but a fool to mark your harms so heedfully.
阿隆索·德·皮拉奎奥： 我看漏了什么吗？ ALONZO DE PIRACQUO: Where’s the oversight?
托马佐·德·皮拉奎奥： 醒醒吧，你在她身上彻底看走了眼，被骗惨了。赶紧收回你的感情，能收多快收多快，理智还能救你一把，否则你的平安就全毁了。想想吧，娶一个心已经飞到别人怀里的女人，是种怎样的折磨。如果她从你这儿得到了什么欢愉，那也绝不是看在你的名分或你的礼物上；她躺在你的怀里，心里却睡着另一个人。所有你名下的孩子，在受孕那一刻他就成了“半个父亲”；即便孩子不是他播的种，她在情动之时也会在心里帮他代劳。这种压抑日久会变得多么危险可耻，简直不堪设想。 TOMAZO DE PIRACQUO: Come, your faith’s cozened in her, strongly cozened, unsettle your affection with all speed, wisdom can bring it too, your peace is ruined else. Think what a torment it is to marry one whose heart is leapt into another’s bosom. If ever pleasure she receive from you, it comes not in your name, or of your gift, she lies but with another in thine arms, he the half father unto all your children in the conception…
阿隆索·德·皮拉奎奥： 你这话听着，倒像是她已经爱上了别人。 ALONZO DE PIRACQUO: You speak as if she loved some other then.
托马佐·德·皮拉奎奥： 你反应就这么慢吗？ TOMAZO DE PIRACQUO: Do you apprehend so slowly?
阿隆索·德·皮拉奎奥： 不，如果这只是你的杞人忧天，那我安全得很。收好你的友谊和忠告吧，兄弟，留到更危急的时刻。要是除了你之外的任何人，胆敢认为她懂得什么是“不忠”，更遑论去实践，我定会把他当成不共戴天的死敌。可咱们是朋友，求你别再逼我了。我可以忍受很多，除非有人伤害她，那时我就不再是我了。别了，亲爱的兄弟，能和睦地道别，我们真该感谢上苍。[下。] ALONZO DE PIRACQUO: No, and that be your fear only, I am safe enough… Farewell sweet brother, how much we are bound to heaven to depart lovingly. [Exits.]
托马佐·德·皮拉奎奥： 唉，这就是被爱情驯服了的疯狂，人就是这样稀里糊涂地掉进烦恼里的。[下。] TOMAZO DE PIRACQUO: Why here is love’s tame madness, thus a man quickly steals into his vexation. [Exits.]
[狄凡塔与阿尔塞梅罗上。] [Diaphanta and Alsemero enter.]
狄凡塔： 这地方归我管。您很守时，愿这场公正会面的奖赏降临在您身上。我听见我家小姐过来了。完美的绅士，我可不敢当面夸得太狠，赞美之词处理起来可是很危险的。[下。] DIAPHANTA: The place is my charge, you have kept your hour, and the reward of a just meeting bless you. I hear my Lady coming; complete gentleman, I dare not be too busy with my praises, they are dangerous things to deal with. [Exits.]
阿尔塞梅罗： 进展顺利。这些女人就是夫人们的珠宝匣，最珍贵的信任都锁在她们心里。 ALSEMERO: This goes well, these women are the ladies’ cabinets, things of most precious trust are locked into them.
[比阿特丽斯上。Beatrice enters.]
比阿特丽斯： 我的眼中，映着我所有的渴求。那神圣祈祷升入天堂求来的、用以弥补我们残缺的恩赐，都不及您的到来对我的心愿那般甜美。 BEATRICE: I have within mine eye, all my desires, requests that holy prayers ascend heaven for and brings them down to furnish our defects, come not more sweet to our necessities, than yours unto my wishes.
阿尔塞梅罗： 小姐，我们的表达如此相似，除非借用同样的词句，否则我永远找不到更好的辞藻。 ALSEMERO: We’re so like in our expressions, Lady, that unless I borrow the same words, I shall never find their equals.
比阿特丽斯： 如果这场会面、这番拥抱能免于妒忌，该有多幸福？这可怜的吻也有敌人，一个可恨的敌人，恨不得往这吻里下毒。如果世上没有“皮拉奎奥”这个名字，没有父母之命的束缚，我现在该有多好？那我简直太幸福了。 BEATRICE: How happy were this meeting this embrace, if it were free from envy? This poor kiss it has an enemy, a hateful one, that wishes poison to it. how well were I now if there were none such name known as Piracquo? Nor no such tie as the command of Parents, I should be but too much blessed.
阿尔塞梅罗： 一次有力的效劳就能扫除你这两重恐惧，我也正有此意。既然你如此苦恼，只要除掉根源，命令自然就失效了。这样一来，两重恐惧便在同一阵风中消散了。 ALSEMERO: One good service would strike off both your fears, and I’ll go near it too, since you are so distressed, remove the cause the command ceases, so there’s two fears blown out with one and the same blast.
比阿特丽斯： 请明示，先生。那是何种不可思议、令人愉快的效劳？ BEATRICE: Pray let me find you, sir. What might that service be so strangely happy?
阿尔塞梅罗： 那是男人身上最高尚的部分：英勇。我这就给皮拉奎奥送去挑战书。 ALSEMERO: The honorablest piece about man, Valor. I’ll send a challenge to Piracquo instantly.
比阿特丽斯： 什么？你管这叫消除恐惧？这明明是让恐惧烧得更旺。你难道不也要投身险境吗？那可是我所有的喜悦和慰藉。请别再说了，先生。就算你赢了，危险的是你而不是我，法律会把你从我身边夺走，或者用隐姓埋名做你的活坟墓。我很高兴能把这些想法说出来。噢，先生，千万别动这种念头；这种做法只会给通往死亡的道路铺满忧伤。眼泪永远不会干涸，直到尘土将它们掩埋。手上沾血这种事，应该配上一张更丑恶的脸……现在我想起一个人了。我真该死，我不该用蔑视毁了一桩这么好的交易。毫无疑问，这件事本来能办成。造物主塑造的最丑陋的生物也有其用途，可笑我之前竟没留意到它该用在哪儿。 BEATRICE: How? Call you that extinguishing of fear when it is the only way to keep it flaming? … Blood-guiltiness becomes a fouler visage, and now I think on one — I was to blame, I have marred so good a market with my scorn; it had been done questionless, the ugliest creature creation framed for some use, yet to see I could not mark so much where it should be.
阿尔塞梅罗： 小姐？ ALSEMERO: Lady?
比阿特丽斯： 为什么医生要重视毒药，用一种来驱除另一种？我的“艺术”又在哪儿？ BEATRICE: Why do Men of Art make much of poison, keeping one to expel another, where is my Art?
阿尔塞梅罗： 小姐，您没在听我说。 ALSEMERO: Lady, you hear not me.
比阿特丽斯： 我听着呢，先生。目前的局势对我们并不利，以后或许会好转。在那之前，我们必须像节俭的人对待财富一样，谨慎地利用时间。 BEATRICE: I do especially sir, the present times are not so sure of our side as those hereafter may be…
阿尔塞梅罗： 您真睿智，小姐。 ALSEMERO: You teach wisdom, Lady.
比阿特丽斯： 里面有人吗？狄凡塔。 BEATRICE: Within there Diaphanta.
狄凡塔： [上。] 夫人在叫我吗？ DIAPHANTA: [Entering.] Do you call, Madam?
比阿特丽斯： 尽好你的职责，带这位先生从你领他来的那条密道出去。 BEATRICE: Perfect your service, and conduct this gentleman the private way you brought him.
狄凡塔： 是，夫人。 DIAPHANTA: I shall, Madam.
阿尔塞梅罗： 我的爱坚如磐石，永不动摇。 ALSEMERO: My love’s as firm as love ever built upon.
[狄凡塔与阿尔塞梅罗同下。Exeunt Diaphanta and Alsemero.]
)(*)(
第二幕 第二场 [Act 2, Scene 2]
[精神病院/实验室。蒂塔尼亚处于被药物控制或精神异常的状态。弗拉维奥焦躁不安。弗兰肯斯坦夫人则如鱼得水。] [A psychiatric ward/laboratory. Titania is in a drug-induced or psychotic state. Flavio is agitated. Lady Frankenstein is in her element.]
蒂塔尼亚：我在享受放射线假期，尽情吸收伽马射线。 TITANIA: I’m on a radiation vacation, soaking up the gamma rays.
弗拉维奥：弗兰肯斯坦医生！我是弗拉维奥·菲莱蒙。情况紧急。 FLAVIO: Dr. Frankenstein! I am Flavio Philemon. This is an emergency.
蒂塔尼亚：我知道你在监视我。我知道你在监视我。我知道你在监视我。我知道你在监视我。 TITANIA: I know you’re watching me. I know you’re watching me. I know you’re watching me. I know you’re watching me.
弗兰肯斯坦夫人：欢迎回来，菲莱蒙夫人。很高兴见到你。 LADY FRANKENSTEIN: Welcome back, Mrs. Philemon. A pleasure to see you.
蒂塔尼亚：我知道你在监视我。我知道你在哪里。 TITANIA: I know you’re watching me. I know where you are.
弗兰肯斯坦夫人：当然。你是个迷人的生物。我想更了解你。 LADY FRANKENSTEIN: Of course. You are a fascinating creature. I wish to know you better.
蒂塔尼亚：从绝望的尖叫声中可以学到很多东西。 TITANIA: One can learn much from a scream of despair.
弗兰肯斯坦夫人：例如？ LADY FRANKENSTEIN: For example?
蒂塔尼亚：你不能相信医生。但你可以相信爱。 TITANIA: You cannot trust doctors. But you can trust love.
弗兰肯斯坦夫人：医生既不爱也不恨。他们受利益驱使，而不是感情。用不超过三个字，形容你的生活。 LADY FRANKENSTEIN: Doctors neither love nor hate. They are driven by interests, not emotions. In no more than three words, describe your life.
蒂塔尼亚：无尽的折磨。 TITANIA: Endless torment.
弗兰肯斯坦夫人：请详细说明。 LADY FRANKENSTEIN: Please elaborate.
蒂塔尼亚：空白，空白，空白。 TITANIA: Blank, blank, blank.
弗兰肯斯坦夫人：谢谢你的具体描述。 LADY FRANKENSTEIN: Thank you for your specificity.
蒂塔尼亚：你想要我做什么？我无法去爱。 TITANIA: What do you want of me? I am unable to love.
弗兰肯斯坦夫人：那性呢？ LADY FRANKENSTEIN: And sex?
蒂塔尼亚：通往深渊之旅中的一场插曲。 TITANIA: An interlude on the journey to the abyss.
弗兰肯斯坦夫人：我们是不是有点愤世嫉俗？ LADY FRANKENSTEIN: Are we being a bit cynical?
蒂塔尼亚：一点也不。平等的、永恒的地狱需要一个开场表演。 TITANIA: Not at all. An equal, eternal hell requires an opening act.
弗兰肯斯坦夫人：我对你有什么感觉？ LADY FRANKENSTEIN: What do you feel toward me?
蒂塔尼亚：哦，我很高兴。我喜欢被丰满的法西斯分子审问。接下来是什么？橡皮管？几伏特的电击让我变得健谈？ TITANIA: Oh, I am delighted. I love being interrogated by a buxom fascist. What’s next? Rubber hoses? A few volts to make me chatty?
弗兰肯斯坦夫人：菲莱蒙夫人？ LADY FRANKENSTEIN: Mrs. Philemon?
蒂塔尼亚：我喜欢精神病学。这真是一个无辜的爱好。废话连篇。我知道一个女人需要配眼镜是什么感觉。喜欢我的声音吗？有点像年轻时的帕特·尼克松。有点像雷莱特姐妹，还有很多你懂的那个人的影子。走开。你别想把我当傻瓜。我知道你梦想中的秘密。我说，别烦我。 TITANIA: I love psychiatry. Such an innocent hobby. All that drivel. I know what it’s like for a woman to need spectacles. Like my voice? A bit like a young Pat Nixon. A bit of the Raelettes, with plenty of shadows from You-Know-Who. Go away. Don’t take me for a fool. I know the secrets of your dreams. I said, leave me be.
弗兰肯斯坦夫人：欲望这东西真滑稽。如果不粗俗，就不纯粹。不过，你感到羞耻吗？ LADY
FRANKENSTEIN: Desire is a funny thing. If it isn’t vulgar, it isn’t pure. But tell me, do you feel shame?
蒂塔尼亚：嗯哼。 TITANIA: Mm-hmm.
弗拉维奥：那她什么时候才能恢复正常？ FLAVIO: When will she return to normal?
弗兰肯斯坦夫人：血清素水平仍然很高——这是意料之中的。当然，还有性高潮。 LADY FRANKENSTEIN: Serotonin levels are still high—as expected. And, of course, the orgasms.
弗拉维奥：她的什么？ FLAVIO: Her what?
蒂塔尼亚：谢天谢地，这是混纺面料。污渍很容易洗掉。 TITANIA: Thank heaven it’s a synthetic blend. The stains wash right out.
弗拉维奥：什么性高潮？ FLAVIO: What orgasms?
弗兰肯斯坦夫人：其实，我只是在测试你的反应。想了解一下你的，怎么说呢，性欲亢进症。 LADY FRANKENSTEIN: Actually, I was merely testing your reaction. To understand your, shall we say, hypersexuality.
弗拉维奥：我不能容忍这种诽谤！在五年幸福的婚姻生活中，我和妻子一直过着符合教会价值观的正常性生活。 FLAVIO: I will not tolerate such slander! In five years of happy marriage, my wife and I have led a normal sexual life consistent with Church values.
蒂塔尼亚：她光着身子，尖叫着要听辛纳特拉的歌。她想让我假装是小弗兰基。好吧，我不是，我不是，我永远也不会是。 TITANIA: She’s naked, screaming for Sinatra. She wants me to pretend to be Ol’ Blue Eyes. Well, I’m not, I’m not, and I never will be.
弗兰肯斯坦夫人：菲莱蒙先生，你的妻子是个精神很不稳定的女人。 LADY FRANKENSTEIN: Mr. Philemon, your wife is a very unstable woman.
弗拉维奥：一周前的星期二，我们还很幸福。她正在做苹果布朗贝蒂。然后世界就崩塌了。 FLAVIO: A week ago Tuesday, we were happy. She was making Apple Brown Betty. Then the world collapsed.
弗兰肯斯坦夫人：菲莱蒙先生？ LADY FRANKENSTEIN: Mr. Philemon?
弗拉维奥：弗拉维奥，请。 FLAVIO: Flavio, please.
弗兰肯斯坦夫人：弗拉维奥，你不介意我问你几个问题吗？ LADY FRANKENSTEIN: Flavio, would you mind if I asked you a few questions?
弗拉维奥：你说什么？ FLAVIO: What’s that?
弗兰肯斯坦夫人：谈论你妻子的性高潮让你感觉如何？ LADY FRANKENSTEIN: How does discussing your wife’s orgasms make you feel?
弗拉维奥：这里有点热，还是只有我这么觉得？ FLAVIO: Is it hot in here, or is it just me?
弗兰肯斯坦夫人：我没注意到。你是不是有什么想摆脱的困扰？ LADY FRANKENSTEIN: I hadn’t noticed. Is there a burden you wish to shed?
弗拉维奥：你能开一下窗户吗？我快喘不过气了。 FLAVIO: Can you open a window? I can’t catch my breath.
弗兰肯斯坦夫人：我开始觉得你不知道如何满足你的妻子。 LADY FRANKENSTEIN: I’m beginning to think you don’t know how to satisfy your wife.
蒂塔尼亚：你看着我的时候，我感觉浑身酥麻。我全身都是乳房。充满欲望。 TITANIA: When you look at me, I tingle all over. I’m nothing but breasts. Full of desire.
弗兰肯斯坦夫人：菲莱蒙先生，你见过插管手术吗？这是一种非常独特的手术。[她拿出一根巨大的皮下注射针。] LADY FRANKENSTEIN: Mr. Philemon, have you ever seen a cannulation? It is a most unique procedure. [She produces a massive hypodermic needle.]
蒂塔尼亚：哇哦，我的小穴感觉软绵绵的，充满勇气。我的肚子里好像有一桶傻乎乎的小鱼。 TITANIA: Whoa, my “little cave” feels soft and brave. Like a bucket of silly minnows in my belly.
弗兰肯斯坦夫人：看到这个植入物了吗？它刚好贴着受试者的下丘脑。这是我最喜欢的大脑部位。它控制着所有原始冲动：食欲、疲劳、体温、性欲。 LADY FRANKENSTEIN: See this implant? It sits right against the subject’s hypothalamus. My favorite part of the brain. It controls all primal impulses: hunger, fatigue, temperature, libido.
蒂塔尼亚：性感的女主人，你能在我做的时候拿一面镜子吗？我想看看我的小穴被挤压的样子。 TITANIA: Sexy mistress, can you hold a mirror while I do it? I want to see my cave getting squeezed.
弗兰肯斯坦夫人：这支注射器里装满了从弗朗西斯先生的下丘脑提取的液体。 LADY FRANKENSTEIN: This syringe is filled with fluid extracted from Mr. Franciscus’ hypothalamus.
蒂塔尼亚：一针下去，噗嗤一声。 TITANIA: One shot, squish.
弗兰肯斯坦夫人：弗朗西斯先生的腺体分泌物现在已经转移到菲利蒙夫人身上了。 LADY FRANKENSTEIN: Mr. Franciscus’ glandular secretions become Mrs. Philemon’s.
阿里比乌斯医生：[震惊地走进来]这里发生了什么？这是怎么回事？ DR. ALIBIUS: [Entering in shock] What is happening here? What is going on?
弗兰肯斯坦夫人：阿里比乌斯医生，这将是未来十年神经学领域的独创。下丘脑接口——用一次腺体分泌物就能融合两个人的精神。体液交融。 LADY FRANKENSTEIN: Dr. Alibius, this will be the singular achievement in neurology for the next decade. The Hypothalamic Interface—merging two spirits with a single glandular dose. A mingling of humors.
阿里比乌斯：那么，弗朗西斯库斯坎先生和菲莱蒙夫人——他们同意这样做吗？ DR. ALIBIUS: And Mr. Franciscus and Mrs. Philemon—did they consent to this?
弗兰肯斯坦夫人：小事一桩。病人是可以牺牲的；天才却不能。在创造脑科学历史的时候，这种情况很常见。 LADY FRANKENSTEIN: A trifle. Patients are expendable; genius is not. This is common when making history in brain science.
阿里比乌斯：你说的这根本不可能。你为什么要违背现实的法则？ DR. ALIBIUS: What you’re describing is impossible. Why must you defy the laws of reality?
弗兰肯斯坦夫人：这才是唯一的现实，而我制定规则。 LADY FRANKENSTEIN: This is the only reality, and I make the rules.
蒂塔尼亚：小瓢虫，我一看你的耳垂就知道我非得咬一口不可。 TITANIA: Little ladybug, one look at your earlobe and I know I just have to have a bite.
弗兰肯斯坦夫人：[对阿里比乌斯说]我看你对阿里比乌斯医生很感兴趣。好吧，去摸摸他吧。 LADY FRANKENSTEIN: [To Alibius] I see you have an interest in Dr. Alibius. Well, go on, touch him.
蒂塔尼亚：哦，恶心。那个男人好恶心。我才不想碰恶心的男人。现在我要走了，拜拜。 TITANIA: Oh, gross. That man is disgusting. I don’t want to touch a disgusting man. I’m leaving now, bye-bye.
弗兰肯斯坦夫人：[对阿里比乌斯说，把针头对准他]怎么了，医生？也许你渴望母亲的乳房。一股舒缓的爱之甘泉。是吗？好吧，我们可以满足你。百分之百纯净的菲莱蒙夫人的腺体提取物。 LADY FRANKENSTEIN: [To Alibius, pointing the needle at him] What is it, Doctor? Perhaps you crave the mother’s breast. A soothing fountain of love. Is that it? Well, we can satisfy you. One hundred percent pure Philemon-gland extract.
一两分钟后，你就会变成一个全新的女人。以同样的生物形态重生，却在各方面都截然不同，这难道不美妙吗？也许你就是为了这一刻而生的。为了……被改造。为了……成为命运小姐。[下] In a minute or two, you’ll be a whole new woman. Reborn in the same bio-form, yet different in every way. Isn’t that sublime? Perhaps you were born for this very moment. To be… transformed. To be… Miss Destiny. [Exits.]
)(*)(
第二幕第三场 [Act 2, Scene 3]
[德·弗洛雷斯走进一个房间。De Flores enters a room.]
德·弗洛雷斯： （旁白）我一直在窥视这场会面，真想知道另一个家伙会落得什么下场。除非她不守妇道，否则我肯定这两个男人没法同时被满足；那么，我也要趁机分一杯羹。因为女人一旦在一点上失了守，离开了她的丈夫，她就会像算术一样成倍地扩张：1变10，10变100，1000，10000，最后迟早会变成供养整支皇家军队的随军淫妇。现在，我等着迎接她最丰盛的痛骂吧，但我还是非见她不可。 DEFLORES: I have watched this meeting, and do wonder much what shall become of the other, I’m sure both cannot be served unless she transgress; happily then I’ll put in for one. for if a woman fly from one point, from him she makes a husband, she spreads and mounts then like arithmetic, 1, 10, 100, 1000, 10000, proves in time Sutler to an Army Royal. Now do I look to be most richly railed at, yet I must see her.
比阿特丽斯： （旁白）哪怕我厌恶他，就像青春和美貌厌恶坟墓一样，难道我非得表现出来吗？难道我不能守住秘密，利用他来为我办事？——瞧，他在那儿。德·弗洛雷斯。 BEATRICE: Why, put case I loathed him as much as youth and beauty hates a sepulcher, must I needs show it? Cannot I keep that secret, and serve my turn upon him? — see he’s here — De Flores.
德·弗洛雷斯： （旁白）哈！我要高兴得发疯了！她竟然和颜悦色地叫我的名字“德·弗洛雷斯”，既没叫我“臭流氓”，也没叫我“该死的无赖”。 DEFLORES: Ha, I shall run mad with joy, she called me fairly by my name De Flores, and neither ‘foul rogue’ nor ‘blasted rascal’.
比阿特丽斯： 你最近对你这张脸做了什么？你一定是遇到了什么良医。你大概修整过了，以前你看起来可没这么讨人喜欢。 BEATRICE: What have you done to your face a-late? you have met with some good physician, you have pruned yourself perhaps, you were not wont to look so amorously.
德·弗洛雷斯： （旁白）我哪儿也没去，连汗毛和粉刺都没变，还是那副一个小时前被她叫做“癞皮狗”的嘴脸——（大声地）这是怎么回事？ DEFLORES: [Aside.] Not I, it is the same physiognomy to a hair and pimple, which she called ‘scurvy scarce’ an hour ago—[Aloud.] How is this?
比阿特丽斯： 过来，伙计，再靠近点儿。 BEATRICE: Come here, come nearer man.
德·弗洛雷斯： （旁白）我简直像升到了天堂。 DEFLORES: I’m up to the chin in Heaven.
比阿特丽斯： 转过来，让我看看。呸，这不过是肝火旺罢了，我看得出来。我原本还以为更严重呢。 BEATRICE: Turn, let me see, faugh it is but the heat of the liver, I perceive it. I thought it had been worse.
德·弗洛雷斯： （旁白）她的手指碰到了我，她浑身散发着琥珀的香气。 DEFLORES: Her fingers touched me, she smells all amber.
比阿特丽斯： 我会为你调制一种药水，保准在两周内帮你清理干净。 BEATRICE: I’ll make a water for you shall cleanse this within a fortnight.
德·弗洛雷斯： 亲手调制吗，小姐？ DEFLORES: With your own hands, Lady?
比阿特丽斯： 是的，先生，亲手调制。这种疗伤的事，我不放心托付给别人。 BEATRICE: Yes, mine own sir, in a work of cure, I’ll trust no other.
德·弗洛雷斯： （旁白）听她这样跟我说话，简直是一种快感。 DEFLORES: It is half an act of pleasure to hear her talk thus to me.
比阿特丽斯： 当我们习惯了一张粗犷的脸，它也就不那么讨人嫌了；随着时间流逝，印象会不断改观，每小时都在变好。我从经验中看出了这一点。 BEATRICE: When we are used to a hard face, it is not so unpleasing, it mends still in opinion, hourly mends, I see it by experience.
德·弗洛雷斯： （旁白）我真幸运，赶上了这一刻，我要好好利用它。 DEFLORES: I was blessed to light upon this minute, I’ll make use on it.
比阿特丽斯： 粗犷反而很配男人的面容；它代表着服务、果敢和男子气概——如果有差事要办的话。 BEATRICE: Hardness becomes the visage of a man well, it argues service, resolution, manhood, if cause were of employment.
德·弗洛雷斯： 如果有朝一日大小姐有求于我，您很快就能看到这些品质。我只希望这份服务的荣耀能降临到我头上。 DEFLORES: It would be soon seen, if ever your Ladyship had cause to use it. I would but wish the honor of a service so happy as that mounts to.
比阿特丽斯： 我们会考验你的——噢，我的德·弗洛雷斯！ BEATRICE: We shall try you — Oh my De Flores!
德·弗洛雷斯： （旁白）怎么说？她已经叫我“她的”了，“我的德·弗洛雷斯”——（大声地）夫人，您刚才是不是想叹气？ DEFLORES: [Aside.] How’s that? She calls me hers already, ‘my De Flores’—[Aloud.] You were about to sigh out somewhat, madam?
比阿特丽斯： 没有，我有吗？我忘了——噢！ BEATRICE: No, was I? I forgot — Oh!
德·弗洛雷斯： 瞧，又来了——就是这种叹息。 DEFLORES: There it is again — the very fellow on it.
比阿特丽斯： 你太敏锐了，先生。 BEATRICE: You are too quick, sir.
德·弗洛雷斯： 别推辞了，夫人，我已经听见两次了。那声叹息急于表达，请怜悯它吧，给它一个开口的机会。唉，瞧它多么努力地想要自由，我甚至能听见它在你胸口跳动的声音。 DEFLORES: There’s no excuse for it, now I heard it twice, madam, that sigh would fain have utterance, take pity on it, and lend it a free word, alas how it labors for liberty, I hear the murmur yet beat at your bosom.
比阿特丽斯： 但愿上苍—— BEATRICE: Would Creation —
德·弗洛雷斯： 说得好，就是这个。 DEFLORES: Ay well said, that’s it.
比阿特丽斯： ——当初把我生成个男人。 BEATRICE: Had formed me into a man.
德·弗洛雷斯： 不，那可不对。 DEFLORES: No, that’s not it.
比阿特丽斯： 噢，那是自由的灵魂！那样我就不必被逼着嫁给我厌恶透顶的人。我就有力量去对抗我所憎恶的人，不，是把他们永远从我视线中铲除。 BEATRICE: Oh it is the soul of freedom, I should not then be forced to marry one I hate beyond all depths, I should have power then to oppose my loathings, no remove them for ever from my sight.
德·弗洛雷斯： 噢，天赐良机——不必改变性别，您就能如愿以偿。把我当成那个男人使唤吧。 DEFLORES: Oh blessed occasion — Without change to your sex, you have your wishes. Claim so much man in me.
比阿特丽斯： 把你？德·弗洛雷斯？没理由这么做。 BEATRICE: In you De Flores? There’s small cause for that.
德·弗洛雷斯： 别推开我，这是一份我跪求您给予的效劳。 DEFLORES: Put it not from me, it’s a service that I kneel for to you.
比阿特丽斯： 你太激进了，不像能忠实办事的。我的差事里藏着恐怖、鲜血和危险，难道这些东西也是值得渴求的吗？ BEATRICE: You are too violent to mean faithfully, there’s horror in my service, blood and danger, can those be things to sue for?
德·弗洛雷斯： 如果您知道能为您办事对我来说是多么甜蜜，您就会说，当我领命时，我的敬畏之心还远远不够。 DEFLORES: If you knew how sweet it were to me to be employed in any act of yours, you would say then I failed, and used not reverence enough when I receive the charge on it.
比阿特丽斯： （旁白）这胃口可真不小。想必他的需求很贪婪，对这种人来说，黄金的味道就像天使的食物。——起来吧。 BEATRICE: This is much perhaps, belike his wants are greedy, and to such gold tastes like Angel’s food — Rise.
德·弗洛雷斯： 我要先领活计。 DEFLORES: I’ll have the work first.
比阿特丽斯： 想必他的需求真的很迫切。为了鼓励你，由于你的“艺术”高超，你的任务又很危险，你的报酬将会是非常珍贵的。 BEATRICE: Possible his need is strong upon him, there’s to encourage you as your art forward and your service dangerous, your reward shall be precious.
德·弗洛雷斯： 那正是我所想的，我早就确信了这一点。我知道那会非常珍贵，想到这儿我就心醉神迷。 DEFLORES: That I have thought on, I have assured myself of that beforehand, and know it will be precious, the thought ravishes.
比阿特丽斯： 那么，带他去承受你的愤怒吧。 BEATRICE: Then take him to your fury.
德·弗洛雷斯： 我渴求他。 DEFLORES: I thirst for him.
比阿特丽斯： 阿隆索·德·皮拉奎奥。 BEATRICE: Alonzo de Piracquo.
德·弗洛雷斯： 他的末日到了，他再也不会出现了。 DEFLORES: His end is upon him, he shall be seen no more.
比阿特丽斯： 现在你看起来多么讨人喜欢！从来没人能得到如此丰厚的奖赏。 BEATRICE: How lovely now does your appear to me! Never was man dearlier rewarded.
德·弗洛雷斯： 我也是这么想的。 DEFLORES: I do think of that.
比阿特丽斯： 执行时一定要万分小心。 BEATRICE: Be wondrous careful in the execution.
德·弗洛雷斯： 为什么？咱们两人的命不都押在这上头了吗？ DEFLORES: Why? are not both our lives upon the cast?
比阿特丽斯： 那么我就把所有的恐惧都交给你去处理了。 BEATRICE: Then I throw all my fears upon your service.
德·弗洛雷斯： 它们再也无法起身伤害您。 DEFLORES: They never shall rise to hurt you.
比阿特丽斯： 事成之后，我会为你准备好逃亡所需的一切，你可以在另一个国家过得有滋有味。 BEATRICE: When the deed’s done, I’ll furnish you with all things for your flight, your mayst live bravely in another country.
德·弗洛雷斯： 行，行，那些事咱们以后再谈。 DEFLORES: Ay, ay, we’ll talk of that hereafter.
比阿特丽斯： 我将一次性除掉两个根深蒂固的厌恶对象：皮拉奎奥和他那张臭狗脸。[下。] BEATRICE: I shall rid myself of two inveterate loathings at one time, Piracquo and his Dog-face. [Exits.]
德·弗洛雷斯： 噢，我的热血！或许我已经感觉到她在我的怀里了。她那放荡的手指梳理着我的胡须，满心欢喜地赞美我这张丑脸。饥饿和欲望有时会让人赞美邋遢的菜肴，并且大快朵颐。更奇怪的是，为了这些菜，人甚至会拒绝更精致的美味。有些女人的胃口真古怪——我声音太大了。那个不吃晚饭就睡觉的人来了，明天他可起不来吃午饭了。 DEFLORES: Oh my blood, perhaps I feel her in mine arms already. Her wanton fingers combing out this beard, and being pleased, praising this bad face. Hunger and pleasure they’ll commend sometimes slovenly dishes, and feed heartily on them, no which is stranger, refuse daintier for them. Some women are odd feeders — I’m too loud. Here comes the man goes supperless to bed, yet shall not rise tomorrow to his dinner.
[阿隆索·德·皮拉奎奥上。Alonzo De Piracquo enters.]
阿隆索·德·皮拉奎奥： 德·弗洛雷斯？ ALONZO DE PIRACQUO: De Flores?
德·弗洛雷斯： 我亲爱、高贵的勋爵。 DEFLORES: My kind honorable lord.
阿隆索·德·皮拉奎奥： 真高兴能遇上你。 ALONZO DE PIRACQUO: I am glad I have met with you.
德·弗洛雷斯： 先生？ DEFLORES: Sir?
阿隆索·德·皮拉奎奥： 你能不能带我看看这城堡的全貌？ ALONZO DE PIRACQUO: You cannot show me the full strength of the castle,
德·弗洛雷斯： 当然可以，先生。 DEFLORES: That I can sir.
阿隆索·德·皮拉奎奥： 我很想看。 ALONZO DE PIRACQUO: I much desire it.
德·弗洛雷斯： 如果某些通道的曲折和狭窄不让您觉得厌烦，我向您保证，这绝对值得您的时间和眼界，勋爵。 DEFLORES: And if the ways and straits of some of the passages be not too tedious for you, I will assure you worth your time and sight, my lord.
阿隆索·德·皮拉奎奥： 嗨，那不算什么。 ALONZO DE PIRACQUO: Puh, that shall be no hindrance.
德·弗洛雷斯： 那我就听您差遣了。现在快到午餐时间了，等您起身出发时，我会带好钥匙。 DEFLORES: I’m your servant then. It is now near dinner time, against your lordship’s rising I’ll have the keys about me.
阿隆索·德·皮拉奎奥： 多谢了，好心的德·弗洛雷斯。 ALONZO DE PIRACQUO: Thanks kind De Flores.
德·弗洛雷斯： （旁白）他竟然比我预想的还要容易上钩。 DEFLORES: [Aside.] He’s safely thrust upon me beyond hopes.
[同下。] [Exeunt.]
)(*)(
第三幕 第一场 (Act 3, Scene 1)
[阿隆索与德·弗洛雷斯上。Alonzo and De Flores enter.]
德·弗洛雷斯： 是的，所有的钥匙都在这儿了。勋爵，我刚才还担心丢了后门的钥匙，就是这把。全齐了，全齐了，勋爵。这把是开堡垒的。 DEFLORES: Yes, here are all the keys, I was afraid my lord, I’d wanted for the postern, this is it. I’ve all, I’ve all, my lord. This for the sconce.
阿隆索·德·皮拉奎奥： 这真是一座极其宽敞、坚不可摧的要塞。 ALONZO DE PIRACQUO: It is a most spacious and impregnable fort.
德·弗洛雷斯： 待会儿您会有更深的感触，勋爵。这段下坡路有点窄，您带着佩剑恐怕不好走，只会碍手碍脚。 DEFLORES: You’ll tell me more my Lord. this descent is somewhat narrow, you shall never pass well with your weapon, it but troubles you.
阿隆索·德·皮拉奎奥： 你说得对。 ALONZO DE PIRACQUO: You say true.
德·弗洛雷斯： 请让我帮您一把，勋爵。 DEFLORES: Pray let me help your Lordship.
阿隆索·德·皮拉奎奥： 好了。多谢，好心的德·弗洛雷斯。 ALONZO DE PIRACQUO: It is done. Thanks kind De Flores.
德·弗洛雷斯： 勋爵，这儿有挂钩，正是专门用来挂这些物件的。 DEFLORES: Here are hooks my Lord, to hang such things on purpose.
阿隆索·德·皮拉奎奥： 带路吧，我跟着你。 ALONZO DE PIRACQUO: Lead, I’ll follow you.
[两人从一侧门下，从另一侧门上。Exeunt at one door and enter at the other.]
德·弗洛雷斯： 刚才那些都不算什么，待会儿您会看到一个您做梦也想不到的地方。 DEFLORES: All this is nothing, you shall see anon a place you little dream on.
阿隆索·德·皮拉奎奥： 很高兴能有这段闲暇。你家主人的府上大概都以为我坐小船出海去了。 ALONZO DE PIRACQUO: I am glad I have this leisure. all your master’s house imagine I have taken a gondola.
德·弗洛雷斯： 除了我，没人知道，先生。勋爵，这也正是我的安全所在。我把您安置在窗子这儿，从这儿能看清整座城堡的布防。看，在那处景观上多留神一会儿。 DEFLORES: All but myself, sir, which makes up my safety, my lord, I’ll place you at a casement here, will show you the full strength of all the castle. Look, spend your eye a while upon that object.
阿隆索·德·皮拉奎奥： 这儿的景致真丰富，德·弗洛雷斯。 ALONZO DE PIRACQUO: Here’s rich variety De Flores.
德·弗洛雷斯： 是的，先生。 DEFLORES: Yes, sir.
阿隆索·德·皮拉奎奥： 精良的军备。 ALONZO DE PIRACQUO: Goodly munition.
德·弗洛雷斯： 没错，那是大炮，先生，绝非劣质金属铸造；它响起来就像大人物葬礼上的丧钟一样低沉。盯着前方，勋爵，特别留意您面前的那座堡垒，您可以在那儿多看一会儿。 DEFLORES: Ay, there’s Ordnance sir, no bastard metal, will ring you a peal like bells at great men’s funerals; keep your eye straight, my lord, take special notice of that sconce before you, there you may dwell awhile.
阿隆索·德·皮拉奎奥： 我正盯着它呢。 ALONZO DE PIRACQUO: I am upon it.
德·弗洛雷斯： 我也盯着呢。 DEFLORES: And so am I.
[德·弗洛雷斯刺向阿隆索。De Flores stabs him.]
阿隆索·德·皮拉奎奥： 德·弗洛雷斯，噢，德·弗洛雷斯，这是何等的恶意？ ALONZO DE PIRACQUO: De Flores, oh De Flores, what malice is this?
德·弗洛雷斯： [接连刺去。] 这种秘密行动，难道还要问为什么吗？我必须让你闭嘴。 DEFLORES: [Stabbing again and again.] Do you question a work of secrecy? I must silence you.
阿隆索·德·皮拉奎奥： 噢，噢，噢…… [死。] ALONZO DE PIRACQUO: Oh, oh, oh. [Dies.]
德·弗洛雷斯： 我必须让你闭嘴。好了，任务圆满完成。这地窖现在派上大用场了——哈！那是什么在晃我的眼？——噢，是他手指上戴着的一枚钻戒。找得正好，这可以拿去交差。什么，套得这么死？死都不肯脱下来吗？那我就采取个利索的法子，连手指带戒指一起切下来。好了，现在我要清理通道，不留任何疑点和隐患。 DEFLORES: I must silence you. So, here’s an undertaking well accomplished. This vault serves to good use now — Ha! What’s that threw sparkles in my eye? — Oh it is a diamond that he wears upon his finger. It was well found, this will approve the work. What, so fast on? Not part in death? I’ll take a speedy course then, finger and all shall off. So, now I’ll clear the passages from all suspect or fear.
[带着尸体下。Exits with the Body.]
)(*)(
第三幕 第二场 Act 3, Scene 2 [一间诊疗室。场景简陋。弗兰肯斯坦夫人和病人弗朗西斯库斯在场，弗朗西斯库斯情绪激动。艾莉克莎贝蒂的声音从舞台外传来。] [A consulting room. A sparse setting. LADY FRANKENSTEIN and the patient Franciscus are present; Franciscus is agitated. Alexabetti’s voice is heard offstage.]
弗朗西斯库斯：电休克疗法。我最喜欢的字母组合。 FRANCISCUS: ECT. My favorite combination of letters.
弗兰肯斯坦夫人：你喜欢电击疗法？ LADY FRANKENSTEIN: You enjoy electroshock therapy?
弗朗西斯库斯：我喜欢那种酥麻的感觉。给我通电吧，我浑身颤抖。我的……屁股里藏着秘密的针。 FRANCISCUS: I love the tingle. Juice me up; I’m shivering. I have… secret needles hidden in my buttocks.
弗兰肯斯坦夫人：你在屁股里植入了针？ LADY FRANKENSTEIN: You have needles implanted in your backside?
弗朗西斯库斯：针和钉子。亮闪闪的那种。我正享受着数百万伏特的电流带来的快乐。想看看吗？ FRANCISCUS: Needles and nails. The shiny kind. I am reveling in the joy of millions of volts. Want a look?
弗兰肯斯坦夫人：你一直梦想着这一刻，是吗？ LADY FRANKENSTEIN: You’ve been dreaming of this moment, haven’t you?
弗朗西斯库斯：哦，简直是永恒的梦想。在我的梦里，你把我绑在大椅子上，绑得紧紧的。你把我按下去，我像嗖的一声，那些缝衣针就扎了进去。然后你嘲笑我。然后你打开电源，直到我尖叫起来，就像一只被汽车天线穿透心脏的梦境兔子一样。 FRANCISCUS: Oh, an eternal dream. In my dreams, you strap me to the big chair, tight. You push me down, and zip—in go the sewing needles. Then you laugh at me. Then you throw the switch until I scream like a dream-rabbit with a car antenna through its heart.
弗兰肯斯坦夫人：俄狄浦斯情结引起的歇斯底里症，弗朗西斯库斯先生？病态的恋父情结？一种梦境认知障碍。但我们不会让这些耽误我们参加游行，对吗？ LADY FRANKENSTEIN: Oedipal hysteria, Mr. Franciscus?A morbid Electra complex? A dream-cognition disorder. But we won’t let that keep us from the parade, will we?
弗朗西斯库斯：不，夫人。我很勇敢。我爸爸也很勇敢。邻居们都叫他“邦戈”。“邦戈”或“咕噜咕噜”，因为每个星期六，他都会给我们这些孩子每人五分钱，让我们去敲打他的“咕噜咕噜”。 FRANCISCUS: No, Madam. I am brave. My papa was brave too. The neighbors called him “Bongo.” “Bongo” or “Gurgle-Gurgle,” because every Saturday he’d give us kids a nickel each to beat on his “Gurgle-Gurgle.”
弗兰肯斯坦夫人：表演型人格。自恋。你喜欢生日派对吗？ LADY FRANKENSTEIN: Histrionic personality. Narcissism. Do you like birthday parties?
弗朗西斯库斯：你怎么知道？我喜欢。事实上，现在，我就要坐在这张电椅上，紧紧地闭上眼睛，假装是你和我并肩而坐，哼着歌，嗡嗡作响，比赛看看谁的脑子先冒烟。瞧，弗兰肯斯坦，你的耳朵里冒着烟，就像山间日落一样奇特。 FRANCISCUS: How did you know? I do. In fact, right now, I’m going to sit in this electric chair, close my eyes tight, and pretend it’s you and me sitting side-by-side, humming and buzzing, racing to see whose brain smokes first. Look, Frankenstein, smoke is coming from your ears like a peculiar mountain sunset.
弗兰肯斯坦夫人：弗朗西斯库斯先生，有些古怪的重要人物曾在你被绑住的地方挣扎过。 LADY FRANKENSTEIN: Mr. Franciscus, some eccentric, important figures have struggled right where you are strapped down.
弗朗西斯库斯：我从来没想过要做……勇敢的事情。我只想做一个善于社交的人。我还能看到她眼中闪烁的粉红色光芒，当时她把她那吃培根长大的、傲慢的身体停在了我的小厨房里。哦，我说话的时候一点也不轻松。你什么时候要对我下手？我不明白你。 FRANCISCUS: I never intended to be… brave. I only wanted to be a social creature. I can still see the pink glint in her eyes when she parked her bacon-fed, arrogant body in my kitchenette. Oh, I don’t speak easily. When are you going to finish me? I don’t understand you.
弗兰肯斯坦夫人：哦，你会好好享受的。 LADY FRANKENSTEIN: Oh, you’ll enjoy it thoroughly.
弗朗西斯库斯：嗯哼，嗯哼！我想要一个真正漫长的过程。 FRANCISCUS: Mm-hmm, mm-hmm! I want a truly long process.
弗兰肯斯坦夫人：是吗？ LADY FRANKENSTEIN: Is that so?
弗朗西斯库斯：我想闻闻自己的味道。我的皮肤烤脆了之后，我可以尝尝吗？你知道吗？是汗水让它变得美味。 FRANCISCUS: I want to smell myself. When my skin is toasted crisp, can I have a taste? You know? It’s the sweat that makes it savory.
弗兰肯斯坦夫人：好了好了，谁是话痨？现在是谁在动嘴皮子？ LADY FRANKENSTEIN: Enough, enough, who’s the chatterbox now? Who’s wagging their tongue?
弗朗西斯库斯：对不起，对不起。你还是要对我下手，对吧？还是要吗？ FRANCISCUS: Sorry, sorry. You’re still going to do it to me, right? Still?
弗兰肯斯坦夫人：也许吧。 LADY FRANKENSTEIN: Perhaps.
艾莉克莎贝蒂：[幕内，突然尖叫]猪鼻子！猪鼻子！猪鼻子！ Alexabetti: [From within, a sudden scream] Pig-nose! Pig-nose! Pig-nose!
弗兰肯斯坦夫人：慢性无花果对额叶的影响。 LADY FRANKENSTEIN: The effect of chronic figs on the frontal lobe.
FRANCISCUS: Like a thousand points of light. Current through the scalp to stimulate the brain, a grand mal seizure. I love this filthy talk. All this voltage and electrodes and such. Do you want to get me more excited? When I dream, I want so many things every moment.
弗兰肯斯坦夫人：你真是个贪婪的梦境生物。你想要更多吗？ LADY FRANKENSTEIN: You are a greedy dream-creature. Do you want more?
伏尔甘：我跟你说过，我浑身发痒。我快要燃烧起来了。我感觉自己像一团带电的粒子。 FRANCISCUS: I told you, I’m itching all over. I’m about to combust. I feel like a mass of charged particles.
弗兰肯斯坦夫人：首先，我们得工作。你先帮我止痒。 LADY FRANKENSTEIN: First, we must work. You help me with this itch first.
伏尔甘：这不公平。我像个充满能量的疯子，浑身颤抖，你却不让我尽情释放！ FRANCISCUS: It’s not fair. I’m like a high-energy lunatic, trembling all over, and you won’t let me let it all out!
)(*)(
第三幕第三场 (Act 3, Scene 3)
[贝尔曼德罗、阿尔塞梅罗、贾斯珀里诺与比阿特丽斯上。Vermandero, Alsemero, Jasperino, and Beatrice enter.]
贝尔曼德罗： 巴伦西亚的人民对您评价极高，先生。真希望我现在能再有个女儿嫁给您。 VERMANDERO: Valencia speaks so nobly of you, sir, I wish I had a daughter for you now.
阿尔塞梅罗： 像令爱这样完美的人，即便做国王的伴侣也绰绰有余。 ALSEMERO: The fellow of this creature were a partner for a king’s love.
贝尔曼德罗： 我曾经确实有个和她一样的女儿，先生，但上天已让她与永恒的喜乐成婚；若再想让她回到这凡尘苦海，便是罪过了。来吧，先生，您和您的朋友该去看看我最引以为傲的养生乐园。 VERMANDERO: I had her fellow once, sir, but heaven has married her to joys eternal… Come sir, your friend and you shall see the pleasures which my health chiefly joys in.
[除比阿特丽斯外，众人皆下。] [Exit all save Beatrice.]
比阿特丽斯： （独白）就这样，在博取父亲欢心的路上我又迈进了一步。时间会让他彻底回心转意。现在我已经为他赢得了在这府邸出入的自由；智慧就是这样一步步夺回属于她的自由的。只要那只冒犯我的眼睛被遮蔽，我只需等待那场“月食”降临。通过我那灿烂纯洁的爱，这位绅士很快就会在父亲的好感/欢心中熠熠生辉。 BEATRICE: [Solo.] So, here’s one step into my father’s favor, time will fix him… and if that eye be darkened that offends me, I wait but that eclipse; this gentleman shall soon shine glorious in my father’s liking, through the refulgent virtue of my love.
[德·弗洛雷斯上。De Flores enters.]
德·弗洛雷斯： （旁白）想起刚才的事，我的思绪就像在参加一场盛宴。我一点儿也没觉得沉重，为了我给自己定下的那份甜蜜报酬，这点代价简直既轻微又便宜。 DEFLORES: My thoughts are at a banquet for the deed, I feel no weight in it, it is but light and cheap, for the sweet recompense, that I set down for it.
比阿特丽斯： 德·弗洛雷斯。 BEATRICE: De Flores.
德·弗洛雷斯： 小姐？ DEFLORES: Lady?
比阿特丽斯： 你的神情看起来很有喜色。 BEATRICE: Your looks promise cheerfully.
德·弗洛雷斯： 万事皆已周全：时间、环境、您的心愿，还有我的效劳。 DEFLORES: All things are answerable, time, circumstance, your wishes and my service.
比阿特丽斯： 这么说，事成了？ BEATRICE: Is it done then.
德·弗洛雷斯： 皮拉奎奥已经不复存在了。 DEFLORES: Piracquo is no more.
比阿特丽斯： 喜悦从我眼里涌了出来；我们最甜美的快乐往往是在泪水中诞生的。 BEATRICE: My joys start at mine eyes, our sweet’st delights are evermore born weeping.
德·弗洛雷斯： 我给您带了个信物。 DEFLORES: I’ve a token for you.
比阿特丽斯： 给我的？ BEATRICE: For me?
德·弗洛雷斯： 不过这信物送来时有点儿不情不愿；不连着手指，我没法把这戒指取下来。 [将断指递给她。] DEFLORES: But it was sent somewhat unwillingly, I could not get the ring without the finger. [Hands her the finger.]
比阿特丽斯： 天哪！你不该……[拿走戒指，把手指递还回去。] 不，说真的，你不该带这个来。 BEATRICE: Bless me! You shouldn’t have … [Takes the ring, hands the finger back.] No, seriously, you shouldn’t have.
德·弗洛雷斯： 难道这比杀了一个大活人还严重吗？我可是切断了他的心弦。宫廷宴会上那些贪婪的手，要是忙中出错伸错了餐碟，受的伤也比这重。 DEFLORES: Why is that more than killing the whole man? I cut his heart strings. A greedy hand thrust in a dish at court in a mistake, has had as much as this.
比阿特丽斯： 这是我父亲让我送给他的第一件信物。 BEATRICE: It is the first token my father made me send him,
德·弗洛雷斯： 于是我让他把它作为最后一件信物送回来。我不忍心丢下它，而且我确定死人是用不着珠宝的。他生前也不忍心放手，因为它套得太死，就像血肉和它已经长成了一体。 DEFLORES: And I made him send it back again for his last token… it stuck, as if the flesh and it were both one substance.
比阿特丽斯： 雄鹿倒下时，猎场看守人会得到他的酬劳。这道理很快就能兑现。所有死人的酬劳都是您的了，先生。请把这根手指埋了吧；但这颗钻石您很快就能派上用场。说句实在话，它的价值接近三百金币。 BEATRICE: At the Stag’s fall the Keeper has his fees… all dead men’s fees are yours, sir, I pray bury the finger, but the stone you may make use on shortly, the true value, take it of my truth, is near three hundred ducats.
德·弗洛雷斯： 这戒指就算再精美，恐怕也买不到一个能装下良心的匣子，免得它被虫蛀。好吧，既然是我的酬劳，我就收下了。那些大人物教会了我这一招，否则我的功劳本该不屑于这种赏赐。 DEFLORES: It will hardly buy a capcase for one’s conscience to keep it from the worm… Well, being my fees I’ll take it… or else my merit would scorn the way on it.
比阿特丽斯： 理应如此，先生。为什么你误会了，德·弗洛雷斯？这并不是作为最终的补偿给你的。 BEATRICE: It might justly, sir. Why your mistake De Flores, it is not given in state of recompense.
德·弗洛雷斯： 不，我希望如此，小姐，否则您很快就会看到我对它的蔑视。 DEFLORES: No, I hope so, Lady, you should soon witness my contempt to it then.
比阿特丽斯： 请直说吧，你看起来像是被冒犯了。 BEATRICE: Pray tell, you look as if your were offended.
德·弗洛雷斯： 那可就奇怪了，小姐。我的效劳绝不可能让您有理由冒犯我。冒犯？您会这么想吗？对于我这种表现的人，对于这份余温尚存的效劳来说，那可太过分了。 DEFLORES: That were strange, Lady… Offended? Could you think so? That were much for one of my performance, and so warm yet in my service.
比阿特丽斯： 如果我给了您冒犯的理由，那真是我的悲哀，先生。 BEATRICE: It were misery in me to give you cause, sir.
德·弗洛雷斯： 我知道，确实如此。那将是她处于最凄惨境地时的悲哀。 DEFLORES: I know so much, it were so, misery in her most sharp condition.
比阿特丽斯： 那就这么定了。瞧，先生，这是三千金币。我绝没有轻视您的功劳。 BEATRICE: It is resolved then; look you sir, here’s 3000. golden Florins, I have not meanly thought upon your merit.
德·弗洛雷斯： 薪水？你现在真的惹火我了。 DEFLORES: What salary? Now you irk me.
比阿特丽斯： 怎么了，德·弗洛雷斯？ BEATRICE: How De Flores?
德·弗洛雷斯： 难道你把我当成那些卑贱的害虫，为了工资去杀人？拿金子来打发我？那可是人的心头血！难道有什么东西贵重到能抵消我的报酬吗？ DEFLORES: Do you place me in the rank of verminous fellows, to destroy things for wages? offer gold? The life blood of man; is any thing valued too precious for my recompense?
比阿特丽斯： 我不明白你的意思。 BEATRICE: I understand you not.
德·弗洛雷斯： 花这个价钱，我能雇到一个杀人学徒代劳，而我的良心本可以平安无事，等着别人把人头送上门。 DEFLORES: I could have hired a journeyman in murder at this rate, and mine own conscience might have, and have had the work brought home.
比阿特丽斯： （旁白）我掉进迷宫了。到底什么才能让他满意？我真想打发走他。——（大声地）我把赏金翻倍，先生。 BEATRICE: (Aside) I’m in a labyrinth; what will content him? I would fain be rid of him. (Aloud) I’ll double the sum, sir.
德·弗洛雷斯： 你这是在成倍地增加我的烦躁，这就是你干的好事。 DEFLORES: You take a course to double my vexation, that’s the good you do.
比阿特丽斯： 天哪！我现在的处境比刚才更糟了。我不知道什么才能取悦他。为了消除我的恐惧，我求你尽可能快地离开。如果你太害羞不敢开价，纸是不会脸红的，把你的要求写下来，钱会随后寄给你，但求求你快逃吧。 BEATRICE: Bless me! I am now in worse plight than I was… If you be’st so modest not to name the sum that will content you, paper blushes not, send your demand in writing… but prithee take your flight.
德·弗洛雷斯： 那你也得跟我一起逃。 DEFLORES: You must fly too, then.
比阿特丽斯： 我？ BEATRICE: I?
德·弗洛雷斯： 否则我一步也不挪。 DEFLORES: I’ll not stir a foot else.
比阿特丽斯： 你这是什么意思？ BEATRICE: What’s your meaning?
德·弗洛雷斯： 什么意思？怎么，难道你不也一样有罪吗？我确定你陷得和我一样深。我们得拴在一起。过来，你的恐惧给了你错误的建议。我一消失，怀疑马上就会落到你头上，到时没人能救得了你。 DEFLORES: ‘What’? Why, are not you as guilty, in I’m sure as deep as I? and we should stick together. Come, your fears counsel you but ill, my absence would draw suspect upon you instantly…
比阿特丽斯： （旁白）他击中了我的要害。 BEATRICE: (Aside) He hits home.
德·弗洛雷斯： 既然我们两个共同卷入了这件事，就不该分开生活。 DEFLORES: Nor is it fit we two engaged so jointly, should part and live asunder.
比阿特丽斯： 你要干什么，先生？这成何体统。 BEATRICE: How now sir? This shows not well.
德·弗洛雷斯： 为什么你的嘴唇看起来那么陌生？我们之间不该这样。 DEFLORES: What makes your lip so strange? This must not be betwixt us.
比阿特丽斯： 这人在胡言乱语。 BEATRICE: The man talks wildly.
德·弗洛雷斯： 来，热烈地吻我一下。 DEFLORES: Come kiss me with a zeal now.
比阿特丽斯： 上苍啊，我开始怕他了。 BEATRICE: Heavens, I doubt him.
德·弗洛雷斯： 很快我就不会站在这儿讨要亲吻了，我会直接索取。 DEFLORES: I will not stand so long to beg them shortly.
比阿特丽斯： 留神点，德·弗洛雷斯，别忘了尊卑，那很快会暴露我们的。 BEATRICE: Take heed, De Flores, of forgetfulness, it will soon betray us.
德·弗洛雷斯： 你先留神吧！说实话，你已经忘了很热心，这得怪你。 DEFLORES: Take your heed first; faith, you are grown much forgetful, you are to blame in it.
比阿特丽斯： （旁白）他太放肆了，我却成了被指责的那一个。 BEATRICE: (Aside) He’s bold, and I am blamed for it.
德·弗洛雷斯： 我帮你解决了麻烦，想想看。我现在很痛苦，必须由你来解救。这是慈悲，正义也邀请你的骨血来理解我的意思。 DEFLORES: I have eased you of your trouble, think on it, I’m in pain, and must be eased of you; it is a charity, justice invites your blood to understand me.
比阿特丽斯： 我不敢。 BEATRICE: I dare not.
德·弗洛雷斯： 快点。 DEFLORES: Quickly.
比阿特丽斯： 噢，我永远不会。再说远一点吧，好让我忘了刚才听到的那些话，不留下一点声音。为了再办成一件这种事，我也不愿再听到这种冒犯了。 BEATRICE: Oh I never shall, speak it yet further of that I may lose what has been spoken… I would not hear so much offense again for such another deed.
德·弗洛雷斯： 轻声点，小姐，轻声点。上一笔账还没结清呢。噢，这一举动让我精神焕发。我渴求它，就像干裂的土地渴求乌云哭泣时的甘霖一样。难道你没注意到吗？是我自己钻进这件事里来的，并不是求着、跪着求来的。为什么要费这么多周折？你看，我对你的金子嗤之以鼻——并不是因为我不缺钱，我缺得要命，迟早我会拿走它并派上用场——但金子打一开始就没那么珍贵。因为我把财富放在享乐之后。如果我不能坚信你的贞洁尚在，我拿报酬时反而会心存芥蒂。就像我只得到了当初约好的一半期望。 DEFLORES: Soft, Lady, soft; the last is not yet paid for… I was as greedy on it as the parched earth of moisture, when the clouds weep… Why was all that pains took? You see I have thrown contempt upon your gold… for I place wealth after the heels of pleasure…
比阿特丽斯： 为什么？这不可能。你不可能这么邪恶，或者藏着这种狡诈的残忍，让他的死亡成为我名誉的杀手。你的语言如此大胆堕落，我简直看不出有什么理由能以谦卑之心宽恕它。 BEATRICE: Why it is impossible your cannot be so wicked… to make his death the murderer of my honor. Your language is so bold and vicious…
德·弗洛雷斯： 呸，你忘了你自己。一个浸在血里的女人，还谈什么谦卑。 DEFLORES: Push, you forget yourself, a woman dipped in blood, and talk of modesty.
比阿特丽斯： 噢，罪恶的痛苦！我宁愿永远和那个我活生生厌恶的皮拉奎奥拴在一起，也不愿听到这些话。想想造物主在你我的血统之间设下的鸿沟，安守你的本分。 BEATRICE: O misery of sin! would I had been bound perpetually unto my living hate in that Piracquo, than to hear these words. Think but upon the distance that Creation set it between your blood and mine, and keep you there.
德·弗洛雷斯： 看看你的良心吧，在那儿读懂我。那是一本真实的收支簿，你会发现我在那儿是你的对等者。呸，别搬出你的出身，安于这桩行为把你变成的样子吧。你现在什么也不是了，在我面前你必须忘掉你的家世。你是“这桩罪行的产物”；凭借这个名字，你失去了原有的身份。既然平安与清白已经把你赶出门外，让你和我合而为一，那么我就要向你要求我的权利。 DEFLORES: Look but into your conscience, read me there, it is a true book, you’ll find me there you equal. Push, fly not to your birth, but settle you in what the act has made you… you are the deed’s creature… and I challenge you, as peace and innocency has turned you out, and made you one with me.
比阿特丽斯： 和你？你这臭名昭著的恶棍！ BEATRICE: With you, foul villain?
德·弗洛雷斯： 没错，我美丽的杀人凶手。你一定要逼我吗？你背弃了初恋，这在你的心里已经是一种放荡；而皮拉奎奥现在也改变了，好迎接你的第二个爱人阿尔塞梅罗。我以黑暗所赐的一切甘美起誓发誓，如果我不占有你，你也永远别想占有他。我会摧毁你婚姻的希望与喜悦，我会坦白一切。我根本不在乎我这条命。 DEFLORES: Yes, my fair murd’ress; Do you urge me? … if I enjoy you not, you never enjoy him, I’ll blast the hopes and joys of marriage, I’ll confess all, my life I rate at nothing.
比阿特丽斯： 德·弗洛雷斯？ BEATRICE: De Flores?
德·弗洛雷斯： 到那时我就能从情人的折磨中解脱了，我现在活在痛苦中。你那射人的目光会把我的心烧成灰烬。 DEFLORES: I shall rest from all lovers’ plagues then, I live in pain now. that shooting eye will burn my heart to cinders.
比阿特丽斯： 噢，先生，请听我说。 BEATRICE: O sir, hear me.
德·弗洛雷斯： 生时爱中拒绝我，死时羞中做伴侣。 DEFLORES: She that in life and love refuses me, in death and shame my partner she shall be.
比阿特丽斯： 等等，最后听我说一次。我把你当成我所有金银珠宝的主人。让我带着名誉贫穷地睡去，我便在万物中都富有了。 BEATRICE: Stay, hear me once for all, I make you master of all the wealth I have in gold and jewels, let me go poor unto my bed with honor, and I am rich in all things.
德·弗洛雷斯： 让这话让你闭嘴吧：全巴伦西亚的财富也买不走我的享乐。难道你能用泪水把命运从既定的目标中哭走吗？ DEFLORES: Let this silence you, the wealth of all Valencia shall not buy my pleasure from me, can you weep fate from its determined purpose?
比阿特丽斯： 复仇开始了；我明白，谋杀之后必有更多的罪孽。难道我在母腹中受孕时就中了诅咒，非得先和一条毒蛇交配吗？ BEATRICE: Vengeance begins; murder I see is followed by more sins. Was my creation in the womb so cursed, it must engender with a viper first?
德·弗洛雷斯： 来，起来，把你的羞红藏进我的怀里。沉默是享乐最好的良方。在这场屈服中，你的平安将永得周全。哎呀，瞧这只斑鸠喘得多么厉害！你很快就会爱上它——爱上你这般恐惧、瘫软而不敢尝试之事：这想象中的欢愉。 [同下。] DEFLORES: Come, rise, and shroud your blushes in my bosom, silence is one of pleasure’s best receipts. Your peace is wrought for ever in this yielding. Alas how the turtle pants! You’ll love it anon, what your so fears, and faints to venture on. [Exeunt.]
)(*)(
第四幕 第一场 (Act 4, Scene 1)
[哑剧] [DUMBSHOW] [众绅士上。贝尔曼德罗迎上，神色惊异，显然是在为皮拉奎奥的失踪而纳闷。] [Enter Gentlemen. Vermandero meets them with action of wonderment at the flight of Piracquo.]
[阿尔塞梅罗在贾斯珀里诺及一众贵族青年的陪同下上场。贝尔曼德罗指向阿尔塞梅罗，众绅士纷纷点头赞许，认可他为新的准女婿。Enter Alsemero, with Jasperino and Gallants; Vermandero points to him, the Gentlemen seeming to applaud the choice.]
[阿尔塞梅罗、贾斯珀里诺与众绅士开始列队行进。Alsemero, Jasperino, and Gentlemen pass over.]
[新娘比阿特丽斯盛装出场，神态庄重，由狄凡塔、及其他女官簇拥陪同。Beatrice the Bride following in great state, accompanied with Diaphanta and other Gentlewomen.]
[德·弗洛雷斯走在队伍最后，正为这天遂人愿的变故暗自冷笑；就在他冷笑时，阿隆索的幽灵突然现身。德·弗洛雷斯大惊失色，幽灵向他展示那只被切掉手指、血淋淋的手。众人就在这诡异的氛围中庄严走过。] [De Flores after all, smiling at the accident; Alonzo’s Ghost appears to De Flores in the midst of his smile, startles him, showing him the hand whose finger he had cut off. They pass over in great solemnity.]
[比阿特丽斯上。BEATRICE enters.]
比阿特丽斯： 那个家伙彻底毁了我，永无止境。从来没有哪个新娘像我这样惊恐万分。我越是想到即将到来的夜晚，想到那个我要委身拥抱的人——他在血统和思想上都如此高贵，头脑如此清醒（这正是我现在的灾星），在他的判断力面前，我的过错就像罪犯在法庭上一样无所遁形。越是深思我的困境，就越觉得藏不住。一个聪明人面对巨大的灾祸时会如何反应？我绝不敢就这么上他的床，无论我想到什么法子，如果不带羞耻地去，就会面临危险；他肯定会义正言辞地在我躺在他身边时掐死我，把我当成骗子对待。在一个老练的赌徒面前玩弄灌铅的假骰子，这可真是门改为“高超的技艺。瞧，这是他的书房，钥匙插在上面，他去公园了，肯定是忘了拔。我要大胆进去瞧瞧。老天！这真是个地道的医生书房，摆满了药瓶，每个都有标记。想必他为了自用也钻研医术，这倒也称得上是大人物的智慧。这儿躺着什么手稿？《实验之书》，又名《自然之秘》。果然，果然是。——“如何辨别女子是否怀胎。”我希望我现在还没……让我看看……第45页……在这儿。书页折了角，这地方真可疑。“若想辨别女子是否怀胎，请给其饮用C号瓶中的白色药水两勺。若已怀胎，饮后必昏睡足足十二小时；若未怀胎，则不然。”这种水一滴也别想进我的肚子。哪怕有一百瓶我也能认出你，我现在就能砸碎你，或者把你换成牛奶，糊弄一下这位秘密的主人。但我得盯着你。哈！接下来的这个更要命十倍。“如何辨别女子是否仍为处子。”如果这药用在我身上，我会变成什么样？大概他对我的纯洁深信不疑，还没试过。但他把这称为“有趣的诡计，真实的实验”，作者是安东尼厄斯·米扎尔杜斯。“取M号瓶中药水一勺给受试者。若是处女，则生三效：其一必不由自主张口呵欠，其二必突发喷嚏，其三必狂笑不止。若非处女，则神情呆滞、沉重笨拙。”我的天，我要是试了会怎样？我真怕，离就寝还有七个小时。 BEATRICE: This fellow has undone me endlessly… it is a precious craft to play with a false die before a cunning gamester… The ‘Book of Experiments’, called ‘Secrets in Nature’… ‘How to know whether a woman is still a virgin, or not’… it will make her incontinently gape, then fall into a sudden sneezing, last into a violent laughing… I fear it, yet it is seven hours to bed time.
[狄凡塔上。DIAPHANTA enters.]
狄凡塔： 哎呀夫人，您在这儿啊？ DIAPHANTA: Cuds Madam, are you here?
比阿特丽斯： （旁白）一见到这丫头，我就心生一计。这是一件精巧的宝贝，金子也买不到。——过来，丫头，我在这儿找我丈夫呢。 BEATRICE: (Aside) Seeing that wench now a trick comes in my mind… (Aloud) I come here wench, to look my lord.
狄凡塔： 真希望我也能有理由找他。夫人，他在公园里呢。 DIAPHANTA: Would I had such a cause to look him too. Why he’s in the Park Madam.
比阿特丽斯： 随他在那儿吧。 BEATRICE: There let him be.
狄凡塔： 是啊夫人，让他逛去吧，绕遍整个公园和森林，就像伟大的猎场看守人那样；可到了栖息的时候，只要一个小窝就能容下他们。征服世界的亚历山大曾觉得世界太窄，最后也不过占了个坑洞。 DIAPHANTA: Ay madam, let him compass, whole parks and forests… Earth-conquering Alexander… in the end had but his pit-hole.
比阿特丽斯： 我怕你的谈吐不够端庄，狄凡塔。 BEATRICE: I fear your art not modest, Diaphanta.
狄凡塔： 夫人，您的心思总是藏得紧，新娘快到就寝时都是这副模样，轻看自己的喜悦，好像那不属于她似的。 DIAPHANTA: Your thoughts are so unwilling to be known, madam… to set light by her joys, as if she owed them not.
比阿特丽斯： 她的喜悦？你应该说是她的恐惧。 BEATRICE: Her joys; her fears your wouldst say.
狄凡塔： 怕什么？ DIAPHANTA: Fear of what?
比阿特丽斯： 你还是个处女吗，竟然说这种话？你把这羞人的事儿抛在脑后了，真该怪你。 BEATRICE: Are you a maid, and talk like to a maid? You leave a blushing business behind, beshrew your heart for it.
狄凡塔： 夫人，您是认真的吗？ DIAPHANTA: Do you mean good sooth, madam?
比阿特丽斯： 唉，要是当初我预见到这种恐惧，我就该离男人远点。 BEATRICE: Well, if I’d thought upon the fear at first, man should have been unknown.
狄凡塔： 这怎么可能？ DIAPHANTA: Is it possible?
比阿特丽斯： 谁要是愿意替我替我体验我所恐惧之事，并在明天如实告诉我感受，我愿意赏她一千金币。要是她觉得好，也许我也会被说动去尝试。 BEATRICE: I will give a thousand ducats to that woman would try what my fear were… as she likes I might perhaps be drawn to it.
狄凡塔： 您是认真的？ DIAPHANTA: Are you in earnest?
比阿特丽斯： 只要你找来那个女人，尽管来找我，看我会不会抵赖；但我得顺便告诉你，她必须是个地道的处女，否则这实验就做不成，我的恐惧她也体会不到。 BEATRICE: Do you get the woman, then challenge me… she must be a true maid, else there’s no trial…
狄凡塔： 夫人，我会交到您手里的那个女人，绝对是个处女。 DIAPHANTA: No, she that I would put into your hands, madam shall be a maid.
比阿特丽斯： 你知道，否则我会蒙羞的，因为她是替我去躺在那儿。 BEATRICE: You know I should be shamed else, because she lies for me.
狄凡塔： 这想法真古怪。但您还是认真的吗？您愿意放弃初夜的欢愉，还要倒贴钱？ DIAPHANTA: It is a strange humor. But are you serious still? Would you resign your first night’s pleasure, and give money too?
比阿特丽斯： 就像我想活命一样愿意。唉，唉，金子不过是小注，只为楔实那名誉的大桩。。 BEATRICE: As willingly as live; alas, the gold is but a by-bet to wedge in the honor.
狄凡塔： 我不知道世道对忠诚和老实怎么看，但这桩事里这两样都需要。夫人，您看我怎么样？别处找了，我真的很想赚您这笔钱。 DIAPHANTA: Madam, what say you to me, and stray no further, I’ve a good mind in truth to earn your money.
比阿特丽斯： 你反应太快了，我怕你不是个处女。 BEATRICE: You are too quick, I fear, to be a maid.
狄凡塔： 什么？不是处女？夫人，您这是逼我发誓，您这位高贵的、满心恐惧的夫人，也并不比我更贞洁。 DIAPHANTA: How now? Not a maid? No then you urge me madam, your honorable self is not a truer with all your fears upon you.
比阿特丽斯： （旁白）那可够糟的。 BEATRICE: Bad enough then.
狄凡塔： 我可是满心欢喜，一点也不怕。 DIAPHANTA: Than I with all my lightsome joys about me.
比阿特丽斯： 那我很高兴听到这个。你敢让你的贞洁接受一次简单的测试吗？ BEATRICE: I’m glad to hear it then, you dare put your honesty upon an easy trial.
狄凡塔： 简单的？——什么都行。 DIAPHANTA: Easy? — anything.
比阿特丽斯： 我这就来找你。 BEATRICE: I’ll come to you straight.
狄凡塔： （旁白）她该不会要搜我的身吧？像女陪审团的首领一样。 DIAPHANTA: She will not search me? will she? Like the forewoman of a female Jury.
比阿特丽斯： M号瓶。对，就是这个。瞧，狄凡塔，你喝的东西跟我的一样。 BEATRICE: Glass M. Ay, this is it; look Diaphanta, you take no worse than I do.
狄凡塔： 既然如此，我也不问这是什么了，喝了便是。 DIAPHANTA: And in so doing I will not question what it is, but take it.
比阿特丽斯： （旁白）现在，如果这实验是真的，它会自证其效，并给我带来莫大的安宁。——开始了，那是第一个症状；第二个症状来得真快，这真是一桩神奇的奥秘。相反，它对我一点作用也没有，这正是我最关心的。 BEATRICE: (Aside) Now if the experiment be true, it will praise itself, and give me noble ease. — Begins already, there’s the first symptom; … on the contrary it stirs not me a whit…
狄凡塔： 哈，哈，哈！ DIAPHANTA: Ha, ha, ha.
比阿特丽斯： 万事精准，按部就班，如同遵循着既定的法则，一个反应接着另一个。 BEATRICE: Just in all things and in order… one accident gives way unto another.
狄凡塔： 哈，哈，哈！ DIAPHANTA: Ha, ha, ha.
比阿特丽斯： 怎么了，丫头？ BEATRICE: How now wench?
狄凡塔： 哈，哈，哈！我心里好轻快，哈，哈，哈！太舒服了。好夫人，让我再喝一口。 DIAPHANTA: Ha, ha, ha, I am so so light at heart, ha, ha, ha. so pleasurable. But one more swig, sweet madam.
比阿特丽斯： 明天吧，明天我们有的是时间慢慢喝。 BEATRICE: Ay, tomorrow, we shall have time to sit by it.
狄凡塔： 哎呀，我现在又难过了。 DIAPHANTA: Now I’m sad again.
比阿特丽斯： 药效消散得也很快。过来，丫头，我现在敢管你叫“最诚实的狄凡塔”了。 BEATRICE: It lays itself so gently, too. Come wench, most honest Diaphanta I dare call you now.
狄凡塔： 请告诉我，夫人，这叫什么戏法？ DIAPHANTA: Pray tell me, madam, what trick call you this?
比阿特丽斯： 以后我会告诉你的；我们得好好合计合计这桩买卖该怎么操办。 BEATRICE: I’ll tell you all hereafter; we must study the carriage of this business.
狄凡塔： 我会操办好的，因为我喜欢这个“重担”。 DIAPHANTA: I shall carry it well, because I love the burden.
比阿特丽斯： 午夜时分，你一定要悄悄溜出来，好让我接手。 BEATRICE: About midnight you must not fail to steal forth gently, that I may use the place.
狄凡塔： 噢，别担心，夫人，到时候我早就冷静下来了。新娘的位置，还有一千金币；我现在可以嫁给法官了，我带着嫁妆呢，我才看不上那些穷傻瓜。 [同下。] DIAPHANTA: Oh fear not, madam, I shall be cool by that time. the bride’s place, and with a thousand ducats… I scorn small fools. [Exeunt.]
)(*)(
ACT 4, Scene 2.
[贝尔曼德罗与仆人上。Vermandero and Servant enter.]
贝尔曼德罗： 我告诉你，奴才，我的名誉受到了质疑！那是向来不受怀疑、也从未有过差池的东西。我的绅士里谁不在场？如实告诉我，有几个，都是谁？ VERMANDERO: I tell you knave, mine Honor is in question… who of my gentlemen are absent? Tell me and truly how many, and who.
托马佐·德·皮拉奎奥： [上场] 我向你要我的兄弟！ TOMAZO DE PIRACQUO: I claim a brother from you!
贝尔曼德罗： 你太急躁了，他不在这里。 VERMANDERO: You are too hot, he is not here.
托马佐·德·皮拉奎奥： 不，他就在你你至亲的血脉之中！如果我的心还得不到公正的交代，这个地方就必须为他负责，因为我最后就是在此与他分别的。这场仓促结合的婚姻，就是他遭遇不测的明证。 TOMAZO DE PIRACQUO: Yes, among your dearest bloods… the hasty tie of this snatched marriage, gives strong testimony of his most certain ruin.
贝尔曼德罗： 纯属一派胡言！这个地方确实见证了他的背信弃义，这不仅糟蹋了我对他的一片爱心，也嘲弄了我女儿的喜悦。精心准备的大婚之晨因他的不忠而羞愧。他竟然如此出人意料地逃走，把公开的侮辱丢给那些爱他的朋友，简直是卑鄙透顶。 VERMANDERO: Certain falsehood… his breach of faith, has too much marred both my abused love… oh it was most ignoble to take his flight so unexpectedly…
[德·弗洛雷斯上。De Flores enters.]
德·弗洛雷斯： （旁白）那就是我的名字。您见到新娘了吗？好心的先生，她往哪边去了？ DEFLORES: That’s my name indeed. Saw you the bride? Good sweet sir, which way took she?
托马佐·德·皮拉奎奥： 我才不想让我这双眼被那样一个虚伪的女人玷污。 TOMAZO DE PIRACQUO: I have blessed mine eyes from seeing such a false one.
德·弗洛雷斯： （旁白）我得赶紧溜，这人我可招惹不起。一靠近他，我就能闻到他兄弟的血腥味。 DEFLORES: (Aside) I’d fain get off, this man’s not for my company, I smell his brother’s blood when I come near him.
托马佐·德·皮拉奎奥： 过来，你这个厚道人。我记得我兄弟以前很器重你。 TOMAZO DE PIRACQUO: Come here kind and true one; I remember my brother loved you well.
德·弗洛雷斯： 噢，确实如此，亲爱的先生。或许……我现在正又一次杀了他呢，他让我想起了那新鲜的场面。 DEFLORES: O purely, dear sir, perhaps I am now again a-killing on him. He brings it so fresh to me.
托马佐·德·皮拉奎奥： 你猜不到吧，先生，一个忠诚的朋友对于某个邪恶有罪的人总有一种嫉恶如仇的直觉。 TOMAZO DE PIRACQUO: You cannot guess sir, one honest friend has an instinct of jealousy at some foul guilty person.
德·弗洛雷斯： 哎呀先生，我这人太慈悲了，我觉得没人比我更坏了。——那您是没见到新娘咯？ DEFLORES: Alas sir, I am so charitable, I think none worse than myself — You did not see the bride then?
托马佐·德·皮拉奎奥： 求你别提她。她难道不邪恶吗？ TOMAZO DE PIRACQUO: I prithee name her not. Is she not wicked?
德·弗洛雷斯： 不，不，就是一个普通的、圆润的罪人，和大多数贵妇一样。否则你会觉得我在奉承她。但先生，她绝不邪恶，除非等她们老到罪孽与恶习汇合，变成了向女巫致敬的老太婆。——我想有人在叫我，先生。和他待在一起简直压得我的良心喘不过气来。[下] DEFLORES: No, no, a pretty easy round-packed sinner, as your most ladies are… His company even o’erlays my conscience. [Exits.]
[阿尔塞梅罗上。Alsemero enters.]
阿尔塞梅罗： 非常欢迎。 ALSEMERO: You are most welcome.
托马佐·德·皮拉奎奥： 你可以把这话收回去。我不觉得自己受欢迎，也不想受欢迎。我来这儿不是为了祝贺你，或者狂饮你的美酒；只有更珍贵的液体（血）才能解掉我带来的焦渴。 TOMAZO DE PIRACQUO: You may call that word back… it is a more precious liquor that must lay the fiery thirst I bring.
阿尔塞梅罗： 你的话和你的人对我来说都非常陌生。 ALSEMERO: Your words and you appear to me great strangers.
托马佐·德·皮拉奎奥： 时间和我们的剑会让我们变熟的。原本站在你位置上的应该是我的兄弟，我想知道背叛与恶意把他怎么了。 TOMAZO DE PIRACQUO: Time and our swords may make us more acquainted… I should have a brother in your place…
阿尔塞梅罗： 先生，你得为这话负责。 ALSEMERO: You must look to answer for that word, sir.
托马佐·德·皮拉奎奥： 别怕，下次见面我会拔剑准备好的。继续你庄严的婚礼吧。再见，我不打扰了。我会暂时忍耐这痛苦。[下] TOMAZO DE PIRACQUO: Fear you not, I’ll have it ready drawn at our next meeting… Farewell… [Exits.]
[贾斯珀里诺上。Jasperino enters.]
阿尔塞梅罗： 这可有点不吉利，在大喜之日结下私仇。贾斯珀里诺，我有奇事要告诉你。 ALSEMERO: It is somewhat ominous this… Jasperino, I have news to tell you, strange news.
贾斯珀里诺： 我也有，恐怕和你的同样离奇。说实话，先生，别怪我热心，这件事让我对你的忠诚和友谊都备受煎熬。 JASPERINO: I have some too… Faith sir, dispense a little with my zeal, and let it cool in this.
贾斯珀里诺： 我原本在屋子后边等狄凡塔私会，她刚走，我就听到隔壁房间传出你新娘的声音；仔细一听，发现德·弗洛雷斯的声音比她还响。 JASPERINO: …instantly I heard your bride’s voice in the next room to me; and lending more attention, found De Flores louder than she.
阿尔塞梅罗： 德·弗洛雷斯？你搞错了吧。她一见到他就觉得恶心。 ALSEMERO: De Flores? You’re out now. The very sight of him is poison to her.
贾斯珀里诺： 我也犹豫过，但狄凡塔回来后证实了这一点。我们一起偷听，那些对话听起来就像是一个男人在宣示对一个女人的占有权。 JASPERINO: …words passed like those that challenge interest in a woman.
阿尔塞梅罗： 住嘴！收起你的热心。即便她是世上唯一的荣耀，如果她被玷污了，她就别想睡在这里！我得在那药瓶里找个答案。去我书房，拿那个刻着字母“M”的瓶子来。 ALSEMERO: Peace, quench your zeal… had eyes that could shoot fire into kings’ breasts, and touched, she sleeps not here… bring from my closet a glass inscribed there with the letter M.
[比阿特丽斯上。Beatrice enters.]
比阿特丽斯： （旁白）万事顺利。我的女官正准备替我出征呢。——先生，我刚才冒昧地让人带信哭诉我的恐惧，请原谅我。 BEATRICE: (Aside) All things go well, my woman’s preparing yonder for her sweet voyage… (Aloud) Sir, I was bold to weep a message to you, pardon my modest fears.
阿尔塞梅罗： （旁白）鸽子都没她温顺。她肯定是受了委屈。——哦，你来了？ ALSEMERO: The Dove’s not meeker. She’s abused questionless. — Oh are you come, sir?
比阿特丽斯： （旁白）赌上我的命，那是那个药瓶。我看到字母了。 BEATRICE: (Aside) The glass upon my life; I see the letter.
阿尔塞梅罗： 我们的新娘来得正好！ Joanna，这药水对你没坏处。 ALSEMERO: How fitly our Bride comes to partake with us! No hurt.
比阿特丽斯： 先生，请原谅，我很少喝这种调配的东西。我怕它会让我不舒服。 BEATRICE: Sir, pardon me, I seldom taste of any composition. I fear it will make me ill.
比阿特丽斯： （旁白）现在全靠我的演技了。我记得那些反应。如果我能演得漂亮的话…… BEATRICE: (Aside) I’m put now to my cunning, the effects I know. If I can now but feign them handsomely.
阿尔塞梅罗： 这药水有一种神秘的力量，在处女身上从未失灵过。 ALSEMERO: It has that secret virtue it never missed, sir, upon a virgin.
比阿特丽斯： [开始表演：先是哈欠，然后喷嚏，最后狂笑] 哈，哈，哈！我的主，你给我喝了什么？让我心中充满欢欣！ BEATRICE: Ha, ha, ha, you have given me joy of heart to drink my lord.
阿尔塞梅罗： 不，是你给了我永不凋谢的喜悦。瞧，现在她又陷入了忧郁的沉静中。一切都符合时间和方法。我的Joanna，你就像上天的呼吸一样纯洁。我的爱将你拥入怀中。 ALSEMERO: No, your has given me such joy of heart… Chaste as the breath of heaven… thus my love encloses you.
[同下 Exeunt.]
)(*)(
第五幕 第一场 (Act 5, Scene 1) [比阿特丽斯上，时钟敲响一点。Beatrice enters as a clock strikes one.]
比阿特丽斯： 一点敲响了，她还躺在那儿——噢，我的恐惧！这个淫妇分明是在吞噬着那份欢愉，现在很清楚了，她正贪婪地吞噬着那份欢愉，全然不顾我的名誉和安宁，肆意践踏我的权利。但她会为此付出惨痛代价的；绝不能把命交托给这样一个连自己的欲望都控制不住、无法守约的人。此外，我怀疑她对我不忠，因为我丈夫起疑了，那肯定是从她那儿漏出去的消息——听，我的恐惧在作祟，两点敲响了。 BEATRICE: One struck, and yet she lies by it — Oh my fears, this strumpet serves her own ends… Hark by my horrors, another clock strikes two.
[德·弗洛雷斯上，时钟敲响两点。] [De Flores enters as the clock strikes two.]
德·弗洛雷斯： 嘘，你在哪儿？ DEFLORES: Pist, where are you?
比阿特丽斯： 德·弗洛雷斯！她还没从他那儿出来吗？ BEATRICE: De Flores! Is she not come from him yet?
德·弗洛雷斯： 肯定是被魔鬼种下了淫欲。谁会信任一个女仆？ DEFLORES: Sure the Devil has sowed his itch within her, who’d trust a waiting-woman?
比阿特丽斯： 我总得信任某个人。 BEATRICE: I must trust somebody.
德·弗洛雷斯： 呸，她们都是泼妇。尤其是当她们骑到主人头上、尝到了本属于女主人的头筹时，她们就像疯了的幼犬，你是拉不住她们不让她们扑向“皇家猎物”的。你太鲁莽了，也不找我商量。我本可以找个药剂师的女儿，她保准在十一点前就撤了，还得谢谢你。 DEFLORES: Push, they are termagants… Especially when they fall upon their masters and have their ladies’ first fruits… you are so harsh and hardy ask no counsel…
比阿特丽斯： 天哪，还没出来，这个贱货忘乎所以了。 BEATRICE: O me, not yet, this whore forgets herself.
德·弗洛雷斯： 那混蛋过得太舒坦了。看，你完了，启明星都出来了，天边都快亮得能看清博斯普鲁斯海峡了。 DEFLORES: That scoundrel is living too comfortably. Look, you’re finished, the morning star is out, the sky is almost bright enough to see the Bosphorus.
比阿特丽斯： 快出个主意让我孤注一掷吧，否则就没安全可言了。 BEATRICE: Advise me now to fall upon some ruin…
德·弗洛雷斯： 别出声，我有主意了。我们必须制造一场混乱，别无他法。 DEFLORES: Peace, I ha it now, for we must force a rising, there’s no remedy.
比阿特丽斯： 怎么做？小心点。 BEATRICE: How? take heed of that.
德·弗洛雷斯： 嘘，安静，否则就全盘放弃。我的计策是：放火烧掉狄凡塔房间的一角。 DEFLORES: Tush, be you quiet… This is my reach, I’ll set some part a-fire of Diaphanta’s chamber.
比阿特丽斯： 什么？放火？先生，那会危及整座房子的。 BEATRICE: How? fire sir, that may endanger the whole house.
德·弗洛雷斯： 当你的名誉都在着火时，你居然还谈什么房子的危险。 DEFLORES: You talk of danger when your fame’s on fire.
比阿特丽斯： 说得对。你想怎么做就怎么做吧。 BEATRICE: That’s true, do what your wilt now.
德·弗洛雷斯： 我要的是万无一失。壁炉着了火，她屋里只有些无关紧要的轻便物件会被烧到。如果有人碰巧在远离她住处的地方遇见狄凡塔（那地方现在可疑得很），大家会以为她是由于惊吓才逃出来求救的；如果没有人撞见她（这最有可能），她会因为羞愧急忙赶回自己的房间。而我会带着一杆装满火药的枪等在那儿，假装是去清理烟囱的火——这借口现在正合适——但她才是我的靶子。 DEFLORES: …if Diaphanta should be met by chance then, far from her lodging… I will be ready with a piece high-charged, as it were to cleanse the chimney. there it is proper now, but she shall be the mark.
比阿特丽斯： 我现在被迫要爱你了，因为你为我的名誉考虑得如此周详。 BEATRICE: I’m forced to love you now, because you provide so carefully for my honor.
德·弗洛雷斯： 这关乎我们两人的安全、享乐与长久。 DEFLORES: ’Slid it concerns the safety of us both, our pleasure and continuance.
比阿特丽斯： 再问一句，那些仆人怎么办？ BEATRICE: One word now prithee, how for the servants?
德·弗洛雷斯： 我会趁乱把他们打发开，有的去找水桶，有的找钩子，有的找梯子。你别怕，行动自会有它的时机，我也想好了如何稳妥地处理尸体。火灾真能催生智慧！守好你的时机。 DEFLORES: I’ll dispatch them some one way… How this fire purifies wit! Watch you your minute.
[阿隆索的幽灵出现。Alonzo’s Ghost enters.]
德·弗洛雷斯： 哈！你是谁，挡住了那颗星和我的光？我不怕你，那不过是良心泛起的一阵薄雾——现在全清亮了。[下] DEFLORES: Ha! What are you that takes away the light between that star and me? I dread you not, it was but a mist of conscience — All’s clear again. [Exits.]
比阿特丽斯： 那是谁，德·弗洛雷斯？老天保佑！它滑过去了，有些邪物在缠着这宅子。它留给我一身冷汗。我怕极了，这夜晚太漫长了。噢，这个淫妇！哪怕她有一千条命，他也得守在那儿直到夺走她最后一条命——听啊，我的恐惧，圣塞巴斯蒂安教堂敲了三下。 BEATRICE: Who’s that, De Flores? Bless me! it slides by, some ill thing haunts the house… oh this strumpet! Had she a thousand lives, he should not leave her until he had destroyed the last — Lift oh my terrors, three struck by St. Sebastian’s.
[钟敲三点。The clock strikes three o’clock.]
[内：] 着火了！着火了！着火了！ WITHIN: Fire, fire, fire!
比阿特丽斯： 已经开始了！那人的动作真快！他为我办事多么诚心！他的脸虽然让人厌恶，但看看他的周到，谁能不爱他呢？东方之美也比不上他的效劳。 BEATRICE: Already! How rare is that man’s speed! How heartily he serves me! his face loathes one, but look upon his care, who would not love him? The East is not more beauteous than his service.
[德·弗洛雷斯与仆人们摇着铃走过舞台。De Flores and Servants pass over the stage, ringing a bell.]
德·弗洛雷斯： 快，动起来，钩子、水桶、梯子！说得好，火警响了，烟囱着了，交给我吧；枪已经备好了。[下] DEFLORES: Away, dispatch, hooks, buckets, ladders… the piece is ready. [Exits.]
[狄凡塔跑过。Diaphanta enters.]
比阿特丽斯： 这人才值得去爱——噢，你真是个宝贝（指德·弗洛雷斯）。 BEATRICE: Here’s a man worth loving — oh you are a jewel.
狄凡塔： 夫人请原谅我的软弱。说实话，我刚才太舒服了，简直忘了自己。 DIAPHANTA: Pardon frailty, madam, in truth I was so well, I even forgot myself.
比阿特丽斯： 你干得真“漂亮”。 BEATRICE: You have made trim work.
狄凡塔： 什么？ DIAPHANTA: What?
比阿特丽斯： 快回你房间去，你的“奖赏”跟着你就来了。 BEATRICE: Hie quickly to your chamber, your reward follows you.
狄凡塔： 我从未做过这么甜美的买卖。[下] DIAPHANTA: I never made so sweet a bargain. [Exits.]
[阿尔塞梅罗上。Alsemero enters.]
阿尔塞梅罗： 噢，我亲爱的Joanna，你也起来了？我正要去找你呢，我绝对的宝贝。 ALSEMERO: Oh my dear Joanna, alas, art your risen too, I was coming, my absolute treasure.
比阿特丽斯： 我发现你不在，只好跟过来了。 BEATRICE: When I missed you, I could not choose but follow.
阿尔塞梅罗： 你真是温柔，火势没那么危险。 ALSEMERO: You are all sweetness, the fire is not so dangerous.
[贝尔曼德罗与贾斯珀里诺上。Vermandero and Jasperino enter.]
贝尔曼德罗： 噢，保佑我的房子和我吧。 VERMANDERO: Oh bless my house and me.
阿尔塞梅罗： 您的父亲来了。 ALSEMERO: My lord your father.
[德·弗洛雷斯拿着手枪上。De Flores enters with a pistol.]
贝尔曼德罗： 伙计，你拿枪去哪儿？ VERMANDERO: Knave, whither goes that pistol?
德·弗洛雷斯： 去清理烟囱。[下] DEFLORES: To scour the chimney. [Exits.]
贝尔曼德罗： 噢，说得好，说得好。那家伙在任何场合都派得上用场。 VERMANDERO: Oh well said, well said, that fellow’s good on all occasions.
比阿特丽斯： 他是位非常必不可少的人，父亲。 BEATRICE: A wondrous necessary man, my Lord.
贝尔曼德罗： 他反应很快，顶得上他们所有人。火场里的老手了，我以前见过他被火灼伤。哈，他去了。 VERMANDERO: He has a ready wit… dog at a house of fire… Ha, there he goes.
[传出一声响亮的手枪声。There is a loud pistol shot.]
比阿特丽斯： （旁白）成了。 BEATRICE: It is done.
阿尔塞梅罗： 来吧宝贝，回床上去，你会感冒的。 ALSEMERO: Come sweet to bed now; alas, your wilt get cold.
比阿特丽斯： 唉，恐惧让我感觉不到冷。在听到我那可怜的丫头狄凡塔怎么样之前，我心里没法平静。那是她的房间，先生，她的卧室。 BEATRICE: Alas, the fear keeps that out; my heart will find no quiet until I hear how Diaphanta my poor woman fares; it is her chamber sir, her lodging chamber.
贝尔曼德罗： 火怎么会从那儿烧起来？ VERMANDERO: How should the fire come there?
比阿特丽斯： 她是任何夫人都梦寐以求的好奴仆，但在屋里总是粗心大意、昏头昏脑。她两次差点死在雷管下。 BEATRICE: As good a soul as ever lady countenanced, but in her chamber negligent and heavy. She escaped a mine twice.
贝尔曼德罗： 那些爱睡觉的贱人对宅子来说真危险，哪怕她们人再好。 VERMANDERO: Those sleepy sluts are dangerous in a house…
德·弗洛雷斯： 一个你们大家都认得的东西……狄凡塔全烧焦了……炸得像块脆皮饼。 DEFLORES: A thing you all knew once … Diaphanta’s all burnt … frizzled like a fritter.
比阿特丽斯： 我的丫头，噢，我的丫头！ BEATRICE: My woman, oh my woman!
德·弗洛雷斯： 火焰正贪婪地吞噬着她。烧死了，烧死了，烧死啦，先生。 DEFLORES: Now the flames are greedy of her, burnt, burnt, burnt to death sir.
比阿特丽斯： 噢，我那有预感的灵魂！ BEATRICE: Oh my presaging soul!
阿尔塞梅罗： 别再流泪了，我以火起之前在床上的那个拥抱命令你。 ALSEMERO: Not a tear more, I charge you by the last embrace I gave you in bed before this raised us.
比阿特丽斯： 既然你这么要求我，哪怕是我亲姐妹死了我也不会再流一滴泪。 BEATRICE: Now you tie me, were it my sister now she gets no more.
仆人： 危险解除了，各位大人可以休息了，火已经彻底扑灭。哎呀，可怜的女子，她这么快就被窒息了！ SERVANT: All danger’s passed… the fire is thoroughly quenched; ah poor gentlewoman, how soon was she stifled!
比阿特丽斯： 德·弗洛雷斯，把她的残骸安葬了。我们都会像送葬者一样跟随她。我会向我丈夫祈求，把这份荣耀赐予我的仆人。 BEATRICE: De Flores, what is left of her inter, and we as mourners all will follow her…
德·弗洛雷斯： （旁白）赏赐？珍贵的赏赐。这一招真绝了，连我都自愧不如。我算是看明白了，无论是在游戏还是在博弈中，女人总是力求给予最后一击。[下] DEFLORES: (Aside) Rewarded? precious, here’s a trick beyond me… always a woman strives for the last hit. [Exits.]
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第五幕 第二场 双语大结局 (Act 5, Scene 2) [托马佐·德·皮拉奎奥上。Tomazo De Piracquo enters.]
托马佐： 我再也无法像以前那样品味生活的滋味了。我厌倦了人类，认为友谊不过是背信弃义、嗜血的幌子。因为我不知道该把愤怒发泄在谁身上，所以我必须把所有人都看作恶棍；我遇到的下一个人，无论他是谁，都是杀害我那高贵兄弟的凶手——哈？那是谁？ [德·弗洛雷斯走过舞台。] 噢，就是那个被有些人称为“诚实的德·弗洛雷斯”的家伙；但也许“诚实”是走投无路才住进他那副皮囊的，就像女王把宫殿盖在瘟疫病院里一样。我发现那张脸和我之间有一种天生的排斥。……他走过来简直是为了让我窒息，为了感染我的血液。 TOMAZO: I cannot taste the benefits of life with the same relish I was wont to do… I find a contrariety in nature between that face and me… He walks on purpose by, sure to choke me up, to infect my blood.
德·弗洛雷斯： 我尊敬的高贵大人。 DEFLORES: My worthy noble Lord.
托马佐： 你居然敢靠近我，把气喘到我身上？（打了他一记耳光） TOMAZO: Do offer to come near and breath upon me? (Strikes him.)
德·弗洛雷斯： 挨了一击。 DEFLORES: A blow.
托马佐： 没错，你准备好了吗？我宁愿像个士兵死在剑下，也不愿像个政客死在你的毒药里。 TOMAZO: …I’ll rather like a soldier die by the sword than like a politician by your poison.
德·弗洛雷斯： 住手，大人，请请您自重。我不能还手，我从他的眼睛里看到了他兄弟鲜血淋漓的伤口，清晰得像在水晶里一样。……我心领神会地接受这份侮辱，先生，就像个精明的律师；我会把它当作一份恩赐，为了那只赐予它的高贵的手而带在身上。（旁白）为什么他昨天还对我表现得那么亲近？噢，直觉是一种更微妙的东西，罪恶感绝不能再走近他的住处了。 [下] DEFLORES: Hold, my lord, as you are honorable. I cannot strike, I see his brother’s wounds fresh bleeding in his eye… guilt must not walk so near his lodge again. [Exit.]
[阿尔塞梅罗与贾斯珀里诺上。Alsemero and Jasperino enter.]
贾斯珀里诺： 我相信你的疑虑现在已经有了明证。从花园里看到的景象足以产生深刻的怀疑。 JASPERINO: Your confidence I’m sure, is now of proof…
阿尔塞梅罗： 那张脸上一直戴着黑色的面具，在看清之前，那面具就已经判定了底下的丑恶。她对他表现出的那种厌恶，看起来竟是如此深不可测（其实是伪装）。 ALSEMERO: The black mask that so continually was worn upon it, condemns the face for ugly before it be seen…
贾斯珀里诺： 那就彻底查个清楚吧，浅尝辄止的探测是无法彻底根治这种溃疡的。我怕你会发现里面全是腐败。她刚从后门和那人分手，正往这边走来，我不打扰你们了。 [下] JASPERINO: Touch it home then, it is not a shallow probe can search this ulcer soundly… [Exits.]
[比阿特丽斯上。Beatrice enters.]
比阿特丽斯： 阿尔塞梅罗！ BEATRICE: Alsemero!
阿尔塞梅罗： 你怎么样？ ALSEMERO: How do you?
比阿特丽斯： 我怎么样？哎呀！你怎么样？你脸色不太好。 BEATRICE: How do I? Alas! how do you? you look not well.
阿尔塞梅罗： 你倒是看得准，我确实不好。 ALSEMERO: You read me well enough, I am not well.
阿尔塞梅罗： 请回答我一个问题，夫人。你诚实吗？（指贞洁） ALSEMERO: Pray resolve me one question, lady. Are you honest?
比阿特丽斯： 哈，哈，哈，大人，这个问题问得可真宽泛。 BEATRICE: Ha, ha, ha, that’s a broad question, my lord,
阿尔塞梅罗： 但夫人的回答可不怎么端庄。你还在笑？我的疑虑越来越重了。 ALSEMERO: But that’s not a modest answer, my lady. Do you laugh? My doubts are strong upon me.
比阿特丽斯： 那是纯真在微笑，再严厉的蹙眉也无法驱散她脸颊上的酒窝。 BEATRICE: It is innocence that smiles…
阿尔塞梅罗： 那只是更阴暗的伪善而已。无论是你的微笑还是泪水，都无法动摇或谄媚我的信念——你是个淫妇。 ALSEMERO: …neither your smiles nor tears shall move or flatter me from my belief, you are a bawd.
比阿特丽斯： 这词听起来多恐怖！它让美貌变成了畸形。噢，你毁掉了一些你永远无法修复的东西。 BEATRICE: What a horrid sound it has! It blasts a beauty to deformity… Oh you have ruined what you can never repair again.
阿尔塞梅罗： 我要拆毁这一切，去你内心寻找真相。……告诉我，你在哪块土地上丢掉了你的爱？ ALSEMERO: I’ll demolish all and seek out truth within you…
比阿特丽斯： ……我的纯洁无瑕在临死前或许还可以踩在那片土地上。 BEATRICE: …My spotless virtue may but tread on that before I perish.
阿尔塞梅罗： 无可辩驳！那是你站不住脚的土地。当你那轻浮的脚跟踩在上面时，你就跌出了所有的恩典与善良。那张狡诈的脸上曾戴着面具，那倒还挺适合你，现在则是狂妄无耻在上面肆意驰骋。否则，你和你厌恶的人——那个让你看一眼都觉得眼痛的、恶毒的德·弗洛雷斯之间，怎么会有这种温柔的和解？他现在成了你的靠山，你唇间称颂的圣徒。 ALSEMERO: Unanswerable, a ground you cannot stand on… he’s now become your arms’ supporter, your lips’ saint.
比阿特丽斯： 这就是原因吗？ BEATRICE: Is there the cause?
阿尔塞梅罗： 更糟，他是你欲望的恶魔，你通奸的对象。 ALSEMERO: Worse, your lust’s Devil, your adultery.
比阿特丽斯： 换做别人敢说这话，他立刻就会变成一个恶棍。 BEATRICE: Would any but yourself say that, it would turn him to a villain.
阿尔塞梅罗： 这是由你心腹狄凡塔见证的。 ALSEMERO: It was witnessed by the counsel of your bosom Diaphanta.
比阿特丽斯： 那你的证人不是死了吗？ BEATRICE: Is your witness dead then?
阿尔塞梅罗： 恐怕是的。那是她知情的代价。 ALSEMERO: It is to be feared, it was the wages of her knowledge…
比阿特丽斯： 那就听一个同样恐怖的故事吧！你的怀疑败坏了你的床笫名誉，而我坚持我的清白——哪怕是另一件黑暗罪行的罪恶也可以为此作证：你的爱把我变成了一个残忍的杀人凶手。 BEATRICE: Then hear a story of not much less horror… your love has made me a cruel murderess.
阿尔塞梅罗： 哈？ ALSEMERO: Ha?
比阿特丽斯： 一个血腥的凶手。为此我亲吻了毒药，抚摸了毒蛇——那个我厌恶的东西（德·弗洛雷斯）。在我看来，他不配有更好的差事，而他最适合被这样差遣。为了确保你能属于我，我指使他谋杀了无辜的皮拉奎奥，因为我没有更好的手段。 BEATRICE: A bloody one. I have kissed poison for it, stroked a serpent… I caused to murder that innocent Piracquo, having no better means than that worst, to assure yourself to me.
阿尔塞梅罗： （旁白）噢，这个地方从那时起就一直在哭喊着要求复仇！这个美貌与鲜血非法点燃热情的圣殿，熄灭了正义。……噢，你完全畸形了！ ALSEMERO: (Aside) Oh the place itself ever since has crying been for vengeance… (Aloud) Oh your are all deformed!
比阿特丽斯： 别忘了，先生，这是为了你才做的。难道更大的危险会让较小的危险更受欢迎吗？ BEATRICE: Forget not sir, it for your sake was done…
阿尔塞梅罗： 你应该绕行一千公里来避开这座危险的血桥。我们在这儿迷失了。 ALSEMERO: Oh your should have gone a thousand leagues about to have avoided this dangerous bridge of blood, here we are lost.
比阿特丽斯： 记住，我对你的床是忠诚的。 BEATRICE: Remember I am true unto your bed.
阿尔塞梅罗： 那张床本身就是个停尸间，床单就是被谋杀尸体的裹尸布。……在那之前，你只能做我的囚犯。进我的书房去。 [比阿特丽斯下] 我要做你的看守。……哈，那个家伙来了——德·弗洛雷斯。 ALSEMERO: The bed itself’s a charnel, the sheets shrowds for murdered carcases… enter my closet. [Beatrice exits.] I’ll be your keeper yet.. Ha this same fellow has put me in — De Flores.
[德·弗洛雷斯上。De Flores enters.]
阿尔塞梅罗： 我有消息要告诉你，先生，我妻子向你问好。 ALSEMERO: I can tell you news sir, my wife has her commended to you
德·弗洛雷斯： 那可真是新鲜事，大人。我想如果可以的话，她更愿意把我送上绞刑架。她以前那么“爱”我，我谢谢她了。 DEFLORES: That’s news indeed my Lord, I think she would commend me to the gallows if she could… I thank her.
阿尔塞梅罗： 你领口上的这些血是怎么回事，德·弗洛雷斯？ ALSEMERO: What’s this blood upon your band De Flores?
德·弗洛雷斯： 血？不，肯定在那之后洗掉了。 DEFLORES: Blood? No sure, it was washed since.
阿尔塞梅罗： 在那之后？什么时候，伙计？ ALSEMERO: Since when, man?
德·弗洛雷斯： 自从那天我在剑术学校挨了一记；我想血迹已经没了。 DEFLORES: Since the other day I got a knock in a Sword and Dagger School; I think it is out.
阿尔塞梅罗： 是的，几乎没了，但还是能看出来。我忘了我的传话了：谋杀现在的市价是多少？ ALSEMERO: …I had forgot my message; this it is: what is going price for murder?
德·弗洛雷斯： 什么，先生？ DEFLORES: How sir?
阿尔塞梅罗： 我问你，先生。我妻子欠你一笔账，她告诉我，为了她的缘故，你给了皮拉奎奥一次英勇血腥的打击。 ALSEMERO: I ask you sir, my wife’s behind hand with you, she tells me, for a brave bloody blow you gave for her sake upon Piracquo.
德·弗洛雷斯： 打击？那肯定是刺穿了他。她招了吗？ DEFLORES: Upon? It was quite through him sure, has she confessed it?
阿尔塞梅罗： 招了，不仅如此，还有更多。 ALSEMERO: As sure as death to both of you, and much more than that.
德·弗洛雷斯： 不可能有更多了，只有一件事：她是个荡妇。 DEFLORES: It could not be much more, it was but one thing, and that she’s a cocotte.
比阿特丽斯： （在内室）他撒谎！这个恶棍在诽谤我。 BEATRICE: [Within.] He lies, the villain does belie me.
阿尔塞梅罗： 进去找她吧。闭嘴，你这哭号的鳄鱼！带上你的猎物。进去找她，先生。[德·弗洛雷斯下] 我现在要做你们的皮条客了。再去排演一遍你们那场欲望之戏吧，好让你们到了那群黑压压的观众（地狱）面前演得完美，在那儿，嚎叫和磨牙声将是你们的音乐。尽情拥抱你的奸妇吧，她是引你走向死海（Mare Mortuum）的舵手，你将在那儿沉入无底的深渊。 ALSEMERO: …Peace crying crocodile… take your prey to you… I’ll be your pander now, rehearse again your scene of lust…
比阿特丽斯： 噢，别靠近我，先生，我会玷污你的。我就是你身上流出的那部分坏血，是为了你的健康才被排出来的。别再看它了，随手把它丢在地上吧。……阿尔塞梅罗，我对你的床是陌生的，你的床在新婚之夜就被骗了，为此你的假新娘（狄凡塔）死去了。 [死] BEATRICE: O come not near me sir, I shall defile you, I am that of your blood was taken from you for your better health… Alsemero, I am a stranger to your bed, your bed was cozened on the nuptial night… [Dies.]
没错，那时我正在和你的配偶玩‘地狱边缘’；现在我们被留在了地狱里。 DEFLORES: That’s right, I was playing ‘Hell’s Edge’ with your spouse; now we’re left in hell.
德·弗洛雷斯： 我不顾她的意愿爱着这个女人；我从谋杀皮拉奎奥中赢得了她的爱。 DEFLORES: I loved this woman in spite of her heart, her love I earned out of Piracquo’s murder.
托马佐： 哈？杀害我兄弟的凶手。 TOMAZO: Ha? My brother’s murderer.
德·弗洛雷斯： 没错。她的名誉就是我的奖赏。我不感谢生命中的任何事，除了那份欢愉。它对我来说是如此甜美，我已经把它喝光了，没给任何男人留下一滴去祝酒。 DEFLORES: Yes… and her honor’s prize was my reward… it was so sweet to me, that I have drunk up all, left none behind for any man to pledge to.
贝尔曼德罗： 恐怖的恶棍！留着他的命，好让他受更多的苦刑。 VERMANDERO: Horrid villain! Keep life in him for further tortures.
德·弗洛雷斯： 不，我可以阻止你们。我的刀还在。只剩下最后一根弦了—— [自刎] 现在它断了。快点跟上来，Joanna。别忘了我刚刚提醒你的话，我可不想把你留在身后太远。 [死] DEFLORES: No, I can prevent you, here’s my knife still… [Stabs himself.] Make haste Joanna… I would not go to leave you far behind. [Dies.]
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结局 EPILOGUE [疯人院/实验室。权力已然易手。蒂塔尼亚手持装有“脑液”的注射器。弗兰肯斯坦夫人如今被束缚在椅中。] [The Asylum/Laboratory. Power has changed hands. Titania holds a syringe filled with ‘brain fluid’. Lady Frankenstein is now strapped into the chair.]
蒂塔尼亚：脑液。菲莱蒙夫人致意。我是看着你，才学会了这手。现在，尝尝当我病人的滋味。 TITANIA: Brain fluid. Compliments of Mrs. Philemon. I learned this trick by watching you. Now, have a taste of what it’s like to be my patient.
弗兰肯斯坦夫人：菲莱蒙夫人，把那东西放下。 LADY FRANKENSTEIN: Mrs. Philemon, put that thing down.
蒂塔尼亚：你见过婴儿娃娃那儿被剃得精光的样子吗？克利奥帕特拉干过，信不信？不过嘛，常会起疹子。起疹子可不好玩。你得让你的……皮肤保持湿润。嗯哼。借我块舌头，我好保持……湿润。你觉得呢？ TITANIA: Have you ever seen a baby doll shaved clean down there? Cleopatra did it, believe it or not. But, well, you often get a rash. Rashes are no fun. You have to keep your… skin moist. Mm-hmm. Lend me a piece of your tongue so I can keep… moist. What do you think?
弗兰肯斯坦夫人：我知道你在看着我。我知道在哪里。 LADY FRANKENSTEIN: I know you’re watching me. I know where.
蒂塔尼亚：当然。你是个迷人的造物。我想了解更多。 TITANIA: Of course. You are a fascinating creature. I wish to know more.
弗兰肯斯坦夫人：从绝望的尖叫声中，能学到很多。 LADY FRANKENSTEIN: One can learn much from a scream of despair.
蒂塔尼亚：用三个字形容你的生活。 TITANIA: Describe your life in three words.
弗兰肯斯坦夫人：无尽的折磨。 LADY FRANKENSTEIN: Endless torment.
剧中人物表 | DRAMATIS PERSONAE 主要角色 | THE PRINCIPALS 亚历山大·温格雷夫爵士 (Sir Alexander Wengrave)：一位贪婪且多疑的父亲，极力反对儿子的婚事。A covetous and suspicious knight, father to Sebastian. 塞巴斯蒂安·温格雷夫 (Sebastian Wengrave)：亚历山大爵士之子，深爱着玛丽，利用莫尔来实施他的计划。 Sir Alexander’s son, in love with Mary; he uses Moll as a decoy. 莫尔·卡普丝 (Moll Cutpurse)：即“咆哮女郎”。她侠义、独立、身着男装，是伦敦街头的灵魂人物。The “Roaring Girl.” A bold, cross-dressing, and virtuous woman of the streets. 玛丽·菲茨阿拉德 (Mary Fitzallard)：塞巴斯蒂安的真爱，曾伪装成侍童。Sebastian’s true love, daughter to Sir Guy. 士绅与友人 | THE GENTRY & FRIENDS 盖伊·菲茨阿拉德爵士 (Sir Guy Fitzallard)：玛丽的父亲。Mary’s father, a knight. 诺兰勋爵 (Lord Noland)：一位开明的贵族，莫尔的赞助者与友人。A nobleman and friend to Moll. 俊美的盖尼米德爵士 (Sir Ganymede)：追随塞巴斯蒂安与诺兰勋爵的年轻绅士。A gallant and follower of the young gentlemen. 托马斯·朗爵士 (Sir Thomas Long)：另一位经常出入剧场和餐馆的士绅。A knight and gentleman-about-town. 戈肖克 (Goshawk) & 格林威特 (Greenwit)：亚历山大爵士的友人，代表了典型的城市浪荡子。Friends of Sir Alexander; typical city gallants. 市民与商贩 | THE CITIZENS & SPOUSES 阿利普特 (Tillyard)：一位烟草商。A tobacconist. 阿利普特夫人 (Mistress Tillyard)：他的妻子。His wife. 加利波特 (Gallipot)：一位药剂师。An apothecary. 加利波特夫人 (Lady Gallipot)：他的妻子，曾被拉克特利夫诱骗。His wife, courted by Laxton. 开门那 (Openwork)：一位裁缝。A semster (tailor). 开门那夫人 (Mistress Openwork)：他的妻子。His wife. 阴谋者与流氓 | THE PLOTTERS & ROGUES 拉克特利夫 (Laxton)：一个专门勾引市民妻子的穷酸浪荡子，曾被莫尔教训。A penniless gallant who preys on citizens’ wives; beaten by Moll. 特拉普多尔 (Trapdoor)：亚历山大爵士雇佣来监视莫尔的间谍，善于伪装。A spy hired by Sir Alexander to dog Moll; a master of disguise. 提尔卡特 (Tilcart)：一个流浪汉，曾与特拉普多尔扮成残废士兵。A rogue and companion to Trapdoor. 科蒂拉克斯 & 汉格 (Cotherick & Hanger)：两名贪婪的法警/捕役。Corrupt bailiffs and catchpoles. 探手与扒手 (Fingermen & Pickpockets)：伦敦地下社会的各类罪犯。Various criminals of the London underworld.
第一幕，第一场 | ACT I, SCENE I 场景：亚历山大家中，塞巴斯蒂安的书房 (Scene: Sebastian’s study in the house of Sir Alexander) 【玛丽·菲茨阿拉德上，扮作女裁缝，手持一个褶领盒；内德·尼特富特随上，他是个矮小的仆人，肩搭餐巾，手端木盘，像是刚从餐桌旁过来。】 (Mary Fitzallard enters disguised as a Sempstress, carrying a box of ruffs, followed by Ned Nettleton, a short Servant, a napkin over his shoulder and a wooden tray in his hand, as if fresh from the dining table.) 内德·尼特富特【拿腔拿调地。】 那位年轻的绅士？我们年轻的少主人，亚历山大爵士的公子！您是渴望将您的讯息凌空传递，直达他的尊耳吗？ NED: (with affected ceremony.) The young gentleman? Our youthful master, the son of Sir Alexander! Do you burn with desire to have your message fly straight through the air and lodge itself within his noble ear? 玛丽【迟疑地。】 呃，只想私下说一两句话，先生，没别的。 MARY: (hesitating.) Why—only a word or two in private, sir. Nothing more. 内德·尼特富特【正式地。】 您的期许必将开花结果！您的美意必将获得最圆满的回报。我会留意，待我们少主人“挺立”之时——也就是说，当他办完晨间私事，起身下床——我便将他呈献于您。 NED: (solemnly.) Your hopes shall blossom and bear fruit! Your goodwill shall meet with the fullest satisfaction. I shall watch my time, and when our young master stands upright—that is, when he has dispatched his morning business and risen from bed—I shall present him to you. 玛丽 谢谢，先生。 MARY: Thank you, sir. 内德·尼特富特【旁白】 顺便告知他，我已为他精心物色好了；既然他已酒足饭饱，这可比餐盘上任何一道菜都更鲜嫩可口。 NED: (aside) And I shall tell him too that I have picked out a choice morsel for him; now that he is full-fed, this will relish better than any dish at table. 【对玛丽】 他可知晓您的芳名？我斗胆请问您的“贞洁圣名”？ (To Mary) Does he know your name? May I presume to ask your—virginal and virtuous name? 玛丽 我想，先生，他提过……一些软塌塌的褶领。 MARY: I think, sir, he mentioned—some drooping ruffs. 内德·尼特富特 “软塌塌的褶领”？倘若您不吝豁出那点矜持，移步大厅，那些头发卷曲、粗俗无礼的仆役正享用着残羹冷炙，在那里，您将受到最郑重、最诚挚且巧妙的欢迎。 NED: “Drooping ruffs”? If you would but spend a little modesty and step into the hall, where the curled-haired, unmannerly Servants feed on what they can get, you would find a most solemn, hearty, and ingenious welcome. 玛丽【犹豫地。】 我已经用过饭了，先生。 MARY: (uneasy.) I have already eaten, sir. 内德·尼特富特 或者，您是否愿意赏光移步储藏室，与我们那些侍女共饮一杯醇厚的奥尔良葡萄酒，亲吻那杯沿？ NED: Or will you be pleased to step into the buttery and pledge a cup of rich Orléans wine with our maids, and kiss the lip of the glass? 玛丽【更犹豫地。】 还是不必了，先生。 MARY: (more uneasy.) No, thank you, sir. 内德·尼特富特 那么，我们少主人很快就会感知到您的莅临；即刻便知。 NED: Then our young master shall shortly have some sense of your coming—he shall know of it straight. 玛丽 我卑微地感谢您，先生。 MARY: I humbly thank you, sir. 【内德·尼特富特下。】 (Ned Nettleton exits.) 玛丽【独白。】 若不是我这满怀满是苦涩的忧伤……换作从前，我定会笑着看那只装模作样的小猴儿耍他的把戏。 MARY: (alone.) Had my heart not been so full of bitter sorrow—in former days I should have laughed to see that aping monkey play his tricks.
【停顿】 但如今一支毒箭刺在我心口，我笑不出来。那种因轻浮结就的爱，消逝得也轻如鸿毛；但真正的爱，孕育于灵魂深处——像我这样的灵魂，哪怕最轻微的创伤也会流血至死——我奉献的，正是这样的爱。【唱】 “愈是扑灭， 这火焰，愈难餍足。” 唉，天啊！ (Pause.) But now a poisoned arrow sticks within my breast, and I cannot laugh. That light love, knotted up in lightness, that counterfeit affection, dies as lightly as it’s made; but true love is bred deep within the soul—and such a soul as mine will bleed to death from the smallest wound—this is the love I give. (sings) The more we strive To quench this fire, The less it can be satisfied. O heaven!
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第一幕，第二场 | ACT I, SCENE II 场景：亚历山大·温格雷夫爵士家中的大厅 (Scene: A great room in the house of Sir Alexander Wengrave) 【亚历山大·温格雷夫爵士、戴维·戴珀爵士、亚当·阿普尔顿爵士、戈肖克与拉克斯顿同上。】 (Sir Alexander Wengrave, Sir Davy Dapper, Sir Adam Appleton, Goshawk, and Laxton enter.) 众人【齐声】 感谢您，好心的亚历山大爵士，感谢您丰盛的款待。 ALL (As one) Thanks to you, good Sir Alexander, for your noble and plentiful entertainment. 亚历山大爵士 哎，哎——道谢反而显得生分了。 SIR ALEXANDER: Fie, fie—thanks make us strangers. 戴维爵士 当慷慨铺满餐桌时，说实话，离席时若不致谢，那真是罪过。 SIR DAVY: When bounty spreads the board so richly, to rise without thanks were a sin indeed. 亚历山大爵士 别再谢了，别再谢了。说真的，先生们，里屋太闷了。诸位觉得这客厅如何？ SIR ALEXANDER: No more of thanks, no more. In truth, gentlemen, the inner rooms were close. How like you this chamber? 众人【齐声】 哦，好极了！ ALL: (as one) Exceedingly well! 亚当爵士 这里的空气多清新甜美，真凉爽！ SIR ADAM: The air is sweet and freshly tempered here. 戈肖克 我最喜欢这视野。 GOSHAWK: The prospect pleases me most. 拉克斯顿 看看这陈设。 LAXTON: Mark the furnishing. 戴维爵士 一间非常雅致、宜人的房间。 SIR DAVY: A most graceful and inviting room. 亚历山大爵士 戴维·达珀爵士，布置这间房间花了我不少真金白银。然而，好东西总是物有所值。不——待会儿你们看到我的画廊，那里挤满了形形色色的肖像，美丑混杂，如同阴雨天里的阳光。 SIR ALEXANDER: Sir David Dapper, furnishing this room cost me a considerable sum of money. However, good things are always worth the price. No—when you see my gallery, it’s crammed with portraits of all sorts of people, a mixture of beauty and ugliness, like sunshine on a rainy day;
在一个画框里，成千上万颗脑袋肩并肩地挤在一起，仿佛整个房间都是由人脸砌成的。那么多充满喜悦的眼神，就像新书上华丽的标题，他们的眼睛仿佛在阅读——那些眼睛似乎在转动，在说着一些陈词滥调。 In one frame, thousands of heads are squeezed together, shoulder to shoulder, as if the entire room were built of human faces. So many joyful eyes, like the ornate titles in a new book, their eyes seem to be reading—those eyes seem to be moving, uttering clichés.
而这里那里，当谄媚的耳朵竖起倾听时，一个扒手正像老鹰一样目光锐利地四处游荡，伺机下手。我无需指给你们看：凭着他那副贼眉鼠眼的样子，你就能认出他来。这幅肖像画得栩栩如生。而在下方——鲜花似乎在摇曳，就像一座漂浮的小岛在环绕海岸的海洋上移动。 And here and there, while flattering ears are pricked up to listen, a pickpocket is lurking around like a hawk, his eyes sharp, waiting for an opportunity to strike. I don’t need to point him out to you: you can recognize him by his shifty, thieving look. This portrait is painted so realistically. And below—the flowers seem to be swaying, like a small floating island moving on the ocean surrounding the coast. 【塞巴斯蒂安与格林威特上。】 (Sebastian and Greenwit enter.) 众人【齐声】 这些景致妙极了。 ALL: These sights are wondrous. 塞巴斯蒂安 这位先生，我的朋友，要向您告辞了，父亲。 SEBASTIAN: This gentleman, my friend, must take his leave of you, father. 亚历山大爵士 哈！告辞，塞巴斯蒂安？谁？ SIR ALEXANDER: Ha! Take leave, Sebastian? Who? 亚历山大爵士【旁白】 啊，好小子！你的血热了吗？沸腾了吗？被蜇疼了吗？我要刺得更深些。 SIR ALEXANDER: (aside) Ha, my boy! Is thy blood warm now? Does it boil? Hast thou been stung? I’ll prick thee deeper yet. 亚历山大爵士 哦，一个女人！ SIR ALEXANDER: O—a woman! 塞巴斯蒂安 一只“肉蝇”！那确实能惹恼任何人。 SEBASTIAN: A flesh-fly! That indeed will anger anyone. 亚历山大爵士 一个卑劣的女人—— 他说，那是大自然用来嘲弄女性的造物；一个不配被提及的生物；在她尚未完全成形之前就已经存在。 SIR ALEXANDER: A vile woman— He said, she was a creature Nature had created to mock womankind; a being unworthy of mention; existing even before she was fully formed.
她既像女人又像男人，既不像女人也不像男人，而且——最奇怪的是——太阳赋予她一个身体，却投下两个影子；不，无论她走到哪里，站到哪里，坐到哪里，她所吸引的目光比任何彗星都要多。 She was both woman and man, neither woman nor man, and—strangest of all—the sun gave her one body, yet cast two shadows; no, wherever she went, wherever she stood, wherever she sat, she attracted more attention than any comet. 塞巴斯蒂安【大喊】 这是谎话！ SEBASTIAN: (Shouting) ’Tis false!
塞巴斯蒂安 我被蛊惑了，被我的欲望束缚了……泪水、祈祷、威胁——都无法熄灭我内心的火焰…… SEBASTIAN: I am enchanted, bound in the chains of my desire; tears, prayers, threats—nothing can quench the fire within me … 【下。】 (Exits.) 亚历山大爵士【独白。】 现在展翅飞吧。当你最察觉不到我的时候，我就在你的身边…… SIR ALEXANDER: (alone.) Fly now. I’ll be nearest when thou least perceiv’st me… 【拉尔夫·特拉普多尔上。】 (Ralph Trapdoor enters.) 亚历山大爵士 你要扮演那狡猾的蜘蛛，编织细网去捕捉她的性命。 SIR ALEXANDER: Thou shalt play the subtle spider, weaving fine nets to catch her life. 特拉普多尔 她的性命，先生？ TRAPDOOR: Her life, sir? 亚历山大爵士 是的——或者吸干她的心血；拉紧你的绳索去套住她。我会找到法律，把她挂在绞架上。 SIR ALEXANDER: Aye—or drain her heart-blood; draw thy cords tight to snare her. I’ll find the law to hang her on those hooks. 特拉普多尔 一个“咆哮小子”要制伏这位“咆哮女郎”。 TRAPDOOR: A “roaring boy” shall master “the roaring girl.” 亚历山大爵士 上帝保佑你，别浪费时间。 SIR ALEXANDER: God speed thee. Waste no time. 【二人从不同方向下。】 (Exeunt severally.)
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第二幕，第一场 | ACT II, SCENE I 场景：伦敦街头。三家店铺并排而立：烟草店、羽毛饰品店、女裁缝店。 (Scene: A street. Three shops stand side by side: a tobacco and herb shop, a feather shop, and a tailor’s.) 【加利波夫人、蒂尔蒂亚德夫人、奥本沃克夫妇各自在店中。拉克斯顿、戈肖克与格林威特上。】 (Lady Gallipot, Mistress Tillyard, and the Openworks appear in their shops. Laxton, Goshawk, and Greenwit enter.) 奥本沃克夫人【吆喝】 先生们，走过路过瞧一瞧！想买点什么？上好的皱领，上好的细麻布，上好的荷兰亚麻！您缺什么，先生们，想买点什么？ MRS. OPENWORK: (calling) What lack you, gentlemen? What will you buy? Fine ruffs here, fine lawns, fine Holland linen! What lack you, sirs? What will you buy? 拉克斯顿【旁白】 那边就是那家店。 LAXTON: (aside) Yonder is the shop. 戈肖克【旁白】 就是她吗？ GOSHAWK: (aside) Is that she? 格林威特【旁白】 那个切烟草的女人？ GREENWIT: (aside) The woman that cuts tobacco. 拉克斯顿【旁白】 没错。我告诉你，她出身可是位淑女，虽然现在沦落到在这儿切印第安烟草叶子…… LAXTON: (aside) The same. She was born a gentlewoman, I tell you, though now fallen to slicing Indian weed … 戈肖克【旁白】 噢，先生，这可是许多好女人的命——丈夫破产了，她们就得靠烟斗重新开始。 GOSHAWK: (aside) Aye, sir, that’s the fortune of many good wives; husband undone, they begin again at the pipe—— 拉克斯顿【旁白】 而且说真的，提拔一个女人就是在给男人的脸上贴金；一个飞黄腾达，另一个肯定也跟着沾光。 LAXTON: (aside) To advance a woman is ever to gild a man’s face; if one thrives, the other is sure to prosper too … 戈肖克 得了吧，你跟那儿熟得很…… GOSHAWK: Come, you know the ground too well … 【加利波夫人走上前搭话】 (Lady Gallipot enters and steps forward) 加利波夫人 这话对厨子的老婆倒是个好恭维，先生！ LADY GALLIPOT: That’s a fine compliment for a cook’s wife, sir! 拉克斯顿 哎呀，这就像新年历的封面一样通用——既能推算厨娘的命盘，也对全英格兰的女人一视同仁。 LAXTON: Why, it’s as general as a New Year’s almanac—calculated for the cook’s wife’s meridian, yet serving all England’s women alike. 加利波夫人 好了，先生，给您装好了。 LADY GALLIPOT: There, sir, it’s ready. 拉克斯顿 烟斗握在一双俏手里——真希望永远如此。 LAXTON: A pipe in a fair hand—would it might ever so continue. 格林威特 但别用那种方式“享用”。 GREENWIT: But don’t enjoy “it” so. 拉克斯顿 噢，恕我愚钝，先生，我不懂“法语”。 LAXTON: Pardon my ignorance, sir, I understand no French. [1] 拉克斯顿【旁白】 我恨她，但仅仅是因为我想从她那里弄到钱，然后把钱花在那些风流浪子上。她有足够的聪明才智去欺骗她的丈夫，而我也有足够的本事把钱挥霍一空。这样一来，我反而让她保持了贞洁，也算是对那个可怜的戴绿帽子的丈夫的一种补偿：一个有良心的皮条客！ LAXTON: (aside) I hated her, but only because I wanted to get money from her and then spend it on those dissolute men. She was clever enough to deceive her husband, and I was capable enough to squander the money. In this way, I actually helped her maintain her chastity, which was a kind of compensation for that poor cuckolded husband: a pimp with a conscience! 【莫尔上，身穿男式粗呢短上衣和黑色护裙 】 (Moll Cutpurse enters in a man’s frieze jerkin and black safeguard) [2] 戈肖克 老天，是莫尔！ GOSHAWK: Heavens—it’s Moll! 莫尔【吸了一口烟】 不错，说真的，是极好的烟草。一盎司卖多少？ MOLL: (takes a puff) ’Tis good—faith, very good tobacco. What’s the ounce? 戈肖克 她真是世上最疯狂的妞儿！ GOSHAWK: She’s the maddest wench alive! 拉克斯顿 她像条肥泥鳅钻过荷兰人的手指一样，在不同的圈子里溜来溜去。 LAXTON: She slips from one company to another like a fat eel through Dutch fingers. 莫尔 奥本沃克老板娘，你这个靠缝缝补补勉强糊口的……你这个藏在衬衫和内衣之间的暗娼——我真希望你是个男人，哪怕只有一分钟；那样我就可以用仁慈来报复你 [3] 现在我的火气上来了，没那么容易平息。 MOLL: Mistress Openwork, thou patcher-up of poor livings, thou stitcher of false skins, thou private bawd between shirt and smock—I would thou wert a man, but for one minute only; then mercy should be my revenge. Now my rage is up, and I’ll not easily lay it down. 莫尔【打他】 要是喜欢这滋味，就再开口——记好这招牌。 MOLL: (hits him) If you like this sauce, call for more—you know the sign. 拉克斯顿 咱们什么时候一块儿出城玩玩？ LAXTON: When shall we walk abroad together? 莫尔 去断头台吗？ MOLL: To the gallows? 拉克斯顿 我是说布伦特福德或沃尔瑟姆——说真的。 LAXTON: To Brentford or Waltham—honestly. 莫尔 三匹马就够了，只要我自己也能当那匹“烈马”。 MOLL: Three horses will serve, if I may be one of the “jades” [4] myself. 莫尔 那就格雷律师学院广场见。 MOLL: Gray’s Inn Walks. 拉克斯顿 三点钟。 LAXTON: At three. 【特拉普多尔上】 (Trapdoor enters) 特拉普多尔【旁白】 天哪，她在这儿！ TRAPDOOR: (aside) Heavens! She’s here! 加利波 【唱】嘿，嘿，嘿，去叼，去叼，去叼……这是一年里最快活的一天！ GALLIPOT: (singing) Hey, hey, hey—fetch, fetch, fetch! This is the merriest day of the year! 【众人下】 (Exeunt omnes.)
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第二幕，第二场 | ACT II, SCENE II 场景：一条街道 (Scene: A street) 【塞巴斯蒂安上】 (Sebastian enters) 塞巴斯蒂安 倘若人真有自由意志，那么除了运用意志去爱，这自由还能在何处更完美地闪耀？万物在爱中皆有自由。 SEBASTIAN: If man possess free will at all, where can that liberty shine more perfectly than in the act of loving? All things find freedom in love— 【亚历山大爵士上，在远处偷听】 (Sir Alexander enters at a distance, listening) 塞巴斯蒂安【续】 尽管在其他方面被置于奴役的枷锁之下，就连奴隶在爱中也拥有自由。在万千生灵之中，难道唯独我的欲望要戴上镣铐，而众生却能随意漫步？ SEBASTIAN: (cont.) Though elsewhere bound in chains of service; even slaves are free in love. And shall my desires alone wear fetters, while all creation walks at liberty?
【旁白】 哈，你离得这么近？那我必须袒露我的“真心”了，让悲伤从后门迎接你吧；好吧。【高声】 假设世间所有的舌头——无论是诽谤还是实情——都宣称莫尔令人厌恶，那又如何？倘若在我爱慕的眼中她显得美丽，我又何损之有？我得到了我喜欢的东西。 (aside) Ha, are thou so near? Then I must speak my heart aloud and let “grief” enter by the back door. So be it. (aloud) Grant that to all tongues—whether in slander or in truth—cry out that Moll is loathsome: what then? If she appear fair in the eye of my affection, what lose I? I enjoy what I desire.
塞巴斯蒂安 从未真正爱过的人，是那些眯着眼、用父亲的眼光去选妻的人。我要睁大自己的眼睛。 SEBASTIAN: They never truly loved who squint and choose a wife by their father’s eyesight. I’ll look with mine wide open. 【莫尔与一个搬运工上，后者背着她的大提琴】 (Moll Cutpurse enters with a Porter carrying her viol on his back) [5] 搬运工 我得把这‘胯下拨弄的玩意儿’扛到您房间去吗，玛丽小姐？ PORTER: Do I have to carry this “thing you’ve been fiddling with between your legs” up to your room, Miss Moll? 莫尔 “玩意儿”？你这头只配在猪圈搓澡的笨驴。你们这些搬运工总为别人扛重担，都没工夫给自己捎点脑子。 MOLL: “Thing”? Thou bath-hog fit only for a sty. You porters carry burdens for all men so long you’ve no leisure left to fetch a wit for yourselves. 搬运工 是扛到您自己的房间吗，小姐？ PORTER: To your own chamber, Mistress? 莫尔 谁愿意听驴叫两遍？还能去哪儿，你这行走的肉架子？ MOLL: Who would hear an ass bray twice? Where else, thou walking shambles? 【搬运工下】 (Porter exits) 塞巴斯蒂安 哎呀，让他们脑子里和背上同时扛东西，负担未免太重了，亲爱的女士。 SEBASTIAN: Alas, to load both the back and the brain at once is too much carriage, dear lady. 莫尔 请原谅，先生，没想到您离得这么近。 MOLL: Pardon me, sir, I knew not that you stood so near. 亚历山大爵士【旁白】 好，好，好，抓个正着。 SIR ALEXANDER: (aside) All right, all right, all right, caught red-handed! 塞巴斯蒂安 我希望能离您更近，而且是以那种使灵魂最高贵部分吐露真情的方式。除此之外，别无所求。 SEBASTIAN: I would be nearer to you, and in that manner which makes the noblest part of the soul speak truth. Beyond that, I desire nothing. 莫尔 先生，我穷得无法回报您，您只能指望我道声谢了。我没有结婚的兴致。我喜欢自己在床两边自由地横躺；再说，妻子应该顺从——但我恐怕自己骨头太硬，学不会服从。 MOLL: Sir, I am too poor to requite you with anything but thanks. I have no mind to marry. I love to lie o’ both sides of the bed myself; and wives should be obedient—my bones are too stiff for that lesson.
莫尔 我非常感激您的好意，正因为我把您当朋友，我才不愿您日后后悔这桩买卖。我现在自己当家做主，对女人来说已经够“男人”了；婚姻不过是砍头易首，姑娘丢了自己的头，却换上个更糟的。 MOLL: I thank you truly; and because I love you as a friend, I would not have you repent the bargain. I govern myself already, and that’s manhood enough for a woman. “Marriage” is but chopping and changing heads: the maid parts with her own, and takes a worse in exchange. 亚历山大爵士【旁白】 这是我耳朵喝到过的、从这咆哮女郎嘴里出来的最顺心的回答了。 SIR ALEXANDER: (aside) This is the sweetest draught my ears ever drank from this roaring girl. 塞巴斯蒂安 这番话足以把任何傻瓜永远从您身边吓跑，而这正是我爱上您的妙处所在。 SEBASTIAN: This speech would fright all fools forever from you—and therein lies the very cause I love you. 亚历山大爵士【旁白】 这逆子又把一切都搞砸了！ SIR ALEXANDER: (aside) The villain mars all again! 莫尔 相信我，先生，我也能忠贞地爱您。 MOLL: Believe me, sir, I can love you faithfully. 亚历山大爵士【旁白】 你这句“爱”真该死！ SIR ALEXANDER: (aside) That word “love” confounds me! 莫尔 但请把这事再搁一晚想想。只要活着，千万别跑着去娶妻。许多人急着成亲，结果连鞋跟都跑丢了。再会了，先生。 MOLL: But think on’t another night. So long as you live, never run to marry. Many have so run, and lost their heels by the way. Farewell, sir. 【裁缝上】 (Tailor enters.) 裁缝 莫尔小姐，莫尔小姐。嚯——嚯——嚯——嚯！ TAILOR Mistress Moll! Mistress Moll! Ho— ho— ho—ho! 亚历山大爵士【走上前】 那么，谁是那个生了锈的破钟？是你吗？ SIR ALEXANDER: (stepping forward) Who is the rusty clock now? You? 塞巴斯蒂安 是路德门的钟，先生；它就没准过。 SEBASTIAN: Ludgate clock, sir—it was never right.
塞巴斯蒂安 在这个世界上，老实巴交毫无用处。我要把这个疯丫头引入我的计划，取得她的帮助。她是天生的“工具”，能帮恋人们得偿所愿。我的真爱终将相见。 SEBASTIAN: In this world, plain dealing does nothing. I’ll draw this mad wench into my design and make her serve it. She is a natural “instrument” to bring lovers to their ends. My true love shall yet be won. 【塞巴斯蒂安下】 (Sebastian exits.)
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第三幕，第一场 | ACT III, SCENE I 场景：格雷律师学院广场 (Scene: Gray’s Inn Fields) 【拉克斯顿与马车夫上】 (Laxton and a Coachman enter.) 拉克斯顿 马车夫? LAXTON: Coachman? 马车夫 在呢，先生。 COACHMAN: Here, sir. 拉克斯顿【给他钱】 再多给你六便士。劳驾把车赶到马里波恩公园那头，那儿方便莫尔上车。 LAXTON: (giving money) Here’s sixpence more. Drive round by Marylebone Park; ’twill be the easier place for Moll to enter. 马车夫 马里波恩公园，先生？ COACHMAN: Marylebone Park, sir? 拉克斯顿 对，顺路。 LAXTON: Aye—’tis in the way. 马车夫 照办，先生。 COACHMAN: It shall be done. 拉克斯顿 马车夫。咱们的车配的是好使的“伙计”吗？ LAXTON: Coachman—are your “nags” serviceable rogues? 马车夫 史密斯菲尔德市场能买到的最好的马，我保证，先生。 COACHMAN: The best Smithfield affords, I’ll warrant you. 拉克斯顿 我们能稳妥地超过任何坐着天鹅绒马车、穿塔夫绸外套的浪荡子吗？ LAXTON: Can they outstrip any velvet-capped, taffeta-backed gallant? 马车夫 我用性命担保，还能甩开他们呢。嘿，不瞒您说，就是这几匹马，拉过您那些有名的情妇去过沃尔瑟姆。 COACHMAN: With my life I’ll answer’t. These very horses have carried your noted mistresses to Waltham. 拉克斯顿 那就没问题了，它们懂行。 LAXTON: Then they know the way. 马车夫 它们只要一闻到女人的味儿，跑得就跟投胎的魔鬼似的。 COACHMAN: They scent a woman and run like devils new-begot. 【马车夫下】 (Coachman exits) 拉克斯顿 好个刻耳柏洛斯！那混蛋赶起路来能超过成千上万的人，因为别人还在步行小跑时，他早就驾着马车直奔地狱了。 LAXTON: A right Cerberus! [6] He’ll outrun thousands—while others jog on foot, he rides full gallop to hell. 【钟敲三下】 (The clock strikes three) 拉克斯顿 听，几点了？一、二、三……萨伏伊宫敲了三点。 LAXTON: Hark—what hour strikes? One, two, three—the Savoy rings three. 【莫尔着男装上】 (Moll, in male dress, enters) 莫尔【旁白】 噢，我那“绅士”在这儿呢。要是这帮男人跟布商结账能像跟妓女约会一样守时，就没破产者会花一百四十镑去买个法警职位来躲债了。 MOLL: (aside) O, here’s my “gentleman.” Had men paid drapers as punctually as tarts, no bankrupt would bid £140 for a sergeant’s place. 莫尔 市民的腐败就是法警的祖宗！ MOLL: Citizen corruption is the begetter of sergeants! 莫尔【高声】 喂，准备好了吗，先生？ MOLL: (loudly) Ho! Are you ready, sir? 拉克斯顿 准备什么，先生？ LAXTON: Ready for what, sir? 莫尔 那约这场见面是为什么？ MOLL: Why then did you appoint this meeting? 拉克斯顿 我想您认错人了，先生。 LAXTON: You mistake me, sir. 莫尔 那我得叫醒您了，先生。马车在哪儿？ MOLL: Then I must wake you, sir. Where’s the coach? 拉克斯顿 这是谁？莫尔？诚实的莫尔？ LAXTON: What—Moll? Honest Moll? 莫尔 这么年轻就老花眼了？你要带眼镜吗？站住。 MOLL: So young and already blind. Do you need spectacles? Stand.
拉克斯顿 你是想在这儿跟我“宽衣解带”？ LAXTON: What—“untruss” [7] here? 【她脱下斗篷，拔剑】 (She takes off her cloak and draws her sword.) 莫尔 对，这就是我要解开的“结”。 MOLL: Aye—this knot must be undone so. （决斗开始) (The Duel begins)
莫尔 你就是那种男人，以为每个女人只要对你笑笑，就是你手心里温顺放荡的姘头…… 我们女性中有多少人，被你们这样的人用污名来回报她们的好意？难道欢笑就只能和淫欲结亲吗？我要通过你给世人捎个话，并且刻在你的胸口——在我已获胜之处屈服，是卑劣的。我不屑向男人出卖身体，我能让男人为我所用。MOLL: You are the man who thinks each woman that but smiles on him is straight his tame cocotte … How many women have their courtesies repaid with slander by such men as you? Is laughter kin to lust alone? I’ll send a message to the world by you, and write it on your breast—to yield where I have conquered is base. I scorn to sell myself to men; I can make men serve me. 【刺伤拉克斯顿】 (Stabs Laxton) 拉克斯顿 我忏悔了！住手！ LAXTON: I repent! Hold! 莫尔 那你死时会是个更好的基督徒。 MOLL: Then you’ll die a better Christian for it. 【拉克斯顿逃走】 (Laxton exits)
莫尔 如果我能这样一个一个地会会我的敌人们，我或许能让他们明白：一个拥有智慧与气魄的女子，不需要靠出卖身体来换取口粮。 MOLL: If I could meet my enemies thus one by one, I’d teach them this: a woman armed with wit and spirit needs not her body to earn her her bread. 【特拉普多尔上】 (Trapdoor enters) 莫尔 你会打架吗？ MOLL: Can you fight? 特拉普多尔 不，谢天谢地。 TRAPDOOR: No, thank Heavens. 莫尔 好吧，我录用你了。来，跟我去圣托马斯使徒街；我第一件事就是给你披上佣人的外套。 MOLL: Then you’re hired. Come—St Thomas Apostle Street. My first work is to clothe you like a Servant. 【同下】 (Exeunt.)
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第三幕，第二场 | ACT III, SCENE II 场景：加利波家中 (Scene: Gallipot’s House) 【加利波夫妇上，像是刚吃完晚饭】 (Gallipot and his wife enter, as if from supper) 加利波 怎么啦，普鲁！——不，我亲爱的普鲁登斯！ GALLIPOT: How now, Prudence!—no, my dear Prudence! 加利波夫人 “普鲁，普鲁”，叫个没完！我看没断奶的孩子哭着要奶头都没你叫得勤。求你别这么黏着我。收起你那副市民的寒酸相；你像头小牛似地跟在我后面咩咩叫，真让我心烦。 LADY GALLIPOT: “Prue, Prue,” forever Prue! A suckling cries less for the breast. Prithee, don’t cling so. Put off that Citizen’s fashion of yours; you follow me bleating like a calf, and it angers me. 加利波 别这样，甜普鲁。在所有客人面前离席，这么粗鲁地甩开我的朋友们——这合适吗？啧，普鲁——啧——过来。 GALLIPOT: No, sweet Prue. To rise from table before all the guests, and so rudely shake off my friends—is that well done? Tsk, Prue—tsk—come hither. 加利波夫人 那你就干脆骑上来吧，真是的。 LADY GALLIPOT: Then mount and ride, for heaven’s sake. 加利波 骑？不，我亲爱的普鲁，那绝非我意，我的小鸭子。哎呀，小老鼠，你心里嘀咕什么呢？到底什么事让你不痛快？ GALLIPOT: Ride? No, my dear Prue, that’s not my meaning, duck. Why, little mouse, what mutters in your mind? What is it that troubles you? 加利波夫人 就是你这头蠢驴。呸！你真该去当个接生婆或者是大夫。你反正已经是药商了——但我可不是你的药。 LADY GALLIPOT: You—you ass. Puh! You should have been a midwife or a physician. You’re an apothecary already—but I am none of your drugs. 加利波 你是一剂甜药，甜普鲁，而且越是“捣碎”，就越是珍贵。 GALLIPOT: You are a sweet medicine, sweet Prue, and the more “crushed,” [8] the more precious. 加利波夫人 你非得打探女人的秘密不可吗？ LADY GALLIPOT: Must you needs pry into women’s secrets? 加利波 女人的秘密？ GALLIPOT: Women’s secrets? 加利波夫人 怎么，我哪怕有一丁点不适，你就垂涎欲滴，鼻子都要凑上来了。 LADY GALLIPOT: Why, if I but ail a little, you come licking your lips, your nose thrust into me. 加利波 那是我的爱呀，亲爱的妻子。 GALLIPOT: ’Tis my love, dear wife. 加利波夫人 你的爱？你的爱全是虚词；来点实在的。我受不了男人对我这么黏糊，婆婆妈妈的；你根本不懂怎么对付女人。 LADY GALLIPOT: Your love? Your love is all wind—show something. I cannot abide such clingy, womanish men; you know not how to deal with women. 加利波 不懂吗，普鲁？哎，我倒是想“对付”一下—— GALLIPOT: Not know, Prue? Well, I’d certainly like to “deal with” it— 加利波夫人 去对付你自己的蠢脑袋吧——呸！ LADY GALLIPOT: Deal with your own foolish head—fie! 加利波 哈，哈！她就是只小黄蜂。让她蜇我吧——还挺受用的，这个小坏蛋。 GALLIPOT: Ha, ha! She’s a little wasp. Let her sting me—’tis pleasant enough, the rogue. 加利波夫人 噢，你真让我心烦！我受不了这些系着围裙、爱管闲事的男人。你做得太过火了——简直可怜。 LADY GALLIPOT: Oh, you weary me! I cannot endure these apron-wearing, meddling men. You overdo it—it’s pitiful. 加利波【旁白】 我敢拿性命打赌，她怀上了！我就纳闷，为什么我们市民的孩子在娘胎里就这么难伺候，而他们的父亲大多温顺得像奶牛。——我离开一下好吗，我的普鲁？ GALLIPOT: (aside) I’d lay my life she’s with child. I wonder why citizens’ babes are so troublesome in the womb, while their fathers are as mild as kine?—May I step out a little, my Prue? 加利波夫人 去吧，去吧。 LADY GALLIPOT: Fie, fie, fie. 加利波 你不会再被烦扰了，可爱善良的小坏蛋。别着凉，甜普鲁。 GALLIPOT: You shall be troubled no more, sweet gentle rogue. Take no cold, sweet Prue. 【加利波下】 (Exits.) 加利波夫人 就好像你的脑子还没着凉似的。 LADY GALLIPOT: As if your brains were already cold.
【掏出一封信】 (Draws a letter) 加利波夫人 现在，拉克斯顿先生，现身吧。有什么消息？哪个丈夫会怀疑，一个喊着“卖药水”的女人，会在草药里夹带情书给他的妻子？好一条妙计！就算嫉妒长了一千只眼睛，也能全给它蒙住。 LADY GALLIPOT: Now, Master Laxton, appear. What news? What husband would suspect that a woman crying “antiscorbutic waters” should slip love-letters among her simples? A brave device! A thousand-eyed jealousy is blinded by it. 【她读信】 (Reads) “哦，甜蜜的人儿，”——甜蜜的开头——“请原谅我长久的缺席。尽管得摩丰对菲莉丝负心，我对你将如潘达洛斯对克瑞西达般忠诚；哦，甜蜜的人儿，善待我吧。因此，请为我筹措三十镑；你必须这么做，我急需。我日夜思念着你，苦苦煎熬，直到你那令人慰藉的身影出现。你忠实的拉克斯顿，永远。” “O sweet creature”—a sweet beginning—“pardon my long absence. Though Demophon proved false to Phyllis, I will be as faithful to you as Pandarus to Cressida; O sweet creature, be kind to me. Therefore procure me thirty pounds; you must do it, for I stand in great need. I pine day and night till your comforting presence appear. Yours ever, Laxton.” 【唱】 唉，可怜的先生！说真的，我同情他。我上哪儿弄这笔钱？三十镑？是三十没错，一个3后面带个零。我对他的那个“3”再清楚不过了。我该为他当掉产褥亚麻布吗？如果我的标记被认出来，我就完了；人家会以为我丈夫破产了。拉克斯顿，夹在我的恐惧和你的索求之间，我像根针夹在两块磁石间。 (She sings) Alas, poor gentleman! In truth, I pity him. Where shall I get the money—thirty pounds? Thirty indeed, a three with naught behind; I know his “3” too well. Shall I pawn my childbed linen for him? If my mark be known, I am undone; they’ll think my husband is bankrupt. Laxton, betwixt my fears and thy demands, I stand like a needle drawn by two magnets. 加利波【匆忙上】 不，老婆，别这样——女客们都起来了！ GALLIPOT: (entering hastily) Nay, wife, do not so—the women are all risen!
【旁白】 哈！在读信？我闻到了一只鹅、一对阉鸡、还有她乡下亲戚送来的火腿的味道，我敢打赌。【高声】 有野味！有野味！ (aside) Ha! what, reading letters? I smell a goose, a couple of capons, and a gammon sent from her country friends, I’ll warrant. (aloud) Venison! venison! 加利波夫人 哦，烂掉你的心肝吧！ LADY GALLIPOT: Oh, rot your heart! 加利波 什么信？让我瞧瞧。 GALLIPOT: What letter’s this? Let me see. 【她把信撕碎】 (She tears the letter up.) 加利波夫人 噢，但愿你没长眼睛！我完了，永远完了！ LADY GALLIPOT: O that you were eyeless! I am undone—undone forever! 加利波 我的普鲁怎么了？你撕掉的是什么纸？ GALLIPOT: What ails my Prue? What paper was that you rent? 加利波夫人 但愿我能把我的心撕成碎片！我的灵魂正躺在耻辱的刑架上！ LADY GALLIPOT: Would I could tear my heart to pieces! My soul lies upon the rack of shame! 加利波 你这是什么意思？ GALLIPOT: What mean you? 加利波夫人 你就没有别的报复手段了吗，非要在我所有快乐的巅峰—— LADY GALLIPOT: Had you no other revenge, but even in the height of all my joys— 加利波 亲爱的女人！ GALLIPOT: Sweet woman! 加利波夫人 告诉我吧！是我们寄养在奶妈那儿的孩子病了，还是死了？ LADY GALLIPOT: Tell me then! Is our child at nurse sick—or dead? 加利波 噢，不！ GALLIPOT: O no!
加利波 是我在霍克利洞的房子着火了吗？我可以再建，甜普鲁。 GALLIPOT: Has my house at Hockley-hole burned? I can build again, sweet Prue. 加利波夫人 更糟，更糟。 LADY GALLIPOT: Worse, worse. 加利波 我的代理商破产了，还是“乔纳斯号”船沉了？ GALLIPOT: Is my factor bankrupt, or is the Jonas cast away? 加利波夫人 但愿我们所有的一切都被海浪吞没，也好过我们两人沦为奴仆的笑柄。 LADY GALLIPOT: Would all that we have were swallowed by the sea, rather than we two be made Slaves to Scorn. 加利波 我智穷计尽了！ GALLIPOT: I am at my wits’ end! 加利波夫人 噢，丈夫！我曾以为自己是颗固定的星辰，现在恐怕我要变成一颗流浪的彗星了。噢，拉克斯顿，拉克斯顿——非要让你来摧毁我的前程吗？ LADY GALLIPOT: O husband! I once thought myself a fixed star; now I fear I must prove a wandering comet. O Laxton, Laxton—must you overthrow my fortune? 加利波【旁白】 智慧啊，保佑我别陷入疯狂！ GALLIPOT: (aside) Wisdom, preserve me from madness!
【高声】 我跪下来求你，甜普鲁。那个压在你心头的拉克斯顿，到底是什么人？ (aloud) I kneel, sweet Prue. Who is this Laxton that lies so heavy on your heart? 加利波夫人 我准会发疯的！ LADY GALLIPOT: I shall go mad! 加利波 普鲁！你是良心不安吗？是想抢劫我吗？我原谅你！是你在我的床上，把我的软枕头塞到了别人的头下吗？我对所有的过错都睁一只眼闭一只眼，普鲁；那不过是你有些邻居以前也干过的事。那个拉克斯顿是怎么回事？ GALLIPOT: Prue! Is it conscience? Would you rob me? I forgive it! Have you, in my bed, bestowed my soft pillows under another man’s head? I wink at all, Prue; ’tis but what some of our neighbors have done before. What is this Laxton? 加利波夫人【受惊状】 噢！他生来就是我的克星！这只你称为“你的”手，曾许给了他；在上天见证下，我与他订过婚。 LADY GALLIPOT: (surprised) O! He was born to be my nemesis! This hand, which you call “yours,” was once promised to him; I was betrothed to him in the sight of Heaven. 加利波 我从没听过这种晴天霹雳。 GALLIPOT: I never heard this thunderclap before. 加利波夫人 听过，听过！在我跟你订婚前，我就对他发过誓。由于他在海外，有传言说他在法国死了。但他还活着，噢，他还活着！他在信里发誓要得到我，否则就把我从这怀抱里撕走。噢，救救我！ LADY GALLIPOT: Yes, yes! Before I was contracted to you, I swore to him. He was reported dead in France—but he lives, he lives! He swears by letter he will have me, or tear me from these arms. O save me!
加利波 我的心要碎了！蒙羞受辱，永远完了！ GALLIPOT: My heart breaks! Dishonored and undone forever! 加利波夫人 可怜的人儿，你从未度过如此黑暗的一天。 LADY GALLIPOT: Poor soul, you never saw so black a day. 加利波 如果你跟他对簿公堂，法官准会偏向他。没有计策能阻止。要不我就告诉他你怀孕了？ GALLIPOT: If you come to law with him, they’ll side with him. There’s no trick to stop it. Shall I tell him you’re with child? 加利波夫人 嗯…… LADY GALLIPOT: Hmm— 加利波 或者说我的一个伙计跟你睡过觉？ GALLIPOT: Or that one of my prentices lay with you? 加利波夫人【旁白】 越说越糟！ LADY GALLIPOT: (aside) Worse and worse!
【高声】 你这是为了防小灾而招大祸。 (aloud) You ward off a petty ill by calling on a greater. 加利波 那我从他手里把你买下来，用金子塞住他的嘴。你觉得这行得通吗？ GALLIPOT: I’ll buy you from him, stop his mouth with gold. Think that will serve? 加利波夫人 噢，但愿能行！他在信里写道，为了找我他已经花掉了三十镑。把那笔钱给他；别跟他计较。 LADY GALLIPOT: O would it might! He writes he spent thirty pounds seeking me. Give him that—stand not upon it. 加利波 给四十也行，普鲁！我们为了财富冒生命危险，为了保住妻子必须做得更多。 GALLIPOT: Forty then, Prue! We hazard life for wealth, but must do more to save a wife. 加利波夫人 三十就够了，好心的；这笔烂账，我们能省则省。剩下的我会用泪水偿还他。 LADY GALLIPOT: Thirty will serve, kind sir; in an ill bargain we must spare where we may. I’ll pay the rest in tears. 加利波 他会拿到那三十镑的。爱情的甜，总是在饮尽苦楚后滋味最美。 GALLIPOT: He shall have thirty. Love tastes best when bitterness is drunk first. 【蒂尔蒂亚德夫妇、戈肖克及奥本沃克夫人上】 (Mr. and Mrs. Tildyard, Goshawk and Mrs. Openwork enter) 加利波 天哪，朋友们来了！来，擦干眼泪，高兴点。 GALLIPOT: Heavens, our friends have come! Come, smooth your cheek. 蒂尔蒂亚德 我没说错吧？这对鸳鸯正腻歪在一起呢。 TILLYARD Did I not say it? The pair are all over one another. 蒂尔蒂亚德夫人 您好吗？哎呀，加利波妹妹！ MRS. TILLYARD How do you do? Ah, Gallipot’s sister! 奥本沃克夫人 天哪，她脸色真难看！ MRS. OPENWORK: Good heavens, her face is all awry! 戈肖克 尊夫人不舒服吗，先生？ GOSHAWK: Is the lady unwell, sir? 加利波 是啊，先生，很不舒服——从没这么糟过！ GALLIPOT: Aye, sir, very unwell—never so bad! 蒂尔蒂亚德夫人 她头好烫！摸摸她的脉搏。 MRS. TILLYARD Her head is burning! Feel her pulse. 奥本沃克夫人 妹妹，去躺一会儿；那对我总是管用。 MRS. OPENWORK: Sister, lie down a while; it always helps me. 蒂尔蒂亚德夫人 她是不是胃里敷了什么热乎的东西？ MRS. TILLYARD Has she applied anything warm to her stomach? 加利波夫人 没有，但我很快就会“对症下药”的。 LADY GALLIPOT: No, but I shall soon “apply the remedy” myself. 蒂尔蒂亚德 得啦，傻瓜们，你们打扰她了。我们走吧，戈肖克先生？ TILLYARD Come, fools, you’ve disturbed her enough. Shall we go, Mr. Goshawk? 戈肖克 好的。 GOSHAWK: Aye. 【将奥本沃克夫人拉到一边】 (Leads Mrs. Openwork aside) 戈肖克 我敢打赌，加利波准是哪儿惹恼了他老婆。 GOSHAWK: I’ll wager Gallipot has got on his wife’s wrong side somewhere. 奥本沃克夫人 她脸色确实红得不正常。 MRS. OPENWORK: Indeed, her face is unnaturally red.
戈肖克 你的脸很快也会变红的。你丈夫在那些小巷子里，心思早就歪了。 GOSHAWK: Your cheeks will soon match her’s. Your husband’s gut is all twisted in that alley already. 奥本沃克夫人 我才不信他会在外头吃“陈羊肉”，家里明明有更好、更新鲜的。 MRS. OPENWORK: I don’t believe for a moment that he would eat “stale mutton” outside when there’s much better, fresher meat at home. 戈肖克 要是我让你亲眼看见他待在别人的“食槽”边呢？ GOSHAWK: What if I showed you him “at the trough” with your own eyes? 奥本沃克夫人 那我就以其人之道还治其人之身。 MRS. OPENWORK: Then I’d repay him in his own coin. 戈肖克 那咱们共骑一段如何？ GOSHAWK: Shall we ride home together, then? 奥本沃克夫人 一言为定。 MRS. OPENWORK: Agreed—pinky oath. 戈肖克 来，咱们带女人们回家吧？ GOSHAWK: Come, let’s fetch the ladies home. 加利波夫人 再见，亲爱的戈肖克先生。 LADY GALLIPOT: Farewell, kind Mr. Goshawk. 【除加利波夫妇外，众人下】 (Everyone exits except for Master and Lady Gallipot.) 加利波 就这么办。我给他一顶“金傻瓜帽”，那三十镑。甜心，高兴起来。 GALLIPOT: So be it. I’ll give him a golden fool’s cap, thirty pounds. Come, sweeting, be glad. 加利波夫人 你配得上我的心；你可是花了大价钱才买到它的。 LADY GALLIPOT: You are worthy of my heart; you’ve bought it at no cheap rate. 拉克斯顿【戴着面具上】 老天，潮水对我不利！让你那药商见鬼去吧！对付这种“城市母鸡”简直是苦役，因为她们的“公鸡”总在身边打鸣；没法回头了，我必须上。 LAXTON: (Masked, entering) Heavens, the tide is against me! Curse that apothecary! To deal with such a “city hen” is drudgery, for her “cocks” crow all around; there’s no turning back—I must press on. 加利波夫人 噢，丈夫，看，他来了！ LADY GALLIPOT: O husband, look—he comes! 加利波 让我来对付他。 GALLIPOT: Leave him to me. 拉克斯顿 愿上帝保佑您，先生。 LAXTON: God save you, sir. 加利波 也保佑您，先生——如果您是为和平而来。 GALLIPOT: And you, sir—if you come in peace. 拉克斯顿 您这儿有上好的板烟吗，先生？ LAXTON: Have you choice tobacco, sir? 加利波夫人 噢，别找茬了，好先生！我丈夫全都知道了。 LADY GALLIPOT: O, do not quarrel, good sir! My husband knows all. 拉克斯顿【旁白】 该死！她把我的信亮出来了！ LAXTON: (aside) Damn! She’s shown my letter! 加利波夫人 假设您换成我的处境，在父母逼迫下要毁掉婚约，且当时还有您死在海外的传闻——您会怎么做？ LADY GALLIPOT: Suppose you were in my case, forced by parents to break an engagement, and told you were dead—what would you do? 拉克斯顿【旁白】 这唱的是哪一出? LAXTON: (aside) What riddle is this? 加利波 放明白点，先生。您何必宣扬我妻子的丑闻？她不是已经承认那份先前的婚约了吗？ GALLIPOT: Be wise, sir. Why sound the drum of my wife’s scandal? Has she not confessed the prior contract? 拉克斯顿【旁白】 我要是不趁热打铁，我就不是人。【高声】 你这卑劣的女人！你以为我会平白无故忍受这些并装作看不见吗？ LAXTON: (aside) Let the hot iron cool on me, and call me slave. (aloud) You base woman! Did you think that I’d endure this and wink? 加利波夫人 我向你跪下—— LADY GALLIPOT: I kneel— 拉克斯顿 滚开，厚颜无耻的贱人！ LAXTON: Away, shameless wretch! 加利波 好先生——别吓着她。她是可以讲道理的。 GALLIPOT: Good sir—do not frighten her. She can reason. 拉克斯顿 我一定要得到你！ LAXTON: I will have you! 加利波 我娶了她，和她睡过，还有了两个孩子——你还有胃口吗？在我享用过这道菜后，你还要来吃残羹剩饭吗？ GALLIPOT: I have married her, lain with her, and begotten two children—do you still crave her? After I’ve eaten the dish, would you devour the scraps? 拉克斯顿 圣母玛利亚！您戳中我的要害了。 LAXTON: Holy Mother! You strike me to the quick. 加利波 您不屑穿我的外衣吧？那就也别“穿”她。您在信里抱怨寻找她花掉了三十镑。我来付。这笔钱能填平你们之间的隔阂吗？ GALLIPOT: You’d scorn to “wear” my coat? Then wear her not. You complain of thirty pounds spent seeking her—I’ll pay. Will that close your gap? 拉克斯顿 好吧，钱到手，我立马走。再见了，女人！信任女人的男人可真是幸福。 LAXTON: Very well, money paid and I’ll go. Farewell, women! Happy the man who trusts a woman. [9] 加利波夫人 快看他走了没有。 LADY GALLIPOT: Quick, see him go. 加利波 好的。先生，请进——喝杯离别酒吧。 GALLIPOT: Aye. Sir, come in—take a parting cup. 加利波夫人【低声对拉克斯顿】 你觉得我的计策怎么样？ LADY GALLIPOT: (Aside, low) What think you of my device? 拉克斯顿【低声】 绝了！ LAXTON: (Aside, low) Perfect! 【加利波夫妇下】 (The Gallipots exit.)
拉克斯顿 那条蛇诱骗第一个女人的诡计，自那以后就填满了所有女人的心；你们永远是骗子。 LAXTON: The trick by which the serpent beguiled the first woman has since filled the hearts of women; you are ever deceivers. 【下】 (Exits.)
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第三幕，第三场 | ACT III, SCENE III 场景：霍尔本街 (Scene: Holborn Street) 【亚历山大·温格雷夫爵士、戴维·戴珀爵士、亚当·阿普尔顿爵士从一门上；特拉普多尔从另一门上。】 (Sir Alexander Wingrave, Sir David Dapper, and Sir Adam Appleton enter by one door; Trapdoor enters by another.) 亚历山大爵士 戴维爵士，把你的烦心事说给亚当爵士听听吧；我眼里可正盯着一个欠我重债的恶棍呢。 SIR ALEXANDER: Sir David, tell Sir Adam of your troubles; there’s a rogue owing me a heavy debt in my sight. 【亚历山大爵士将特拉普多尔拉到一旁。】 (Sir Alexander draws Trapdoor aside.) 亚历山大爵士 小声说。现在又在孵什么坏蛋？ SIR ALEXANDER: Speak softly. What egg hatches now? 特拉普多尔 鸭蛋，老爷，一只吃过青蛙的鸭子孵的；我已经敲开了蛋壳，马上就要冒坏水了。那孵蛋的母鸭就是那个活蹦乱跳的荡妇，我的好主人莫尔；而那只必须去“踩蛋”的公鸭就是您儿子塞巴斯蒂安。TRAPDOOR: Duck eggs, my lord, laid by a duck that ate frogs; I’ve already cracked the shell, and it’s about to go rotten. The mother duck that laid these eggs is that lively hussy, my good master Moll; and the drake that had to “tread the eggs” is your son Sebastian. 亚历山大爵士 说快点。 SIR ALEXANDER: Speak swiftly. 特拉普多尔 快得像卖牡蛎女人的舌头。TRAPDOOR: Quick as an oyster-woman’s tongue. 亚历山大爵士 这消息可靠吗？ SIR ALEXANDER: This news must be certain. 特拉普多尔 准得像理发师每星期六晚上一定忙活一样。疯莫尔…… TRAPDOOR: Certain as a barber on Saturday night. Mad Moll… 亚历山大爵士 啊。 SIR ALEXANDER: Ah. 特拉普多尔 她会不敲门就溜进您的后门。 TRAPDOOR: She’ll slip in without knocking at your back door. 亚历山大爵士 嗯。 SIR ALEXANDER: Hmm. 特拉普多尔 您的房间要变成淫窝了。 TRAPDOOR: Your chamber will become a den of lust. 亚历山大爵士 哦？ SIR ALEXANDER: Good? 特拉普多尔 她会穿着件“锁子甲”衬衫来。 TRAPDOOR: She comes in a “chainmail” shirt. 亚历山大爵士 什么锁子甲衬衫？ SIR ALEXANDER: “Male” shirt? 特拉普多尔 是的，老爷；其实就是男人的衬衫——换句话说，她要穿男装。TRAPDOOR: Aye, sir; a man’s shirt, in truth—she’s into wearing men’s apparel. 亚历山大爵士 去找我儿子？ SIR ALEXANDER: To seek my son? 特拉普多尔 紧贴着您儿子。如果历书没写错，您儿子和她的“月亮”就要交合了。她的黑裙子变成了宽松马裤，胸衣的绳洞变成了扣眼，她的马甲成了紧身上衣，她的裙衩成了老式的阴囊罩——您能抓他们个正着。 TRAPDOOR: Close with your son. Your son’s and her “moon” will meet, if all calendars lie not. Her black skirt becomes loose riding-breeches, bodice holes become buttonholes, her waistcoat a tight doublet, her skirt-slit an old-fashioned codpiece [10]—and you’ll catch them at it. 亚历山大爵士 你确定？ SIR ALEXANDER: Are you certain? 特拉普多尔 确定得就像人群里必有扒手，确定得就像妓女在秋季开庭期必有客、节后必得梅毒一样。 TRAPDOOR: As sure as there’s a pickpocket in every crowd, as sure as a whore gets clients at Michaelmas court [11] and syphilis after. 亚历山大爵士 几点钟？ SIR ALEXANDER: The hour? 特拉普多尔 三点。 TRAPDOOR: Three o’clock. 亚历山大爵士 哪一天？ SIR ALEXANDER: What day? 特拉普多尔 今天。 TRAPDOOR: Today. 亚历山大爵士 去吧，盯紧她，监视她。 SIR ALEXANDER: Go, watch her closely. 特拉普多尔 就像魔鬼等着老鸨断气一样，我会盯紧她；您就管来逮人吧。 TRAPDOOR: As a devil waits for a bawd to die, I’ll watch her; you apprehend her. 亚历山大爵士 她跑不了。你在这儿织好网。听着！ SIR ALEXANDER: She won’t escape. Spin your net here. Mark me! 特拉普多尔 网已布好。 TRAPDOOR: The net is spun. 亚历山大爵士 我告诉他们说你欠我钱；咬死这一点，别松口。 SIR ALEXANDER: Tell them you owe me money; hold that fast. 特拉普多尔 顽固得就像清教徒辩论教义一样。【大声】 胡说！我连半便士的绞索钱都不欠你！ TRAPDOOR: Obstinate as a Puritan disputing doctrine. (aloud) Nonsense! I owe thee not a halfpenny of cord! 亚历山大爵士 不等你逃掉，你就得被它吊死！恶棍，我要让你透过牢房铁窗看世界！ SIR ALEXANDER: Ere you escape, it shall hang thee! Rogue, I’ll have you view through the grate! 特拉普多尔 我这就去，透过酒馆的木栅窗看。伙计！呸！ TRAPDOOR: I go to spy through the tavern’s lattice. Fellow! Pah! 【特拉普多尔下】 (Exits.) 亚当爵士 那混混惹您生气了，爵士？ SIR ADAM: Has that scoundrel vexed you, sir? 亚历山大爵士 我问他要账；他竟发誓说是我儿子拿走了钱。唉！那孩子往我心头堆满忧愁，直到把我彻底压碎才罢休。 SIR ALEXANDER: I demanded my due; he swore my son took it. Alas! That boy piles sorrow upon my heart until it’s crushed. 亚当爵士 他还那么野吗？ SIR ADAM He’s still as wild? 亚历山大爵士 野得像头俄罗斯熊。 SIR ALEXANDER: Wild as a Russian bear. 亚当爵士 但他不是已经离开那个贱货，不去那些鬼混的地方了吗？ SIR ADAM: But he’s left that harlot and her haunts? 亚历山大爵士 更糟，越来越糟。他把耻辱堆在我身上，我把诅咒压在他头上。 SIR ALEXANDER: Worse, worse. He heaps his shame on me, I heap my curse on him. 戴维爵士 那我儿子杰克·戴珀可正跟他混在一块儿，在同一片牧场里撒野呢。 SIR DAVID Then my son Jack Dapper will run with him in the same pasture. 亚当爵士 您儿子也变坏了吗，爵士？ SIR ADAM: Your son’s gone bad, too, sir? 戴维爵士 坏到无以复加。您的塞巴斯蒂安只迷恋一个荡妇，我的那个却迷恋上千个：吵闹的琴师、烟草、烈酒、姘头，还有一个肯让他赊账的布商，再加上骰子，还有一只会叼鸭子的水猎犬。啊，真该把这些东西全弄上床陪他！只要他钱袋一响，那帮“咆哮小子”、剑客和暗娼就跟在他屁股后头——全都是亚当从未命名的野兽。这些蚂蟥吸干我儿子的血；等他被榨干了，他们就靠吞云吐雾过活。 SIR DAVID: As bad as wickedness can make him. Your Sebastian is in love with one harlot; mine with a thousand: noisy fiddlers, tobacco, drink, a paramour, a clothier who’ll extend credit, dice, and a duck-hunting spaniel. Ah, lay these in bed with him! When his purse jingles, the roaring lads trail him, with swordsmen and paramours, beasts Adam has never named. Leeches suck my son dry; once drained, they live on smoke and steam. 亚历山大爵士 烟草？ SIR ALEXANDER: Tobacco? 戴维爵士 对。但我脑子里正盘算着一架风车，要把我儿子的蠢行磨成粉末，让他要么学乖，要么干脆当个彻底的傻瓜；请二位指点我。 SIR DAVID: Aye. But my mind spins like a windmill, to grind my son’s folly to powder, so he may grow wise or remain a complete fool; I seek your counsel. 亚历山大爵士、亚当爵士【齐声】 乐意效劳，好戴维爵士。 SIR ALEXANDER & SIR ADAM: Gladly, good Sir David. 戴维爵士 这就是我为这只“山鹬”设下的圈套：我用个假名、瞒着他，在债务人监狱（Counter)立了案，要逮捕杰克·戴珀。 SIR DAVID: Here’s the snare I set for this sandpiper: under a false name, unbeknownst to him, a case lodged in the debtors’ prison to seize Jack Dapper. 亚历山大爵士、亚当爵士【齐声】 哈，哈！嘿！ SIR ALEXANDER & SIR ADAM: Ha, ha! Hey! 戴维爵士 你们觉得债务人监狱还驯不服他？ SIR DAVID: Think the debtors’ prison cannot tame him? 亚当爵士 驯不服？能，要是关得久，连他的心都能治碎。 SIR ADAM: Cannot? Yes, if held long enough, it will break his heart. 戴维爵士 我保证能让他唱起监狱里的“高音”。SIR DAVID: I guarantee he’ll “hit” prison-high notes. [12] 亚当爵士 没别的方法更能驯服他了；在那儿他才能明白钱是什么，该怎么花。SIR ADAM: No other means tames him so; there he’ll learn what money is and how to spend it. 戴维爵士 他在那儿可得戴上嚼子了。 SIR DAVID: He’ll be muzzled there. 亚历山大爵士 是啊，尽管他还不知道怎么悔改。贝德拉姆疯人院一年治好的疯子，还比不上一座债务人监狱治好的多；人们在那儿为自己的“小聪明”付出的代价比哪儿都高。债务人监狱——啊，它就是一所大学！谁看不出来？学者在那儿钻研，囚犯也在这儿获得学位。学者先学逻辑和修辞；囚犯也一样。刚进去时，他用甜言蜜语说服、恳求，希望能跟个不长虱子的人同住，睡在干净的牢房；但一旦没钱了，他就得靠微妙的逻辑和精巧的诡辩，去哄骗看守给他赊账。 SIR ALEXANDER: Aye, yet he knows not reform. A madman cured in Bedlam in a year is less tamed than one in a debtors’ prison; the price of cleverness there exceeds any place. Debtors’ prison—ah, it’s a university! Can’t you see? Scholars study there; here men earn degrees in the same courses. Scholars learn logic and rhetoric; so too the prisoners. Upon entry, he sweet-talks, pleads, to share a lice-free cell, clean sheets; but lacking coin, he cajoles the warders into credit with subtle reasoning and clever sophistry. 亚当爵士 要是他们给赊呢？ SIR ADAM: And if they grant him credit? 亚历山大爵士 那他就算毕业了。 SIR ALEXANDER: Then he graduates. 戴维爵士 要是他们不给呢？ SIR DAVID: And if they do not? 亚历山大爵士 那他就是个毕不了业的新生和傻子，会被从“看守房”赶到“两便士房”，甚至扔进地牢。 SIR ALEXANDER: Then he remains a freshman and a fool, forever ungraduated, shifted from the “warder’s side” to the “twopenny ward,” or thrown in the dungeon. 亚当爵士 那囚犯什么时候能晋升呢？ SIR ADAM: When, then, does the prisoner advance? 亚历山大爵士 当他能带着钱财，和心狠手辣的债主们辩论并全身而退时，他就是硕士了。戴维爵士，送您儿子去“伍德街学院”深造吧；绅士在别处学不到比这更多的东西了。 SIR ALEXANDER: When he, with gold in mind, debates with hard-hearted creditors and emerges unscathed, he becomes a master. Sir David, send your son to “Wood Street College” [13]; gentlemen learn no more elsewhere. 戴维爵士 那儿的浪荡子们学习确实用功。 SIR DAVID: The rakes there study diligently. 亚历山大爵士 没错，为了搞钱嘛。 SIR ALEXANDER: Indeed, to get money. 戴维爵士 他这回跑不掉了；多谢指点。我已经派人去请一对“熊”来拍拍他的肩膀了。 SIR DAVID: He cannot escape; thanks, thanks. I’ve sent for a pair of “bears” [14] to tap him. 【法警科蒂拉克斯与执达吏汉格上。】 (Bailiff Cotilax and Officer Hanger enter.) 亚当爵士 那边来的是谁？ SIR ADAM: Who comes there? 戴维爵士 看着像秃鹫；应该是他们。 SIR DAVID: They look like vultures; it should be them. 亚历山大爵士 我认得他们；那是法警，爵士。我们先失陪了。 SIR ALEXANDER: I know them; they are bailiffs, sir. We’ll take our leave. 戴维爵士 我的好爵士们，请便；你们瞧，我现在被鬼魂缠上了。 SIR DAVID: My good sirs, proceed; you see, I am haunted now. 亚历山大爵士、亚当爵士【齐声】 告辞了，爵士。 SIR ALEXANDER & SIR ADAM: Farewell, sir. 【亚历山大爵士与亚当爵士下。】 (Sir Alexander and Sir Adam exit.) 科蒂拉克斯【对汉格旁白】 那个老瘪脸肯定就是那家伙描述的人。 COTILAX: (Aside to Hanger) That old sourpuss must be the man described.
【高声】 您好，先生。 (aloud) Good day, sir. 戴维爵士 过来，你们这两个疯混蛋。我的人没告诉你们我在这儿等你们吗？ SIR DAVID: Come hither, you two mad knaves. Didn’t my man tell you I’ve been waiting for you here? 科蒂拉克斯 一个穿蓝外套的伙计告诉我们，有位老先生会在这儿等候，这可违反了我们的誓言——因为我们要看守这城里的每一个恶棍。 COTILAX: A fellow in a blue coat, sir, told us an older gentleman would wait here, which breaks our oath, for we watch every rogue in the city. 戴维爵士 那你们得看守上万人了！老实人，你叫什么名字？ SIR DAVID: Then you’ll guard ten thousand! What’s your name, honest man? 科蒂拉克斯 法警“科蒂拉克斯”，先生。 COTILAX: “Cotilax.” Bailiff Cotilax, sir. [15] 戴维爵士 对法警来说这真是个好名字。当那些挥霍无度的恶棍债台高筑时，法警就是法律的利器。要是你们不“砍”他们，市民们可就垮了。你住在霍尔本附近吗，科蒂拉克斯？ SIR DAVID: That’s a good name for a bailiff. Bailiffs are the sharp edge of the law when those extravagant villains run up huge debts. If you don’t “cut them down,” the citizens will be ruined. Do you live near Holborn, Cortilax? 科蒂拉克斯 那是我的辖区，先生；我主要在那一带“作法”。 COTILAX: That’s my ward, sir; I mainly “operate” in that quarter. [16] 戴维爵士 那这个“雏儿”又是谁？ SIR DAVID: And that green cub, who is he? 汉格 一窝的。他是执达吏，先生；我叫“汉格”。 HANGER: One of his pack. His officer, sir; I am “Hanger.” [17] 戴维爵士 执达吏汉格。肯定是同一把剪刀裁出了你们两人的外衣。你们的名字对绅士们的喉咙来说可是危险透顶；你们是压在绅士背上的沉重负担。好货色啊：一个是汉格，一个是科蒂拉克斯。 SIR DAVID: Officer Hanger, surely the same scissors cut both your coats. Your names are dangerous in a gentleman’s throat; you’re burdens on his back. Fine fellows: this is Hanger, that Cotilax. 科蒂拉克斯 我们和别人没什么两样，先生。我看那些摆出诚实虔诚面孔的人，只要爪子够得着，照样见血。这世上活着的不过是大鱼和小鱼，互相吞噬。有些人吞掉整个人；我们法警只管抓肩膀那块。人们叫我们恶棍和猎犬，但往往指使我们的人，一年祸害的羊羔比我们七年害的还多。 COTILAX: We’re like any others, sir. I say, those posing honest and devout, when claws reach their liking, shed blood. The living are but great fish and small, devouring each other. Some consume the whole man; we bailiffs care only for the shoulders. They call us rogues and hounds, yet oft our masters ruin more lambs in a year than we in seven. 戴维爵士 说得像个高贵的 刻耳柏洛斯。案子立了吗？ SIR DAVID: Spoken like a noble Cerberus. Case filed? 汉格 他的名字已经记在“不信者名册”上了。 HANGER: His name is on the “Register of Unbelievers.” 戴维爵士 什么名册？ SIR DAVID: Register? 科蒂拉克斯 就是记所有囚犯名字的册子，里面四十个人里没一个相信自己会关很久。 COTILAX: A book of all prisoners’ names, where not one in forty believes he’ll stay long. 戴维爵士 对他狠点，使出你们所有的手段。 SIR DAVID: Be harsh with him; as harsh as you can. 科蒂拉克斯、汉格【齐声】 哦，没问题，先生！ COTILAX & HANGER: (as one) Oh, sir! 戴维爵士 你们认识那个叫杰克·戴珀的败家子吧？ SIR DAVID: Do you know that spendthrift, Jack Dapper? 科蒂拉克斯 认识，认识。那个傻瓜？熟得就像认识我自己的部下。 COTILAX: Know him, know him, sir. That fool? Familiar as my own officer. 戴维爵士 那你们也认识他父亲戴维·戴珀爵士喽？ SIR DAVID: And his father, Sir David Dapper? 科蒂拉克斯 哼，要是杰克知道他老爹的皮能换钱，等老头一死，他准会剥下来卖给巴托罗缪集市，蒙成鼓给小孩敲。 COTILAX: If he knew his father’s hide fetches coin, once dead, he’d flay it to sell at Bartholomew Fair to drum for children. 戴维爵士【旁白】 这些癞蛤蟆，竟敢当面喷毒液！【高声】 看到了吗，我诚实的恶棍们？那边那条细狗就是他的猎伴。杰克·戴珀马上会从那家酒馆里冲出来。快去！快去！逮住他，把他送进大牢。 SIR DAVID: (aside) These toads dare spit venom in one’s face! (aloud) See, my honest rogues? That slim hound is his hunting companion. Jack Dapper will burst from that tavern. Hie! Hie! Prison him—seize him! 科蒂拉克斯、汉格 我们会从背后擒住他的，先生。 COTILAX & HANGER: We’ll take him from behind, sir. 戴维爵士 不准保释；给他的粥里加点料。列队，交叉包抄。 SIR DAVID: No bail; spice his porridge, line in pairs, crosswise. 科蒂拉克斯、汉格 妙极了，先生。 COTILAX & HANGER: Excellent, sir. 戴维爵士 大喊：“抄家伙，逮住他，逮住他！” SIR DAVID: Cry out: “Seize him! Seize him! Seize him!” 科蒂拉克斯、汉格 像这样吗，先生？ COTILAX & HANGER: Like so, sir? 戴维爵士 对，小子，就那样，快去！盯紧你们的猎物，我真正的英格兰狼们；我先闪人了。 SIR DAVID: There, boy, there, boy, go swiftly. Watch your prey, my true English wolf; I vanish now. 【戴维爵士下】 (Exits) 科蒂拉克斯 这老家伙准是哪个法警头子生的，我敢拿命打赌！躲起来。 COTILAX; This old fellow must be sired by some bailiff-chief; I stake my life! Hide! 汉格 伏击就设在一个地方吗？ HANGER: Ambush set in the open? 科蒂拉克斯 不，你躲到那个角落去。 COTILAX: Nay, hide in that corner. 【莫尔与特拉普多尔上。】 (Moll and Trapdoor enter.) 莫尔 拉尔夫？ MOLL: Ralph? 特拉普多尔 我英勇的“司令官”有何吩咐？ TRAPDOOR: What orders, my valiant “commander”? 莫尔 这霍尔本街可真是条吵吵闹闹的街。 MOLL: Holborn Street is a noisy, bustling street. 特拉普多尔 那是因为律师们老在这儿晃悠。 TRAPDOOR: That’s because the lawyers are always walking here. 莫尔 这儿挤来挤去的，好像遇到的每个人都喝醉了在摇晃。 MOLL: It’s crowded, jostling, as if every person we meet is drunk and staggering. 特拉普多尔 站直了，小姐。没闻到一股腐肉味儿吗？ TRAPDOOR: Stand straight, miss. Do you smell no carrion? 莫尔 腐肉？没有，不过我瞧见乌鸦了。 MOLL: Carrion? No, but I see crows. 特拉普多尔 马上就会有个虚弱的小花花公子要经受“分娩之痛”了；这些“接生婆”要把他接生到债务人监狱里去——那儿躺满了大腹便便的欠债人。 TRAPDOOR: Soon a poor, feeble young gentleman shall endure labor pains; these “midwives” [18] must deliver him to the debtors’ prison, full of debt-ridden, bulging-bellied folks awaiting birth. 莫尔 站直。 MOLL: Stand upright. 特拉普多尔 直得像您新立的五月柱。 TRAPDOOR: As straight as your new Maypole. 汉格 嘘，在那。 HANGER: Shh, beep. 科蒂拉克斯 哼，还没到时候。 COTILAX: Hmph, no. 莫尔 偷窥？猎人们，就算费点劲，我也要搅黄你们的局。他们看起来活像两个得了病的麦芽工，在打霜的早晨裹着斗篷进城。 MOLL: Peeking? Hunters, I’ll foil your game, even with effort. They look like two sickly maltsters, cloaked, heading to London on a frosty morning. 特拉普多尔 有动静，队长；“熊”朝木桩来了。 TRAPDOOR: Something’s up, captain; the “bears” approach the post. 【杰克·戴珀与迪克上。】 (Jack Dapper and Dick enter.) 莫尔 应该是，因为“狗”已经急着想挣脱锁链了。 MOLL: Likely, for the “hounds” are eager to be unleashed. 汉格 哔。 HANGER: Beep. 科蒂拉克斯 哼。 COTILAX: Hmph. 莫尔 听着，特拉普多尔，跟着你的主子。 MOLL: Hear me, Trapdoor, follow your master. 杰克 迪克？ JACK: Dick? 迪克 少爷？ DICK: Master? 杰克 小子，你见过像我这么蠢的人吗？ JACK: Ever see a fool like me, lad? 迪克 说实话，没有，少爷。输光了所有的钱，身上居然还带着灌铅骰子！嘿，这就像我前天看见的一个大块头：明明拿着好剑和盾牌，却被个屠夫用木棍揍了一顿，还没见血呢。 DICK: Truth, no, master. Lost all the money, yet carries loaded dice! Like a fellow I saw two days past: a strong man with fine sword and round shield, yet thrashed by a butcher’s club—no blood seen. 莫尔 嘿，诚实的法警们—— MOLL: Honest bailiffs— 特拉普多尔 快跑，快跑，戴珀少爷！不然您就被逮住了！ TRAPDOOR: Run, run, Master Dapper! Or you’ll be caught! 杰克 快跑，迪克，拔剑！ JACK: Run, Dick, draw your sword! 迪克 跑，少爷，迪克在后头跟着呢！ DICK: Run, master, Dick is at your heels! 【杰克·戴珀与迪克下。】 (Jack Dapper and Dick exit.) 科蒂拉克斯 我算是看透你了。你不过是个谁都能上的婊子。 COTILAX: I’ve seen through you. You’re a hot harlot for any man. 莫尔 那妓女也跟法警一样——现在把你挂起来！ MOLL: That harlot is like a bailiff who’ll now hang you up!
【对特拉普多尔】 拔剑，混蛋，但别真打。只要搞出点血迹，他们就得卧床养伤，还能找你要二十马克的赔偿费呢。 (To Trapdoor) Draw, scoundrel, but don’t strike. For a bloody head, they must bed rest and claim twenty marks as compensation. 科蒂拉克斯 你会为这次“劫囚”付出代价的！【对汉格】 去截住他，往“跑鞋巷”那头跑！ COTILAX: You’ll pay for this prison raid! (To Hanger) Head to “Shoe Lane,” you can intercept him! 【科蒂拉克斯与汉格下。】 (Cotilax and Hanger exit.) 特拉普多尔 嘘！先生们，这算劫囚吗，算吗？ TRAPDOOR: Shh! Is this a prison raid, gentlemen, or not? 莫尔 劫囚？去他们的！特拉普多尔，咱们走！很高兴我今天总算干了件漂亮事。要是哪位绅士不小心落入法网，尽管派人来找莫尔，我凭这双手保他脱身。 MOLL: Raid a prison? To hell with it! Trapdoor, let’s go! I’m glad to have done a fine deed today. Should any gentleman don a scrivener’s ruff, send for Moll—I’ll free him with these hands. 【同下。】 (Exit together.)
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第四幕，第一场 | ACT IV, SCENE I 场景：亚历山大·温格雷夫爵士的房间 (Scene: Sir Alexander Wingrave’s Room) 【亚历山大·温格雷夫爵士上。】 (Sir Alexander enters.) 亚历山大爵士 不幸啊！摊上这么个被愚蠢冲昏头脑的儿子，全然不顾判断、理智、孝道，以及一切高贵与智慧的力量。哦，悲惨的父亲！ SIR ALEXANDER: Misfortune! To have a son so blinded by folly, defying judgment, reason, filial duty, and all powers of nobility and wisdom. Oh, the wretched father! 【特拉普多尔上。】 (Trapdoor enters.) 亚历山大爵士 怎么样，特拉普多尔，她会来吗？ SIR ALEXANDER: Well, Trapdoor, will she come? 特拉普多尔 穿男装来，老爷；我现在已经钻进她心里，掌握她所有的秘密了。 TRAPDOOR: In men’s attire, master; I’ve already wormed into her heart and share all her secrets. 亚历山大爵士 安静，安静。给，拿着我的这块德国怀表；把它挂在显眼处，让我能看见，好让我亲眼看着她因为这表在英国被送上绞架。 SIR ALEXANDER: Quiet, quiet, quiet. Here, take my German watch; hang it in a conspicuous place where I can see it, so that I can watch with my own eyes her being hung in England because of this watch. 特拉普多尔 这事包在我身上；下个开庭期 就能除掉她，老爷。这块表钓她上钩，比一百个巡警都管用。 TRAPDOOR: Leave it to me; by the next term she’ll be done for, master. This watch will bait her more than a hundred constables. 亚历山大爵士 好特拉普多尔，你真这么想？你在悲伤的风暴后鼓舞了我的心。还有我的金链子——给，拿着这价值一百马克的黄澄澄的链子。 SIR ALEXANDER: Good, Trapdoor, you really think so? You lift my heart after the storm of grief. And my gold chain, here, take this hundred-mark golden chain. 特拉普多尔 这正好能让那表更显眼，老爷，顶得上您一千个教区小吏的破灯笼。 TRAPDOOR: It’ll make the watch prominent, master, brighter than a thousand parish clerks’ lanterns. 亚历山大爵士 把它放在餐具柜上，完全暴露在她那双贼眼兼婊子眼的视线里。 SIR ALEXANDER: Place it on the sideboard, fully exposed to her thievish, slatternly eyes. 特拉普多尔 她不可能错过，老爷；我看得这么清楚，连我自己都想偷了。 TRAPDOOR: She can’t miss it, master; I see it so clearly, I’d steal it myself. 亚历山大爵士 说不定你也该偷——这个或者别的够分量的东西；她剩下的，你就悄悄进来摸走，我要让所有罪恶的重量都压在她背上。 SIR ALEXANDER: Perhaps you should steal too, that or another weighty item; what remains, take it quietly—I want all the burden on her back. 特拉普多尔 这我可不敢保证，老爷。 TRAPDOOR: That I cannot promise, master. 亚历山大爵士 哦？有什么阻碍？ SIR ALEXANDER: No? What stands in the way? 特拉普多尔 她是个结实的姑娘，说不定她喜欢“压杠子”，那重量可就全压在她肚子上了。 TRAPDOOR: She’s a stout lass, might insist on “bench pressing” [19]—the weight would fall on her belly then. 亚历山大爵士 肚子还是背我不管，只要能逮住一个就行。 SIR ALEXANDER: Belly or back, I care not—so long as I catch one. 特拉普多尔 这方面您跟我想的一块儿去了，老爷。 TRAPDOOR: In that, we think alike, master. 亚历山大爵士 把我那条镶钻石的皱领饰带也挂起来；也许她最喜欢那个。 SIR ALEXANDER: Hanger my diamond-studded ruff too; perhaps she likes that best. 特拉普多尔【旁白】 她能有这么多选择真是走运；老头子觉得送她去死给什么都不嫌多。要是他再这么想下去，我干的第一件事就是自己去当贼；临死能带上这么好的行头，也算桩美事。 TRAPDOOR: (aside) She’s lucky to have choices; he deems nothing too much. If he ponders a moment longer, the first thing I’ll do is play thief myself; to be hanged with such gear is no small blessing. 亚历山大爵士 好，说得好；都挂得很“顺手”，但愿她也被这么吊起来。那景象会比这些闪闪发光的东西更让我痛快。哦，我的算计竟到了这种地步，我必须抢劫自己来“赐福”我的儿子！ SIR ALEXANDER: Well said; they’re all hanging so “conveniently” [20] I wish she were hanging there too. That sight would give me more pleasure than all these glittering things. Oh, to think my calculations have come to this point, that I must rob myself to “bless” my son! 【亚历山大爵士下。】 (Exits.) 【塞巴斯蒂安、扮作侍童的玛丽·菲茨阿拉德，以及穿男装的莫尔上。】 (Sebastian, Mary Fitzallard as a page, and Moll in men’s attire enter.) 塞巴斯蒂安 你帮了我一个大忙，这既无罪恶也无羞耻；我们的爱是清白的。 SEBASTIAN: You’ve done me a good deed, free of vice and shame; our love is pure. 莫尔 我可不会用什么下作的手段来撮合你们。 MOLL: I’ll not employ other improper means to unite you. 塞巴斯蒂安 现在我终于有了时间和机会，可以毫无顾虑地欢迎你了，我的爱人。 SEBASTIAN: Now at last I have time and chance to greet you without fear, my love. 【塞巴斯蒂安与玛丽接吻。】 (They kiss.) 玛丽 从未如此渴望，也从未如此冒险。 MARY: Never so eager, never so daring. 莫尔 这场景可真怪——一个男人在亲吻另一个男人。 MOLL: Strange indeed—a man kissing a man. 塞巴斯蒂安 莫尔，我宁愿亲吻这样的“男人”；我觉得女人的双唇在男式紧身上衣里尝起来更甜美。 SEBASTIAN: I’d rather kiss such a “man,” Moll; I imagine a woman’s lips within a doublet are sweet too. 莫尔 那许多老贵妇可就走运了——她们在时尚变迁前，口气都馊了；如果穿男装真像你想的那么管用，她们迟早也会学会套上马裤的。 MOLL: Then many old ladies are lucky, for their breaths sour before fashion is struck; if this works as you think, they’ll soon learn to don breeches, too. 塞巴斯蒂安 她们越老越好，莫尔——我是认真的。就像有人觉得用异国杯子喝起酒来更有滋味，我觉得她以这种怪模样给我的每一个吻，都顶得上平常两个。我们在这儿很安全，没人窥探。这是我父亲的房间，他不到晚上绝不会上来；他在这里对我毫不怀疑，我也没压力。在我自己房间，他总想偷看我；在那儿我没有自由。他这回可是失算了。 SEBASTIAN: The older they, the better, Moll—truly, I mean it—as some think foreign cups make wine taste sweeter, so each kiss she gives me thus outweighs two normal ones. Here we are safe, far from prying eyes. This is my father’s room; he won’t ascend before nightfall. He suspects nothing, I worry not. In my own chamber, he spies; I find no freedom there, always restrained, blocked. Here he miscalculates.
莫尔【唱起歌来】 来了个小妞要把你吓坏， 她的胆量可真不小。 她曾跟个水手睡过觉， 她丈夫还关在“弗利特”监狱， 可她还要跟他吵嘴闹。 我纳闷她到底图个啥？ 她丈夫的船已搁了浅， 她的帆儿却升得高； 可她却像我那帮对头， 先骂别人是荡妇，她们都这调。 去他妈的所有伪君子！ MOLL: (Sings) A wench appears to frighten you, Her courage bold, her acts not few. She slept with a sailor once, While her husband lies in “Fleet” Prison— Yet still she quarrels with him. I wonder what she seeks. Her husband’s ship is aground, Yet hers can raise the sail; And like all my foes, She calls others whores first—they all do. To hell with all pretense! 莫尔 我梦见一个情妇，她挥霍无度；她去找她的“姐妹”，从不找正经人。 MOLL: I dreamed of a mistress, she spends all her money; she seeks her “sisters,” never anyone else. 【亚历山大爵士从他们背后上，在暗处窥听。】 (Sir Alexander enters from behind, eavesdropping.)
莫尔 她说她要去交易所买花样；结果你在圣凯瑟琳区才能找到她，回家时兜里一文不剩。 MOLL: She says she’ll go to the exchange for fancy wares; you’ll find her in St. Catherine’s, penniless returning home. 塞巴斯蒂安 那倒真是个大方的情妇，说真的。 SEBASTIAN: A generous mistress, indeed. 亚历山大爵士【旁白】 是啊，是啊，正像唱歌这位一样，正是你自己挑的那种货色。 SIR ALEXANDER: (aside) Yes, yes, yes, like the one singing—exactly the kind you’ve chosen yourself. 莫尔 我还要再梦一回吗？ MOLL: Shall I dream it once more? 塞巴斯蒂安 哎呀，阿门，我说。 SEBASTIAN: Ah, amen, I say. 亚历山大爵士【旁白】 我也这么说。 SIR ALEXANDER: (aside) So say I. 莫尔 挂起琴 来吧，先生。刚才我一直在做梦；人在梦里总是不守规矩，但醒来时，我把腿并得可紧了。哟，一块表！几点了？ MOLL: Hang up the strings, sir. I’ve been dreaming; in dreams one lies unruly, but awake I keep my legs tight. A watch! What time? 亚历山大爵士【旁白】 来了，来了——她上钩了。 SIR ALEXANDER: (aside) Now, now—she’s caught. 莫尔 一点到两点之间；那就没啥担心的。表和乐师在一件事上是近亲：他们都得把握好时间，否则就一无是处；一个该被砸在墙上，另一个该被琴盒敲碎脑壳。嘿，这是什么？一条松垮的链子和一颗晃荡的钻石。这对黄昏贼来说可是笔好买卖；多少败家子会为了这宝贝朝窗户里偷看，然后像鳗鱼钻进沙袋一样，从这屋里扭进扭出。哦，要是人们年轻时那些隐秘的勾当都要受审，那英格兰就要看到前所未见的大规模处刑了；剩下能唱小曲的人可就不多了。刽子手得忙死。咱们大半的典当商都能去当刽子手，那可是他们的好日子，那时他们就能免费更新绞索了。 MOLL: Between one and two; no worries then. The watch and a musician are kin in one thing: both must keep time, else worthless; one smashed against a wall, the other cracked in a case. What? A loose chain and a dangling diamond. A fine trade for dusk thieves; many sons will gawk at it through windows, wriggling like eels in sacks. Oh, if youth’s secret faults were judged, England would see mass executions unseen; few minstrels left to sing. The work would be endless. Half our pawnbrokers could be hangmen—good times, they’d update ropes for free. 塞巴斯蒂安 这就是那个能帮我们大忙的“咆哮女郎”。 SEBASTIAN: This is the roaring wench who’ll “serve us” well. 玛丽 她身上没有一点能被我们利用的恶意，这已经证明了。 MARY: No poison, sir, to employ; proved in her own person. 塞巴斯蒂安 嘘！天哪，我肯定听到他了，不管他在哪儿！ SEBASTIAN: Hush! Heaven, I hear him, wherever he is! 莫尔 你听到谁了？ MOLL: Who did you hear? 塞巴斯蒂安 我父亲。像是个一闪而过的影子；我得加倍小心。 SEBASTIAN: My father—a fleeting shadow; I must tread carefully. 亚历山大爵士【旁白】 不，他绝不会小心的。难道我就这么倒霉，什么招数都不灵？我得逼他摊牌。 SIR ALEXANDER: (aside) No, he won’t be careful. Am I so unlucky that nothing works? I must force a reveal. 塞巴斯蒂安 天哪，他来了！ SEBASTIAN: Heavens, here he comes!
【对莫尔，给她钱。】 先生，请收下这个；您的教法让我非常满意，我加到四英镑。这是四十先令，先生，我想我没数错。【低声对莫尔】 帮帮我，好莫尔。【高声】 四十先令，现款。 (To Moll, giving her money) Sir, pray accept this; your method pleases me, I add four pounds. That’s forty shillings, sir. I think I counted right. (Aside to Moll) Help me, good Moll. (aloud) Forty shillings, in cash. 莫尔 先生，您得见谅；我教过最差的学生给得都比这多。这可比我目前收到的都要多。 MOLL: Sir, forgive me; my worst pupils have given more. This exceeds all I’ve yet received. 塞巴斯蒂安 等下个季度我拿到父亲给的津贴时，我会再给您另外四十先令。 SEBASTIAN: Next quarter, when I get my father’s allowance, you shall have another forty shillings. 亚历山大爵士【旁白】 这出戏演得不错，要是换个被悲伤蒙蔽了眼的人准信了；但我可是戴着两片雪亮的镜片，看穿了他的荒唐和谎言。 SIR ALEXANDER: (aside) Not bad, for one blinded by grief; but I see his folly and lies, through two bright lenses. [21]
【高声】 这是在干什么？ (aloud) What’s going on? 塞巴斯蒂安 父亲？ SEBASTIAN: Father? 亚历山大爵士 屋里是谁？ SIR ALEXANDER: Who’s inside? 塞巴斯蒂安 您来得正是时候，父亲。我有事相求，想请您现在就恩准。 SEBASTIAN: Just in time, father. I seek your favor; I wish it granted this moment. 亚历山大爵士 他是谁？ SIR ALEXANDER: Who is he? 塞巴斯蒂安 一位绅士，也是位乐师，父亲；指法极其精湛。 SEBASTIAN: A gentleman, a musician, father, with most exquisite fingerwork. 亚历山大爵士【旁白】 是啊，我想也是；真奇怪那些指法（指偷窃)怎么没用在她身上。 SIR ALEXANDER: (aside) Yes, I think so; strange indeed how they escape her. 塞巴斯蒂安 他的“按弦指法”最是精妙，父亲。 SEBASTIAN: His “fingerwork” [22] is most exquisite, father. 亚历山大爵士【旁白】 确实是一记重击。我心口都疼了！ SIR ALEXANDER: (aside) Indeed—a heavy blow! [23] I feel it in my chest! 塞巴斯蒂安 他胜过您所有那些有名的乐师。 SEBASTIAN: Better than all your famed musicians. 亚历山大爵士【旁白】 是啊，一个荡妇能胜过一百个乐师。 SIR ALEXANDER: (aside) Yes, a wench can surpass a hundred musicians. 塞巴斯蒂安 四十先令是我们谈好的学费，父亲。我现在手头只有一半。 SEBASTIAN: Forty shillings is our agreed price, father. Now, I have but half. 亚历山大爵士 而他非要全款不可？ SIR ALEXANDER: And he insists on full payment? 塞巴斯蒂安 是啊，他很坚持，父亲。 SEBASTIAN: Indeed, he insists, father. 亚历山大爵士【旁白】 而且他会一直坚持下去（双关：莫尔会一直纠缠塞巴斯蒂安)。 SIR ALEXANDER: (aside) And he will—always insisting; never changing. [24] 塞巴斯蒂安 所以我想堵住他的嘴，父亲，如果可以的话。 SEBASTIAN: So I wish to hush him, father, if I can. 亚历山大爵士 嗯，确实，没别的法子了。【旁白】 他的愚蠢真是变本加厉；耻辱就要来了。 SIR ALEXANDER: Yes, indeed, no other way. (aside) His folly increases; disgrace will follow.
【高声】 那么，先生，我听说您是以音乐为业的。 (aloud) So, sir, I hear you are a musician by trade. 莫尔 我不过是那“自由艺术”的一介卑微仆人，爵士。 MOLL: I am but a humble Servant to the Liberal Arts, sir. 亚历山大爵士 您在哪儿授课？ SIR ALEXANDER: Where do you teach? 莫尔 就在克利福德律师学院对面。 MOLL: Opposite Clifford’s Law Academy. 亚历山大爵士 哼，那地方倒挺合适。您的学生多吗？ SIR ALEXANDER: Hmph, a fitting place. Many pupils? 莫尔 有些颇有身份；我可以称他们为我的主人。 MOLL: Some of rank; I might even call them my masters. 亚历山大爵士【旁白】 是啊，没错一帮拉皮条的。【高声】 您也教唱歌吗？ SIR ALEXANDER: (aside) Indeed—a set of pimps. (aloud) You teach singing as well? 莫尔 教的，爵士。 MOLL: I do, sir. 亚历山大爵士 我想您会发现我儿子是个领悟力很强的学生，尤其是在“按谱唱歌”[25] 方面。 SIR ALEXANDER: You will find my son quick of understanding, especially at reading music. 莫尔 我对他寄予厚望。 MOLL: I have high hopes for him. 亚历山大爵士【旁白】 我为此感到难过；我对他的希望反而更少了。 SIR ALEXANDER: (aside) I regret it; thus my hopes are diminished. 【高声】 您能演奏任何曲子吗？ (aloud) Can you perform any piece? 莫尔 只要看到谱子，我就能弹，爵士。 MOLL: See the score, and I play it, sir. 亚历山大爵士 有首曲子叫《女巫》。您会弹吗？ SIR ALEXANDER: There is a piece called “The Witch.” Can you play it? 莫尔 要是有人能弹得比我好，那我可真要难受了。 MOLL: If anyone surpasses me in it, I would be sorely grieved. 亚历山大爵士【旁白】 是啊，我相信。她蛊惑了我儿子——再怎么操心也补不回来了。既然我的计策 [26] 失败了，我就顺着她的诡计设个更大的局。这儿有四枚带孔的金币 [27]，正适合他那些堕落的同伙；他会把金子给她的。我就用这些当引子，引她走向毁灭，好洗清我家的耻辱，驱散我心头的悲痛。【高声】 给，儿子；既然是能让你获得快乐的事，手头拮据不该限制你。【给他钱。】 用这些金币付给这位“先生”剩下的那一半酬劳吧。 SIR ALEXANDER: (aside) Yes, I trust her. She beguiled my son—no care can undo it. Since my scheme failed, I’ll use her wiles as a trap. Here are four perforated coins, fit for his decadent companions; he will hand them to her. I’ll bait her ruin, dispelling my household’s shame, my grief. (aloud) Take, son; in your pleasures, let not poverty hinder. (Gives him coins) Pay the gentleman the remainder. 塞巴斯蒂安 谢谢您，父亲。 SEBASTIAN: Thank you, father. 莫尔 既然被当作“男乐师”，我没得选，只能把他 [28] 当作我的“乐器”，好好在他身上弹奏一番了。 MOLL: Since he’s being treated as a “male musician,” I have no choice but to treat him as my “instrument” and play him well. 【同下。】 (They exit together.)
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第四幕，第二场 | ACT IV, SCENE II 场景：霍尔本街 (Scene: Holborn Street) 【亚历山大爵士上，偷偷观察街上的动静。】 (Sir Alexander enters, secretly observing the street.) 亚历山大爵士 终于，她上钩了；就像我设下的陷阱，咬钩的那一刻响声最是动听。 SIR ALEXANDER: At last, she’s taken the bait; the crucial moment is the snap of the trap. 【塞巴斯蒂安与莫尔上，莫尔仍装作男子模样。】 (Sebastian and Moll enter, still in male clothing.) 塞巴斯蒂安 快点，莫尔；每一刻都可能被我父亲撞见。 SEBASTIAN: Hurry, Moll; each moment risks discovery by my father. 莫尔 放心吧，我已把一切安排妥当。你的金子和我的技艺，合起来正好引他上钩。 MOLL: Fear not; all is in order. Your coins and my skill will draw him in. 塞巴斯蒂安 如果父亲真看到这一幕 [29] 我将彻底丢掉自由。 SEBASTIAN: If my father sees this, my freedom will be lost. 莫尔 他不会看清真相的；他只会看到他想看到的表象，正如你所料。 MOLL: He won’t see the whole truth; only the surface, as you suspect. 【亚历山大爵士偷偷靠近，在一旁偷听。】 (Sir Alexander creeps closer, eavesdropping.) 亚历山大爵士【旁白】 他以为自己聪明，能蒙混过关，但我只需静观其变，看他们如何自取灭亡。 SIR ALEXANDER: (aside) He fancies himself clever, able to deceive, but I need only watch. 【街上另一头，法警科蒂拉克斯与汉格布置伏兵。】 (Cotherick and Hanger lay an ambush in the street.) 科蒂拉克斯 快，汉格，把伏兵布置好；今晚咱们非逮住那败家子杰克·戴珀不可！ COTHERICK: Quick, Hanger, set the ambush; tonight we catch that prodigal! 汉格 放心吧，科蒂拉克斯，一旦他踏入这圈套，哪怕他长了翅膀也逃不掉。 HANGER: Rest assured, Cotherick, once he steps in, there’s no escape. 【塞巴斯蒂安递金币给莫尔。】 (Sebastian hands coins to Moll.) 塞巴斯蒂安 拿着，莫尔；用这四枚金币完成你的那部分戏。 SEBASTIAN: Take these four coins, Moll; fulfill your part. 莫尔 这金币将把他稳稳地引向我的掌控之中。 MOLL: These coins will draw him right into my grasp. 亚历山大爵士【旁白】 一切如我所料；我只需坐等，羞辱与报应自会降临在他头上。 SIR ALEXANDER: (aside) All as I foresaw; I only need wait, shame and retribution will follow. 【塞巴斯蒂安与莫尔开始演奏音乐，吸引周围观众。】 (Sebastian and Moll begin to play music, drawing attention.) 莫尔 音乐会引来人群，自然也会引来猎物。 MOLL: Music draws the crowd, and the prey. 塞巴斯蒂安 希望父亲继续只看表面，而不要触及真相。 SEBASTIAN: I hope my father continues to see only the surface, not the truth. 【亚历山大爵士暗中观察，愤怒与焦虑交织。】 (Sir Alexander observes from the shadows, anger and anxiety mingling.) 亚历山大爵士 他们自以为聪明绝顶，殊不知我早已布下全局；这一切都将在我手中彻底崩塌。 SIR ALEXANDER: They think themselves clever, yet I’ve set the entire stage; all will collapse in my hands. 【街角传来骚动，法警伏兵已就位。】 (A commotion at the street corner—the ambush is ready.) 科蒂拉克斯 准备好；一旦他踏入这条街，他的每一步都将被我们掌控！ COTHERICK: Ready; once he steps onto this street, every step is ours! 汉格 他无法逃脱，这回真是山穷水尽了。 HANGER: No escape; this time he’s truly trapped. 莫尔 走吧，塞巴斯蒂安，音乐已经响起，我们的计划正式开始了。 MOLL: Come, Sebastian; music plays, our scheme begins. 塞巴斯蒂安 谨慎些，莫尔；父亲就在暗处，我得随时应对。 SEBASTIAN: Be cautious, Moll; my father lurks, I must respond at once. 【幕落】 (Curtain falls)
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第四幕, 第三场 | ACT IV, SCENE III 场景：霍尔本街，加利波家附近 (Scene: Holborn Street, near Gallipot’s House) 【加利波夫人与奥本沃克夫人上。】 (Lady Gallipot and Mrs. Openwork enter.) 加利波夫人 这么说，您那位“鹰”（指戈肖克)真是这么野性难驯？ LADY GALLIPOT: So, your “eagle” is really that wild? 奥本沃克夫人 什么鹰啊，那是只秃鹫，满脑子都是猎食；他名义上是在“钓鱼”，实际上一门心思只想吃肉（色诱)。 MRS. OPENWORK: What eagle? A vulture, all for prey; he fishes, but he prefers meat. 加利波夫人 他那张脸滑溜溜的，居然藏得住这么多坏心思，而我们竟然没看出来，这可能吗？ LADY GALLIPOT: His smooth face hides wrinkles, yet we see none—is that possible? 奥本沃克夫人 怎么不可能？哈！多少穿着丝袜、鞋尖缀着漂亮玫瑰结的长腿，底下的脚掌其实是丑陋的外八字？ MRS. OPENWORK: Possible? Ha! How many pretty legs in silk, though capped with great rose knots, still grow nasty pigeon-toes beneath? 加利波夫人 的确，姐姐，您说到了点子上。 LADY GALLIPOT: Indeed, madam, you speak the truth. 奥本沃克夫人 您上次路过邦希尔箭场时，没见过那射手拉弓时斜眼瞄准吗？ MRS. OPENWORK: Last time you passed Bunhill, didn’t you see the archer squinting as he drew his bow? 加利波夫人 见过，他的箭飞向北边的伊斯灵顿，可眼睛却直勾勾地盯着南边的平利可。 LADY GALLIPOT: Yes, his arrow flies toward Islington, yet his eye is fixed on Pimlico. 奥本沃克夫人 一模一样！戈肖克先生就是这么跟我耍两面派的。 MRS. OPENWORK: Exactly so; Mr. Goshawk played me double-faced in just that way. 奥本沃克夫人 就因为他戴着个粗毛呢皱领，把脸嵌在里面，活像一枚镶在痉挛戒指（旧时认为能治抽搐的戒指)上的玛瑙石，他就真以为我爱上他了。他反复灌输，想让我相信我丈夫在外面养了姘头。 MRS. OPENWORK: Merely because Goshawk wore a coarse wool ruff, his face lodged inside like an onyx set in a twitching ring, he thought I loved him. He kept insisting I should believe my husband kept a mistress. 加利波夫人 那可真是精彩。 LADY GALLIPOT: Marvelous. 奥本沃克夫人 他还跟我发毒誓，说我丈夫今天早上坐着带篷的小船去了布伦特福德的“三鸽”酒馆，那姘头就藏在船篷底下。我当时真信了，破口大骂那些荡妇，甚至准备好扬帆启航，要在那儿堵他个现行。 MRS. OPENWORK: He swore it, too—that this morning my husband rode a covered boat to Brentford’s “Three Pigeons,” with his mistress beneath the canopy. I believed him, cursed those harlots, prepared to set sail to arrive simultaneously.
奥本沃克夫人 为了这场“航行”，戈肖克立马就蹦了出来。但是，好姐姐，这只“猎犬”想叼的鸭子其实是我；他指望在布伦特福德逮住我，好让我乖乖就范（嘎嘎叫)。 MRS. OPENWORK: For this voyage, Goshawk appeared instantly. But, madam, the retriever aimed for the duck—and that duck was me; he expected to catch me at Brentford and make me quack.
奥本沃克夫人 我确定！我那无辜的可怜丈夫奥本沃克进门时，我正在整理皱领；我立马拿“三鸽”酒馆的事呛他。他矢口否认，我便全摊牌了。现在他正伏击在附近的店里，像一杆架在支架上的长枪，就等戈肖克来接我去码头时，好射瞎那流氓的眼。 MRS. OPENWORK: Certain! My poor, innocent Openwork came in while I arranged my ruff; I confronted him about the “Three Pigeons.” He denied it; I revealed all. Now he waits nearby, like a fowling-piece on its stand, ready to blind Goshawk when he comes for me. 加利波夫人 也有个同样不中用的“阉马”想骗我赴汤蹈火——就是拉克斯顿，姐姐——不过我现在已经把他甩掉了。 LADY GALLIPOT: Another equally useless gelding promised to lead me through fire and water—Laxton, sir—but I’ve rid myself of him. 奥本沃克夫人 能摆脱这帮苍蝇的女人才是幸福的。唉，那些花里胡哨的浪荡子，跟我们这些实在的丈夫比起来算个什么？公平地称一称，他们连个零头都不够。 MRS. OPENWORK: A woman who shakes off all of them is truly happy. Alas, your foppish rakes compared to our sturdy husbands? Weigh them fairly—one to one?
奥本沃克夫人 一帮无聊又淫荡的货色。任凭他们在外面怎么折腾，咱们这些开店的，到头来准能用钱袋子把他们网住——等他们落了网，老天，他们其实笨得出奇！ MRS. OPENWORK: Boring, foolish, lust-filled; yet however fast they run on us, we shopkeepers can snare them with our purses—once trapped, heavens, how simple these creatures are! 【戈肖克上。】 (Goshawk enters.) 加利波夫人【旁白】 嘘，姐姐，戈肖克这只“飞贼”扑腾着翅膀来了。 LADY GALLIPOT: (aside) Hush, madam, Goshawk flutters in. 戈肖克 怎么样，准备好了吗？ GOSHAWK: Well, ready? 奥本沃克夫人 还没呢；您准备好了吗？只要一点小报酬，我们就能准备好。 MRS. OPENWORK: Not yet; are you ready? A trifle would suffice to make us ready. 戈肖克 “我们”？怎么，她也要一起去？ GOSHAWK: “We”? What, she’s coming too? 奥本沃克夫人 哦，务必一起去。我怎么知道我丈夫会怎么对付我？ MRS. OPENWORK: Oh yes, together. How else can I know what my husband might do? 戈肖克【旁白】 妈的，我上哪儿找那么多“水”来同时推动这两架“磨坊”？【高声】 好吧，既然你们非要一起关在舱底下，如果我不能载着你们一直航行到船散架，就把我吊在主桅上淹死。 GOSHAWK: (aside) Damn, where shall I find enough “water” to drive these two mills? (aloud) Very well, if you insist on being locked under deck together, if I cannot sail you to the ship’s breaking, hang me from the mainmast and drown me!
戈肖克【高声】 来吧，来吧！船桨备好了，顺风顺水！戴上你们的面具。风啊，使劲吹吧，咱们这就去布伦特福德看你丈夫“撒网捕鱼”！ GOSHAWK: (aloud) Come, come! Oars ready, tide with us! Don the masks! Blow, wind, and see your husband casting nets for fresh salmon at Brentford! 【女人们戴上面具。】 (The ladies put on masks.) 【奥本沃克突然出现。】 (Openwork enters.)
戈肖克【旁白】 天哪，罗莎蒙德，你丈夫！ GOSHAWK: (aside) Good heavens, Rosamond, your husband! 奥本沃克 怎么啦？亲爱的戈肖克先生，欢迎之至！我一直盼着跟你叙旧呢。这位是谁？罗莎蒙德？老婆？还有你，小姨子？ OPENWORK: What’s the matter? Dear Mr. Goshawk, welcome! I’ve been longing for your embrace. Who is this? Rosamond? Wife? And you, sister?
奥本沃克 为什么要戴面具？面具是美貌的贼，偷走了那些能滋生真爱的欣赏目光。除非人们想通过漂亮的外罩来激发才智，去捕捉最野性的眼神？面具就是美貌的坟墓。男人见到蒙面的女人，只会诅咒那第一个发明面具的女巫。来，摘了它。 OPENWORK: No masks. Ah, a mask is a thief of beauty, stealing the eyes that would breed true love. Why wear a mask? Why desire it? A mask is the grave of beauty. A man seeing eyes thus veiled curses the inventor of the mask, swearing her a witch. Come, take it off. 奥本沃克夫人 我不摘。 MRS. OPENWORK: I will not. 奥本沃克 老婆，收起这面“帆”（面具)吧。因为风暴就藏在你眼睛里。 OPENWORK: Pray, sweet Rose, furl this sail. Ha? Yes, wife, furl the sail, for the storm is in your eyes. 奥本沃克夫人 风暴就在这儿呢，先生——就在我眉头上！你们升起这两面旗帜是要干什么？来，演哪出戏？ MRS. OPENWORK: Storm is here, sir—in my brows, if there’s a storm at all. Why raise these two banners? Comedy, then—what comedy? 加利波夫人 向西去（Westward ho，暗指去郊区幽会)！ LADY GALLIPOT: Westward ho! 奥本沃克夫人 布伦特福德今天不是有集市吗？您的“三鸽”馅饼已经烤好了，就等您亲自去切开呢！奥本沃克夫人 是啊，你这好色的山羊，臭狒狒！难道我失去所有朋友，就是为了给一个公共妓女当幌子吗？ MRS. OPENWORK: Isn’t there a market in Brentford today? A Three-Pigeon pie; baked, ready for you to slice. Yes, lecherous goat, baboon! Did I lose all friends for this? Reject wealth and honor to serve as a front for a common harlot?
奥本沃克夫人 去吧，魔鬼！去找你那个在切尔西闪耀的“星”吧，如果让这种“月亮”给你引路，你迟早要迷失方向。去找你那个西部婊子，今天早上你不是刚跟她划过桨吗？ MRS. OPENWORK: Go, devil, go! The “star” you sail by shines over Chelsea; if you let this moon guide you, you’ll lose the shore. Go find your fickle sweetheart. Bah! You western harlot—this morning you rowed with her, paddles in hand. In Brentford, sir. 奥本沃克 戈肖克先生，是哪个流氓跟她嚼舌根了？我在布伦特福德跟女人划船？纯属谎言！说出那流氓的名字！ OPENWORK: Mr. Goshawk, which scoundrel whispered this to her? Did I row with a woman in Brentford? Lies! Damn it, speak his name! 戈肖克【旁白】 我浑身冒汗！真希望我待在那个叫冷港的地方！ GOSHAWK: (aside) I’m sweating! I wish I were at Cold Haven! 奥本沃克【拔剑】 我要骑马去牛津，也要把这流氓找出来！要是我在自己家里遇见这恶魔，我就在大街上杀了他！ OPENWORK: (Drawing sword) I would ride to Oxford to find him! If I meet this demon in my home, I will kill him in the street! 戈肖克 对天发誓，我不认识那个人！ GOSHAWK: I swear to heaven, I do not know that man! 奥本沃克夫人 那你就印你自己的名字吧！难道不是你亲口对我发誓说他养了姘头的吗？奥本沃克夫人 你这只蜘蛛，居然在我家里织网来套路我！你在这个屋檐下白吃白喝，却把养分都变成了毒液，吐在你朋友我丈夫的脸上？只是为了让我觉得他丑陋，好把目光转到你身上吗？ MRS. OPENWORK: Then print your own name. Did you not swear he kept a mistress? You spider, weaving your cunning web in my own house to trap me! Did you not even suck nourishment under this roof, then turn it all to venom? Spit it on your friend, my husband? Only to make him ugly in my eyes, so my gaze turns to you? 【戈肖克羞愧难当。】(Goshawk is deeply ashamed.) 奥本沃克 别说了，他被蜇疼了。谁能想到一个人的身体里能同时住着天堂与地狱？戈肖克先生，我早就在你眼里看到了淫邪的火焰。为了试试我的眼光，我故意告诉你我养了姘头，看你会不会去挑拨——结果发现，这世上几乎找不到完美的友谊。 OPENWORK: Speak no more; he is stung. I saw the flame of lust in your eyes; to test my judgment, I claimed a mistress, merely to feel your pulse—and found almost no perfect friends exist.
奥本沃克 好了，年轻人的一点小花招，原谅了。过了这个坎，咱们以后还是好哥们。 OPENWORK: Enough, youth’s tricks are forgiven; with this hurdle passed, our friendship flows smoother. 拉克斯顿 加利波先生，我对天发誓，我从未想过要玷污您的床。我当初在您店里品烟，听您夫人挑战所有男人，说没人能骗走她的真心。我这人好胜，便展开了攻势。 LAXTON: When I first saw your wife, I and other gentlemen sat in your shop tasting pipe tobacco. Your wife swore no man could steal her heart. I attacked her.
拉克斯顿 结果她英勇击退了我。为了试探她，我后来甚至假装手头紧求接济，她出于善良帮了我，但绝无私情。我所做的一切不过是场“考验”，是场寻欢作乐。您的金子，我连本带息归还。 LAXTON: She held firm, bravely repelling me. To test her, I later aided her situation as a gentleman; she helped me, but never to ruin you. All I did was for sport. Your gold, I repay with interest. When I could harm most, I harmed least. 加利波 既然如此，那大家都别走了，都留下来吃晚饭！老婆，以后别再吹嘘什么“坚守到底”了，吹得最响的，往往才是最大的荡妇！ GALLIPOT: Then, Gentlemen, all stay for dinner. Wife, no more boasting of endurance; the loudest bragger is the greatest minx. 【同下。】 (Exeunt omnes.)
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第五幕，第一场 | ACT V, SCENE I 场景：伦敦街道 (Scene: A Street in London) 【杰克·戴珀、莫尔、俊美的盖尼米德爵士与托马斯·朗爵士上。】 (Sir Jack Dapper, Moll, the handsome Sir Ganymede, and Sir Thomas Long enter.) 杰克 但是求您，杰克“船长”，对我直说吧。真是您那威斯敏斯特悍妇般的勇气，把我从普尔特里监狱那群“秃鹫”手里救出来的吗？ JACK: Pray, Captain Jack, be plain with me. Was it truly your Westminster fury, like Mistress Mag, that rescued me from the vultures of Poultry Prison? 莫尔 是我机智的胆量救了您，先生，我敢保证。当您掉进那帮亡命徒的陷阱时，是我利落地把您捞出来的。这两位爵士都听到了，我那只“杜鹃鸟”——也就是我的仆人特拉普多尔——已经唱出了您重获自由的调子。 MOLL: It was my clever courage that saved you, sir, I assure you. When you were in that desperado’s snare, I plucked you out cleanly. The handsome Sir Ganymede and Sir Thomas Long heard my cuckoo—my Servant Trapdoor—sing the tune of your redemption. 俊美的盖尼米德 该死，莫尔，特拉普多尔那家伙跑哪儿去了？ SIR GANYMEDE: Blast it, Moll, where is Trapdoor? 莫尔 这会儿大概已经被吊死了吧。城里有个治安官（指亚历山大爵士)，开口闭口就是要签押送令，他把那混蛋当成烟火玩，让他像“跑线火药”一样在我跟他之间传来传去。 MOLL: He’s probably hanged by now. A city magistrate, always muttering “commit him to Newgate,” let that rogue run back and forth between him and me like a firework.
莫尔 哎呀，他们设了个恶毒的陷阱想炸碎我的命。但我闻到了火药味，看清了是谁在点火瞄准我这艘可怜的“彩船”，我就让我的人像推盘游戏里的先令硬币一样溜走了。我猜他这会儿正躲在城郊，靠妓女的接济和老鸨的残羹剩饭过活呢。 MOLL: Ah, they set a wicked trap to blow me up; I smelled the powder, saw who lit the fuse at poor Captain Color-Ship, and had my men slip away like shillings in a board game. I imagine he’s strutting in the outskirts, living off a whore’s scraps. 托马斯·朗爵士 杰克·戴珀先生。 SIR THOMAS: Sir Jack Dapper. 杰克 托马斯·朗有何指教？ JACK: And what says Sir Thomas Long? 托马斯·朗爵士 您以前不是有个脸蛋漂亮的小厮吗？他怎么不见了？ SIR THOMAS: Did you not once have a handsome page, calling your little Dick brother? Where has he vanished? 杰克 说实话，我把那只“小笨鸟”打发走了。因为在小餐馆里，那帮浪荡子老是拿我寻开心，说我看起来像个涂脂抹粉的市议员墓碑，而旁边的小厮就像个阴森森的骷髅头。 JACK: Honestly, I whisked that poor bird away, for when he served me in taverns, rakes would mock, saying I looked like a painted city alderman’s tombstone, and my page like a skull. Sir Jack, Moll. 莫尔 我的小戴珀有什么话要跟我说？ MOLL: What have you to say, my little Dapper? 杰克 “疯玛丽”船长阁下，我那个傻瓜亲爹，戴珀·戴维爵士，居然雇了伦敦的捕役来伏击我。 JACK: Captain “Mad Mary,” my foolish father, Sir Dapper Davey, arranged London bailiffs, those constables, to ambush me.
杰克 凭这块手帕的流苏发誓，千真万确！您猜他那“军事策略”是什么？他以为柳条笼子能驯服夜莺，一个虱子成堆的监狱就能把我变成听话的蠢驴。杰克 是啊，他居然以为债务人监狱——那个全城各种“野兽”并肩奔跑的公园——就能让我认栽。 JACK: I swear on this handkerchief’s fringe—it’s true. Guess his military strategy? He thought a wicker cage “tames” a nightingale, a lice-infested prison can turn me into a fool. Indeed, as if a debtor’s prison—the “park” where all the city beasts run shoulder to shoulder—could tame me. 【诺兰勋爵上。】 (Lord Noland enters.) 莫尔 看，诺兰勋爵来了。 MOLL: Lord Noland has arrived. 诺兰勋爵 诸位先生，幸会。莫尔，今天不来点烟抽吗？ LORD NOLAND: Gentlemen, pleased to meet. No tobacco, today, truly, Jack? 杰克 诺兰勋爵，您跟我们一吗？我们要去那儿痛饮一番，去那个盛产香料酒蛋糕的快活乡！ JACK: Lord Noland, will you join us to Plyco? [33] We’re about to drink deeply, to that drunken land of spice cakes. 诺兰勋爵 有这么快活的一群伙伴，我真想一直航行到世界尽头。走吧，先生们！ LORD NOLAND: With such merry company, I’d gladly sail to the world’s end. Come, gentlemen, let us go. 【他们散步。】 (They walk.)
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第五幕，第二场 | ACT V, SCENE II 场景：伦敦街道 【特拉普多尔与提尔卡特上，扮作穷士兵。】 (Trapdoor and Tilcart enter, disguised as ragged soldiers.) 特拉普多尔 我们要不要袭击这支步兵小队？妈的，莫尔来了，我那母夜叉主人！真想活生生把她的腰子咬出来。 TRAPDOOR: Shall we attack these foot soldiers? Damn, Moll is here—my bitch of a master! I’d chew her kidneys raw.
特拉普多尔 尊贵的老爷们，求求你们发发慈悲，让这嘶哑的军号声穿透你们善良的心肠，挤出几块碎银子吧！让两个残废的老兵能有个硬草窝睡上一觉。 TRAPDOOR: Honorable sirs, let the hoarse bugle pierce your kindness and squeeze out a few coins so two crippled soldiers may sleep on straw. 莫尔【冷眼旁观】 纯粹的骗子。再给他们点苦头尝尝。莫尔 一个子儿都别给，爵士。你们这两个下贱的骗子，我看你们比裁缝量衣服还准呢。我要好好“招待”你，就像你这独眼怪物以前“招待”我一样！ MOLL: A pure liar. Give them another thrash. Not a penny, handsome sir. You vile liars, I size you up better than any tailor. I shall “entertain” you, as that one-eyed freak once entertained me. 【莫尔猛地扯掉他的眼罩】
莫尔 “士兵”？你这种货色也配玷污这么高尚的职业？凭你那条撒谎的舌头就该被吊死！站住别动，这附近准有个“陷阱门”。莫尔 来，你这流氓，跟我说几句“切口”。 MOLL: Soldier? You soil a noble calling. Soldier? You blaggard rogue! Stand still, near here is a “trapdoor.” Come, you scoundrel, tell me the “street slang” [34] 特拉普多尔【唱起下流的切口歌】 “好娘们，咱俩去抢个摊子、撬个门锁、或者割个钱袋？ 然后咱们在树丛下的酒桶里躺着， 你跟我‘快活’（黑话，指行房)，我跟你‘亲热’。” TRAPDOOR: (Sings) “Shall we, fine lady, snatch a stall, pick a lock, or slit a purse? Then we’ll lie in a barrel under the bushes— You ‘revel’ with me, I with you ‘delight’.” [35] 莫尔【扇他耳光】 滚，你这厚颜无耻的杂种！ MOLL: (Slapping him) Begone, you shameless, filthy rogue! 诺兰勋爵 等等，莫尔，他那些胡话到底什么意思？ LORD NOLAND: No, Moll, what do his words mean? 莫尔 他在问我愿不愿意跟他一起去抢劫、偷窃，然后躲在灌木丛里跟他交欢。他用那些听起来像行军的词儿，掩盖他那满脑子的男盗女娼。 MOLL: He asks if I’ll join his crimes, which means lie with him in the bushes. He uses soldier-talk to hide his filth. [36]
莫尔 看好你们的口袋，勋爵大人。那家伙是个“探手”。 MOLL: Watch your purse, my Lord. That fellow is a “fingerman.” [37] 诺兰勋爵 “探手”？那是什么行当？ LORD NOLAND: A “fingerman”? What’s that? 莫尔 那是钻研“无花果法律”的行家。他们分工明确：有“夹子”负责固定猎物；有“诱饵”拿着短杖在前面挡住你的视线；而真正的扒手则像潜水员一样，用两根手指瞬间夹走你的钱包。他们甚至能在金匠摊位前，用一根小棍儿像玩跳蛙一样，把你的戒指全勾走！ MOLL: He masters the “fig law.” [38] There’s a “clasper” to hold you, a “bait” with a rod to distract your eyes, while the thief dives into your pocket. They can even make rings leap from a jeweler’s stall like a frog game! 扒手乙【惊恐】 妈的，我们被“熏”出来了！是莫尔，那个咆哮的母夜叉！快走！ PICKPOCKET B: Blast! We’ve been “smoked”! It’s Moll, that roaring she-devil. Let’s go! 诺兰勋爵 莫尔，真奇怪，你一个女人怎么会对这些下流勾当了如指掌？ LORD NOLAND: Strange, Moll, how do you know all these low scoundrels? 莫尔 勋爵大人，难道一个人知道邪恶，就代表他本身是邪恶的吗？莫尔 如果您去威尼斯旅行，一个向导告诉了你当地妓女和骗子的所有诡计，好让你免遭暗算。等您回了伦敦，把这些经验告诉朋友，难道您就成了拉皮条的吗？ MOLL: My Lord, does knowing wrong make one bear a black name? Suppose, Lord, you’re in Venice, and a guide reveals all the secrets of the prostitutes to save you from danger. When you tell your friends, does that make you a pimp?
莫尔 我承认，年少时我也曾在这些毒蛇中间坐过，见过他们的毒刺。但我观察他们，是为了了解这些流氓的手段，好让这种人身败名裂。可就在这过程中，我由于走得太近，自己也沾上了恶名。有多少戴着精致皱领、满脸正经的贵妇其实是老鸨？又有多少贞洁的女人，名字却被写进了诽谤书？我自得其乐，以我自己的方式活着，我不在乎那些缩在法律阴影下的懦夫怎么看我。 MOLL: I confess, in youth I strayed, sat among these vipers, saw their poison stings. I watched them to ruin them, but in the process, I earned my own notorious name. How many solemn-faced ladies are in fact madams? How many chaste women fill libel books? I enjoy myself, caring not who loves me.
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第五幕, 第三场| ACT V, SCENE III
地点：亚历山大·温格雷夫爵士府邸 (Scene: Sir Alexander Wengrave’s Residence) 【亚历山大爵士、戈肖克、格林威特及下人上。】 (Enter Sir Alexander, Goshawk, Greenwit, and Attendants.) 亚历山大爵士 我儿子居然要娶个贼？娶那个厚颜无耻的疯丫头？全伦敦都会用最恶毒的目光来羞辱我们家！ SIR ALEXANDER: My son marrying a thief? Marrying that shameless girl? The whole world casts its harshest scorn upon her! 格林威特 事已至此，您打算如何阻止？ GREENWIT: And how do you plan to stop it? 戈肖克 恐怕没指望了。听闻他们已经秘密成婚，人已远走高飞，谁也不知去向。 GOSHAWK: Impossible. They’ve married in secret; they’re gone, and no one knows where. 亚历山大爵士 噢，诸位，一个父亲的心弦还能经受多少次这种折磨而不崩断？ SIR ALEXANDER: Oh, gentlemen, how long can a father’s heart endure such strain before breaking? 【一仆人急匆匆上。】 (A Servant enters in haste.)
亚历山大爵士 有什么新消息？ SIR ALEXANDER: Any news? 仆人 一小时前，有人看见他们在水面上，正朝着水闸（兰贝斯)方向划去。 SERVANT: An hour ago, someone saw them on the water, heading toward the sluice. 亚历山大爵士 水闸？快，先生们！肯定是兰贝斯那帮人在跟我们作对，在那儿撮合婚事！ SIR ALEXANDER: The sluice? Quickly, gentlemen! Lambeth conspires against us. 格林威特 兰贝斯催生的那种疯狂婚姻，比温莎桥下所有六个水镇加起来还多——在那儿，连买命的船费都能泡发了霉。 GREENWIT: That mad marriage was hatched in Lambeth which outweighs all six water towns down to Windsor Bridge—enough to rot the boat fares. 亚历山大爵士 别再耽搁了！去黑衣修士桥！我们雇条快船追上去！ SIR ALEXANDER: No more delay, gentlemen. To Blackfriars Bridge! Hire a boat—we must catch them. 【盖伊爵士上。】 (Enter Sir Guy.) 盖伊爵士 亚历山大爵士，碰见您正好！您这叫自食其果。当初我女儿在您眼里可是连尘土都不如。 SIR GUY: Sir Alexander, just the man! You’ve brought this upon yourself. You once held my daughter in such low regard. 亚历山大爵士 求您别再说了，爵士。 SIR ALEXANDER: Don’t speak so, Sir. 盖伊爵士 一个名门闺秀在您眼里竟如此低贱，现在好了，恭喜您娶了个穿马裤的儿媳！您很快就要抱上一群“咆哮”的孙子孙女了，这对充实伦敦城郊的人口倒是大有裨益。 SIR GUY: A poor gentlewoman you deemed worthless; now your household is shamed. Congratulations—you’ve taken a girl in breeches as a daughter-in-law! Soon you’ll be a grandfather to a pack of “roaring” grandchildren. That will surely swell the population of the suburbs. 亚历山大爵士 噢，别拿我的痛苦开玩笑！伤口该是包扎愈合的，而不是任由嘲弄的空气灌入其中。 SIR ALEXANDER: Oh, do not mock the anguish of my heart! A wound should be bound and healed, not left open to the mockery of the air. 盖伊爵士 慈悲是给值得的人准备的。当初我女儿钟情于您儿子时，若我在您身上看到过半点善意，我此刻本会帮您。但现在我看透了：您那苍老的心灰里，既埋没了火种，也熄灭了善良。 SIR GUY: Who wastes mercy on the unworthy? When my daughter cherished your son, had I seen a trace of goodness in you, I might even have helped. But your worn weak has buried its fire and quenched its light. 亚历山大爵士 不要脸的东西！我儿子在哪儿？这就是你的结婚礼服？ SIR ALEXANDER: Shameless creature! Where is my son? Is this your wedding gown? 戈肖克 爵士，宽心吧，没有哪个牧师会给一个穿男装的女人主持婚礼。您儿子肯定是虚晃一枪，另有所爱了。 GOSHAWK: Relax, sir. No priest would marry her in that disguise. Your son must have other intentions. 亚历山大爵士【如获重生】 只要不是她，无论他娶谁我都祝福！哪怕那姑娘穷得只有一身内衣作嫁妆，我也愿意。贫穷往往更知足，比起那个“咆哮女郎”，他选谁都不会错！ SIR ALEXANDER: (Relieved) As long as it’s not her, I’ll bless him no matter who he marries! Even if the girl is so poor that she only has her underwear as a dowry, I’d still be happy for him. Poor people are often more content, and compared to that “roating girl,” he can’t go wrong with anyone else! 【塞巴斯蒂安牵着戴面具的莫尔上。】 (Sebastian enters leading Moll, who is masked.) 亚历山大爵士 看！新娘来了！多么健美的身段，简直就像他母亲当年一样。 SIR ALEXANDER: See—they have arrived! What a fine, comely figure; just like his mother. 塞巴斯蒂安 父亲，请恕我先斩后奏之罪。 SEBASTIAN: Father, I kneel to ask your forgiveness for my fault. 亚历山大爵士 我早已原谅你了！快，让朋友们向新娘致意，揭开她的面具吧！ SIR ALEXANDER: I forgive you already! Rise; let our friends salute the bride. Unmask her! 【面具揭开。所有人惊呼：又是莫尔！】 (The mask is removed. Everyone cries: Moll!) 亚历山大爵士 噢，我的耻辱又活过来了！我非得活着被这场景戳瞎眼睛吗？ SIR ALEXANDER: Oh, my revived shame! Must I live to be blinded by this? 莫尔 哟，您这是怎么了？是乐过头了吗？我有这么个“好汉”儿媳，您该自豪才是。以后您走在街上，谁也不敢动您的口袋！ MOLL: Oh, what’s the matter? Overjoyed? You should be proud of a daughter-in-law that is as “bold” as your son. No rogue will dare touch your purse now! 【最终，真正的玛丽·菲茨阿拉德在诺兰勋爵陪同下登场。】(Finally, the real Mary Fitzallard appears, accompanied by Lord Nolan.) 塞巴斯蒂安 原谅我，父亲。之前我只是佯装要娶莫尔，其实我心中始终只有玛丽。 SEBASTIAN: Forgive me, father; I only feigned my love for Moll to show you that my heart truly belonged to Mary. 亚历山大爵士【狂喜】 天上的福祉啊！相比这份无边的慰藉，我之前的痛苦算得了什么！ SIR ALEXANDER: Eternal blessings! Compared with this boundless solace, my brief grief is now insignificant!
【第五部分：莫尔的谢幕独白】 (Part V: Moll’s Epilogue) 莫尔 曾有一位画师，想画一幅完美的女子肖像。路人对他百般挑剔：眉毛太高、鼻子太短、唇色太淡…… MOLL: A painter once created a portrait of a woman. Passersby scrutinized it: eyebrows too high, nose too short, lips too pale…
莫尔 画师为了取悦每一个人，不断修改。最终挂出来的画却变得拙劣、怪诞且丑陋，成了全城的笑柄。 MOLL: Hoping to please everyone, he changed every part. But the finished work became so grotesque that everyone laughed at his folly.
莫尔 我们这出戏亦是如此。若我们为了迎合每一种古怪的口味去编排剧情，就会像那画师一样，最终谁也取悦不了。无论是作家的笔误，还是演员的疏忽，皆请海涵。若您心中尚存一丝欢愉，便请以此为号：以掌声，唤“咆哮女郎”再次来到你们面前！ MOLL: We fear this comedy is the same. If we arranged the plot to satisfy every unique taste, we would, like that painter, please no one. For the faults of wit or acting, we crave your pardon. If you find joy in us, give us this signal: with your applause, call the “Roaring Girl” forth once more!
【全剧终 | CURTAIN】
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关于《咆哮女郎》| About The Roaring Girl
《咆哮女郎》由雅各宾时代的两位剧作巨匠托马斯·米德尔顿 与托马斯·德克尔于约1611年联合创作。这出精彩的“城市喜剧”以塞巴斯蒂安·温格雷夫为夺回真爱而设下的爱情骗局为核心，但其真正的灵魂人物是历史上真实存在的莫尔·卡普丝。莫尔不仅在剧中穿梭于伦敦的士绅、市民与黑帮之间，更以她那惊世骇俗的男装打扮、过人的剑术以及对社会虚伪的犀利洞察，成为一个跨越阶层的正义化身。即便身处 2026年，这部剧作依然具有极其重要的现实意义：它不仅是戏剧史上对性别认同 和穿衣自由最早且最强力的辩护之一，更深刻地探讨了在高度物质化的社会中，个体应如何保持道德的纯洁与独立。莫尔这一超越时代的“酷儿”先驱形象，至今仍激发着关于身份表达、社会阶层与女性权力的全球性对话。 The Roaring Girl, co-authored by Jacobean masters Thomas Middleton and Thomas Dekker circa 1611, is a vibrant “city comedy” centered on Sebastian Wengrave’s elaborate ruse to secure his true love. However, the play is truly defined by its titular figure, the historical Moll Cutpurse. Navigating the shifting boundaries between London’s gentry, merchant class, and underworld, Moll is a sword-wielding, cross-dressing force of nature who challenges every societal hypocrisy she encounters. In 2026, this play remains vital as one of the earliest and most powerful defenses of gender expression and personal autonomy in Western drama. It continues to resonate today by exploring how individuals maintain moral integrity within a materialistic society. Moll’s legacy as a queer pioneer and a defiant icon of self-definition ensures that the play remains at the forefront of modern discussions regarding identity, social class, and the subversion of patriarchal norms
NOTES.
[1] “Enjoy” in French implies sexual pleasure here.
[2] “Safeguard” 一种骑马时遮在裙子外的护裙。(A type of protective skirt worn over a dress while riding a horse.)
[3] 指决斗后饶命。(Referring to sparing someone’s life after a duel.)
[4] Jades，驽马/放荡女人。(A weak horse / a loose woman.)
[5] Viol，当时常被称为胯间提琴 (It was often referred to as a violin held between the legs.)
[6] 地狱看门狗 (Hellhound)
[7] (Sexual double entendre for duel preparation/ undressing.)
[8] 调情 (Flirted with.)
[9] 讽刺 (Sarcasm.)
[10] Codpiece: a pouch attached to the front of a man’s breeches to cover the genitals, worn in the 15th and 16th centuries. The more outlandish the better.
[11] Michaelmas term.
[12] 指求饶或哭喊. (Refers to begging for mercy or crying out.)
[13] 伍德街监狱 (Wood Street Prison.)
[14] 指法警 (Refers to a bailiff.)
[15] Double entendre on “cut lax” or “cut-a-lass.”
[16] 捕人 (Arresting someone.)
[17] 意为绞刑吏或挂件 (Meaning executioner or hangman.)
[18] Bailiffs.
[19] 指性行为中的体位 (Refers to positions used during sexual intercourse.)
[20] 挂得好/吊得好 (Hung well / Suspended well.)
[21] 老花镜 (Reading glasses.)
[22] Double-stopping/ Fingerwork.
[23] 指心碎 (Refers to heartbreak.)
[24] 莫尔会一直纠缠塞巴斯蒂安 (Moll will continue to pester Sebastian.)
[25] Prick-song. Note: “Prick” was a common bawdy pun in Elizabethan theater.
[26] 钓鱼偷窃 Bait-and-Switch.
[27] 可能是假币或标志币 Possibly counterfeit or marked coins.
[28] 亚历山大 Referring to Alexander.
[29] Removed from text: 误以为我在这种地方学琴 (I was mistakenly thought to be learning piano in a place like this.)
[30] 双关：一种酷刑/性体位 Another double entendre: a form of torture/ a sexual position.
[31] 挂得好/吊得好 (Hung well / Suspended well.)
[32] 暗指男人都会主动追求她 It implies that men will actively pursue her.
[33] 当时著名的游乐场 Pimlico was a famous brothel at the time.
[34] 黑话 Canting.
[35] 黑话，指行房 Slang term referring to sexual intercourse.
[36] Note from original text: “【职业扒手登场，莫尔开启“百科全书”模式。】”(A professional pickpocket makes an appearance, and Moll switches into “encyclopedia mode.”)
第一部分 | Part I 女士们，先生们：自1918年我进入马德里学生公寓起，直至1928年完成哲学与文学学业离开为止，在那间精致的大厅里——西班牙旧贵族为涤荡自身那沾染法国海滩气息的轻佻而常聚之处——我听了近千场讲座。 Ladies and gentlemen: From the year 1918, when I entered the Residencia de Estudiantes in Madrid, until 1928, when I finished my studies in Philosophy and Letters, I have listened to about a thousand lectures in that refined hall where the old Spanish aristocracy gathered to wash away the frivolity of French beaches.
渴望空气与阳光的我，厌倦得如此之深，以至于每次离席时，都仿佛身披一层细灰，几欲化作呛人的胡椒。不。我绝不让那可怕的“无聊之虻”飞入此厅——它用一根细若游丝的睡意之线，串起所有人的头颅，更往听众的眼里，刺入簇簇针尖。 Hungry for air and sun, I was so profoundly bored that upon leaving, I felt covered in a fine ash, almost turning into irritating pepper. No. I will not let that terrible “fly of boredom” enter this room—that fly which strings all heads together on a thin thread of sleep and pricks the eyes of the listeners with clusters of needles.
因此，我将以一种朴素的方式，用我诗性声音中并无木质光泽、没有毒芹的曲折，也没有忽然变成讽刺之刀的羊群的语调，试着给诸位讲一堂关于痛苦的西班牙之隐秘精神的简单课程。 Therefore, in a simple manner, with a register in my poetic voice that has no wooden luster, no twists of hemlock, and no tone of a flock that suddenly turns into a knife of irony, I will try to give you a simple lesson on the hidden spirit of suffering Spain.
生活在这张牛皮般展开、介于胡卡尔河、瓜达莱特河、西尔河或皮苏埃尔加河之间的土地上的人们（我不愿提及那条水波如狮鬃般摇动的拉普拉塔河），时常会听到这样一句话：“这东西很有杜恩德。”安达卢西亚人民中的伟大艺术家曼努埃尔·托雷斯曾对一位歌者说：“你有嗓音，你懂曲式，可你永远不会成功，因为你没有杜恩德。” Those who live on this land spread out like a bull’s hide, between the Júcar, the Guadalete, the Sil, or the Pisuerga rivers (I do not wish to mention the Plata, its waters rippling like a lion’s mane), often hear the phrase: “This has much duende.” Manuel Torre, a great artist of the Andalusian people, once said to a singer: “You have a voice, you know the styles, but you will never succeed, because you have no duende.”
在整个安达卢西亚——哈恩的岩石与加的斯的海螺之间——人们不断谈论杜恩德，并凭借敏锐的本能在它一出现时便将其识别。杰出的歌者埃尔·莱布里哈诺，《德布拉》的创造者曾说：“那些我带着杜恩德歌唱的日子，没有人能胜过我。”老吉普赛舞者拉·马莱娜在听到布拉伊洛夫斯基演奏巴赫的一段时惊呼：“哦嘞！这有杜恩德！”可她听格鲁克、勃拉姆斯和达里乌斯·米约时却感到厌烦。而我所见过血液中蕴含最大文化的人——曼努埃尔·托雷斯——在聆听法雅的《赫内拉利费夜曲》时，说出了这句壮丽的话：“凡是拥有黑色声音的东西，便有杜恩德。”没有比这更大的真理了。 Throughout Andalusia—between the rocks of Jaén and the seashells of Cádiz—people speak constantly of the duende and recognize it with instinctive precision as soon as it appears. The magnificent singer El Lebrijano, creator of the Debla, used to say: “On the days when I sing with duende, no one can touch me.” The old Gypsy dancer La Malena once exclaimed, upon hearing Brailowsky play a passage of Bach: “Olé! That has duende!” yet she found Gluck, Brahms, and Darius Milhaud tiresome. And Manuel Torre—the man with the greatest culture in his blood that I have ever known—said a magnificent phrase while listening to Falla’s Nocturno del Generalife: “All that has black sounds has duende.” There is no greater truth than this.
这些“黑色声音”正是神秘本身，是扎根于我们都熟知、却又一无知的淤泥之中的根系——正是从那里，艺术中最本质的东西来到我们这里。西班牙的民间之人说“黑色声音”，而他与歌德不谋而合：歌德在谈到帕格尼尼时这样定义杜恩德：“一种人人感受得到，却没有任何哲学家能够解释的神秘力量。” These “black sounds” are the mystery itself, the roots that fasten into the mire that we all know, and all ignore, but from which comes the very substance of art. The common man in Spain speaks of “black sounds,” and in this, he agrees with Goethe, who defined the duende when he spoke of Paganini: “A mysterious power that everyone feels and no philosopher can explain.”
因此，杜恩德是力，而非行；是搏斗，而非思辨。我曾听一位老吉他大师言道：“杜恩德不在喉咙；杜恩德自脚底攀升。”换言之，它与才能无关，关乎的是真正活着的姿态——是血液，是古老至髓的文化，是进行时的创造。 So, the duende is a power, not a work; it is a struggle, not a thought. I have heard an old guitar master say: “The duende is not in the throat; the duende climbs up from the soles of the feet.” That is to say, it is not a matter of ability, but of real, living form; of blood; of a culture ancient to the marrow; of creative action in the moment.
这种“人人感受得到，却没有任何哲学家能够解释的神秘力量”，归根结底，是山岭的精神；是同一个杜恩德，曾紧紧抱住尼采的心。尼采曾在里亚托桥的外在形式中，或在比才的音乐里寻找它，却未能找到——而他并不知道，自己追逐的杜恩德，早已从神秘的希腊人那里，跳跃到了加的斯的舞者身上，或银里奥那首西吉里亚中被割喉般的狄俄尼索斯之呼喊里。 This “mysterious power that everyone feels and no philosopher can explain” is, in the end, the spirit of the earth; the same duende that once gripped the heart of Nietzsche. Nietzsche looked for it in the outer forms of the Rialto Bridge or in the music of Bizet, but failed to find it—not knowing that the duende he chased had already leaped from the mysterious Greeks to the dancers of Cádiz or the Dionysian cry, like a slit throat, in Silverio’s Siguiriya.
因此，我不愿任何人将我所说的杜恩德，与神学中怀疑的恶魔混为一谈——那个路德在纽伦堡出于酒神般的冲动向其掷出墨水瓶的存在；也不要把它与天主教中那种愚钝而具有破坏性的魔鬼混为一谈——它会化身为母狗潜入修道院；也不要与塞万提斯《嫉妒的戏剧与安达卢西亚的森林》中，那个带着会说话猴子的通译混为一谈。 Therefore, I do not want anyone to confuse the duende I speak of with the theological demon of doubt—that being at whom Luther, in Nuremberg, threw an inkwell out of a Dionysian impulse; nor with the blunt, destructive devil of Catholicism who enters convents disguised as a bitch; nor with the interpreter with the talking monkey in Cervantes’ The Jealous Cavalier and the Andalusian Forests.
不。我所说的杜恩德，阴暗而战栗，是苏格拉底那位最欢快的守护灵的后裔——那位由大理石与盐构成的存在，在苏格拉底饮下毒芹的那一天，曾愤怒地抓挠他；也是笛卡尔那位忧郁的小妖精的后裔——它像一颗青杏仁般微小，厌倦了圆与线条，沿着运河走出，只为听水手醉酒的歌唱。 No. The duende I speak of, dark and quivering, is a descendant of Socrates’ most cheerful daemon—that being of marble and salt who scratched him in anger the day he drank the hemlock; and a descendant of Descartes’ melancholy imp—tiny as a green almond, who grew tired of circles and lines and walked out along the canals just to hear the drunken singing of sailors.
诚如尼采所言，每个人、每位艺术家，在通往自身完善之塔的每一级阶梯上，其代价皆是与一位杜恩德的搏斗——而非与天使（世人常如此说），亦非与缪斯。此一区分，关乎作品的根本。 As Nietzsche said, every man, every artist, on every step of the ladder of his perfection, pays the price of a struggle with a duende—not with an Angel (as is often said), nor with a Muse. This distinction is fundamental to the work.
天使指引并赐予，如圣拉斐尔；防卫并回避，如圣米迦勒；预示并告知，如圣加百列。天使令人目眩，却飞翔在人类头顶之上，位于高处，倾洒恩典；人在毫不费力的情况下，完成他的作品、他的情感或他的舞蹈。大马士革之路上的天使，或从亚西西阳台缝隙中进入的那一位，或追随恩里克·苏松脚步的那一位，发号施令——而人无法反抗其光芒，因为它在被预定者的空气中拍击着钢铁般的翅膀。 The Angel guides and endows, like St. Raphael; defends and avoids, like St. Michael; announces and informs, like St. Gabriel. The Angel dazzles, but flies over the heads of men, high above, pouring out grace; the man, without effort, completes his work, his emotion, or his dance. The Angel on the road to Damascus, or the one who entered through the cracks of the balcony in Assisi, or the one who followed in the footsteps of Heinrich Suso, commands—and man cannot resist its light, because it beats its iron wings in the air of the predestined.
缪斯则是口述，有时轻轻吹拂。她的力量相对有限，因为她早已遥远，也如此疲惫（我曾两次见过她），以至于我不得不给她安上一颗半大理石的心。受缪斯支配的诗人听见声音，却不知道来自何处；那是激励他们的缪斯，有时甚至会把他们吞噬。正如阿波利奈尔的例子——这位伟大的诗人，被那位神圣而天使般的卢梭为他描绘的可怕缪斯所摧毁。缪斯唤醒智性，带来柱廊般的风景与虚假的桂冠滋味；而智性往往是诗歌的敌人，因为它过度模仿，因为它把诗人抬举到锋利的高度，使他忘记自己随时可能被蚂蚁吃掉，或被一只巨大的砒霜蝗虫砸中头颅——对此，小沙龙里单眼镜中的缪斯，或淡漆玫瑰中的缪斯，皆无能为力。 The Muse dictates and sometimes whispers. Her power is relatively limited because she is already distant and so weary (I have seen her twice) that I had to give her a half-marble heart. The poet governed by the Muse hears voices but does not know where they come from; it is the Muse who inspires them, and sometimes even consumes them. Such was the case with Apollinaire—the great poet destroyed by the terrible Muse depicted for him by the divine and angelic Rousseau. The Muse awakens the intellect, bringing colonnaded landscapes and the taste of false laurels; but the intellect is often the enemy of poetry because it imitates too much, because it lifts the poet to sharp heights where he forgets he could be eaten by ants at any moment or struck on the head by a giant arsenic locust—against which the Muse with a monocle in the little salon, or the Muse of the pale-varnished rose, is powerless.
天使与缪斯，来自外部：天使赐予光，缪斯赋予形（赫西俄德曾受教于她们）。那金色的面包，或衣袍的褶皱——诗人在月桂林中，领受规训。 The Angel and the Muse come from without: the Angel gives light, and the Muse gives form (Hesiod was taught by them). The golden bread, or the folds of the tunic—the poet receives the discipline in the laurel grove.
而杜恩德，必须从血液最深处的暗房中，将它唤醒。并拒绝天使，踢开缪斯，摆脱对十八世纪诗歌散发的紫罗兰芬芳的恐惧，摆脱那架玻璃中熟睡、因局限而生病的缪斯望远镜的束缚。真正的斗争是与杜恩德的斗争。 But the duende must be awakened in the remotest mansions of the blood. And one must reject the Angel, kick out the Muse, and lose the fear of the violet scent exhaled by eighteenth-century poetry, and free oneself from the telescope of the Muse sleeping in glass, sick with limitations. The real struggle is with the duende.
第二部分 | Part II 世人皆知寻觅上帝之路，从苦行僧的蛮野之法，到神秘主义者的精微之途。可以如圣特蕾莎般筑塔高攀，亦可如圣胡安·德·拉·克鲁斯般三径并寻。纵使我们终须以赛亚之声呼喊：“你真是自隐的上帝啊”，但归根结底，上帝赐予寻觅者的，不过是最初那一丛燃烧的荆棘。 Everyone knows the path to find God, from the wild ways of the ascetic to the subtle paths of the mystic. One can climb like St. Teresa or seek through the three paths like St. John of the Cross. Although we must eventually cry out with the voice of Isaiah, “Truly You are a God who hides Yourself,” in the end, God grants the seeker nothing more than the first burning bush.
然而，寻觅杜恩德，既无地图，亦无教程。唯一确知的是，它能如玻璃般灼烧血液，使人精疲力竭；它拒绝一切习得的、甜美的几何学，击碎所有既定曲式。正是它，让戈雅——那位在灰色、银色与英式油画粉彩中游刃有余的大师——以膝与拳泼洒出恐怖如沥青的墨黑；让辛托·维尔达格尔神父在比利牛斯的严寒中赤身裸体；让豪尔赫·曼里克在奥卡尼亚的荒原上静候死神；让兰波纤弱的躯体套上滑稽戏子的绿衣；让洛特雷蒙伯爵的眼睛，在清晨的林荫大道上，如死鱼般凝滞。 However, for the search for the duende, there is neither map nor discipline. One only knows that it burns the blood like powdered glass, that it exhausts, that it rejects all learned, sweet geometry, and breaks all established forms. It was the duende that drove Goya—the master who moved with ease through greys, silvers, and the pastels of English oil painting—to splash on terrifying blacks of bitumen with his knees and fists; that left Father Jacinto Verdaguer naked in the cold of the Pyrenees; that made Jorge Manrique wait for death on the moors of Ocaña; that clad Rimbaud’s frail body in the green coat of a circus performer; and fixed the eyes of the Comte de Lautréamont like dead fish on the morning boulevards.
安达卢西亚的伟大学者——无论是吉普赛人还是弗拉门戈艺人——都深谙此理：歌唱、舞蹈或演奏，若无杜恩德，则真情永不可及。他们或许能蒙骗观众，伪造出杜恩德在场的幻象（一如那些每日欺瞒我们的作家、画匠或文学裁缝），但只要观者稍加留意，不为其冷漠所蔽，便能戳穿伪装，令那粗鄙的赝品仓皇遁逃。 The great scholars of Andalusia—whether Gypsies or Flamenco artists—know this well: singing, dancing, or playing without duende means the truth is forever out of reach. They might deceive the audience, forging an illusion of duende (like the writers, painters, or literary tailors who deceive us daily), but if the observer pays close attention and is not blinded by indifference, they will pierce the disguise and watch that vulgar forgery flee in haste.
有一回，安达卢西亚歌手帕斯托拉·帕翁，人称“梳子少女”，那位阴郁而伟大的西班牙天才，其想象力堪与戈雅或“拉法埃尔·埃尔·加利奥”比肩，在加的斯一家小酒馆里献唱。她将声音如黑影、如熔锡、如覆苔般把玩，任其缠绕发间，浸入甘菊，或迷失于远方幽暗的灌木丛。然而，一切皆是徒劳——满座寂然。 Once, the Andalusian singer Pastora Pavón, “The Girl with the Combs”—that dark and great Spanish genius whose imagination rivaled Goya or “Rafael el Gallo”—was singing in a little tavern in Cádiz. She played with her voice like a shadow, like molten tin, like moss, letting it coil in her hair, soak into chamomile, or lose itself in far-off, dark thickets. However, all was in vain; the house was silent.
席间有伊格纳西奥·埃斯佩莱塔，俊美如罗马石雕。曾有人问他：“你怎么不工作？”他报以阿尔甘托尼奥式的微笑，答道：“我如何能工作？我可是加的斯人。”还有那热烈的贵族埃洛伊萨，塞维利亚的烟花女子，索莱达·巴尔加斯的直系后裔，年方三十便拒绝了罗斯柴尔德的求婚，只因“血统不合”。还有佛罗里达家族，世人皆以为他们是屠夫，实则是传承千载的祭司，至今仍向革律翁献祭公牛。角落里端坐着威严的牧牛人巴勃罗·穆鲁贝，浑身散发着克里特岛面具般的气息。帕斯托拉·帕翁在一片死寂中唱完了。唯有一个小个子男人——那种会突然从白兰地酒瓶里蹦出来的舞者——低声讥讽道：“巴黎万岁！”那语气仿佛在说：“技巧、形式、技艺，我们毫不在乎。我们在乎的，是别的东西。” In the audience was Ignacio Espeleta, beautiful as a Roman statue. Someone once asked him, “Why don’t you work?” He gave an Argantonio-like smile and replied, “How can I work? I am from Cádiz.” There was also the fiery aristocrat Eloísa, the Sevillian courtesan, a direct descendant of Soledad Vargas, who at thirty refused Rothschild’s proposal because “the blood didn’t match.” There were the Florida family, whom the world took for butchers, but who were actually priests of a thousand-year tradition, still sacrificing bulls to Geryon. In the corner sat the majestic cattleman Pablo Murube, exhaling the air of a Cretan mask. Pastora Pavón finished in a dead silence. Only one small man—the kind of dancer who would suddenly pop out of a brandy bottle—muttered sarcastically: “Long live Paris!” His tone implied: “Technique, form, skill—we don’t care. We care for something else.”
于是，“梳子少女”如疯似狂地站起身，身躯扭曲如中世纪的哭丧妇人，猛灌下一口火焰般的烈酒，坐下重唱——这次，无声、无息、亦无色，只余喉咙灼烧，但……杜恩德降临了。她扼杀了歌曲的全部架构，只为给那愤怒炽烈的杜恩德让路。杜恩德如沙尘暴般席卷，听众的衣衫几欲随节奏撕裂，仿佛置身安的列斯黑人祭仪，众舞者正环绕圣芭芭拉神像疯狂舞动。 Then “The Girl with the Combs” rose like a madwoman, her body twisted like a medieval mourner, downed a glass of fire-like brandy, and sat down to sing again—this time without voice, without breath, without color, with a burning throat, but… the duende arrived. She killed the entire scaffolding of the song to make way for a furious and flaming duende. The duende swept through like a sandstorm, and the audience’s clothes nearly tore with the rhythm, as if in an Antillean Negro rite, with dancers circling the statue of Saint Barbara in madness.
《梳子少女》必须撕裂自己的声音，因为她知道听众是挑剔之人，他们不求形式，而求形式的骨髓——以紧凑的身体承载纯粹的音乐，使其悬于空中。她必须舍弃能力与安全；也就是驱逐缪斯，自我孤立，让杜恩德降临，与之全力搏斗。她唱出了怎样的歌声！声音不再嬉戏，而是因痛苦与真诚而涌出的血流，从双脚伸展开，像十指之掌，却又充满风暴，如同胡安·德·胡尼的基督雕像。 “The Girl with the Combs” had to tear her own voice because she knew the audience was demanding; they did not seek form, but the marrow of form—pure music carried in a tight body, suspended in the air. She had to abandon ability and safety; that is, to exile the Muse, isolate herself, and let the duende descend and fight with all its might. What singing she produced! The voice no longer played, but became a flow of blood surging from pain and sincerity, stretching from her feet like a ten-fingered palm, yet full of storms, like the Christ of Juan de Juni.
杜恩德的到来总意味着所有旧形式的彻底革命，带来前所未有的新鲜感，如初生的玫瑰般奇迹般的质感，几乎引发宗教般的热情。在阿拉伯音乐、舞蹈、歌曲或挽歌中，杜恩德到来时常以“阿拉，阿拉！”、“上帝，上帝！”的高呼回应，几乎等同于斗牛场的“奥莱！”；在整个西班牙南部，杜恩德出现后，真诚的“上帝万岁！”随之而起——深沉、有人情味、温柔的呼喊，通过五感与杜恩德的震动，使舞者的声音与身体脱离尘世，如十七世纪罕见诗人佩德罗·索托·德·罗哈斯在七座花园间所达成的纯净，如胡安·卡利马克通过颤抖的哭泣音阶所达成的纯净。 The arrival of the duende always means a radical revolution of all old forms, bringing a sense of freshness unknown until then, with the quality of a miracle like a newly created rose, producing an almost religious enthusiasm. In Arabic music, dance, song, or lament, the arrival of the duende is often answered with cries of “Allah, Allah!”, “God, God!”, almost equivalent to the “Olé!” of the bullring; throughout southern Spain, after the duende appears, a sincere “Viva Dios!” arises—a deep, human, tender cry, which through the five senses and the vibration of the duende, detaches the dancer’s voice and body from the earth, reaching the purity achieved by the rare seventeenth-century poet Pedro Soto de Rojas among seven gardens, or Juan de Kalimako through a trembling scale of weeping.
自然，当这种超脱实现时，每个人都能感受到它的效果：有经验者看到形式战胜贫乏材料，无知者感受真实情感的“不可言说”。多年前，在赫雷斯·德拉弗龙特拉的舞蹈比赛中，一位八十岁的老妇击败腰肢如水的美丽女子，仅因举起双臂、昂首、踏脚一击；而在天使与缪斯汇聚之场——美貌与微笑交错——那位临死的杜恩德拖着锈刀般的翅膀赢得了比赛。 Naturally, when this detachment is achieved, everyone feels its effect: the experienced see form triumph over poor material; the ignorant feel the “ineffable” of real emotion. Years ago, in a dance competition in Jerez de la Frontera, an eighty-year-old woman defeated beautiful women with waists like water, simply by raising her arms, lifting her head, and striking the floor with one stomp; in a field where Angels and Muses gathered—beauty and smiles intertwining—that dying duende dragging its wings like rusty knives won the prize.
所有艺术都有杜恩德，但它最能施展的，当然是音乐、舞蹈与口语诗歌，因为这些需要活体来表达，形式不断诞生与消亡，并在当下的瞬间升起轮廓。 All arts have duende, but it has the most room in music, dance, and spoken poetry, for these require a living body to express them—forms that are born and die continually, and raise their contours in the precise present.
杜恩德常从音乐家传给演奏者，有时在演奏者或诗人缺席时，演奏者的杜恩德创造出新的奇迹，其外表仅保留原始形式。如被杜恩德附体的艾莱奥诺拉·杜塞，她寻求失败的作品以创造成功；或歌德所述的帕格尼尼，让平凡旋律发出深沉之声；又如我曾见到一名圣玛利亚港的女孩唱跳意大利可怕的曲子《O Mari!》，节奏、停顿、意图，使粗陋意大利曲子化作金色蛇形光环。实质上，她们发现了前所未有的新元素，将鲜血与技艺注入空洞身体。 The duende often passes from the musician to the performer; sometimes in the absence of the performer or poet, the performer’s duende creates new wonders where only the original form remains in appearance. Such as Eleonora Duse possessed by the duende, who sought out failing works to create successes; or Paganini as described by Goethe, making deep sounds from trivial melodies; or a girl I once saw in El Puerto de Santa María singing and dancing the terrible Italian tune “O Mari!”, where rhythm, pause, and intent transformed the crude song into a golden serpent-like halo. In essence, they discovered new elements never seen before, injecting blood and skill into empty bodies.
所有艺术，甚至国家，都有杜恩德、天使与缪斯的能力。正如德国（有例外）有缪斯，意大利常伴天使，西班牙自古则由杜恩德驱动——音乐与舞蹈的千年之国，凌晨榨取柠檬的国度，也是死亡之国，向死亡敞开的国度。 All arts, even nations, have the capacity for duende, Angel, and Muse. Just as Germany (with exceptions) has the Muse and Italy is often accompanied by the Angel, Spain since antiquity has been driven by the duende—a millennial country of music and dance, a country that squeezes lemons at dawn, and also a country of death, a country open to death.
在世界各地，死亡都是终点——帷幕落下。而在西班牙，帷幕升起。许多人活在墙内，直至死亡被晒于阳光下。西班牙的死者，比任何地方更鲜活：其轮廓如剃刀般锋利。西班牙人熟悉死亡及其静观的幽默。从克韦多的《骷髅之梦》，到瓦尔德斯·莱亚尔的《腐烂主教》，再到十七世纪马贝拉的产死之女，吟道： In all other countries, death is an end—the curtain falls. In Spain, the curtain rises. Many live within walls until death is brought out into the sun. The dead in Spain are more alive than anywhere else: their silhouettes are sharp as razors. The Spaniard is familiar with death and with its contemplative humor. From Quevedo’s Dream of the Skulls, to Valdés Leal’s Rotting Bishops, to the seventeenth-century woman of Marbella who died in childbirth, singing:
血从我腹中 覆盖马背 你马的蹄 喷射焦油之火…… The blood from my womb covers the horse’s back and the hooves of your horse strike sparks of tar and fire…
再到萨拉曼卡青年死于公牛，呼喊： Or the young man from Salamanca, killed by a bull, who cries:
朋友们，我要死了； 朋友们，我病得很重。 三条手帕在内 这条算第四…… Friends, I am dying; Friends, I am very ill. I have three handkerchiefs inside and this one makes the fourth…
西班牙有盐花围栏，供观死者的民众远眺，或以耶利米的粗犷诗句，或以香柏点缀抒情一侧；这是一个将最重要的事物赋予死亡终极价值的国家。西班牙的刀刃与车轮、牧羊人锋利胡须、剥光的月亮、苍蝇、湿漉橱柜、废墟、镶蕾丝的圣像、石灰、屋檐与瞭望台的锐线——都蕴含微小的死亡草木、暗示与可觉察的声音，唤起警觉的精神，使我们以死寂之气忆起自己的过渡。西班牙所有与山岭相关的艺术——满是蓟与坚石——非偶然；普莱贝里奥的哀歌或何塞·马里亚·德·巴尔迪维索的舞蹈非孤例；西班牙民谣独特之处亦非偶然： Spain has walls of saltpetre for the crowds who gaze at death, either with the rugged verses of Jeremiah or with cedar decorating the lyrical side; it is a country where the most important thing of all has an ultimate value in death. The Spanish blade and wheel, the shepherd’s sharp beard, the stripped moon, the flies, damp cabinets, ruins, lace-trimmed icons, lime, and the sharp lines of eaves and watchtowers—all contain the tiny plants and minerals of death, hints and perceivable sounds that evoke an alert spirit, reminding us of our passage with a breath of silence. It is no accident that all Spanish art related to the mountains—full of thistles and hard stone—exists; the laments of Pleberio or the dances of José María de Valdivieso are no isolated cases; nor is the uniqueness of the Spanish ballad an accident:
若你是我美丽的朋友， 为什么不看我呢？ 我看你的眼睛 给了阴影 If you are my beautiful friend, why do you not look at me? The eyes with which I looked at you I have given to the shadows.
若你是我美丽的朋友， 为什么不吻我呢？ 我吻你的嘴唇 给了山脉 If you are my beautiful friend, why do you not kiss me? The lips with which I kissed you I have given to the mountains.
若你是我美丽的朋友， 为什么不拥抱我呢？ 我拥抱你的双臂 用虫子覆盖 If you are my beautiful friend, why do you not embrace me? The arms with which I embraced you are covered with worms.
在我诗歌初启之时，这样的歌声也常响起： In the beginning of my poetry, such songs often sounded:
在园中，我将死去 在玫瑰丛，他们将我杀毙 我去寻找我的母亲， 在园中遇见死亡 我去采摘我的母亲， 在园中遇见死亡 在园中，我将死去 在玫瑰丛，他们将我杀毙 In the garden, I shall die In the rosebush, they will kill me. I went to look for my mother, In the garden I found death. I went to gather my mother, In the rosebush I found death. In the garden, I shall die In the rosebush, they will kill me.
第三部分 | Part III 从苏尔瓦兰笔下月光般冰冷的头颅，到格列柯那黄闪黄乳脂的色调；从西贡萨神父的叙述，到戈雅的鸿篇巨制；从埃斯科里亚尔修道院的后殿壁画与彩塑，到奥苏纳公爵府的地穴、梅迪纳-德里奥塞科贝纳文特教堂的吉他陪葬——这一切，连同圣安德烈斯朝圣中列队行进的死者、阿斯图里亚斯妇女在十一月寒夜手持火把吟唱的亡灵歌谣、马略卡与托莱多大教堂的西碧拉歌舞、阴郁的“托尔托萨的‘雷科尔特’舞”，以及无数耶稣受难日的仪式——当然，还有斗牛这崇高的节日——共同构成了西班牙式死亡的民间凯旋。这世上，唯有墨西哥堪与我的祖国在此意境上比肩。 From the moonlight-cold heads of Zurbarán to the yellow-flash-and-custard tones of El Greco; from the narratives of Father Sigüenza to the colossal works of Goya; from the frescoes and sculptures in the apse of El Escorial to the crypt of the Dukes of Osuna, and the guitar-burials in the Benavente church in Medina de Rioseco—all of this, along with the marching dead of the San Andrés pilgrimage, the ghost-songs of Asturian women on November nights with torches, the Sibyl dances in the cathedrals of Mallorca and Toledo, the gloomy “Record” dance of Tortosa, and the endless ceremonies of Good Friday—and of course, the bullfight, that sublime festival—all constitute the popular triumph of Spanish death. In this world, only Mexico can rival my homeland in this sentiment.
当死亡逼近，缪斯会阖上门扉、抬高基座，或挪动骨灰瓮，用她蜡制的手书写墓志铭；但转瞬之间，她又会撕裂那顶在两缕微风间犹疑不决的沉默桂冠。在颂歌颓圮的拱顶下，她以丧葬般的精确，聚拢十五世纪意大利画师笔下的花朵，并呼唤卢克莱修那护卫安宁的雄鸡，以驱散不期而至的暗影。 When death approaches, the Muse closes her doors, raises her pedestal, or moves the urn, writing epitaphs with her waxen hand; but in an instant, she tears that crown of silence that wavers between two breezes. Under the crumbling vaults of the ode, she gathers the flowers of fifteenth-century Italian painters with funeral precision and calls upon the Lucretian rooster who guards the peace to disperse the unexpected shadows.
当死亡逼近，天使会缓缓盘旋，用冰泪与水仙编织哀歌——我们曾见这哀歌在济慈的指间颤抖，在比利亚桑迪诺、埃雷拉、贝克尔与胡安·拉蒙·希梅内斯的笔下颤抖。然而，倘若天使那柔嫩的粉足上，沾了一粒最细小的沙尘，那将是何等骇人的景象！ When death approaches, the Angel circles slowly, weaving laments from ice-tears and narcissus—laments we have seen trembling between the fingers of Keats, and in the pens of Villasandino, Herrera, Bécquer, and Juan Ramón Jiménez. However, what a terrifying sight it would be if a single grain of the smallest dust were to touch the Angel’s soft, pink foot!
而杜恩德，倘若不见死亡的可能性，不知它将徘徊于自家厅堂，不确信自己将撼动我们每个人与生俱来、永难抚慰的生命之枝，它便绝不会降临。 But the duende does not come at all unless he sees that death is possible, unless he knows that death can surround the house, and is certain that he will shake those branches of life that we all carry, which have no solace.
杜恩德偏爱危险的边缘，它以其理念、声响或动作，与创造者正面交锋。天使与缪斯携着小提琴或节拍器逃之夭夭，而杜恩德却造成创伤；正是在这永不愈合的伤口的痛楚中，孕育了人类作品中最奇异、最具创造性的部分。 The duende loves the edge of things, the wound, and he draws close to places where forms fuse in a yearning beyond visible expression. The Angel and the Muse flee with their violins or metronomes, while the duende causes a wound; and it is in the pain of this never-healing wound that the strangest and most creative parts of human work are born.
诗的魔力，在于它常被杜恩德附体，从而能以幽暗之水为所有凝视它的人施洗。因为杜恩德在场，去爱与理解变得轻易，同时也必然被爱与被理解。而这番为了表达与交流而进行的搏斗，在诗歌中，有时甚至具有致命的性质。 The magic of poetry lies in its being possessed by the duende, so that it can baptize all who look upon it with dark water. Because the duende is present, it becomes easy to love and understand, and necessarily to be loved and understood. And this struggle to express and communicate, in poetry, sometimes even takes on a fatal character.
回想那位最富弗拉门戈气质、最具杜恩德的圣特蕾莎——她之所以弗拉门戈，并非因为驯服狂牛并完成三次华丽的动作（她确实做到了），也不是为了在“可怜的胡安”面前炫耀美貌，亦非为给教皇公使一记耳光，而是因为她是少数几个被杜恩德（而非天使——天使从不攻击）以利箭穿透之人，欲杀她以夺回最后的秘密——那微妙桥梁，连通五感与活肉、活云、活海般的中心，连接超越时间的自由之爱。 Think of St. Teresa—the most Flamenco and most possessed by the duende. She was Flamenco not because she tamed wild bulls and completed three brilliant passes (which she did), nor to show off her beauty before “poor Juan,” nor to slap the papal legate, but because she was one of the few whom the duende (not the Angel—the Angel never attacks) pierced with a sharp arrow, wishing to kill her to reclaim the final secret—that subtle bridge connecting the five senses with the center of living flesh, living clouds, and living seas, connecting the free love that transcends time.
这位勇敢无畏的杜恩德征服者，与费利佩二世正好相反——后者渴望在神学中寻找缪斯与天使，却被冷烈杜恩德囚禁于埃斯科里亚尔的作品中，在那里几何与梦境相邻，而杜恩德戴上缪斯面具，成为伟大国王的永恒惩罚。 This brave and fearless conqueror of the duende was the exact opposite of Philip II—who sought the Muse and the Angel in theology but was imprisoned by the cold, fierce duende in the works of El Escorial, where geometry and dreams reside side by side, and the duende wore the mask of the Muse to become the eternal punishment of the great king.
我们已说过，杜恩德喜爱边缘、伤口，并靠近那些形式融入超越可见表达的渴望之地。在西班牙（如同东方那些以舞蹈为宗教表达的民族），杜恩德在加的斯舞者的身体上有无限领域——马尔提亚尔赞美过的胸脯，尤维纳利斯赞美过的歌者胸膛；在斗牛的礼仪中，杜恩德同样存在——真实的宗教戏剧，正如弥撒中崇拜并献祭神明。仿佛古典世界的全部杜恩德汇聚于此完美的节日——它体现了一个民族的文化与敏感，发掘人类最深的愤怒、胆汁与哭泣。无论是西班牙舞蹈还是斗牛，参与者从未寻求乐趣；杜恩德负责通过戏剧使之受苦，借由活的形式，并为脱离现实铺设阶梯。 We have said that the duende loves the edge, the wound, and draws near to those places where forms dissolve into the longing for expression beyond the visible. In Spain (as with those Oriental peoples whose dance is a religious expression), the duende has an infinite realm on the bodies of the dancers of Cádiz—the breasts praised by Martial, the chests of singers praised by Juvenal; in the ritual of the bullfight, the duende is also present—a true religious drama, like the worship and sacrifice of a god in the Mass. It is as if all the duende of the classical world gathered at this perfect festival—representing a people’s culture and sensitivity, unearthing man’s deepest rage, bile, and weeping. In neither Spanish dance nor the bullfight do the participants seek pleasure; the duende is in charge of making them suffer through the drama, using living forms, and providing the ladder for an escape from reality.
杜恩德作用于舞者的身体，如空气作用于沙地。它能神奇地将少女化作月亮的瘫痪之身，或让破败的老者满面红晕，在酒馆乞讨，发出港口夜色的气息；它时时作用于手臂，孕育所有时代舞蹈的母体。但它绝不重复——这一点非常值得强调。杜恩德如风暴中的海浪般，不会重复其形式。 The duende acts upon the dancer’s body as wind acts upon sand. It can magically transform a young girl into the paralyzed body of the moon, or give a flush of red to an old, broken man begging in a tavern, exhaling the scent of the harbor night; it acts constantly on the arms, giving birth to the matrix of all dances of all ages. But it never repeats—this point is well worth emphasizing. The duende, like waves in a storm, never repeats its forms.
在斗牛场，它获得最令人印象深刻的音调——因为它必须一面与可能毁灭它的死亡搏斗，一面与几何、尺度——节日的基本准则——搏斗。公牛有其轨道，斗牛士有其轨道；轨道之间，存在危险之点——可怕游戏的顶点。可用缪斯掌控红布、天使掌控彩旗，也许成为“好斗牛士”，但在斗篷舞、清晰无伤的公牛面前，以及最后致命一刻，需要杜恩德的助力，才能击中艺术真理的中心。在广场以鲁莽震慑观众的斗牛士，其实不算斗牛——他只是站在任何人都可触及的可笑平面上，拿生命作赌注。而被杜恩德咬中的斗牛士，奏出毕达哥拉斯式乐章，使人忘记他不断将心抛向牛角。 In the bullring, it acquires its most impressive tones—because it must struggle on one side with the death that could destroy it, and on the other with geometry and measure—the fundamental rules of the festival. The bull has its orbit, the matador has his; between these orbits exists the point of danger—the apex of the terrible game. One can control the muleta with the Muse or the banderillas with the Angel, and perhaps become a “good matador,” but in the cape-dance, before a clear and uninjured bull, and in the final fatal moment, the help of the duende is needed to strike the center of artistic truth. The matador who shocks the crowd with recklessness is not truly bullfighting—he is merely standing on a ridiculous plane accessible to anyone, gambling with his life. But the matador bitten by the duende performs a Pythagorean movement, making one forget that he is constantly throwing his heart against the bull’s horns.
拉加蒂霍与其罗马杜恩德，何塞利托与其犹太杜恩德，贝尔蒙特与其巴洛克杜恩德，卡甘乔与其吉普赛杜恩德——他们从斗牛场暮色中，向诗人、画家与音乐家传授西班牙传统的四大路径。 Lagartijo with his Roman duende, Joselito with his Jewish duende, Belmonte with his Baroque duende, Cagancho with his Gypsy duende—from the twilight of the bullring, they teach poets, painters, and musicians the four great paths of Spanish tradition.
西班牙是唯一一个将死亡作为国民表演的国家——死亡吹响春天的长号，其艺术永远受敏锐杜恩德主导，这赋予了其差异与创造力。 Spain is the only country where death is a national spectacle—where death blows the trumpets of spring—and its art is forever governed by a sharp duende that gives it its distinctiveness and its creative quality.
那个首次以血填充雕塑中圣徒面颊的杜恩德，与让圣胡安·德拉克鲁斯呻吟，或燃烧洛佩宗教十四行诗中裸体仙女的杜恩德，是同一个。那个在萨阿贡高塔建塔，或在卡拉塔尤德、特鲁埃尔搬热砖的杜恩德，是同一个打破格雷科云彩、踢翻奎维多执法者与戈雅幻兽的杜恩德。雨时，它让委拉斯开兹神秘附体，潜藏于灰色王权之下；雪时，它让埃雷拉裸身示人，证明寒冷无法杀人；火焰中，它将贝鲁格特卷入烈焰，促使其为雕塑发明新空间。 That duende who first filled the cheeks of saints in sculptures with blood is the same one who made St. John of the Cross moan, or burned the naked nymphs in Lope’s religious sonnets. That duende who built the towers in Sahagún or moved hot bricks in Calatayud and Teruel is the same one who broke El Greco’s clouds, kicked over Quevedo’s magistrates, and Goya’s chimeras. In rain, it possess Velázquez mysteriously, hiding under the grey of royalty; in snow, it leaves Herrera naked to prove that cold cannot kill; in fire, it pulls Berruguete into the flames, urging him to invent new space for sculpture.
当贡戈拉的缪斯与加尔西拉索·德·拉·维加的天使遇到圣胡安·德拉克鲁斯的杜恩德，桂冠必须让路，当 鹿受伤 自山岗探头 When Góngora’s Muse and Garcilaso de la Vega’s Angel meet the duende of St. John of the Cross, the laurel must give way when: The wounded deer peeks from the hill.
冈萨洛·德·贝尔塞奥的缪斯与希塔牧区神父的天使也必须退开，为豪尔赫·曼里克让路，当他死伤临贝尔蒙特城堡门口。格雷戈里奥·埃尔南德斯的缪斯与何塞·德·莫拉的天使也必须避开，为梅纳的杜恩德之泪与马丁内斯·蒙塔涅斯的亚述公牛头杜恩德让路。正如加泰罗尼亚忧郁缪斯与加利西亚湿透天使，也必须以慈爱惊讶之眼凝视卡斯蒂利亚杜恩德——远离温热面包与甜美牛奶，遵循被扫净天空与干旱山岭的规则。 The Muse of Gonzalo de Berceo and the Angel of the Archpriest of Hita must also step aside for Jorge Manrique when he lies wounded at the gates of Belmonte castle. The Muse of Gregorio Hernández and the Angel of José de Mora must avoid the tears of Mena’s duende and the Assyrian bull-head duende of Martínez Montañés. Just as the melancholy Muse of Catalonia and the soaked Angel of Galicia must gaze with loving, surprised eyes at the Castilian duende—away from warm bread and sweet milk, following the rules of swept skies and dry mountains.
克维多的杜恩德与塞万提斯的杜恩德——一方以绿色磷光海葵装饰，一方以鲁伊德拉石膏花点缀——共同为西班牙杜恩德祭坛加冕。每种艺术自然有其专属杜恩德，但皆根源于同一点——曼努埃尔·托雷斯的“黑色声音”，最后物质、共同基础、不可控而颤栗的木、音、布与词。这些黑色声音背后，温柔地蛰伏着火山、蚂蚁、微风与银河紧束腰间的浩夜。 The duende of Quevedo and the duende of Cervantes—one adorned with green phosphorescent anemones, the other with Ruidera plaster flowers—together crown the altar of the Spanish duende. Every art naturally has its own duende, but all root in the same point—Manuel Torre’s “black sounds,” the final substance, the common ground, the uncontrollable and shivering wood, sound, cloth, and word. Behind these black sounds, volcanoes, ants, breezes, and the vast night with the Milky Way tightened around its waist, sleep tenderly.
女士们，先生们：我已竖起三道拱门，用笨拙的手将缪斯、天使与杜恩德置于其中。缪斯静止不动；她可穿小褶的长袍，或如庞培所绘的四面鼻子牛眼，毕加索的挚友所画。天使可挥动安东内洛·德·梅西纳的发丝，披里皮的长袍，小提琴来自马索利诺或卢梭。 Ladies and gentlemen: I have raised three arches and with a clumsy hand I have placed within them the Muse, the Angel, and the duende. The Muse remains motionless; she can wear a tunic with small folds, or a four-sided nose and ox-eyes like those painted by Pompey or by Picasso’s close friend. The Angel can wave the hair of Antonello da Messina, wear the tunic of Lippi, and the violin comes from Masolino or Rousseau.
杜恩德……杜恩德在何处？从空拱门透入的，是一股思维之风，它执着吹拂死者头顶，寻找未知的风景与音调——带着孩童口水、碾碎青草与水母薄纱的气息，预示新生事物不断的洗礼。 The duende… where is the duende? Through the empty archway comes a wind of the spirit, blowing insistently over the heads of the dead, in search of new landscapes and unknown accents—a wind with the scent of a child’s saliva, of crushed grass, and jellyfish veils, announcing the constant baptism of newly created things.
作者：玛格丽特·卡文迪什（1668） By Margaret Cavendish (1668) 第一幕 · 第一场 ACT I · SCENE I （三位绅士上场，游手好闲地踱步。他们年轻、时髦、且只顾自己。） (Enter three Gentlemen, walking idly. They are young, fashionable, and concerned only with themselves.) 绅士甲 汤姆！你这副模样，活像刚吃了一场败仗。你这是哪儿去了？ FIRST GENTLEMAN Tom! You look as if you had just lost a battle. Where have you been? 绅士乙（汤姆） 方才从福图内特勋爵的葬礼回来。他把所有家产都留给了独生女——快乐小姐。如今可是富得惊人了。 SECOND GENTLEMAN (Tom) I have just come from the funeral of Lord Fortunate. He has left all his estate to his only daughter, Mistress Pleasure. She is now exceedingly rich. 绅士甲 好，号角一响。城里但凡能喘气的单身汉，都得把家底败光在意大利华服、法国马车和一大群跟班身上，就为了追她。 FIRST GENTLEMAN Well then, the trumpet is sounded. Every bachelor in town that can draw breath will waste his estate on Italian clothes, French coaches, and a troop of attendants, all to court her. 绅士丙 要是追求者都像咱们似的，是些次子——没地、没爵位，只有一张巧嘴和一屁股债——那咱们就是拿白日梦把自己送进破产的深渊。不过汤姆，她至少长得漂亮吧？ THIRD GENTLEMAN If her suitors are like us—mere younger sons, with no land, no title, nothing but smooth tongues and heavy debts—we shall ruin ourselves upon dreams alone. But tell me, Tom: is she at least handsome? 绅士乙（汤姆） 漂亮。年轻。有钱。而且据说……品行端庄。 SECOND GENTLEMAN (Tom) Handsome. Young. Rich. And, as they say… virtuous. 绅士甲 说真的，好事全让一个人占了。这未免太贪得无厌。 FIRST GENTLEMAN In truth, she has too much good fortune for one person. It is an excess. 绅士乙（汤姆） 要是她能归你，你就不会这么说了。 SECOND GENTLEMAN (Tom) If she were yours, you would not think it so. 绅士甲 不，我倒不嫌多——我担得起。我是说，这对其他任何男人来说都太多了。 FIRST GENTLEMAN No, for my part I should not complain—I could bear it well. I mean only that it is too much for any other man. （他们退场，已然开始盘算。） (Exeunt, already deep in calculation.)
第一幕 · 第二场 ACT I · SCENE II （场景：海皮小姐的房间。海皮小姐心意已决，显得光彩照人。一名仆人忧心忡忡地站在一旁。） (Scene: Lady Happy’s chamber. Lady Happy appears resolved and radiant. A Servant stands by, anxiously attentive.) 仆人 小姐……您年轻、貌美、富有，而且德行高尚。我真心希望您不会把这些天赋——这些来自自然、命运和上天的馈赠——白白浪费在一个根本配不上您的男人身上。 SERVANT Madam, you are young, beautiful, rich, and virtuous. I sincerely hope you will not squander these gifts—bestowed by Nature, Fortune, and Heaven—upon a man wholly unworthy of you. 海皮小姐 让我告诉你。财富该施予穷人，青春该赠予老者，美貌该赋予丑陋之人，而德行该送给恶徒。所以，若我遵循这套逻辑，去正确地安置我的天赋……我就得嫁给一个穷困潦倒、老态龙钟、面目可憎，且彻底堕落的男人才对。 LADY HAPPY Hear me then. Riches should be given to the poor, youth bestowed upon the aged, beauty upon the ugly, and virtue upon the vicious. Therefore, if I were to distribute my gifts according to this rule, I should marry a man that is poor, old, deformed, and utterly corrupt. 仆人 天理难容啊！ SERVANT Heaven forbid! 海皮小姐 不，别这么说。上天不仅容许——简直是要求我们如此。难道我们没被教导要施予匮乏之人吗？ LADY HAPPY No, say not so. Heaven not only permits it, but commands it. Are we not taught to give to those who lack? （调解夫人上场。她是世俗常规观念的代言人。） (Enter the Mediatrix, a spokesperson for worldly custom.) 调解夫人 小姐，您这说的……不会是认真的吧？您不会真打算去做这种事吧？ THE MEDIATRIX Madam, surely you cannot be serious in this? You do not truly intend such a course? 海皮小姐 我的言语与我的意图，步调完全一致。我向你保证。 LADY HAPPY My words and my intentions keep equal pace, I assure you. 调解夫人 可您总不能真要把自己锁在修道院里吧！ THE MEDIATRIX But surely you do not mean to shut yourself up in a convent! 海皮小姐 为何不能？那个所谓的“公共世界”究竟有什么，能对我产生如此不可抗拒的吸引力？ LADY HAPPY And why not? What is there in the so-called public world that should so irresistibly draw me? 调解夫人 总比自我放逐要强！ THE MEDIATRIX It is better than self-banishment! 海皮小姐 让我们来审视一下。假设我嫁给了最好的男人——如果这种东西真的存在的话。即便如此，婚姻带来的心碎与束缚，也远多于快乐或自由。对于一个有灵魂的女人来说，婚姻是比任何修道院都更严酷的牢笼。 LADY HAPPY Let us examine it. Suppose I were to marry the best of men—if such a thing exists. Even then, marriage brings more heartbreak and bondage than joy or liberty. To a woman with a soul, marriage is a stricter prison than any convent. 或者，也许我该享受被追求者簇拥的乐趣？让他们凝视我的脸庞，赞美我的聪慧？但我能从他们的眼神里得到什么？从他们的言语里得到什么？言语转瞬即逝，目光空无一物。而我因为他们的造访所损失的名誉，将远多于从他们的奉承中获得的。 Or perhaps I should delight in being courted? Let them gaze upon my face, applaud my wit. But what gain I from their looks? What from their words? Words vanish, looks contain nothing; and the reputation I lose by their visits outweighs whatever pleasure I receive from their flattery. 真相是，女人忍受这个公共世界，仅仅是为了迎合男人。既然男人充满了愚蠢、虚荣和虚伪……我们又何苦为他们烦心？我的“退隐”，并非要将生活拒之门外……唯独要将男人拒之门外。 The truth is this: women endure the public world only to please men. And since men are full of folly, vanity, and hypocrisy, why should we trouble ourselves for them? My retreat is not to exclude life itself—only to exclude men. 调解夫人 噢，可那是将一切都拒之门外了！所有世俗的享乐都化为乌有了！ THE MEDIATRIX Oh, but that is to exclude everything! All worldly pleasures would be lost! 海皮小姐 那只能说明，世人享乐的方式做错了。 LADY HAPPY Then it proves only that the world mistakes the nature of pleasure. 调解夫人 您是说古往今来的圣徒都是傻瓜？他们受苦是为了上帝！ THE MEDIATRIX Do you mean to say that all saints of former ages were fools? They suffered for God! 海皮小姐 不，他们是为了活在别人的评价里。任何有理性的人会相信，上帝是以我们的痛苦为乐的吗？上帝赋予我们感官，难道就是为了折磨它们吗？ LADY HAPPY No—they suffered to live in the opinions of others. Can any rational person believe that God delights in our misery? Did God give us senses merely to torment them? 让人们穿粗毛衬衣、鞭笞皮肤、忍饥挨饿、睡在石头上，这对神明有何益处？莫非是上帝缺了上好的亚麻与美食，而我们在囤积不成？难道上帝竟在与自然为敌，所以凡是令自然痛苦的事，就能取悦上帝？ What benefit has God from hair shirts, scourged flesh, hunger, or stone beds? Does God lack fine linen or rich food, that we hoard them? Or is God at war with Nature, that whatever pains Nature must please Heaven? 调解夫人 当事情是为上帝而做时，自然中的痛苦便升华为神圣。 THE MEDIATRIX When actions are done for God, the pains of nature become sacred. 海皮小姐 如果一件事既不能给上帝带来快乐，也不能带来益处，它就不可能神圣。人们如此受苦并非为了上帝，而是为了他们自己——为了感觉自己神圣，为了被世人看作神圣。 LADY HAPPY If an action brings neither pleasure nor benefit to God, it cannot be sacred. People suffer not for God, but for themselves—to feel holy, and to be thought holy. 我相信上帝更喜悦欢乐的赞颂，而非饥饿的肚腹。当身体因斋戒而虚弱，精神因守夜而疲惫，整个生活充满痛苦时，灵魂几乎没有意愿去崇拜。 I believe God delights more in joyful praise than in empty stomachs. When bodies are weakened by fasting and minds exhausted by vigils, when life itself is pain, the soul scarcely wishes to worship. 那样的奉献是强迫的。他们的祈祷不过是流经排水沟的污秽雨水——而非从心底涌出的清泉。 Such devotion is forced. Their prayers are foul rain running through gutters, not clear springs rising from the heart. 如果众神是残酷的，我将侍奉自然。但众神是慷慨的，他们赐予一切美好之物，并吩咐我们在最适合的事物中，自由地取悦自己。 If the gods were cruel, I would serve Nature instead. But the gods are generous: they give all good things, and command us to take pleasure freely in what best suits us. 调解夫人 可如果您把自己关起来，又如何享受男人的陪伴呢？那被认为是人生最大的乐趣。 THE MEDIATRIX But if you shut yourself away, how will you enjoy the company of men? That is thought the greatest pleasure of life. 海皮小姐 男人是女人唯一的麻烦制造者！正是他们阻挠我们的欢乐，破坏我们的安宁。他们将我们的性别变为奴隶。我绝不接受奴役。我将彻底从他们的陪伴中退出。 LADY HAPPY Men are the only disturbers of women’s happiness! They obstruct our pleasures and destroy our peace. They enslave our sex. I will not submit to bondage. I will wholly withdraw from their company. 为此，我将召集志同道合的高贵女子。我的“快活庵”将不是束缚之地，而是自由之地；不是折磨感官，而是取悦感官。 Therefore, I will gather noble ladies of like mind. My Convent of Pleasure shall be not a place of restraint, but of liberty; not to mortify the senses, but to delight them. （她的愿景满溢而出，化为歌唱，语调转为狂喜而感官的宣告。） (Her vision overflows into song, her tone turning ecstatic and sensual.) 【歌】 [Song] 让感官尽享每一分欢愉， 愿此生满溢着欣喜。 心神在极乐中徜徉， 远避那琐碎与忧伤。 Let every sense take its full delight, And let our lives be filled with joy; Let minds in perfect pleasure move, Far from all petty cares and grief. 大地与深海是我们的粮官， 为我们搜罗山珍与海产； 麦田金黄，鲜果低垂， 丰裕之角献上无尽的盛筵。 The earth and sea our stewards are, They bring us treasures from field and wave; Golden corn and bending fruit, And plenty’s horn pours endless feasts. 我们将身着最柔软的丝绸， 亚麻细密，洁白如乳。 画作斑斓愉悦双眼， 馥郁芬芳萦绕鼻尖。 We shall wear the softest silks, Fine linen white as milk; Paintings shall delight our eyes, Sweet perfumes please the sense of smell. 乐音悠扬，如梦如幻， 珍馐美馔，唇齿流连。 变化将滋养每一种感官， 并在其中催生新的渴盼。 Music shall charm the listening ear, Rich meats delight the taste; Variety shall feed each sense, And still beget new appetite. 在这“快活庵”中，我 将与欢愉同在，至死方休。 And in this Convent of Pleasure, I shall live with delight until death. （海皮小姐退场，容光焕发。调解夫人和仆人留在原地，目瞪口呆。） (Exit Lady Happy, radiant. The Mediatrix and the Servant remain, astonished.)
第一幕 · 第三场 ACT I · SCENE III （场景：街道或公共场所。寻欢先生上场，他是一个纨绔子弟般的追求者，正对着镜子顾影自怜。他的仆人迪克在一旁冷眼观察。） (Scene: A street or public place. Enter Monsieur Seek-Pleasure, a foppish suitor, admiring himself in a mirror. His servant Dick stands aside, observing with dry contempt.) 寻欢先生 怎么样，迪克？我看上去够格吗？ MONSIEUR SEEK-PLEASURE Well, Dick? Do I look fit for the task? 迪克 老爷，您看上去简直像只掉进绸缎庄的孔雀。您这身派头，全凭羽毛、缎带和那些赊来的账单堆砌而成。 DICK Sir, you look like a peacock fallen into a silk shop. Your grandeur is built entirely of feathers, ribbons, and unpaid bills. 寻欢先生 你觉得我能赢得海皮小姐的芳心吗？ MONSIEUR SEEK-PLEASURE Do you think I might win Lady Happy’s heart? 迪克 如果她还想保留那个“海皮”（快乐）的名号，那肯定赢不了。 DICK If she means to keep the name “Happy,” then no, sir. 寻欢先生 为什么？ MONSIEUR SEEK-PLEASURE Why not? 迪克 因为她要是嫁给您，就成了“寻欢夫人”。妻子得随夫姓，她得放弃自己的姓氏和快乐。 DICK Because if she married you, she would become Madam Seek-Pleasure. A wife must take her husband’s name — and she would lose both her own name and her happiness. 寻欢先生 说真的，迪克，我要是有了她的财富，我就真的快乐了。 MONSIEUR SEEK-PLEASURE In truth, Dick, if I had her fortune, I should be truly happy. 迪克 那得看您怎么花。不过凭良心说，您有了她的钱，会比她有了您，要快活得多。 DICK That depends how you spent it. But honestly, sir, you would be far happier with her money than she would be with you. 寻欢先生 你为什么这么说？ MONSIEUR SEEK-PLEASURE Why do you say so? 迪克 因为女人在婚姻中从未真正快乐过。 DICK Because women have never truly been happy in marriage. 寻欢先生 你错了。女人在结婚前才是痛苦的。 MONSIEUR SEEK-PLEASURE You are mistaken. Women suffer most before they are married. 迪克 真相是，老爷，女人们在婚前和婚后的想法里都得不到快乐。婚前，她们以为自己痛苦是因为缺少一个丈夫；婚后，她们才发现自己痛苦是因为有了一个丈夫。 DICK The truth is, sir, women find no happiness either before or after marriage. Before, they think they suffer for want of a husband; after, they discover they suffer because they have one. 寻欢先生 也许当妻子的会这样吧，并非所有女人都如此。 MONSIEUR SEEK-PLEASURE That may be true of wives — but not of all women. （另外两位追求者上场：易劝先生和谋士先生。他们同样为了求爱而过度打扮，显得滑稽可笑。） (Enter two more suitors, Monsieur Persuasion and Monsieur Counsel, equally over-adorned and ridiculous.) 寻欢先生（续） 先生们！我看你们也为这场“狩猎”披挂整齐了。 MONSIEUR SEEK-PLEASURE Gentlemen! I see you are well armed for the hunt. 易劝先生 正是。我们已准备好成为职业求爱者。但谁引荐我们去见那位小姐呢？ MONSIEUR PERSUASION Indeed. We are prepared to make court our profession. But who shall introduce us to the lady? 谋士先生 我们只好厚着脸皮，自我引荐了。 MONSIEUR COUNSEL We must recommend ourselves. 寻欢先生 我可不会拿我的希望去换一笔微薄的财富。 MONSIEUR SEEK-PLEASURE I would not exchange my hopes for a small fortune. 易劝先生 我也是。 MONSIEUR PERSUASION Nor I. 谋士先生 说实话，我们现在都塞满了希望，就像枕头塞满了羽毛。 MONSIEUR COUNSEL In truth, we are stuffed with hope, like pillows full of feathers. （考特利先生慌慌张张地上场。） (Enter Monsieur Courtly, in haste.) 考特利先生 先生们！我们完了。彻底完蛋了！ MONSIEUR COURTLY Gentlemen! We are undone — utterly undone! 谋士先生 什么？出了什么事？ MONSIEUR COUNSEL What? What has happened? 考特利先生 海皮小姐！她……把自己关进修道院了。还带了另外二十位女士一起。 MONSIEUR COURTLY Lady Happy! She has shut herself up in a convent — with twenty other ladies. 谋士先生 真是见了鬼了！ MONSIEUR COUNSEL The devil take it! 易劝先生 上帝不容啊！ MONSIEUR PERSUASION God forbid! 考特利先生 究竟是魔鬼还是上帝说服了她，我说不清。但她已经进去了。木已成舟。 MONSIEUR COURTLY Whether it was the Devil or God that persuaded her, I cannot say — but she is in, and there is no remedy. 寻欢先生 这大概只是一时虔诚的热病。会退烧的。这种事常有。 MONSIEUR SEEK-PLEASURE It is but a sudden fit of devotion. It will pass. Such things often do. （调解夫人上场，面露倦容。） (Enter the Mediatrix, weary.) 寻欢先生 调解夫人！我们完了！海皮小姐把自己锁起来了！ MONSIEUR SEEK-PLEASURE L’Mediatrix! We are undone! Lady Happy has locked herself away! 调解夫人 是的，先生们。真是可惜。 THE MEDIATRIX Yes, gentlemen. It is much to be lamented. 谋士先生 难道没希望了吗？ MONSIEUR COUNSEL Is there no hope? 调解夫人 坦白说，希望渺茫。 THE MEDIATRIX In plain terms, very little. 易劝先生 我们必须收买神职人员！让他们劝她出来——为了国家的利益！ MONSIEUR PERSUASION We must bribe the clergy to persuade her out — for the good of the state! 调解夫人 唉，先生们！神职人员在这儿没用。她不是上帝的虔信者，她是自然的虔信者。 THE MEDIATRIX Alas, gentlemen, the clergy have no power here. She is not a devotee of God, but of Nature. 考特利先生 既然她是自然的虔信者，那您就该当女院长！这样您就能用您的权威，让我们……时不时地去拜访拜访您的修女们。 MONSIEUR COURTLY If she serves Nature, then you should be abbess! Then you could use your authority to allow us — from time to time — to visit your nuns. 调解夫人 只能隔着栅栏！除非她们在修房子或者生病了。不过话说回来，海皮小姐自己就是院长。她不允许任何男性进入，连栅栏都不设一道。她压根不打算安装。 她有女医师、女外科医生、女药剂师。她自己就是首席忏悔师，随意发放赎罪券和赦免。她的宅邸——那个“快活庵”——宏伟壮观，坚固如堡垒，根本不需要任何修缮。 她围墙内的园地……大得足以容纳花园、果园、步道、小树林、凉亭、池塘、喷泉……还有足够的土地自给自足。每一个职位都由女性担任。她身边虽然只有二十位女士，但她有一支由女仆组成的军队。她根本用不着男人。 THE MEDIATRIX Only through a grate — and only if they were building or ill. But in truth, Lady Happy herself is abbess. She allows no men entry, nor even a grate. She has no intention of installing one. She has women physicians, women surgeons, women apothecaries. She herself is chief confessor, granting penance and absolution at will. Her house — the Convent of Pleasure — is magnificent, strong as a fortress, needing no repair. Within her walls lie gardens, orchards, walks, groves, arbours, ponds, and fountains — with land enough to sustain them all. Every office is held by women. Though she has but twenty ladies, she commands an army of women servants. She has no need of men. 寻欢先生 如果有这么多女人，那才更需要男人呢！等等，让我搞清楚。您说她是自然的虔信者。如果她侍奉自然，那她就必须是……男人的情妇。这才是自然之道。 MONSIEUR SEEK-PLEASURE If there are so many women, then surely men are needed all the more! But stay — you say she serves Nature. If she serves Nature, then she must be… a man’s mistress. That is Nature’s way. 调解夫人 恕我直言，先生。她宣称自己退隐，正是为了避开男人，以便享受自然提供的各种欢愉。她说男人是阻碍者。他们带来的不是快乐，而是痛苦；不是幸福，而是悲惨。为此，她已永久放逐了男性的陪伴。 THE MEDIATRIX With respect, sir, she declares that her retreat is precisely to avoid men, so that she may enjoy the pleasures Nature offers. She says men are impediments: they bring not happiness, but pain; not felicity, but misery. Therefore, she has banished the company of men forever. 谋士先生 这都是异端邪说！绝不容忍！她的学说必须被谴责！她应当受到男性议会的审讯和惩罚——要么给她配一个严厉的丈夫，要么用一个放荡的丈夫来折磨她！ MONSIEUR COUNSEL This is heresy — intolerable! Her doctrine must be condemned! She must be tried and punished by a council of men — either given a severe husband, or tormented with a lewd one! 调解夫人 先生们，最好的办法是正式提出申诉。向国家请愿，要求纠正。 THE MEDIATRIX Gentlemen, the best course is to make a formal complaint. Petition the state for redress. 考特利先生 好主意。 MONSIEUR COURTLY A sound plan. 易劝先生 我们这就照办。马上去起草请愿书！ MONSIEUR PERSUASION We shall do so at once. To the petition! （他们全部退场。留下一片愤慨的丝绸与受伤的自尊。） (Exeunt all, leaving behind a litter of offended silk and wounded pride.)
第二幕 · 第三场 ACT II · SCENE III （场景：一间客厅，位于庵堂之外。两位女士上场：钟情夫人和贞洁夫人。） (Scene: A lodging-room outside the Convent. Enter two Ladies: Madam Amorous and The Chaste Governess.) 钟情夫人 亲爱的，你近来可好……自从婚礼之后？ MADAM AMOROUS My dear, how do you fare of late… since your marriage? 贞洁夫人 （带着礼貌、熟练且轻松的口吻） 很好，谢谢你。 THE CHASTE GOVERNESS (With practiced ease and courtesy) Very well, I thank you. 钟情夫人 （发出一声真心实意的叹息） 我却没有自己预想的那样好。 MADAM AMOROUS (With a sincere sigh) I cannot say the same. （调解夫人上场，带着她那一贯的热切与忙碌劲儿。） (Enter the Mediatrix, bustling as ever.) 调解夫人 女士们！你们听说那个大新闻了吗？ THE MEDIATRIX Ladies! Have you heard the great news? 贞洁夫人 什么新闻？ THE CHASTE GOVERNESS What news? 调解夫人 一位尊贵的外国公主驾临了！她听说了关于“快活庵”的种种传闻，特意赶来加入她们，也要成为一名“自然的虔信者”。 THE MEDIATRIX A noble foreign Princess has arrived! She has heard of the Convent of Pleasure and has come expressly to join them — to become, as they say, a devotee of Nature. 钟情夫人 她是怎样一个人？ MADAM AMOROUS What manner of woman is she? 调解夫人 这无可置疑：她极具王者风范，且勇敢不凡。她身上有一种……非常阳刚的气概。 THE MEDIATRIX Without question, she is princely and bold. There is about her a certain… masculine spirit. 贞洁夫人 请如实告诉我，调解夫人——她们的生活真的像您说的那样快乐吗？ 她们愿意接纳您这样一位寡妇，却不接纳我们……仅仅因为我们是别人的妻子。 THE CHASTE GOVERNESS Tell me honestly, Mediatrix — are their lives truly as happy as you describe? They admit a widow such as yourself, yet refuse us… merely because we are wives. 调解夫人 她们所享有的快乐，恐怕比这庵堂出现之前的自然界所能知晓的还要多。 就我个人而言，我宁愿做那里的一个居民，也不愿做全世界的女皇。 那里的每一位女士都像绝对的君主一样享有快乐——却不必背负王权的烦忧与操劳。 秘诀就在于：除非过着这种远离尘世烦恼的退隐生活，否则无人能真正领略这种欢愉。 THE MEDIATRIX The pleasures they enjoy are greater, I believe, than Nature herself ever knew before that place existed. For my own part, I would rather be one inhabitant there than Empress of the whole world. Each lady lives in absolute pleasure like a sovereign — yet without the cares and labours of rule. The secret is this: unless one lives in such a retreat, free from worldly vexations, one can never truly know such pleasure. 贞洁夫人 我多希望能亲眼看看，好了解真相。她们究竟能拥有什么样的欢愉呢？ THE CHASTE GOVERNESS I long to see it with my own eyes, to know the truth. What kind of pleasures can they truly possess? 调解夫人 即使你住在那里，恐怕也无法在短时间内学完她们所有的乐趣。 那里的生活丰富多样，需要用一生去领会。 她们的活动永远在变——欢愉随季节流转。 在季节的交替与每个季节内部的无穷变化中…… 仅仅是学习这套生活的“艺术”，就得耗费一辈子的时间。 THE MEDIATRIX Even if you lived there, you could not learn all their pleasures in a short time. Their life is so full and various that it requires a lifetime to understand. Their occupations are ever changing — pleasures shift with the seasons. In the turning of the year, and the endless variety within each season… to learn the very art of living there would take one’s whole life. 贞洁夫人 （带着一种安静而克制的渴望） 我真的非常想亲眼看看……那究竟是何等的光景。 THE CHASTE GOVERNESS (With quiet longing) I greatly desire to see it… to know what manner of place it is. 调解夫人 这个嘛，或许你可以如愿。 THE MEDIATRIX Well then… perhaps you may. （她们退场。贞洁夫人陷入沉思，钟情夫人郁郁不乐，而调解夫人则露出一副心知肚明的神情。） (Exeunt. The Chaste Governess thoughtful, Madam Amorous discontented, the Mediatrix knowingly pleased.)
第二幕 · 第四场 ACT II · SCENE IV （场景：庵堂高墙外的街道或酒馆门前。四位追求者聚在一起，正借酒发泄他们的挫败与怨恨。） (Scene: A street or tavern-door outside the high walls of the Convent. Enter four Suitors, drinking and venting their frustration.) 考特利先生 那么，难道真的就没点办法，把那些女士从她们的小天堂里弄出来了？ SIR COURTLY Is there truly no way to draw those ladies out of their little paradise? 谋士先生 没办法。除非我们放一把火，把那地方烧个精光。 MR. STRATEGIST None — unless we set the place on fire and burn it to the ground. 寻欢先生 老天在上，就这么干！咱们每人拿个火把！ SIR PLEASURE By heaven, let us do it! A torch for every man! 考特利先生 对，就像熏蜜蜂一样，把她们全都熏出来。 SIR COURTLY Yes — smoke them out like bees from a hive. 易劝先生 现在就去！ MR. PERSUASION At once! 谋士先生 等等。现在里面可住着一位外国公主。 MR. STRATEGIST Hold — there is now a foreign Princess lodged within. 寻欢先生 没错。但等她一走，我们就动手。一定。 SIR PLEASURE True. But once she departs, we strike — without fail. 谋士先生 然后呢？因为纵火罪被送上绞刑架吗？ MR. STRATEGIST And then? We swing for arson? 寻欢先生 那可算不上恶行！我们这是在“为自然效劳”。 SIR PLEASURE That would be no crime! We act in service of Nature. 谋士先生 哦，就像我们“为自然效劳”搞大侍女的肚子那样？即便如此，民法照样会惩罚我们。 MR. STRATEGIST Ah — as when we “serve Nature” by getting maids with child? Even then, civil law punishes us. 考特利先生 惩罚情人的法律是不文明的！ SIR COURTLY Laws that punish lovers are uncivil! 谋士先生 惩罚私通者的法律才是文明的。 MR. STRATEGIST Laws that punish adultery are civilization. 考特利先生 把爱情说成私通，那是野蛮！ SIR COURTLY To call love adultery is barbarous! 谋士先生 不，把私通叫作爱情，那才是真正的野蛮！ MR. STRATEGIST No — to call adultery love is the true barbarism! 易劝先生 够了！管它爱情还是私通！她们就是群蠢女人，成天用她们那种……所谓的“退隐”来烦我们。 MR. PERSUASION Enough! Love or adultery — what care I! They are but foolish women, forever vexing us with their so‑called “retirement.” 谋士先生 你们知道吗，先生们，尽管我们在这儿抱怨…… 如果我有海皮小姐那样的财富，我也会建一座自己的庵堂。 我敢打赌，你们所有人都会争先恐后地，按同样的条件把自己关进来陪我。 MR. STRATEGIST You know, gentlemen — for all our complaints — were I possessed of Lady Happy’s fortune, I would build myself a convent too. And I warrant you would all rush to shut yourselves in with me on the same terms. 寻欢先生 除非你的庵堂里也藏着女人。 SIR PLEASURE Not unless your convent housed women as well. 谋士先生 啊，但是不！既然女人可以放弃男人的欢愉， 我们男人也大可以放弃女人的麻烦。 MR. STRATEGIST Ah, but no! If women may renounce the pleasures of men, men may likewise renounce the troubles of women. 考特利先生 难道墙上就没个裂缝？没个能偷窥的孔？ SIR COURTLY Is there no crack in the wall? No peeping-hole? 谋士先生 没有。没有栅栏窗，只有实打实的砖石，足有一码厚。 MR. STRATEGIST None. No grated windows — only solid brick, a full yard thick. 易劝先生 那我们就撬掉一块砖！挖开一块石头！ MR. PERSUASION Then pry out a brick! Dig through the stone! 谋士先生 不可能。 MR. STRATEGIST Impossible. 易劝先生 有志者事竟成！ MR. PERSUASION Where there’s a will, there’s a way! 谋士先生 我的心当然有志向，但我的理智告诉我这是徒劳。我绝不白费力气。 MR. STRATEGIST My heart may will it, but my reason tells me it is vain. I will not squander my labour. 寻欢先生 我有主意了！我们扮成女人。乔装改扮，混进去！ SIR PLEASURE I have it! We’ll disguise ourselves as women — dress and slip inside! 谋士先生 我们一进去就会被识破。 MR. STRATEGIST We should be discovered the moment we enter. 寻欢先生 被谁？ SIR PLEASURE By whom? 谋士先生 被我们自己。看看我们的举止，听听我们的声音！ 我们穿上裙子行屈膝礼的样子， 准会像贵妇人穿上马裤鞠躬一样笨拙。 把嗓子提到女高音？那比让她们降到男低音还难。 我们永远也学不会那种娇羞做作的神态， 还有那种漂亮的假笑。 MR. STRATEGIST By ourselves. Look at our gestures — listen to our voices! We would curtsey in petticoats as awkwardly as a fine lady would bow in breeches. To raise our voices to treble? Harder than forcing them to bass. We shall never master that coy affectation, nor those graceful counterfeit smiles. 考特利先生 那我们可以扮成强壮、粗野的乡下丫头！ 就说是来找活干的！厨娘、洗衣女工、挤奶女工…… SIR COURTLY Then let us be stout, coarse country wenches! Come seeking work — cooks, laundresses, milkmaids— 易劝先生 说真的，我觉得我能当个还凑合的厨子。 但洗衣？挤奶？ 我既不会挤奶，也不会给领子上浆…… 不过，洗女士们的那些贴身衣物， 我倒是愿意对付。 MR. PERSUASION In truth, I think I might make a passable cook. But washing? Milking? I can neither milk nor starch collars — yet washing the ladies’ linen… that I would willingly undertake. 寻欢先生 她们什么差事都起用女人！ 园艺、酿酒、烘焙，她们甚至还自己养猪！ 这类活计少说也有二十种，我们正合适。 SIR PLEASURE They employ women for every task — gardening, brewing, baking — they even keep their own swine! There must be twenty such employments, and we fit them well. 易劝先生 哦，养猪肯定得是男人的活。 记得《浪子回头》吧？那是男人干的。 MR. PERSUASION Swineherding must be men’s work. Remember the Prodigal Son — that was a man. 谋士先生 以我们挥霍的本事来看，我们确实都够格当猪倌。 MR. STRATEGIST Given our habits of waste, we are all fit to tend swine. 考特利先生 我们还能干园艺！挖土、栽种、播种！ SIR COURTLY We can garden too — dig, plant, sow! 寻欢先生 而且我们非常擅长酿酒！ SIR PLEASURE And we are excellent brewers! 谋士先生 我们更擅长喝酒。 我能喝光啤酒，却酿不出一滴能入口的。 MR. STRATEGIST We are better drinkers. I can drain ale, but never brew a swallowable drop. 易劝先生 得了吧！总会有办法的！ 只要能进去，我们愿意学，愿意勤快！ 她们一定会对我们满意的！ 走！付诸行动！ MR. PERSUASION Come, come! We’ll find a way! Once inside, we’ll learn, we’ll labour! They must be pleased with us! Come — let us act! 考特利先生 对！同意！ SIR COURTLY Aye! Agreed! 谋士先生 （长长一叹） 不。不，看在上帝的份上。别自找麻烦。 这一切都是徒劳。 MR. STRATEGIST (With a long weary sigh) No. No — for God’s sake, seek no more trouble. All this is in vain. （他们灰溜溜地退场，那些宏大的计划还没开始就已经泄了气。） (Exeunt, their grand schemes deflated before they begin.)
第三幕 · 第一场 ACT III · SCENE I （场景：庵堂内的大厅。公主——仪态威严、中性且充满魅力——正与海皮小姐并肩而立。其他女士簇拥在她们周围，形成一个专注而优雅的圆圈。） (Scene: The hall of the Convent. The Princess — stately, androgynous, and captivating — stands beside Lady Happy. Other ladies form a focused and elegant circle around them.) 海皮小姐 殿下，您真是让我受宠若惊。您竟愿意离开那个辉煌的大千世界，来到我们这简陋退隐的庵堂。 LADY HAPPY Your Highness, you honor me beyond measure. To leave the splendor of the world and come to our modest retreat is astonishing. 公主 亲爱的海皮小姐，历史上从不乏放弃王冠与权力、转而选择清苦生活的人。 那么，若能离开充满烦忧的宫廷，来到这样一座“欢愉乐园”，岂不是更明智的选择？ 但我能在此获得的最大快乐……莫过于您的友谊。 PRINCESS Dear Lady Happy, history is full of those who renounced crowns and power for a life of simplicity. And if one may leave a court so full of cares for such a Convent of Pleasure, is it not the wiser choice? Yet the greatest joy I find here… is your friendship. 海皮小姐 若不愿与您为友，我便是忘恩负义；我愿做您谦卑的仆人。 LADY HAPPY Were I not to be your friend, I would be ungrateful; I am ready to be your humble servant. 公主 不。我渴望您做我的女主人，而由我来做您的仆人。 基于这份友谊的约定……我有一个请求。 PRINCESS No. I desire you as my mistress, and I shall be your servant. And upon the covenant of this friendship… I have a request. 海皮小姐 凡是我力所能及的，无不从命。 LADY HAPPY Whatever lies within my power shall be yours. 公主 我观察到，在您的娱乐活动中……您的一些女士会身着男装，扮演恋人的角色。 我恳求您，允许我也能这般装扮……并由我来扮演您那位最忠实的仆人。 PRINCESS I have observed that, in your diversions, some ladies dress as men to play the lover. I beseech you, allow me likewise to assume such guise… and to act as your most devoted servant. 海皮小姐 （停顿片刻。一种轻柔而深刻的领悟掠过她的脸庞） 我将永不再渴望任何其他的忠实仆人……唯有您。 LADY HAPPY (Pausing — a soft and profound realization crossing her face) I shall never desire any other loyal servant… but you. 公主 （深情地凝视着她） 我也永不再渴望任何其他的女主人……唯有您。 PRINCESS (Gazing deeply at her) Nor shall I ever desire any other mistress… but you. （一阵充满张力的静默。随后，她们的情感溢出了散文的边界，化为正式的诗行，仿佛这情感需要一种更严整、更神圣的语言来承载。） (A silence charged with tension. Then their feelings spill beyond prose into formal verse, as if requiring a more disciplined, sacred language.) 海皮小姐 世间再无更纯洁的爱侣， 胜过我这位尊贵的爱人……即便她本是女儿身。 LADY HAPPY No love on earth is purer than this esteemed lover of mine… Even though she is of a woman’s form. 公主 也从未有庵堂能给予这般欢愉， 能让爱人与她的女主人朝夕同居。 PRINCESS Nor has any convent ever offered such pleasure, That lover and mistress dwell together day by day. （一位女士上场，行屈膝礼，轻轻打破了这一瞬间的魔咒。） (Enter a Lady, curtseying, gently breaking the spell of the moment.) 女士 殿下，戏剧已经准备就绪，恭请您移步赏光。 LADY Your Highness, the play is prepared; we humbly invite you to witness it.
第三幕 · 第二场 ACT III · SCENE II — THE MASQUE （场景：庵堂大厅。内设一舞台，灯光聚焦。海皮小姐与公主并坐于荣誉席，众女士围坐。） (Scene: The hall of the Convent. A stage is set, lights focused. Lady Happy and the Princess sit in the place of honor, surrounded by the other ladies.) （莫尔·卡特普斯上场，身着男装，腰挎短剑，神态不羁。她向台下致辞。） (Enter Moll Cutpurse, dressed in men’s clothing, short sword at her waist, audacious demeanor. She addresses the audience.) 莫尔·卡特普斯（开场白） 尊贵的看官们！今晚诸位将看到一出戏。它或许乏味——但好在短小。既然我们的机智无法取悦诸位的耳朵，至少不会让诸位的屁股坐得生疼。 MOLL CUTPURSE (Prologue) Honored spectators! Tonight you shall witness a play. It may be dull — yet at least it is brief. And if our wit cannot delight your ears, it shall not make your behinds sore. （莫尔退场。内舞台灯光转换，一连串关于婚姻与世俗生活的讽刺悲剧快速上演。） (Moll exits. Stage lights change, and a rapid sequence of satirical tragedies about marriage and worldly life is performed.) 第一场：贫贱夫妻 SCENE I: THE POOR COUPLE 妇女甲 邻居！你上哪儿去了？ WOMAN I Neighbor! Where have you been? 妇女乙 刚去安慰鞋匠老婆。她男人跟补锅匠的情人跑了。 WOMAN II Just to comfort the shoemaker’s wife. Her husband ran off with the tinker’s mistress. 妇女甲 我倒求上帝让我男人也跑了算了！他成天泡酒馆，回家就揍得我青一块紫一块，孩子们还在挨饿。 WOMAN I I pray God my husband would do the same! He drinks all day, beats me black and blue, and leaves the children starving. 妇女乙 谁说不是呢？我男人不仅花光工钱，连我辛苦挣的血汗钱也拿去灌黄汤。 WOMAN II Indeed! My man squanders not only his wages but even the hard-earned money I sweat for. 第二场：苦涩的果实 SCENE II: BITTER FRUIT 小姐 哦，我觉得恶心…… YOUNG LADY Oh, I feel sick… 家庭教师 纠正一下，小姐：您这是“有喜”了。 TUTOR Correction, Miss — you are with child. 小姐 自从他……把那东西放进来，哪怕只有那一瞬间……我就再没一刻舒坦过！ YOUNG LADY Since he… inserted that thing, even for a moment… I have known no comfort! 第三场：贵妇的哀歌 SCENE III: THE NOBLEWOMAN’S LAMENT 贵妇甲 你哭什么？ LADY I Why do you cry? 贵妇乙 我丈夫在赌桌上把家产输了个精光。 LADY II My husband lost the entire estate at cards. 贵妇甲 我家那位倒是不赌，他把钱全砸在妓女身上了，还把她们领进家门，俨然成了女主人。 LADY I Mine does not gamble; he throws all the money on prostitutes and admits them into the house as if they were mistresses. 贵妇乙 倘若所有妻子都这般不幸，婚姻便是一桩诅咒。 LADY II If all wives suffer so, marriage is surely a curse. 第四场：丧子之痛 SCENE IV: THE LOSS OF A CHILD （一名披头散发的夫人狂奔过场） (A disheveled Lady runs across the stage.) 夫人 我的孩子死了！谁能有耐心失去唯一的孩子？！我要疯了！ LADY My child is dead! Who could bear the loss of an only child?! I shall go mad! 第五场：酒馆里的沦陷 SCENE V: TAVERN’S COLLAPSE 市民妻 先生们，我那疏忽职守的丈夫在这儿吗？听说他跟个“支撑者”跑了？ CITIZEN’S WIFE Gentlemen, is my negligent husband here? I hear he ran off with some “protector”? 绅士 是个女招待。来吧，夫人，别气了，喝杯酒消消愁。 GENTLEMAN A barmaid, madam. Come, drink and ease your grief. 市民妻 （犹豫后坐下）好吧……美酒或许能安抚我这火辣辣的肝火。 CITIZEN’S WIFE (After hesitation, sits) Very well… perhaps a drink will soothe my fiery temper. 第六场：产床即坟墓 SCENE VI: THE BED OF BIRTH IS A GRAVE 贵妇 哦！我的腰要断了！解脱我吧！ NOBLEWOMAN Oh! My back shall break! Deliver me! 产婆 （慌乱）真正的产婆在另一家，那家夫人生了个死胎，已经熬了三天，快没命了！ FALSE MIDWIFE (Flustered) The real midwife is elsewhere — that woman has labored a dead child three days, nearly at death’s door! 第七场：晚年的灾祸 SCENE VII: MISFORTUNE IN OLD AGE 老妇甲 我千辛万苦养大的儿子，如今要因为杀人被绞死了。 OLD WOMAN I My son, whom I raised with toil, shall be hanged for murder. 老妇乙 我大女儿未婚先孕，小女儿跟管家私奔了。 OLD WOMAN II My eldest daughter bears a child out of wedlock; the youngest elopes with the steward. 老妇甲 既然如此，谁还想要孩子呢？ OLD WOMAN I In that case, who would want children? 第八场：最后的决绝 SCENE VIII: FINAL RESOLVE 绅士 爵爷说他离了你就活不下去。 GENTLEMAN The gentleman says he cannot live without divorcing you. 淑女 他可以活下去，只要别跟我同床。 LADY He may live, so long as he shares no bed with me. 绅士 他会为了你离婚。 GENTLEMAN He shall divorce for your sake. 淑女 我绝不拆散他人家庭。告诉他，我明天给答复。 （绅士退场后）我必须在毁灭前逃离，今晚我就去女修道院，把这邪恶的世界抛在脑后。 LADY I will not break another’s household. Tell him I shall answer tomorrow. (After the Gentleman exits) I must flee before ruin — tonight I go to the Convent, leaving this wicked world behind. （内舞台灯光暗下。莫尔·卡特普斯重新上场。） (Stage lights dim. Moll Cutpurse returns.) 莫尔·卡特普斯（收场白） 婚姻是桩诅咒，我们已看清， 尤其对女人，苦海难前行。 从鞋匠之妻，到贵妇名媛， 剥开那画皮，无一不悲惨。 MOLL CUTPURSE (Epilogue) Marriage is a curse, as we have seen, Especially for women, a bitter sea indeed. From the shoemaker’s wife to the noble lady, Beneath the painted veneer, none are happy. （假面剧结束。灯光亮起，照在海皮小姐和公主身上。） (The Masque ends. Lights shine upon Lady Happy and the Princess.) 海皮小姐 （轻声地，带着几分试探） 那么，我的“仆人”……你觉得我们的戏演得如何？ LADY HAPPY (Softly, tentatively) So, my “servant”… how do you think our play fared? 公主 我甜蜜的女主人……凭良心说，我无法完全赞同。 因为尽管有人在婚姻中不幸，却也有人幸福得不愿交换。 PRINCESS My sweet mistress… in truth, I cannot wholly agree. For though some suffer in marriage, others are so happy they would not trade places. 海皮小姐 哦，仆人。我担心你正在变成一个“叛教者”。 LADY HAPPY Ah, my servant. I fear you are becoming a “turncoat.” 公主 （眼神深邃）对这庵堂或许会，但对您，我永不叛教。 PRINCESS (Eyes deep with feeling) Perhaps to this Convent, yes — but to you, I shall never be an apostate. （她们一同退场。戏中戏的悲凉与现实中的暧昧在空气中交织。） (They exit together. The Masque’s sorrow and the play’s real-world intimacy mingle in the air.)
第三幕 · 第十一场（间奏） Act III · Scene XI (Interlude) （场景：庵堂外的街道。第一幕中的那三位绅士再次聚首，神色比此前更加严峻。） (Scene: Outside the Convent, on the street. The Three Gentlemen from Act I gather again, looking more grave than before.) 绅士甲 这么说，难道真的就没希望解散这个……所谓的“快活庵”了？ GENTLEMAN I So, then, is there truly no hope of dissolving this… so-called “Convent of Pleasure”? 绅士乙（汤姆） 我看不到任何希望。 GENTLEMAN II (Tom) I see no hope at all. 绅士丙 我们现在完全可以确信，它永远不会解散了。 现在那地方得到了一位尊贵公主的加持，甚至因她的加入而声名远扬。 我真正害怕的是：要是每一个富有的女继承人都开始效仿，去办什么自己的庵堂怎么办？ 要是所有的年轻佳丽都开始成群结队地加入她们，那又该怎么办？ GENTLEMAN III We can now be certain: it shall never be dissolved. The place has been blessed by a noble princess, its fame spread by her presence. What truly terrifies me is this: if every wealthy heiress begins to follow suit, founding her own Convent, what then? If all young beauties flock to join them, what will become of us? 绅士甲 你说得极有道理，真是令人不安。 看来，我们必须赶快努力娶到妻子了……趁她们还没被那些庵堂全部“收割”走之前。 GENTLEMAN I You speak truly, it is most alarming. It seems we must hasten to secure wives… before these Convents sweep them all away. （他们匆匆退场，步伐中带着一种前所未有的、恐慌的紧迫感。） (They exit hurriedly, their steps carrying an unprecedented sense of panic and urgency.)
第四幕 · 第一场 ACT IV · SCENE I （场景：庵堂内，一处幽僻的花园。海皮小姐作牧羊女打扮上场，神情带着淡淡的忧郁。） (Scene: A secluded garden within the Convent. Lady Happy enters dressed as a Shepherdess, a faint melancholy upon her face.) 海皮小姐 我的名字本是“海皮”（快乐），我的境遇也曾名副其实……直到我遇见了这位公主。 如今，我恐怕要成为这世上最不快乐的少女了。 （她停下脚步，陷入激烈的自省） 但是为何？为何我不能以同样的情意、同样的激情去爱一个女人，就像我可以爱一个男人那样？ LADY HAPPY My name was once “Happy,” and my fortunes matched it… until I met this Princess. Now, I fear I may be the unhappiest maiden in the world. (Pauses, lost in fierce introspection) But why? Why cannot I love a woman with the same feeling, the same passion, as I can love a man? [唱] 不，不，自然便是自然， 千万载永恒如斯； 她亘古不变， 自万物肇始。 [SONG] No, no — nature is nature, Everlasting through endless ages; Immutable, eternal, Since the very birth of all things. （公主上场，身着华丽的男性牧羊人服装，英气逼人，宛如田园诗中走出的化身。） (Enter the Princess, dressed as a magnificent male Shepherd, noble and commanding, as if stepping from a pastoral poem.) 公主 我最亲爱的女主人，您是在刻意回避我的陪伴吗？ 难道您的仆人已成了您眼中的冒犯？ PRINCESS My dearest mistress, are you deliberately avoiding my company? Has your servant become, in your eyes, an offense? 海皮小姐 不，仆人！你的存在于我而言，比自然女神本身的降临更令我心悦。 正因如此……我担心女神会惩罚我。 因为我爱你，已超过了礼法所容许的程度。 LADY HAPPY No, my servant! Your presence delights me more than the coming of Nature herself. And yet… I fear the Goddess may punish me, For I love you beyond what decorum allows. 公主 情人之间，难道爱也会“过量”吗？ PRINCESS Among lovers, can love ever be “too much”? 海皮小姐 会的，若他们爱得不合时宜。 LADY HAPPY It can, if the love is ill-timed. 公主 可世间还有哪种爱，能比我们的爱更贞洁、更天真、更无害？ PRINCESS Yet what love in the world could be more chaste, more innocent, more harmless than ours? 海皮小姐 我希望如此。 LADY HAPPY I hope it is so. 公主 那么，就让我们像那些无害的恋人一样，尽情取悦彼此吧。 PRINCESS Then let us, like harmless lovers, delight each other fully. 海皮小姐 无害的恋人们是如何取悦彼此的？ LADY HAPPY How do harmless lovers delight each other? 公主 很简单。通过倾心的交谈，通过……拥抱与亲吻，让灵魂交融。 PRINCESS Simply. Through heartfelt conversation, through… embraces and kisses, letting our souls mingle. 海皮小姐 但天真的恋人是不接吻的。 LADY HAPPY But innocent lovers do not kiss. 公主 在我们女人之间，亲吻是最寻常不过的举动。 不，如果友谊中的亲吻也是罪……那就让我们证明自己是“堕落”的吧。 PRINCESS Among us women, kisses are the most ordinary of acts. No — and if even friendship’s kiss is sin… then let us prove ourselves “fallen.” （她们紧紧拥抱，彼此相拥，交换了一个温柔、热烈且漫长的吻。） (They embrace tightly, sharing a tender, ardent, and lingering kiss.) 公主 （在海皮小姐耳边低语） 我的这些拥抱，虽属女儿之身，其炽热却绝不亚于任何阳刚之心。 PRINCESS (Whispers in Lady Happy’s ear) Though these embraces are of a daughter’s form, their ardor rivals any masculine heart. （背景转换：展现出一片点缀着羊群和五月柱的青翠原野。她们进入了“戏中戏”的田园角色。另一位牧羊人上场，向海皮小姐求爱。） (The backdrop transforms: a verdant meadow with sheep and maypoles. They enter a pastoral “play-within-a-play.” Another Shepherd enters, wooing Lady Happy.) 另一位牧羊人 [唱] 美丽的牧羊女，莫拒我所求，莫让我为爱消瘦！ 怜悯我的羊群，救救牧羊人的命，做我的妻，共度此生。 ANOTHER SHEPHERD [Song] Fair Shepherdess, deny me not, Let not love make me lean and frail! Pity my flocks, save the shepherd’s life, Be my wife, share all my days. 海皮小姐 [唱] 我怎能应允每一个人的祈求？ 牧羊人的纠缠令我不得安休； 愿狂风将他们尽数吹远，再无求爱之声入我耳畔。 LADY HAPPY [Song] How can I grant each one’s request? The Shepherds’ entreaties give me no peace; May the wild wind carry them all away, And let no plea for love reach my ears again. （调解夫人上场，亦着牧羊女装，扮演“母亲”的角色。） (Enter the Mediatrix, also dressed as a Shepherdess, playing the “Mother” role.) 另一位牧羊人 [对调解夫人唱] 好夫人，请为我说句好话！ 劝她应允我做您的女婿！ 我会为您放猪、牵牛、耕种土地，秋天为您采摘鲜果。 只要您美言，我什么都肯做。 ANOTHER SHEPHERD [Song, to the Mediatrix] Good Madam, speak a word in my favor! Persuade her to be your daughter-in-law! I will tend your pigs, drive your cattle, till the fields, And harvest autumn fruits for you. Say the word, and I shall do all. 调解夫人 [唱] 我女儿已立誓独身，永不做人妻； 她宁愿守着羊群，以羊儿为伴侣。 THE MEDIATRIX [Song] My daughter has sworn to remain single, Never to take a husband; She would rather tend her flocks, With sheep for her companions. （公主转向海皮小姐，两人开始了一段跨越时空的玄学二重唱。） (The Princess turns to Lady Happy; they begin a transcendent, time-defying duet.) 公主 [唱] 我的牧羊女，你的才智高飞， 直入苍穹，窥见天堂之门； 你看行星运转，看恒星排列， 你降临大地，观察万物生息； 你甚至沉入地心，探寻死者长眠的秘密。 你的智慧，揭示了自然想要隐藏的奇迹。 PRINCESS [Song] My Shepherdess, your wit soars high, Into the heavens, glimpsing heaven’s gate; You watch the planets, trace the stars, Descend to earth, observe life in all its forms; You even delve beneath the ground, seeking secrets of the dead. Your wisdom unveils the miracles nature would hide. 海皮小姐 [唱和] 我的牧羊人，生者皆知你天生便是诗人。 你的才智探索人类的身与心， 辨明灵魂如何寓于躯体，如君王统御大脑。 肉体会腐朽，才智却永存， 在世界的记忆中，你将永恒闪耀。 LADY HAPPY [Duet] My Shepherd, all the living know you are born a poet. Your wit explores human body and mind, Discerns how the soul resides in the flesh, as a king rules his brain. The body may decay, yet intellect endures; In the world’s memory, you shall shine eternally. （歌声止息，两人紧紧依偎。） (The song ends. They cling tightly to one another.) 公主 （热烈地口白） 能活在你的恩宠中，拥有你的爱与你的人身……这便是我野心的终点。 PRINCESS (Passionately, in spoken word) To live in your favor, to have your love and your person… this is the summit of my ambition. 海皮小姐 （完全陷落） 我既无法拒绝你的爱，也无法拒绝我的人身。 LADY HAPPY (Completely overcome) I cannot refuse your love, nor can I refuse my own body. 公主 [轻唱] 我们未曾以俗套的诗句求爱，不似寻常恋人的姿态。 PRINCESS [Softly singing] We have courted not with trite verse, unlike ordinary lovers. 海皮小姐 [唱] 这表明我们将更加忠贞，在未来的生活中也更和谐。 LADY HAPPY [Song] This proves our fidelity shall grow, and our future life be harmonious. 公主 [唱] 我们将和谐，因真爱合二为一，成为神圣的灵在。 PRINCESS [Song] We shall be harmonious, for true love unites as one, a holy spirit embodied. （田园庆典开始。众人围绕五月柱起舞。公主与海皮小姐被加冕为牧羊人之王与后。） (The pastoral celebration begins. All dance around the maypole. The Princess and Lady Happy are crowned Shepherd King and Queen.) 牧羊人三 [唱] 你们赢得了奖赏，理所应当； 为我们的王与后献上敬意。愿你们长寿安康！ SHEPHERD III [Song] You have won your reward, as is right; We offer homage to our King and Queen! May you live long and well! （众人传递祝酒杯。另一位牧羊人唱起更戏谑的收场歌。） (Drinking cups are passed. Another Shepherd sings a playful closing song.) 牧羊人四 [唱] 快唱起祝酒歌，苹果沉入麦酒浆…… 成双结对把家还，遵循律法结姻缘！ SHEPHERD IV [Song] Raise the toast-song! Let apples sink in beer… Pair off and return home, follow the law, and wed! （场景在众人的欢庆与海皮小姐、公主的缱绻中渐渐落幕。） (The scene fades amidst celebration and the tender intimacy of Lady Happy and the Princess.)
第四幕 · 第二场 ACT IV · SCENE II （场景：田园幻境消逝。公主独自一人，回到庵堂内一处更具中性美感的空间。她踱步深思，随后停下，低头审视着自己的衣装。） (Scene: The pastoral illusion fades. The Princess is alone, returning to a more gender-neutral space within the Convent. She paces thoughtfully, then stops to inspect her attire.) 公主 什么？我还穿着这些碍事的衬裙？ （她仿佛对着虚空中的战神马尔斯诉说） 啊，马尔斯！战神啊，请宽恕我的怠惰。 但请记住——你也曾坠入情网，我亦如是。 但我听见你在说，我的王国需要我。 不仅需要我去统治，更需要我去捍卫。 （一股桀骜不群的英雄气概涌上心头） 但是，一个王国……比起一位美丽绝伦的女主人，又算得了什么？ （她挥手甩掉这个念头） 卑下的杂念，飞散吧！我绝不回去。 就让整个世界——而不仅仅是一个王国——都去渴望我的归来吧。 PRINCESS What? I am still wearing these cumbersome petticoats? (She speaks as if to Mars, the god of war, unseen.) Ah, Mars! God of War, forgive my idleness. But remember — you too have fallen in love, as have I. Yet I hear you saying, my kingdom needs me, Not only to rule, but to defend. (A surge of heroic defiance rises in her heart) But a kingdom… compared to a most exquisite mistress, what is it worth? (She dismisses the thought with a wave) Vile distractions, be gone! I shall not return. Let the whole world — not merely a kingdom — long for my return. （公主心意已决，迈步退场。海皮小姐上场，孤身一人，神色忧郁。片刻静默后，她低声唱起一首充满困扰的哀歌。） (The Princess, resolved, exits. Lady Happy enters, alone, melancholy in expression. After a brief silence, she softly sings a troubled lament.) 海皮小姐 [唱] 哦，自然女神，哦，天上的众神， 莫让我堕入情网而沉沦； 我宁愿在此刻魂归离恨， 强过蒙受羞辱，失却名分。 LADY HAPPY [Song] O Goddess of Nature, O gods of the skies, Let me not fall, ensnared by love’s ties; I would rather my soul depart in sorrow now, Than endure shame, and lose my station. （调解夫人上场，在暗处观察着她。） (The Mediatrix enters, observing from the shadows.) 调解夫人 海皮小姐？形单影只？独自一人？ 沉思的样子……活脱脱像个失意的恋人？ THE MEDIATRIX Lady Happy? Alone? Solitary? Pensive… you resemble a lovesick maiden in despair. 海皮小姐 （吃了一惊，带着防御的姿态） 不。我是在冥想神圣之事。 LADY HAPPY (Startled, defensive) No. I am contemplating sacred matters. 调解夫人 神圣之事？哪种神圣之事？ THE MEDIATRIX Sacred matters? What sacred matters? 海皮小姐 诸如……众神本身那般神圣的事。 LADY HAPPY Such as… the sacred matters of the gods themselves. 调解夫人 说真的，不管您是在思索众神还是男人，自从我上次见到您，您变得苍白而消瘦了。 THE MEDIATRIX Truly, whether you ponder gods or men, since I last saw you, you have grown pale and lean. （公主重新上场，她容光焕发，目光四下寻觅。） (The Princess re-enters, radiant, her eyes scanning the space.) 公主 来，我甜蜜的女主人！我们是否该去进行我们的运动与游乐了？ PRINCESS Come, my sweet mistress! Shall we proceed with our exercises and amusements? 调解夫人 （带着刻意伪装的关切） 哎呀，殿下。我恐怕您已经……“游玩”得太过头了。 THE MEDIATRIX (Feigning concern) Ah, Your Highness. I fear you may have… indulged in your “recreation” a bit too much. 公主 您为何这么说，调解夫人？ PRINCESS And why say so, l’Mediatrix? 调解夫人 因为海皮小姐气色不佳。她脸色苍白，身形消瘦。 THE MEDIATRIX Because Lady Happy looks ill. Her face is pale, her form thin. 公主 （冷静而充满保护欲地） 调解夫人，看来您的眼睛已被时光磨损了。 因为我甜蜜的女主人所散发的光辉，足以令光明之神也相形见绌。 PRINCESS (Calm, protective) L’Mediatrix, it seems your eyes have grown dull with age. For the radiance of my sweet mistress would outshine even the God of Light. 调解夫人 （站稳立场，寸步不让） 尽管您是尊贵的公主，但容我直言：我还没老到那个地步，也没瞎到那个地步，以至于看不出您……对她表现得实在“太过”体贴了。 THE MEDIATRIX (Standing firm) Though you are a noble Princess, allow me to speak plainly: I am not so aged, nor so blind, that I cannot see… that your attentions to her are rather… excessive. 公主 （一个外交式但坚定的回击） 很好。等我们娱乐归来，我将为您眼力不济的冒犯请求原谅…… 只要您也为您说我女主人气色不佳的冒犯而向我致歉。 PRINCESS (Diplomatic yet firm) Very well. Upon our return from our amusements, I shall forgive your lapse in judgment… Provided that you, in turn, apologize for your offense in declaring my mistress’s complexion unwell. （公主挽起海皮小姐的手臂，两人亲昵地一同退场，留下调解夫人独自一人，忧心忡忡地留在原地。） (The Princess links arms with Lady Happy, and they exit intimately, leaving the Mediatrix alone, worried, behind.)
第四幕 · 第三场：海洋假面剧 ACT IV · SCENE III: The Ocean Masque （场景变幻：一块巨大的、雕琢般的岩石自舞台中央升起，仿佛破浪而出的海中孤岛。公主扮作海神尼普顿，海皮小姐扮作海洋女神，两人并肩端坐于岩石之巅。众女士身着海绿色轻纱，宛如水中的仙子位列下方。整个舞台充满了流动的、梦幻般的蔚蓝光影。） (Scene shifts: A massive sculpted rock rises from center stage, like a lone island breaking through the waves. The Princess appears as Neptune, Lady Happy as a sea goddess, seated together atop the rock. The ladies below wear sea-green veils, like nymphs of the water. The stage is bathed in flowing, dreamlike blue light.) 公主（作为尼普顿） [唱] 我乃七海之王，万物之主， 一切水族皆为我仆。 服从我的威权，我的指令， 从陆地为我源源不断地献上贡品。 海水敞开它深邃的大门， 迎送那些由命运遣来的航船—— 命运如晨露般，岁岁年年 从秘鲁的矿脉为我献上赤金！ 风与潮汐从每一个国度， 将满载财富的舟船向我呈递； 船舰、货物、生灵——一切所有， 皆沉入我的深渊，化作祭献。 这大地的供奉如江河入海， 昭示我的权柄何等恢弘。 我王国的财富，容我向世人宣告， 早已超越了陆地的尘埃与群星的闪耀。 PRINCESS (as NEPTUNE) [Song] I am king of the seven seas, master of all, All aquatic beings serve as my subjects. Obey my authority, heed my commands, And from the land, bring offerings without end. The ocean opens its deep gates, Welcoming ships sent by fate— Fate as dew, year after year, Bearing Peru’s gold into my hands! Wind and tide from every shore Deliver vessels laden with treasure; Ships, cargo, living creatures—everything, Sinks into my abyss as sacrifice. The earth’s offerings flow like rivers to the sea, Revealing the grandeur of my dominion. The wealth of my kingdom, I declare to all, Surpasses both dust of land and stars’ bright thrall. 海皮小姐（作为海洋女神） [唱] 我哺育着太阳，赐予它万丈光芒， 令它在那最深的黑夜中亦能闪亮。 我胸中升腾起湿润的雾气， 被它吮吸，由我培育， 否则它的烈焰将熄灭消亡， 世界或将焦灼，或将永堕凄凉。 LADY HAPPY (as SEA GODDESS) [Song] I nurture the sun, granting it radiant light, So it may shine even in the darkest night. Mist rises from my breast, Drawn in, nurtured by me, Or else its blaze would fade and die, And the world burn, or fall to endless woe. 公主（作为尼普顿） [唱] 试问陆上生灵，谁能与我比肩， 享有如此纯粹的伟力与威严？ 我的宫殿是坚固的礁岩， 出自自然之手，而非凡人指尖。 任何卑劣、虚伪与欺诈的伎俩， 在此都无处遁形，无一席之光。 在我辽阔的王国里，自然是唯一的向导， 她为我备好珍馐，满足我一切所需与所好。 PRINCESS (as NEPTUNE) [Song] Tell me, mortals of the land, who can match me, And possess such pure power and majesty? My palace is steadfast rock, Crafted by nature, not by mortal hands. All deceit, fraud, and trickery Find no refuge here, no single hiding place. In my vast kingdom, nature is my sole guide, Providing delicacies to fulfill my every need and desire. 海皮小姐（作为海洋女神） [唱] 我的橱柜是斑斓的牡蛎之壳， 其中珍藏着我那东方明珠。 我借助潮汐开启它们—— 那潮汐便是转动巨锁的钥匙。 我取出珍珠，缀成灿烂的冠冕； 我佩戴着那羞涩的红珊瑚， 它一触碰空气便会赧然。 我坐于银色的波浪上放声歌唱， 众鱼侧耳聆听，海面沉静安详。 而后，我端坐于岩石的宝座， 用细白的鱼骨梳理我的卷发。 当阿波罗挥洒出他的万道金光， 正为我烘干那带水的长发。 光辉釉亮了水波的容颜， 使这浩瀚海洋成了我的镜鉴。 当我在高高的海面上游弋， 我能看见自己那滑行的身姿。 但当烈日开始灼烧， 我便向那深水的巢穴归去， 潜入那极低的底渊。 于是水流在我头顶回旋， 化作卷曲的波浪与圆环； 我就这样，头戴一顶水之冠。 LADY HAPPY (as SEA GODDESS) [Song] My cabinet is made of vibrant oyster shells, Within lie my Oriental pearls. I unlock them with the tide— The tide itself the key to the great lock. I take the pearls, crafting a radiant crown; I wear the bashful red coral, Blushing at the touch of air. I sit atop silver waves singing aloud, Fish bend attentive ears, the sea calm and still. Then I sit upon my rock throne, Combing my curls with fine white fishbones. When Apollo casts his thousand golden rays, They dry my water-laden locks. Light gilds the waves’ faces, Turning the vast ocean into my mirror. As I glide over the high seas, I see my own form in motion. But when the scorching sun rises, I return to my deep-water nest, Diving into the lowest abyss. The waters spiral above my head, Transforming into curling waves and rings; Thus I wear my crown of the sea. 公主（作为尼普顿） [唱] 在幽暗深邃的水中央， 我在空心的岩穴里设立朝堂。 龙涎香制成我那芬芳的床榻， 供我柔弱的肢体安放。 我在那里休憩；当我沉睡时， 整个大海都在为我守卫安危。 而当我从睡梦中醒来， 必有一艘满载的船作为贡礼献来。 世上没有哪位君主拥有更多扈从， 亦没有哪座宫廷拥有更多仆从。 PRINCESS (as NEPTUNE) [Song] In the dark, profound waters, I hold court within a hollow rock. Dragon’s amber forms my fragrant bed, For my tender limbs to repose. There I rest; as I sleep, The entire ocean guards my safety. And when I awaken, A laden ship arrives as tribute. No monarch on earth commands more attendants, Nor palace holds more servants. （人鱼侍女在侧侍奉， 人鱼男子随侍在身：有的身为参议官，为我料理一切军国重担；在我的水之王国，他们指引航向，辅佐江山。） (Mermaid attendants serve, merman aides stand by: some are senators, managing all military and civil duties; in my aquatic kingdom, they chart the seas and guide the realm.) （一位海中仙子上前，唱起欢庆的颂歌。） (A sea nymph steps forward, singing a celebratory hymn.) 海中仙子 [唱] 我们水中仙子欢欣歌唱， 赞美海神尼普顿，我们的海洋之王； 身着海绿裙裳，我们翩翩起舞， 愿打动神心，得他垂青眷顾。 他以三叉戟平息了汹涌怒涛的纷争。 当他凯旋时阔步前行， 那驯服的海豚便是他的坐骑。 他所有的海之子民，从巨鲸到鳞介， 皆以欢呼簇拥着他， 祈求那繁荣的财富永世传下。 SEA NYMPH [Song] We water-nymphs sing with joy, Praising Neptune, our king of the seas; In sea-green gowns, we dance lightly, Hoping to touch his favoring heart. With his trident he calms the raging waves. When he triumphs, he strides forth, The tamed dolphin becomes his mount. All his ocean subjects, from whale to shell, Gather to cheer, praying that prosperity Endures through all generations. （假面剧圆满结束。灯光渐暗，参与者缓缓退场。宏大的海洋幻象在迷雾中消散。） (The masque concludes. Lights dim, participants slowly exit. The grand illusion of the ocean dissipates into mist.)
第五幕 · 第一场 ACT V · SCENE I （场景：一间为舞会准备的华丽大厅。公主与海皮小姐上场。公主身着全套华贵的男性礼服，英姿飒爽。两人亲密地低语片刻。接着，在一个充满深切柔情与象征意义的举动中，海皮小姐从自己臂上取下一根缎带，赠予公主；公主亦回赠一根自己的缎带，并深情地亲吻了她的手。一个属于恋人的誓言，就此封缄。） (Scene: A lavish hall prepared for a ball. The Princess and Lady Happy enter. The Princess wears full ceremonial male attire, striking and elegant. They exchange intimate whispers. In a gesture heavy with affection and symbolism, Lady Happy removes a ribbon from her arm and presents it to the Princess; the Princess reciprocates, gifting a ribbon in return and kissing her hand tenderly. A lovers’ vow is thus sealed.) （她们短暂退场。全体人员上场准备起舞，音乐响起。众人正欲组队起舞，就在这时，调解夫人惊慌失措地冲了进来。） (They briefly exit. All the attendants enter to dance; music begins. Just as couples are about to form, the Mediatrix bursts in, panic-stricken.) 调解夫人 女士们！女士们！你们全都被背叛了！全完了！ 有一个男人——一个乔装改扮的男人——就混在庵堂里！ 搜，只要搜一下，你们就能把他揪出来！ THE MEDIATRIX Ladies! Ladies! You have all been betrayed! All is lost! There is a man—a man in disguise—within the Convent! Search! Just search, and you can root him out! （现场陷入恐慌。女士们四散开来，惊惶地互相跳开，眼神中满是猜疑。唯有公主与海皮小姐岿然不动，她们并肩而立，如同一道坚不可摧的统一战线。） (The hall erupts in panic. Ladies scatter, jumping aside in alarm, eyes filled with suspicion. Only the Princess and Lady Happy remain steadfast, standing side by side, a united, unbreakable front.) 公主 您可以尽管搜查，调解夫人。 但事后，我相信您定会请求我的原谅。 PRINCESS Search if you will, Mediatrix. But afterward, I trust you will ask my pardon. 调解夫人 凭我的信仰，我绝不！因为您就是这儿最可疑的一个！ THE MEDIATRIX By my faith, I shall not! For you are the most suspicious here! 公主 但您刚才说，那个男人是假扮成女人的。 而我此刻身着的……可是男装。 PRINCESS Yet you just said that man is disguised as a woman. And now I wear… male attire. 调解夫人 胡扯！这根本无关紧要！ THE MEDIATRIX Nonsense! It matters not at all! （就在对峙即将升级时，一位衣着华贵的大使阔步入场。他无视旁人，径直走向公主并屈膝跪下。公主示意他起身。外部世界的秩序此刻已强行闯入了这座世外桃源。） (As the confrontation threatens to escalate, a richly-attired Ambassador strides in. He ignores all others, approaching the Princess to kneel. The Prin(cess) gestures for him to rise. The order of the outside world has forcibly intruded into this secluded paradise.) 亲王 你为何而来？ PRIN(CESS) Why have you come? 大使 殿下，您的议会长老们特派我前来。 您的臣民对您的长期缺席极为不满，如果您不尽快启程回国，他们将不惜入侵此邦——因为他们听闻您就在此处。 坊间甚至有传言，说您正遭到囚禁。 AMBASSADOR Your Highness, your council elders have sent me. Your subjects are deeply displeased with your prolonged absence. If you do not return soon, they will not hesitate to invade this land—having heard you are here. Rumor even claims you are held captive. 亲王 我确实是个囚徒。但并非为任何国家所囚， 而是为这位美丽的女士所囚。 （他紧紧握住海皮小姐的手） 从今往后，她便是你们的女王。 PRIN(CESS) I am indeed a prisoner. But not of any nation— I am held by this beautiful lady. (S/he grips Lady Happy’s hand firmly.) From now on, she shall be your queen. （大使毫不犹豫，立即跪下亲吻了海皮小姐的手。她的新地位瞬间获得了政治承认。） (The Ambassador kneels without hesitation and kisses Lady Happy’s hand. Her new status is immediately recognized politically.) 亲王 既然我的行踪已经暴露…… 你且去往本国的议事会，告知他们我的所在以及其中原由。 告诉他们，我正式请求他们准许我迎娶这位女士。 （他停顿片刻，眼神中透出钢铁般的决心） 否则，就告诉他们，我将不惜动用武力来夺取她。 PRIN(CESS) Since my whereabouts are now known… Go to my council at home and tell them where I am and why. Tell them I formally request permission to wed this lady. (He pauses, eyes steely with resolve.) If not, tell them I will take her by force. （大使鞠躬退出。战争的威胁——既是浪漫的，也是政治的——瞬间笼罩在庵堂上空。） (The Ambassador bows and exits. The threat of war—both romantic and political—instantly hangs over the Convent.) 调解夫人 哦，天哪！您……您该不会带一支军队过来，把这里所有的女人都抢走吧，会吗？ THE MEDIATRIX Oh, heavens! You… you wouldn’t bring an army to seize all the women here, would you? 亲王 不，调解夫人。我们会唯独把您留下的。 PRIN(CESS) No, l’Mediatrix. We shall leave only you behind. （亲王与海皮小姐在众人的注视下并肩退场。他们是这场风暴的中心，留下其余人在困惑与沉默中面面相觑。） (The Prin(cess) and Lady Happy exit together, side by side, under the gaze of all. They are the center of the storm, leaving the others staring at each other in confusion and silence.)
第五幕 · 第二场 Act V · Scene II （场景：街头或某公共场所。调解夫人状极夸张地上场，用手帕捂着脸，发出一阵阵哀哀的哭号。） (Scene: A street or public square. The Mediatrix enters in exaggerated distress, hiding her face with a handkerchief, wailing dramatically.) 调解夫人 哦，先生们！我真恨不得自己从未出生！我们都完了！全毁了！ THE MEDIATRIX Oh, gentlemen! I wish I had never been born! We are ruined! All is lost! 谋士先生 怎么了？出了什么事？ COUNSELOR What is the matter? What has happened? 调解夫人 怎么了？不，不，绝不——恐怕我有太多的“怎么了”要说了！ THE MEDIATRIX What has happened? No, no, absolutely not—I fear I have far too many “what has happened” to recount! 谋士先生 到底是怎么回事？ COUNSELOR What on earth is it? 调解夫人 怎么回事？天大的误会！我们把一个男人……给当成了女人！ THE MEDIATRIX What is it? A tremendous mistake! We mistook a man… for a woman! 谋士先生 这个嘛，男人本来就是给女人准备的…… COUNSELOR Well, men were made for women, after all… 调解夫人 胡扯！这我当然知道！ 但是，有一个年轻男人穿着女装，堂而皇之地进了我们的庵堂！ 天知道他背地里都干了些什么！ 他长得英俊极了——这对“德行”来说简直是巨大的诱惑—— 虽然我希望一切尚好，但这邪恶的世界什么脏水都往外泼！ 我真担心我那些甜蜜的小鸟儿们全都……毁了。愿众神保佑她们。 THE MEDIATRIX Nonsense! That I know very well! But a young man, dressed as a woman, boldly entered our Convent! Heavens alone know what he did in secret! He is remarkably handsome—a tremendous temptation for virtue itself— Though I hope all remains well, the wicked world drowns everything in filth! I truly fear for my sweet little birds… may the gods protect them. 考特利先生 难道您就从未察觉？毫无蛛丝马迹吗？ MR. COURTLY Surely you noticed something? Not the slightest clue? 调解夫人 只有那么一回……我亲眼瞧见他亲吻了海皮小姐。 你们是知道的，女人和女人亲嘴，这本身就……有点儿不合常理。 可当时我觉得，她们亲吻的那股劲头……比寻常女人要热切得多， 带着那么点儿……撩人的意味。简直太带劲了。 THE MEDIATRIX Only once… I saw him kiss Lady Happy. You know, a woman kissing a woman is… somewhat unusual. But then I thought, the passion with which they kissed—far more fervent than ordinary women— with a touch of… seduction. It was exhilarating! 谋士先生 既然如此，您当时为什么不查个究竟？！ COUNSELOR If so, why did you not investigate immediately?! 调解夫人 她们会说我是个老糊涂、是个嫉妒的傻瓜！ 她们会嘲笑我的！ 但“经验”是很重要的。要不是众神慈悲…… 那个男人可能就朝我扑过来了。 THE MEDIATRIX They would call me a dotard, a jealous fool! They would laugh at me! But “experience” is crucial. Were it not for the gods’ mercy… that man might have leapt upon me. 考特利先生 扑向您？那又能怎样？ MR. COURTLY Leap upon you? And what then? 调解夫人 不，不，绝不！ 就算他扑过来，我也根本不在乎。 我蔑视肉欲，如同我唾弃魔鬼！ 但如果我能拯救我那些甜蜜的年轻贞女， 我情愿为她们牺牲我的身体！ 我们生来不是为了自己，而是为了他人！ THE MEDIATRIX No, no, absolutely not! Even if he leapt, I would not care. I despise lust as I spurn the devil! But if I can save my sweet young virgins, I would sacrifice my own body for them! We are born not for ourselves, but for others! 谋士先生 这真是……虔诚至极的言辞。充满了爱心与仁慈。 COUNSELOR Truly… words of utmost piety. Filled with love and compassion. 调解夫人 不，不，绝不。我读过《虔行实践》。 但还有一件事——他们说他其实是位外国亲王。 而且据说……他们两人表现得非常、非常热情。 THE MEDIATRIX No, no, absolutely not. I have read Practice of Piety. But there is yet another matter—they say he is a foreign prince. And it is said… they behaved with extraordinary, extraordinary ardor. 考特利先生 您可是“调解夫人”啊！您得去调解，去促成友谊！ MR. COURTLY But you are La Mediatrix! You must reconcile, foster friendship! 调解夫人 老天爷，您在胡说什么？调解？我怕他们已经是“太好”的朋友了！ 这事会传遍整个宫廷、城镇和乡野！ 会出现在私信里，登在公报上，甚至会被编成那些可恶的歌谣！ 我们会被那些自命不凡的才子们嘲笑至死的！ 但是先生们——请保守这个秘密！千万别说是我说的！ 虽然你们很快就会听到满城的议论。 THE MEDIATRIX Heavens! What nonsense is that? Reconcile? I fear they are already “too good” friends! This news will travel through court, town, and countryside! It will appear in private letters, in gazettes, even set to those detestable ballads! We will be laughed to death by self-important poets! But gentlemen—please keep this secret! Do not say it came from me! Though you shall soon hear the whole city buzzing. 谋士先生 调解夫人，这已经不是秘密了。全城的人都知道了。 国家正在准备盛大的宴席来款待那位亲王。 COUNSELOR L’Mediatrix, it is no longer a secret. The whole city knows. The state is preparing a grand feast to honor the prince. 调解夫人 主啊！瞧瞧坏消息传得有多快！ THE MEDIATRIX Lord! How swiftly ill news spreads! 考特利先生 对我们这些追求者来说，这确实是天大的坏消息…… MR. COURTLY For us suitors, indeed, this is most grievous news… 谋士先生 算了吧，我们之前也不过是在想象中追求，从未触及现实。 COUNSELOR Let it be. Previously, we only pursued in imagination, never in reality. 调解夫人 但你们确实都曾抱有希望。 THE MEDIATRIX Yet you did all harbor hope. 谋士先生 确实。但最终是那位亲王摘取了果实。 据说亲王已与她定下婚约。 国家也乐见其成——朝廷视此为荣耀，正指望着能从中大获裨益呢。 COUNSELOR Indeed. But in the end, the prince claimed the prize. It is said he is betrothed to her. The state welcomes it—the court sees it as an honor, hoping to profit greatly. 调解夫人 是啊，是啊。但有个古老而真实的谚语：‘杯已到唇边，尚可能失手。’（意指煮熟的鸭子也可能飞了） THE MEDIATRIX Yes, yes. Yet an old and true saying remains: “Even when the cup reaches the lips, it may still slip.” (Meaning: the cooked duck may yet fly away.) （他们各怀心思地退场。男人们显得一败涂地，调解夫人则陶醉在自己这个悲剧性的“见证者”角色中。） (They exit, each lost in thought. The men appear utterly defeated, while the Mediatrix luxuriates in her role as tragic “witness.”)
第五幕 · 第三场：婚礼与收场白 Act V · Scene III: The Wedding & Epilogue （场景：盛大的行进队列。亲王身着华丽的男性婚服，与身着新娘礼服的海皮公主手牵手，走在由随从高举的华盖下。城市长官领头，随后是双簧管乐手和众宾客。他们入场，仿佛直接从神圣的婚礼殿堂归来，空气中弥漫着公开且被认可的胜利氛围。） (Scene: A grand procession. The Prin(cess), dressed in splendid male attire, walks hand in hand with Lady Happy, wearing her bridal gown, under a canopy carried by attendants. City officials lead, followed by oboists and guests. They enter as though returning directly from a sacred wedding hall, the air suffused with recognized triumph.) （众人纷纷向这对新婚夫妇道贺，亲王与公主含笑致谢。） (Guests congratulate the newlyweds, who smile and thank them.) 调解夫人 （迫不及待地挤到人群最前面） 尽管殿下您即将离去，但恳请您在临走前，再为我们跳一支舞吧！ THE MEDIATRIX (Eagerly pushing to the front) Though Your Highness is about to depart, I beg you, dance once more for us before you go! 亲王 在离开之前，我们不仅要跳舞，还要尽情宴饮。 （深情地对海皮公主说） 来，我的爱人，让我们再舞一曲……权当是为了取悦这位调解夫人。 PRIN(CESS) Before leaving, we shall not only dance but feast to our heart’s content. (S/he addresses Lady Happy with affection) Come, my love, let us dance once more… for the pleasure of this Mediatrix. （亲王与海皮公主跳起一支正式而优美的舞蹈。这是她们作为新婚夫妇的第一次公开亮相。一曲终了，众人鼓掌。） (The Prin(cess) and Lady Happy perform a formal, elegant dance—their first public appearance as newlyweds. At its conclusion, the crowd applauds.) 亲王 现在，尊贵的朋友们，请各位尽情起舞。公主与我将稍事休息。 PRIN(CESS) Now, dear friends, dance freely. The Princess and I shall rest briefly. （宾客们开始跳舞。海皮公主在人群中注意到了贞洁夫人，以及一直跟在她身边的弄臣米米克。） (The guests begin dancing. Lady Happy notices the Chaste Governess and the jester Mimick, who has remained nearby.) 海皮公主 （对贞洁夫人说） 贞洁夫人，我看您还留着米米克呢。 （转向亲王） 这就是我曾向您提过的那个米米克。 （对米米克） 米米克，你可愿离开你的女主人，随我而去？ LADY HAPPY (To the Chaste Governess) Governess, I see you have kept Mimick close. (To the Prin(cess)) This is the Mimick I mentioned. (To Mimick) Mimick, will you leave your mistress and come with me? 米米克 哎呀，我可是个结了婚的人啦！ 我娶了我女主人的女仆楠（Nan）。她会把我死死地拴在家里，任凭我有天大的能耐也施展不开。 不过，您现在已经有了属于您自己的“模仿者”啦——因为亲王殿下不是早就已经完美地“模仿”过女人了吗？ MIMICK Ah, I am a married man! I wed my mistress’s maid Nan. She keeps me tightly bound at home, no matter my abilities. Yet now, you have your own “imitator”—for the Prin(cess) has already perfectly “imitated” a woman, hasn’t she? 海皮公主 你这无赖！你是在暗示我是个傻瓜吗？ LADY HAPPY You scoundrel! Are you implying I am a fool? 米米克 小人不敢，殿下！除非……这天底下的女人全都是傻瓜。 MIMICK I dare not, Your Highness! Unless… all women in the world are fools. 亲王 那么，你的妻子也是傻瓜吗？ PRIN(CESS) Then is your wife a fool as well? 米米克 常言道，丈夫加妻子，合起来也只能凑成一个傻瓜。 （他戏剧性地跪倒在地） 小人有一桩卑微的请求，呈予殿下。 MIMICK As the saying goes, husband and wife together barely make a fool. (He kneels dramatically) I have a humble request to present to Your Highness. 亲王 平身吧。所求何事？ PRIN(CESS) Rise. What is it you ask? 米米克 恳请您将那座“庵堂”平分为二： 一半分给天下的傻瓜，另一半分给天下的已婚男子—— 就权当是分给疯子吧。 MIMICK I beg you to divide the Convent in two: Half to the world’s fools, the other half to all married men— or, let us call it a gift to the lunatics. 亲王 我更愿意将它分给处女与寡妇。 PRIN(CESS) I would rather give it to virgins and widows. 米米克 那它倒真会成为名副其实的“快活庵”了！ 可惜她们永远无法和睦相处……尤其是如果其中还混进了一个乔装打扮的亲王。 不，依我看，您最好把它赐给那些年老体衰、长年卧床的妇人们。 那样，或许可以称之为“慈善庵”……如果实在没法叫它“贞洁庵”的话。 MIMICK Then it would truly be a “Convent of Pleasure”! Alas, they could never coexist peacefully… especially with a prince in disguise among them. No, in my view, it is best given to elderly, infirm, long-bedridden women. Then perhaps it could be called a “Charity Convent”… if it cannot properly be the “Convent of Chastity.” 亲王 （被逗乐了） 好吧，为了彰显我的仁慈，也为了保全你妻子的贞洁，我将赏赐你一笔财富。 但有一个条件：由你来念本剧的收场白。 （对众人宣告） 来吧，尊贵的朋友们！让我们在分别前尽情地宴饮庆祝！ PRIN(CESS) (Amused) Very well, to demonstrate my mercy, and preserve your wife’s chastity, I will grant you a fortune. But on one condition: you shall deliver the play’s epilogue. (To all) Come, dear friends! Let us celebrate and feast before parting! （婚礼行列在乐声中退场。米米克被独自留在舞台中央，显得有些不知所措。） (The wedding procession exits to music. Mimick remains center stage, looking flustered.) 米米克 收场白？他说让我念收场白？我哪儿来的什么收场白！ 让我想想…… （他焦躁地踱步，自言自语） 有了，有了……不，老实说，我根本没有。我撒谎了。我说我没有。呸，米米克，你竟然要撒谎吗？是的，米米克，只要我乐意，我就要撒谎！ 但我得说，它不见了。什么不见了？收场白。你什么时候有过它？我从未有过。 那你就不算丢了它。虽然这是一回事，但我必须念它，尽管我从未拥有过它。 你如何能念出你从未拥有的东西？哎呀，这倒真是个哲学问题。 但既然言语本是虚无，那么收场白自然也是虚无，所以我大可以念一段“虚无”。 那么……“虚无”便是我的致辞！ MIMICK The epilogue? He said I must deliver the epilogue? Where do I even have an epilogue! Let me think… (He paces anxiously, muttering to himself) Ah, yes, no, truthfully, I have none. I lied. I said I had none. Bah, Mimick, are you to lie? Yes, Mimick, if I wish, I will lie! But I must say it is lost. What is lost? The epilogue. When did you ever have it? Never. Then it cannot be lost. True, but I must recite it, though I never had it. How can one speak of what one never possessed? Ah, truly a philosophical puzzle. But since words themselves are naught, the epilogue is naught too, so I may speak a “nothing.” Then… “Nothing” shall be my address! （米米克在一片荒诞而喜剧性的僵局中退场。片刻后，莫尔·卡特普斯大摇大摆地重新上场，她依旧身着男装，准备为全剧画上真正的句号。） (Mimick exits amidst absurd, comedic confusion. Moments later, Moll Cutpurse strides back on stage, still in male attire, ready to deliver the true finale.) 莫尔·卡特普斯（收场白二） [唱] 尊贵的看官，借着这点微弱的烛光， 我不知该说些什么，只能先道声晚安。 我不敢厚着脸皮乞求掌声—— 否则我们的女诗人，定会勃然大怒，用她的笔尖将我刺穿； 因为她根本不在乎，也从来毫无畏惧—— 纵使你们不喜欢这戏，她也全不在意！ 但我仍会哭泣，我内心的无尽悲伤， 会化作泪水之河，从我的双眼中流淌。 可怜的米米克，他会因为这寂静悲痛而亡。 到那时，出于怜悯，你们或许也会哭上一场。 但如果你们愿意，可以为他赐下一剂良方， 那便是由诸位的赞美调制而成——好让他能活得久长。 （莫尔·卡特普斯帅气地深深一鞠躬。全剧终。） MOLL CUTPURSE (Final Epilogue) [singing] Honored audience, by this faint candlelight, I know not what to say, so I bid you good night. I dare not shamelessly beg for applause— Else our lady poet would strike me with her pen in wrath; For she cares not at all, and fears nothing— Though you dislike this play, she is unmoved! Yet I shall weep, my endless sorrow, Turning to rivers of tears flowing from my eyes. Poor Mimick, he shall perish from silent grief. Then, in mercy, perhaps you too shall shed a tear. And if you will, grant him a remedy, A draught composed from your praises—so that he may live long. (Moll Cutpurse bows gracefully. The End.)
Scene: Ancient Greece. Before the royal palace of Thebes. Setting: Dawn. The tomb of Semele is visible, entwined with living vines. [A deep, earth-shaking drumroll. Then, the voice of Dionysus is heard from above or within the audience.]
Dionysus: I have come! (He appears, a figure of dazzling beauty and calm majesty.) I am Dionysus, the son of Zeus, returned to Thebes, this land where I was born. My mother was the daughter of Cadmus, named Semele, delivered by fire as midwife, brought forth by the lightning-bolt. Now I stand here, a god in disguise—having taken mortal form—beside the waters of Dirce and the stream of Ismenus. There, before the palace, I see the tomb of my lightning-wed mother, and upon the ruins of her broken house, the undying flame of Zeus’ fire still smoulders, a living witness to Hera’s outrage against my mother.
(He pauses before the shrine, showing approval.) But Cadmus has won my favor, for he has made this grave a sanctuary for my mother. It was I who covered her tomb with the green luxuriance of clustering vines. The lands of golden rivers—Lydia and Phrygia—are left far behind, where my journey began. I have crossed the sun-scorched plains of Persia, the jagged mountains of Bactria, and the harsh deserts of Media. Then I reached prosperous Arabia, traveling along the entire coast of Asia, densely populated and thick with towers, where Greeks and barbarians mingle together. There, I taught my dances to the feet of the living and established my mysteries and rites, so that I might be revealed to mankind for what I am: a god.
And so, to Thebes. This city, the first in Greece, now shrieks and echoes with the cries of my female followers and their ecstasy. In Thebes, I have bound the fawnskin to their flesh and armed their hands with the ivy-wreathed thyrsus. I have come here to refute the slanders of my mother’s sisters—those who had the least right to disparage her. They claimed that Dionysus was not the son of Zeus, but that Semele had slept with a mortal and blamed her shame on Zeus—a trick, they mocked, cooked up by Cadmus to protect his daughter’s reputation. They said she lied, and Zeus, in his fury, burned her to ash with a thunderbolt.
Because of this blasphemy, I have stung them with madness, driving them from their homes to the mountains, where they wander with crazed minds, forced to wear the robes of my revels. Every woman of Thebes—only the women—I have driven from her house in a frenzy. There they sit, rich and poor alike, even the daughters of Cadmus, upon the roofless rocks beneath the silver firs. Willing or not, this city must learn its lesson: it has not been initiated into my mysteries. I shall vindicate my mother Semele and manifest myself before mortal eyes as the god she bore to Zeus.
King Cadmus has abdicated, leaving his throne and power to his grandson Pentheus; and this man now rebels against divinity—against me! He shuts me out from sacrifices and forgets my name in his prayers. Therefore, I will prove to him and to every mortal in Thebes that I am indeed a god. When my worship here is established and all is in order, I will depart and reveal my true self to others in other lands. But if the men of Thebes attempt to use weapons to drive my Bacchants from the slopes, I will lead my Maenads into battle. For this purpose, I have temporarily concealed my godhead and walk in the form of a man.
(Calling out, his voice reaching toward the invisible, ecstatic band.) Onward, my Bacchants! Women who worship me, whom I led out of Asia, from where Mount Tmolus stands like a bulwark over Lydia! Forward, my companions on this journey! Come, with the drums of your native Phrygia—the drums of Rhea, which are also mine—and strike against the palace gates of Pentheus! Let the city of Thebes behold you, while I return to the forested glens of Cithaeron where my Bacchic women wait, and I will join them in their whirling dance.
[A sound rising from the distance, growing louder: drums, flutes, the clashing of bronze. The Bacchic women begin to enter from all directions—some from the audience, some from the wings. They are women of all ages, moving with a unified and terrifying rhythm. Some carry the thyrsus (the ivy-wreathed staff), some hold tambourines or cymbals, others castanets or sistrums. Their movement is both dance and march. Agave, Ino, and Autonoe are among them, their faces sanctified by an ecstatic void. The drumming is constant, like a restless heartbeat.]
Chorus of Bacchants: From the land of Asia, from beneath sacred Mount Tmolus, we come to serve our god, racing onward; we come for Bromius! The labor of the god is hard; hard, but the service is sweet. Sweet to serve, sweet to cry out: Bacchus! Euoi!
Out of the way! Out of the path! Everyone, make room! Let every mouth be hushed. Let no ill-omened words profane your lips. Out of the way! Fall back! Silence. For now I raise that ancient, ancient hymn to Dionysus.
Blessed, blessed is he who knows the holy mysteries of the gods. Blessed is he who hallows his life in worship, whose soul is possessed by the god, joined with the holy band of the divine. Blessed is the dancer, the purified one, who dances the sacred dance of the god upon the hills. Blessed is the bearer of the thyrsus, who swings the god’s holy staff in his hand. Blessed is he who wears the god’s crown of ivy. Blessed, O blessed are they: Dionysus is their god!
Onward, Maenads! Onward, you Bacchic women! Bring your god home in triumph! Lift up the god, the son of the god; escort your Dionysus home! Lead him down from the Phrygian hills, follow him through the streets of Greece!
So his mother brought him forth, through the agony of labor; struck by lightning, forced by the bursting flame of Zeus, consumed, she died—and he was torn away too soon. Upon that bed of birth, she died by a stroke of light! From the light, this son was born! It was Zeus who saved his son; with a speed beyond mortal sight, he snatched him away and bound the infant with golden buckles; hidden in his thigh, as in a womb, concealing the son from the gaze of Hera. When the Fates wove the appointed hour, the bull-horned god was born of Zeus. Joyfully he crowned his son, placing serpents in his hair—and thus, in piety, he passed to us the Maenads’ coiled crown, her “locks” of snakes.
O Thebes, nurse of Semele, deck your hair with ivy! Let the green of the poisonous vine run wild! Redden it with berries! O city, take up the branches of oak and fir, and come dance the dance of the god! Adorn your dappled fawnskins with tassels of tightly-twisted wool! Hold with holy reverence the violent staff of the god! Let the dance begin!
He is Bromius, running to the mountains! To the mountains! Where many women wait, driven from the loom and the shuttle, possessed by Dionysus! I praise the holiness of Crete, the cave of the dancing Curetes, the birthplace of Zeus, where, wearing triple helmets and surrounding the primal drum, the Corybantes danced. They were the first of all beings to answer the strict beat of the stretched hide and the scream of the shrill flute with whirling feet. Then, from them, it passed into the hands of Rhea, and this holy drum was handed down through generations; but, stolen by the frenzied Satyrs, it came finally to me—and now it accompanies the dance, the dance that every other year celebrates your name: Dionysus!
He is so sweet upon the mountains. He comes down to earth from the running herds. He wears the holy fawnskin. He hunts the wild goat and devours its flesh. He hungers for the raw, fresh meat. He runs to the mountains of Phrygia, he runs to the mountains of Lydia! He is Bromius, our leader! Euoi!
The earth flows with milk! It flows with wine! It gushes with the nectar of bees! Fragrant as frankincense is the flame of the torch he carries. Fire streams from the thyrsus he trails as he runs, as he dances, setting the stragglers ablaze, driving them with his cries, his long hair flying in the wind! And he cries, as they cry, Euoi!
Onward, Maenads! Onward, you Bacchic women! Follow, glory of golden Tmolus, praise the god with the rumbling of the drums, with a single cry, Euoi! To the god Evius, with the shouting voice of Phrygia, when the holy flute flows like honey, playing a sacred song for the one who runs to the mountains—to the hills! To the hills!
[The drumming reaches a crescendo. The Bacchic women have completely occupied the space. Their eyes are wide, staring into another world. The very air seems to tremble. Then, a sudden, collective silence. They are here. The invasion is complete.]
第一场：老者们与神
[提瑞西阿斯自山冈方向上，身着鹿皮，头戴常春藤冠。他目盲，以酒神杖为手杖。]
[Teiresias enters from the direction of the mountains, dressed in fawnskin and wearing a crown of ivy. He is blind and uses a thyrsus as a walking-staff.]
Teiresias: Ho, there, gatekeeper! Call Cadmus—Cadmus, son of Agenor, the stranger from Sidon who built these towers of Thebes. Go, someone. Tell him Teiresias is looking for him. He knows why I have come, for the pact we made, two old men together: to wreathe our staves, put on the fawnskin, and crown our heads with ivy.
[卡德摩斯自宫中上，同样身着鹿皮，头戴常春藤冠。他也以酒神杖为手杖。]
[Cadmus enters from the palace, likewise dressed in fawnskin and wearing an ivy crown. He, too, uses a thyrsus as a staff.]
Cadmus: My old friend, at the first sound of your call, I knew it was you. For “wisdom is in the voice of the wise, and the wise recognize it.” I have come, dressed in this gear of the god, ready to go. Teiresias, regardless of how meager mortal strength may be, we must do our utmost to honor this deity, for he is my daughter’s child, and has now been revealed to the world as a god, Dionysus.
Where shall we go? Where shall we step and dance, tossing our pale heads in the god’s own rhythm? Instruct me, Teiresias. In these matters, you are the wise one. I could dance all night and all day, tirelessly striking the earth with the thyrsus! How sweet it is to forget one’s own old age.
提瑞西阿斯： 我亦如此。我也感到年轻，年轻得足以舞蹈。
Teiresias: I feel the same. I, too, feel young—young enough to dance.
卡德摩斯： 很好。我们可要驾车前往山冈？
Cadmus: Excellent. Shall we take a chariot to the hills?
提瑞西阿斯： 步行更好。这更能彰显对神的敬意。
Teiresias: Walking is better. It shows a greater reverence for the god.
卡德摩斯： 便如此吧。我来引路，以我之老迈，导你之老迈。
Cadmus: Let it be so, then. I will lead the way, my old age guiding yours.
提瑞西阿斯： 神自会指引我们前去，无需我们费力。
Teiresias: The god himself will guide our steps there, without effort on our part.
卡德摩斯： 难道只有我们两人将为巴克斯起舞吗？
Cadmus: Are we the only two who will dance for Bacchus?
提瑞西阿斯： 众生皆盲，唯独你我能洞见真相。
Teiresias: The rest of the world is blind; only you and I can see the truth.
卡德摩斯： 但我们耽搁太久了。来，挽住我的手臂。
Cadmus: But we have delayed too long. Come, take my arm.
提瑞西阿斯： 将你的手与我的相扣。
Teiresias: Interlock your hand with mine.
卡德摩斯： 我只是个凡人，仅此而已。我不敢嘲弄上天。
Cadmus: I am a mortal man, nothing more. I dare not mock the heavens.
Teiresias: We do not hold divinity in light regard. No, we are the inheritors of customs and traditions, made holy by their antiquity, passed down to us by our ancestors. No sophistry of logic can overthrow them, no matter what subtle arguments this clever age might invent.
People might say: “Are you not ashamed? At your age, to go dancing, wearing a crown of ivy?” Well, I am not ashamed. Has the god ever stated that only the young or only the old are permitted to dance? No, he desires to be honored by all of humanity. He wishes to exclude no one from his worship.
Cadmus: Teiresias, since you cannot see, let me serve as your eyes for a moment. The man to whom I yielded the throne—Pentheus, son of Echion—is rushing toward the palace. He seems agitated and disturbed. Yes, listen to him.
第一场：暴君与先知
[彭透斯与随从自城中上。]
[Pentheus enters from the city with his attendants.]
Pentheus: I happened to be away from the city, but news has reached my ears of some strange mischief here—how our women have abandoned their homes to play at “ecstasy” in the mountain forests, dancing to worship some upstart god, this Dionysus, whoever he may be! They set up overflowing wine-bowls in their midst, and then, one by one, the women slink off into secret corners to satisfy the lusts of men. They call themselves priestesses of Bacchus, but it is Aphrodite they truly serve.
I have already captured some of them; my jailers have them safely locked in the public prison. Those still at large I will hunt down from the mountains like wild beasts—yes, including my own mother Agave, and Ino and Autonoe, the mother of Actaeon. In no time, I shall trap them in iron nets and put an end to this obscene disorder. I also hear of some stranger who has come to Thebes from Lydia, one of those sorcerer-priests, with long, perfumed soft curls, a flush on his cheeks, and the spells of Aphrodite in his eyes. He spends his days and nights among the women and girls, seducing them with the “joys” of his initiation rites.
But if I catch him inside this house, I will make him stop his thyrsus-tapping and his head-tossing. By heaven, I will cut his head from his shoulders! This is the man who claims that Dionysus is a god, sewn into the thigh of Zeus, when in fact that same lightning-bolt incinerated him and his mother alike, because she shamelessly lied about sleeping with Zeus. Whoever this stranger may be, does such swaggering lawlessness not deserve a hanging?
Pentheus (continued): What?! This is beyond belief! The prophet Teiresias, dressed in a dappled fawnskin! And you, you, my own grandfather, playing the Maenad with a thyrsus! Sir, I am truly ashamed to see your old age so lacking in sense. Tear off that ivy, grandfather! Now, drop that staff. Drop it, I say.
Pentheus (continued): Aha, I see: this is your doing, Teiresias. Of course, you want to reveal yet another new god to the world, the better to line your pockets from burnt offerings and bird-divinations. By heaven, if it were not for your advanced years, I would throw you into prison this instant along with those Bacchic women, for introducing these filthy mysteries to Thebes. Once you see the gleam of wine at a woman’s feast, you can be sure the festival is rotten.
Chorus Member: What blasphemy! Stranger, have you no fear of the heavens? No respect for Cadmus, who sowed the dragon’s teeth? Does the son of Echion mean to bring shame upon his own house?
Teiresias: When a wise man has a noble cause to argue, his eloquence is no surprise. But you, your tongue is nimble; your words roll off your lips so smoothly that they sound like wisdom, though they are only folly. A man who prattles on, confident in his own eloquence, only exposes his true nature: a worthless and foolish citizen. I tell you, this god whom you mock will one day possess vast power and prestige throughout all of Greece.
Young man, mankind possesses only two supreme gifts. The first is the goddess Demeter, or Earth—call her by whichever name you choose. It is she who gives humans the nourishment of grain. But after her came the son of Semele, matching her gift with his own invention—liquid wine. Because they drink deeply of this beautiful gift, suffering mortals forget their grief; it brings sleep; it brings forgetfulness of the day’s troubles. There is no other medicine for misery.
When we pour libations to the gods, it is the god of wine himself we pour out, so that through his mediation, mortals may win the favor of heaven. Furthermore, Dionysus is a god of prophecy. His followers, like the madwomen, are granted the power of foresight. For when the god enters a woman’s body in possession, he fills her with the breath of prophecy. One day, you will even see him with torches leaping among the crags of Delphi, bounding over the upland pastures, brandishing and whirling his thyrsus: his name famous throughout Greece.
Mark my words, Pentheus. Do not be so certain that power is the most important thing in life; do not mistake the delusions of your sick mind for wisdom. Welcome this god to Thebes; crown yourself; pour him libations and join his revels. You are satisfied when people stand at your gates and the city magnifies the name of Pentheus. The god is the same: he also loves glory. But Cadmus and I, these two men whom you mock, will wear the ivy and join the god’s dance—an old and foolish pair we may be, but dance we must.
Nothing you have said will change my mind or make me defy the heavens. You are mad, sick with a madness beyond the power of any medicine to heal, for you have been drugged by the frenzy of power.
歌队成员： 阿波罗会赞同您的话，先生。您明智地尊崇布洛弥俄斯：一位伟大的神。
Chorus Member: Apollo would approve of your words, sir. You are wise to honor Bromius: a great god.
Cadmus: My child, Teiresias is right. Your place is here, with us and our customs and traditions, not standing alone outside. Right now you are distracted; your thoughts are nothing but delirium. Even if this Dionysus is not a god, as you assert, convince yourself to believe he is. The fiction is a noble one, for it makes Semele seem the mother of a god, which brings no small honor to our family.
You saw the terrible death of your cousin Actaeon: how the man-eating hounds he had raised himself tore him to pieces, simply because he boasted that his skill in the hunt surpassed the art of Artemis. Do not let his fate become yours. Come, let me crown you with ivy. Then come with us and honor the god.
Pentheus: Take your hands off me! Go worship your Bacchus, but do not infect me with your madness. By heaven, I will make the man who taught you this folly pay the price. Go, someone, at once, to the place where this prophet sits to deliver his omens. Prise it up with crowbars, flip the whole thing upside down; demolish everything you see! Throw his sacred fillets to the winds and the rain! That will sting him more than anything.
As for the rest of you, go scour the city for that effeminate stranger, the fellow who infects our women with this strange disease and pollutes our beds. Once you catch him, bring him here in chains. He shall have the death he deserves—stoning. He will regret coming to Thebes for his revelries.
(The attendants exit. Teiresias and Cadmus move toward the shrine.)
Teiresias: Rash fool, you do not know the consequences of your own words! You spoke folly before, but this is now the raving of a madman! Cadmus, let us go and pray for this frantic fool, and for the city too, asking the god not to let some terrible vengeance fall from the sky. Ah, well, take up your staff and follow me. Hold me up, and I will do the same for you, lest two old men fall down together and become a laughingstock. But we must go and perform our duty to the god—Bacchus, son of Zeus. But beware, lest one day your house regrets what Pentheus has done. I speak not in prophecy, but in fact. The words of a fool end in folly.
Chorus: Holiness, Queen of Heaven, Holiness who wings her golden flight over the earth, do you hear the words of Pentheus? Do you hear his blasphemy against the King of the Blessed, the god of wreaths and banquets, Bromius, the son of Semele? These are the blessings he bestows: the laughter of the flute, the dissolving of cares when the sparkling wine is poured at the feasts of the gods, and the sleep that the wine-bowl casts over the ivy-crowned revelers.
The end of an unbridled tongue, of lawless folly, is disaster. But the life of quiet goodness, the wisdom of acceptance… these remain unshaken and hold together the homes of men. Far off in the air the sons of heaven dwell, but they keep watch upon the lives of mortals. What passes for wisdom is not wisdom; it is unwise to be ambitious and to overleap the boundaries of man. Our life is brief. We die soon. And so I say, the man who chases greatness, who pursues some dream of the infinite and the superhuman, may lose the harvest at his feet and garner only death. Such men are mad, and their counsels are evil.
O, let me go to Cyprus, the island of Aphrodite, home of the Loves who cast their spells upon the hearts of men! Or to Paphos, where the hundred-mouthed barbarian river brings rainless fertility! Or to Pieria, the Muses’ haunt, the holy hill of Olympus! O Bromius, leader, god of joy, Bromius, take me there! There the Graces wander in loveliness, there is Desire, and there I have the right to worship as I will.
This god, the son of Zeus, delights in banquets and festivals. He loves the goddess Peace, who bestows abundance and protects the young. To rich and poor alike he gives this simple gift: wine, the joy of the grape. But he hates the mocker, the man who scorns the life he lives—blessed by day and doubly blessed by night; the simple wisdom of those who shun the thoughts of the extraordinary mind and all its dreams of overreaching the gods. But what the common people do, what the simple man believes, that I believe, and that I do.
第二场：异乡人被捕与审讯
[两名随从押着狄俄尼索斯上；其中一人走向王宫，遇见正上场的彭透斯，指向被缚的狄俄尼索斯。]
[Two attendants enter leading Dionysus in chains; one goes toward the palace and meets Pentheus as he enters, pointing to the bound Stranger.]
Attendant: Pentheus, we are back; and not empty-handed. We have captured the prey you sent us to hunt. But this prey of ours was quite tame: he did not run or hide, but willingly held out his hands, entirely without fear. His cheeks remained flushed with a wine-dark glow, and he stood there smiling while we bound his hands and led him here; he offered no protest. It made me deeply uneasy. “Listen, stranger,” I said, “this is not my doing. I am acting on the orders of Pentheus.”
As for those women you shackled and threw into the dungeons—they are gone, vanished clean away, skipping off to the meadows, calling upon their god Bromius. The chains on their legs simply snapped apart. The palace doors swung open by themselves, touched by no human hand. My lord, this stranger who has come to Thebes is full of miracles. That is all I know. The rest is up to you.
Well, you are quite charming, stranger—at least to women—which, I suppose, explains your presence in Thebes. Your curls are long. I take it you are no wrestler. And your skin is so very white—you must take great care of it—it is not the color of the sun; no, this complexion comes from the night, when you use your beauty to hunt down Aphrodite in the dark. Now, tell me who you are and where you come from.
狄俄尼索斯： 这没什么可夸耀的，说来也简单。想必你听说过盛产鲜花的托摩洛斯山？
Dionysus: There is no boast in it; the answer is simple. Surely you have heard of Mount Tmolus, rich in flowers?
彭透斯： 我知道那地方。它环绕着撒尔狄斯城。
Pentheus: I know the place. It encircles the city of Sardis.
狄俄尼索斯： 我来自那里。我的国家是吕底亚。
Dionysus: I come from there. My country is Lydia.
彭透斯： 你传入希腊的这位神祇是谁？
Pentheus: And who is this god you are introducing to Greece?
狄俄尼索斯： 狄俄尼索斯，宙斯之子。是他使我入门。
Dionysus: Dionysus, the son of Zeus. It was he who initiated me.
彭透斯： 你们那里有个本地宙斯，专门繁衍新神吗？
Pentheus: Is there some local Zeus in your country who breeds new gods?
狄俄尼索斯： 他与你们的宙斯是同一位——那位娶了塞墨勒的宙斯。
Dionysus: He is the same as your Zeus—the one who wedded Semele.
彭透斯： 嗤。你如何看见他的？在梦中还是面对面？
Pentheus: Pah! And how did you see him? In a dream or face to face?
狄俄尼索斯： 面对面。他授予我他的仪式。
Dionysus: Face to face. He bestowed his rites upon me.
彭透斯： 你的这些秘仪，是什么形式？
Pentheus: And what form do these mysteries of yours take?
狄俄尼索斯： 不可告知未入门者。
Dionysus: They may not be told to the uninitiated.
彭透斯： 告诉我，知晓你秘仪的人享受何种益处。
Pentheus: Tell me what benefit they bring to those who know them.
狄俄尼索斯： 我不可说。但它们值得知晓。
Dionysus: I may not say. But they are worth knowing.
彭透斯： 你的回答是故意要激起我的好奇。
Pentheus: A clever answer, designed to provoke my curiosity.
狄俄尼索斯： 不：我们的秘仪憎恶不信之人。
Dionysus: No: our mysteries loathe the unbeliever.
彭透斯： 你说你见过那神。他化作什么形貌？
Pentheus: You say you saw the god. In what shape did he appear?
狄俄尼索斯： 他愿化作什么形貌便是什么形貌。选择在他，不在我。
Dionysus: In whatever shape he pleased. The choice was his, not mine.
彭透斯： 你在回避问题。
Pentheus: You are evading the question.
狄俄尼索斯： “与愚人讲道理，反被称作愚人。”
Dionysus: “To speak sense to a fool is to be called a fool oneself.”
彭透斯： 你是否也将你的仪式传入了其他城邦？还是忒拜首当其冲？
Pentheus: Have you introduced your rites to other cities, or is Thebes the first?
狄俄尼索斯： 如今四海之外邦皆有人为狄俄尼索斯起舞。
Dionysus: Everywhere among the barbarians, men already dance for Dionysus.
彭透斯： 他们比希腊人更愚昧。
Pentheus: They are more foolish than the Greeks, then.
狄俄尼索斯： 在此事上并非如此。习俗各异。
Dionysus: In this matter, they are not. Customs differ.
彭透斯： 你们是在白日还是夜间举行仪式？
Pentheus: Do you perform your rites by day or by night?
狄俄尼索斯： 多在夜间。黑暗更宜于虔敬。
Dionysus: Mostly by night. Darkness is better suited to devotion.
彭透斯： 更宜于淫乱和勾引妇女。
Pentheus: Better suited to lewdness and seducing women.
狄俄尼索斯： 白日里亦可寻见放荡。
Dionysus: Shameful acts can be found in the daylight as well.
彭透斯： 你会为这些狡黠的回答后悔的。
Pentheus: You will regret these clever answers.
狄俄尼索斯： 而你，会为你愚蠢的渎神之言后悔。
Dionysus: And you, for your ignorant blasphemies.
彭透斯： 好一个大胆的狂女！你真会摔跤——在唇舌上。
Pentheus: How bold this Maenad is! You truly are a wrestler—with your tongue.
狄俄尼索斯： 告诉我，你打算施以何种惩罚？
Dionysus: Tell me, what punishment do you intend to inflict?
彭透斯： 首先，我要剪掉你这女里女气的卷发。
Pentheus: First, I shall shear off those effeminate curls of yours.
狄俄尼索斯： 我的头发是神圣的。我的卷发属于神。
Dionysus: My hair is sacred. My curls belong to the god.
彭透斯： 其次，你要交出你的神杖。
Pentheus: Second, you will surrender your thyrsus.
狄俄尼索斯： 你拿去吧。它属于狄俄尼索斯。 (彭透斯夺过酒神杖。)
Dionysus: Take it from me. It belongs to Dionysus. (Pentheus seizes the thyrsus.)
彭透斯： 最后，我将派人看管你，将你囚禁在宫中。
Pentheus: And finally, I will keep you under guard, imprisoned within the palace.
狄俄尼索斯： 神自会在我愿意时释放我。
Dionysus: The god himself will release me whenever I wish.
彭透斯： 哈哈！等你向他求助时，你已和你的女人们一同在牢里了。
Pentheus: Ha! By the time you call on him for help, you will be in a cell with your women.
狄俄尼索斯： 他此刻就在这里，并看见我如何忍受你的对待。
Dionysus: He is here right now, and sees how I endure your treatment.
彭透斯： 哦？他在哪儿？我看不见他。
Pentheus: Oh? And where is he? I do not see him.
狄俄尼索斯： 尽管如此，他与我同在。你的渎神之言使你目盲。
Dionysus: He is with me nonetheless. Your blasphemy has made you blind.
彭透斯： (对随从)抓住他。他在嘲弄我和忒拜。
Pentheus:(To the attendants) Seize him. He is mocking me and Thebes.
狄俄尼索斯： 我给予你们清醒的警告，蠢材：不要给我戴上镣铐。
Dionysus: I give you sober warning, fools: do not put me in chains.
彭透斯： 然而我说：锁住他。看见了吗？在这里，我更强。
Pentheus: But I say: shackle him. See? Here, I am the stronger.
Dionysus:(As he speaks, the Bacchic women begin to drum, a beat that continues to the end of the scene.) You do not know the limits of your own power. You do not know what you are doing. You do not even know who you are.
彭透斯： 我是彭透斯，厄喀翁与阿高厄之子。
Pentheus: I am Pentheus, son of Echion and Agave.
狄俄尼索斯： 彭透斯，你的名字预示了你的悲哀。
Dionysus: Pentheus, your name portends your grief.
Pentheus: Take him away. Chain his hands! Shut him in the stables by the palace. Since he craves the darkness, let him have what he wants. Let him dance down there in the dark. (As the attendants bind Dionysus, the drumming becomes louder and more frantic.)
Pentheus (continued): As for these women, your accomplices in mischief, I shall sell them as slaves or set them to work at my looms. That will silence their drumming. (Pentheus exits into the palace.)
Dionysus: I go, though not to suffer—for that is impossible. But Dionysus, the one whose divinity you insult and deny with your actions, will call you to account. When you put me in chains, it is the god himself you are imprisoning. (Dionysus exits into the palace with the attendants; the Chorus of Bacchants sweeps across the stage, surging from the wings and various directions where they have been drumming, leaving the drums behind; the percussion is taken up by musicians.)
Chorus: O Dirce, holy river, child of Achelous’ stream, your waters once welcomed the infant god, the son of Zeus! For Zeus his father snatched his child from the eternal flame, crying: “Dithyrambus, come! Enter this, my masculine womb.” I name you Bacchus, and by this name, I reveal you to Thebes. But now, O blessed Dirce, when I come to your banks with ivy-crowned celebration, you reject me. O Dirce, why do you shut me out? I swear by the clustering grapes, by the wine of Dionysus, the day will come when you shall know the name of Bromius!
With rage, with rage, he seethes—Pentheus, son of Echion, born of the earth-born race, spawned from the dragon’s seed, nurtured by the soil! He is no man, but a savage beast, a giant raging in fury, snarling and defying the gods of heaven. He threatens me with chains, though my soul and body are bound to the god. He imprisons my companions, casting them into dark cells.
O Lord, son of Zeus, do you see? O Dionysus, do you see how we are held by inescapable bonds, trapped by the shackles of the oppressor? Descend from Olympus, O Lord! Come, brandish your golden thyrsus and strike down this bloodthirsty beast whose arrogance outrages both man and god.
O Lord, where do you brandish your thyrsus amidst your racing divine band? Upon the beast-breeding slopes of Nysa? On the ridges of Corycia? Or perhaps in the forests of Olympus, where Orpheus once plucked his lyre, gathering the trees and the wild beasts with his music? O Pieria, you are blessed! Evius honors you. He comes to dance, leading his Bacchants across the rushing Axius, guiding his Maenads in their whirling dance across Lydia—that generous father of rivers, famous for its rich waters that nourish the land of fine horses.
第三场：神迹与彭透斯的受辱
[雷鸣电闪；地动山摇；王宫震颤。]
[Thunder and lightning; earth shaking; the palace trembling.]
狄俄尼索斯 (自宫内)： 嗬！听我呼唤！嗬，巴克科斯们！嗬，巴克科斯们！听我呼喊！
Dionysus (From within the palace): Io! Hear my call! Io, Bacchants! Io, Bacchants! Hear my cry!
巴克科斯歌队： 谁在呼喊？谁以厄维俄斯的呼声召唤我？主啊，你在何处？
Chorus: Who is calling? Who summons me with the cry of Evius? O Lord, where are you?
狄俄尼索斯： 嗬！我再次呼喊——宙斯与塞墨勒之子！
Dionysus: Io! I call again—the son of Zeus and Semele!
歌队： 噢，主啊，布洛弥俄斯！布洛弥俄斯，此刻降临我们身边！
Chorus: O Lord, Bromius! Bromius, come to us now!
狄俄尼索斯： 让地震降临吧！震裂这世界的根基！
Dionysus: Let the earthquake come! Shatter the foundations of the world!
Chorus: Look there, Pentheus’ palace is shaking! Look, the palace is falling! Dionysus is within. Worship him! We worship him! Look there! How the stone lintels above the columns are cracking and shattering! Listen. Bromius is shouting in victory!
Dionysus: Unleash the god’s fiery thunderbolt! O lightning, come! Burn Pentheus’ palace with flame! (A flash of lightning bursts forth; flames leap from Semele’s tomb; thunder crashes.)
Chorus: (Singing, dancing, and falling prostrate at the end of this short, rhythmic/percussive song.) Ah, look how the fire leaps up on Semele’s holy tomb, the flame of Zeus’ thunder, his lightning, still living, burning where it fell! Kneel, Maenads, fall to the ground in awe! He walks among the ruins he has made! He has brought the high house down! He is here, our god, the son of Zeus!
Dionysus: What is it, women of Asia? Are you so struck with terror that you fall to the ground? Then I suppose you must have seen how Bacchus shook the palace of Pentheus. But come, rise up. No need to fear.
歌队： 噢，我们神圣狂欢中最伟大的光，见到你的面容我是多么欢喜！没有你，我便迷失了。
Chorus: O greatest light of our holy revels, how glad I am to see your face! Without you, I was lost.
狄俄尼索斯： 当他们押走我，要将我投入彭透斯黑暗的牢狱时，你曾绝望吗？
Dionysus: Did you despair when they led me away to cast me into Pentheus’ dark dungeon?
歌队： 我还能如何？若你有不测，我该向何处求助？但你如何从那不敬神之人手中逃脱？
Chorus: How could I not? If you were to suffer harm, where would I turn for help? But how did you escape the hands of that ungodly man?
Dionysus: In this point, I humiliated him in return, repaying insult with insult. He seemed to think he was binding me, yet he never touched even a finger of mine. He was feeding on his own delusions. In the stable where he intended to imprison me, he found not me, but a bull, and tried to bind its knees and hooves. He panted, biting his own lips, dripping with sweat, while I sat nearby, watching quietly.
But just then, Bacchus came, shook the palace, and touched his mother’s tomb with tongues of flame. Pentheus, thinking the palace was on fire, ran frantically here and there, shouting to the slaves to bring water. Everyone set to work: all in vain. Then, fearing I might escape, he suddenly stopped, drew his sword, and rushed into the palace. There, it seems, Bromius created a shape, a phantom, in my likeness, standing in the courtyard. Pentheus charged in, stabbing and hacking at the shining air, as if it were me.
Then, the god humiliated him once more. He razed the palace to the ground, shattering it utterly into ruins—this was his reward for imprisoning me. Seeing this bleak sight, Pentheus dropped his sword, exhausted by the struggle. A man, a mere man, dared to wage war against a god. As for me, I quietly left the palace and came out. Pentheus means nothing to me.
(宫内传来践踏与踢踹声。)
Dionysus (continued): (Sounds of stomping and kicking from within the palace.)
Dionysus (continued): But judging by the tramp of boots from the courtyard, I think our gentleman will be coming out very soon. I wonder what he will have to say? Let him bluster. I shall not be provoked. It is the mark of a wise man to practice self-control, and with it, to master his temper.
第四场：暴君与信使
背景：宫殿废墟前。 Setting: Before the ruins of the palace.
Pentheus: Outrageous! That intruder, the man I locked up in chains with my own hands, has escaped! [Seeing Dionysus] What?! You? Well, what do you have to say? How did you escape? Answer me!
狄俄尼索斯： 你的怒气，脚步太重。在此地，须得放轻脚步。
Dionysus: Your anger makes your footsteps heavy. You must tread lightly here.
彭透斯： 少废话！你是怎么逃出来的？
Pentheus: Enough talk! How did you get out?
狄俄尼索斯： 你不记得了？我说过，自有人会放我自由。
Dionysus: Do you not remember? I told you, someone would set me free.
彭透斯： 有人？谁？这个故弄玄虚的“有人”到底是谁？
Pentheus: Someone? Who? Who is this mysterious “someone”?
狄俄尼索斯： 正是那位赐予人类葡萄藤与累累硕果的神。
Dionysus: The very god who gave mankind the vine and its clustered fruit.
彭透斯： 呵，真是“了不起”的贡献。
Pentheus: Hah, a “magnificent” contribution indeed.
狄俄尼索斯： 你嗤之以鼻的，正是他最伟大的荣光。
Dionysus: What you sneer at is his greatest glory.
彭透斯： 等我在这里抓到他，他就别想逃过我的雷霆之怒。我要下令把城里所有塔楼的门闩都给我插紧！
Pentheus: Wait until I catch him here; he won’t escape my thunderous rage. I will order every latch on every tower in the city to be bolted tight!
狄俄尼索斯： 那又如何？难道一道城墙，拦得住神明的脚步？
Dionysus: And what of it? Can a mere wall stop the footsteps of a god?
彭透斯： 你呀，是很机灵——可惜，没用对地方。
Pentheus: You are very clever—but, alas, not where it counts.
狄俄尼索斯： 恰恰在最关键的地方，我才最是机灵。 【一位牧牛人自基泰戎山上赶来。】
Dionysus: It is precisely where it counts most that I am clever. [A Cowherd enters from Mount Cithaeron.]
Cowherd: Majesty, I saw those holy madwomen, the ones who ran barefoot and frantic from the city. I come to report to you and to Thebes the strange, fantastic things they do—acts that are miracles, and even beyond miracles. But I do not know if I may speak freely, to tell the story in my own way and words? Or should I cut it short? I fear your harsh nature, Sire; your kingly temper is fierce, and your rage is excessive.
Pentheus: Speak freely. I promise you: I will not punish you. It makes no sense to be angry at a man who tells the truth. But—the more shocking your story, the more severe will be my punishment for the man who taught our women these wicked arts.
【牧牛人开始讲述。在此期间，酒神的女信徒们（歌队）围绕着他起舞；乐师提供鼓点/打击乐伴奏。】
[The Cowherd begins his tale. During this, the Bacchants (Chorus) dance around him; musicians provide drum/percussion accompaniment.]
The Cowherd’s Narrative: Just as the sun sent forth its rays to warm the earth, our cattle were climbing the ridge-path. Suddenly, I saw three companies of dancing women: one led by Autonoe, the second commanded by your mother Agave, and Ino leading the third. They lay there, sunk in deep and weary sleep—some resting against fir branches, others simply lying among the fallen oak leaves, scattered everywhere—but all of them modest and sober, not drunk as you imagine, nor entranced by flute music to chase after lust in the woods.
Then your mother, hearing the lowing of our horned cattle, sprang up and gave a sharp cry to wake them all from their slumber. They rubbed the soft sleep from their eyes and stood up, light and straight—a moving sight to behold: old women, young girls, and unmarried maidens, all moving as one. First, they let their hair fall loose over their shoulders; those whose fastenings had come undone used winding snakes to secure their fawnskins, the snakes licking their cheeks with flickering tongues. New mothers, their breasts full of milk, having left their human babies behind, were now cradling gazelles and wolf cubs in their arms, nursing them. Then they crowned their hair with leaves—ivy, oak, and flowering bryony.
One woman struck her thyrsus against a rock, and a cool spring of water gushed forth. Another plunged her fennel stalk into the ground, and where the tip touched the earth, the god sent a fountain of wine shooting up. Those who desired milk had only to scratch the earth with their fingertips, and white streams flowed out. Pure honey dripped constantly from their wands. Majesty, had you been there and seen these miracles with your own eyes, you would have fallen to your knees and prayed to the god you now deny.
We herdsmen and shepherds gathered in small knots, arguing and marveling at the strange and terrible miracles these women were performing. Then a fellow from the city, glib of tongue, stood up and said: “All you who live on the mountain pastures, what do you say we hunt down King Pentheus’ mother, Agave, snatch her from her revels, and win a little favor with the King?” We agreed to his plan, so we withdrew and hid ourselves in the ambush of the undergrowth.
Then, at a signal, all the Bacchants swung their wands, and the revelry began. With one voice they cried aloud: “O Iacchos! Son of Zeus!” “O Bromius!” They shouted until the wild beasts and the mountain itself seemed wild with divinity. As they ran, everything ran with them. But Agave was running near the ambush where I lay hidden. I jumped up to seize her, but she gave a great cry: “Hounds of my following, men are hunting us! Follow, follow me! Arm yourselves with your wands!”
Hearing this, we fled just in time to avoid being torn to pieces by the women. Unarmed, they swooped down upon the cattle grazing on the grass. Then you could see it: a single woman, with her bare hands, tearing a bellowing, fatted calf in two; others were ripping heifers apart. Ribs and cloven hooves were scattered everywhere; bloody scraps of flesh hung dripping from the fir branches. Bulls, their rage gathered in their horns, lowered their heads to charge, but were dragged to the ground by swarms of women, stumbling and falling, their flesh stripped from their bones in an instant—Majesty, faster than you could blink your royal eyes.
Then, carried by their own speed, they flew like birds across the wide plains along the river Asopus, the most fertile of lands. like invaders, they swooped down on Hysiae and Erythrae at the foot of the mountain. Everything in sight they looted and destroyed. They snatched children from their homes. The plunder was piled on their backs, staying steady without being tied. Nothing—neither bronze nor iron—fell to the ground. Fire played in their curls, yet it did not burn them.
The villagers, enraged by what the women were doing, took up arms to resist. Majesty, that was the terrible sight. The men’s sharp spears drew no blood; but the wands thrown by the women inflicted wounds. And then the men ran—routed by a band of women! I tell you, a god was with them. Finally, the Bacchants returned to where they started, to the springs the god had made, and washed their hands, while snakes licked the drops of blood from their cheeks.
陛下，无论这位神明是谁，请迎他入忒拜吧。因为他是伟大的。 【牧牛人下】
Majesty, whoever this god may be, receive him into Thebes. For he is great. [The Cowherd exits.]
第五场：诱惑与陷阱
歌队： 在暴君面前宣讲自由，令我战栗。但真理必须宣之于口：没有哪位神，比狄俄尼索斯更伟大。
Chorus: I tremble to speak with freedom before a tyrant. But the truth must be told: there is no god greater than Dionysus.
Pentheus: (Seething with rage) This Bacchic fury spreads like wildfire! It burns too close. In the eyes of all Hellas, we are humiliated. There is no room for hesitation now! (To an attendant) You! Go at once to the Electra Gate; summon all my heavy infantry; command the swiftest cavalry, the light troops, and the archers to muster. We march against these Bacchic Maenads! To endure such behavior from women would be to let all control slip away! [Attendant exits]
Dionysus: (With unnatural, unsettling calm) Pentheus, you hear but do not heed my warnings. You have insulted me, yet even so, I warn you once more: do not take up arms against a god. Stay quiet where you are. Bromius will not permit you to drive his followers from their revels in the mountains.
彭透斯： 轮不到你来教训我！你是从牢里逃出来的。难道还想再受一次惩罚？
Pentheus: It is not for you to lecture me! You have escaped your cell. Do you wish to taste my punishment again?
狄俄尼索斯： 我若是你，会向他献祭，而非愤怒地踢打必然之事，以一介凡人之躯对抗神明。
Dionysus: If I were you, I would offer him sacrifice rather than kick in anger against the inevitable—a mere mortal struggling against a god.
Pentheus: I will give that god of yours the “sacrifice” he deserves—the slaughter of his women! I will make a great carnage of them in the woods of Cithaeron.
狄俄尼索斯： 当她们的常春藤神杖击退你们的青铜盾牌时，你们都将溃败，蒙羞而逃。
Dionysus: You will all be routed; you will flee in shame when their ivy wands drive back your shields of bronze.
彭透斯： （对歌队或自语） 跟这人纠缠毫无希望。世上没什么能让他闭上嘴。
Pentheus: (To the Chorus or to himself) There is no hope in struggling with this man. Nothing on earth will make him hold his tongue.
狄俄尼索斯： 朋友，你仍有挽回局面的机会。
Dionysus: Friend, there is still a chance to save the situation.
彭透斯： 哦？靠听从我自己奴隶的命令？
Pentheus: Oh? By taking orders from my own slave?
狄俄尼索斯： 不。我负责将女人们带回忒拜。不流一滴血。
Dionysus: No. I myself will bring the women back to Thebes. Without shedding a drop of blood.
彭透斯： 这是个圈套。
Pentheus: This is a trap.
狄俄尼索斯： 圈套？如果我用我的办法救了你，何来圈套？
Dionysus: A trap? How can it be a trap if I use my own means to save you?
彭透斯： 我知道。你和她们合谋，想永远确立你那套仪式。
Pentheus: I know. You have conspired with them to establish your rites forever.
Dionysus: I have indeed conspired—with the god. (A pause; the atmosphere shifts slightly) Bring me my armor! And you, be silent. [Pentheus strides toward the mountain, but is frozen by Dionysus’ voice.]
狄俄尼索斯： 且慢！……你，想亲眼看看她们在山上的狂欢么？
Dionysus: Wait! … Would you like to see them, at their revels in the mountains?
彭透斯： （脚步停下，语气不由自主地改变） 为了看到那景象，我愿付一大笔钱。
Pentheus: (Stopping in his tracks, his tone involuntarily changing) I would pay a great sum of gold to see that sight.
狄俄尼索斯： （轻声，带着诱捕般的兴趣） 为何有如此炽烈的好奇？
Dionysus: (Softly, with the interest of a hunter) Why this sudden, burning curiosity?
彭透斯： （试图找回威严，却泄露了遐想） 我当然会为看到她们赤身裸体、醉态百出而感到遗憾——
Pentheus: (Trying to recover his dignity, but betraying his fantasy) Of course, I should be sorry to see them naked and flushed with wine—
狄俄尼索斯： （敏锐地打断，戳破伪装） 但尽管“遗憾”，你却非常非常想看到她们赤身裸体、醉态百出？
Dionysus: (Cutting him off sharply, piercing the mask) But “sorry” though you’d be, you would very, very much like to see them naked and flushed with wine?
Pentheus: (Blurting it out, desire overmastering reason) Yes, very much. (Lowering his voice, as if sharing a secret) I could crouch under the fir trees, hidden, and watch them.
狄俄尼索斯： （冷静地推翻他的设想） 但若你试图隐藏，她们可能会追踪到你。
Dionysus: (Coolly dismissing the plan) But if you try to hide, they might track you down.
彭透斯： （被说服，思考状） 你说得有理。嗯……我会公开地去。
Pentheus: (Convinced, reflecting) You are right. Hm… I will go openly then.
狄俄尼索斯： （推进一步） 要我现在就带你去吗？你准备好了？
Dionysus: (Pushing further) Shall I lead you there now? Are you ready?
彭透斯： （急切地） 越快越好。现在哪怕浪费片刻，都令人失望。
Pentheus: (Eagerly) As fast as possible. Any delay now would be a disappointment.
狄俄尼索斯： （抛出陷阱） 但首先，你必须穿上女人的衣服。
Dionysus: (Setting the snare) But first, you must put on women’s clothes.
彭透斯： 什么？！你要我，一个男人，穿女裙？为什么？
Pentheus: What?! You want me, a man, to wear a woman’s dress? Why?
狄俄尼索斯： （理所当然地） 如果她们知道你是男人，会立刻杀了你。
Dionysus: (As if it were obvious) If they know you are a man, they will kill you on the spot.
彭透斯： 哦……这倒是。我看出来了，你是个老练的狡猾之徒。
Pentheus: Oh… that is true. I see you are a seasoned and cunning fellow.
狄俄尼索斯： （坦然承认） 我所知的一切，都是狄俄尼索斯所教。
Dionysus: (Accepting it frankly) All I know, Dionysus has taught me.
彭透斯： （已被说服，进入“解决问题”思维） 你的建议很中肯。我只是还没想好，我们具体该怎么做。
Pentheus: (Convinced, moving into problem-solving mode) Your advice is sound. I only haven’t decided exactly how we should do this.
狄俄尼索斯： 我会随你进去，帮你穿戴。
Dionysus: I will go in with you and help you dress.
彭透斯： （羞耻感猛然抬头） 穿戴？穿女人的裙子？那我会羞愤而死。
Pentheus: (Shame suddenly flaring up) Dress me? In a woman’s gown? I should die of shame.
狄俄尼索斯： （以退为进，淡淡地） 那好吧。看来你不再渴望观看狂女们的嬉戏了？
Dionysus: (A tactical retreat, indifferently) Very well. Then I suppose you no longer wish to watch the Maenads at their play?
彭透斯： （迅速回应，暴露了真正的渴望） 等等……我必须穿成什么样？
Pentheus: (Quickly, exposing his true craving) Wait… how exactly must I be dressed?
Dionysus: (Outlining it methodically, like casting a spell) First, I shall place on your head a wig with long, curling hair. Then, a robe reaching to your ankles, and a pair of slippers. Finally, you will hold a thyrsus and wear a dappled fawnskin over your shoulder.
彭透斯： （最后的抗拒） 我受不了那个！我无法让自己穿上女人的衣服。
Pentheus: (A final resistance) I cannot bear it! I cannot bring myself to put on women’s clothes.
狄俄尼索斯： （平静地施加最后压力） 但如果你执意要与狂女们开战，那就意味着流血。
Dionysus: (Applying the final pressure calmly) But if you persist in waging war against the Maenads, that means bloodshed.
彭透斯： （被拉回现实，权衡利弊） ……对。我们首先得去侦察一下。
Pentheus: (Pulled back to reality, weighing the options) … True. We must go and scout first.
狄俄尼索斯： （表示认可） 这当然比从糟糕走向更糟，要明智得多。
Dionysus: (Approvingly) That is certainly wiser than moving from bad to worse.
彭透斯： （已完全进入“秘密行动”的心态） 但我们怎样才能穿过城市而不被人看见？
Pentheus: (Now fully committed to the “covert op”) But how can we pass through the city without being seen?
狄俄尼索斯： 我们走僻静的街道。我来带路。
Dionysus: We will take the back streets. I will lead the way.
Pentheus: (His worries becoming ridiculously specific) Any route you like, as long as those Bacchants don’t get a chance to mock me. However, I must first weigh your advice—whether to go or not.
狄俄尼索斯： （一切尽在掌握） 悉听尊便。无论你作何决定，我都已准备好。
Dionysus: (Everything under control) As you wish. Whatever you decide, I am ready.
Pentheus: (Trance-like, as if talking in a dream) Yes… either I march to the mountain with my army, or… I follow your advice. [Pentheus enters the palace, dazed.]
Dionysus: (To the Chorus, his voice low and commanding) Women, the prey is struggling in the net. He shall go to the Maenads, and pay the price with his life. Dionysus, the task is now yours. Ha! You are near at hand. Punish this man. But first, distract his wits; confuse him with madness, for in his right mind he would never consent. Remembering how fiercely he threatened, I shall make him a laughingstock to all Thebes as he is led through the streets.
Now, I go to dress Pentheus in the finery he will wear to the house of Death—slaughtered by his own mother’s hands. He shall know Dionysus, son of Zeus, a god in the highest, most terrible to men, and yet most gentle. [Dionysus enters the palace.]
Chorus (Third Stasimon and Dance): —When shall I dance again with bare feet through the night, tossing my head in the damp air and the dew, like a running fawn leaping for joy in the green life of the wide meadows, free from the fear of the hunt, far from the shouting of the beaters, the woven nets, and the hunter’s cry to his hounds?
—What is wisdom? What gift of the gods is more held in honor than this: to hold your hand in victory over the head of a foe? Glory is precious forever. The power of the gods moves slowly, but it is unerring. It punishes the man whose soul is obsessed, whose pride is hard, who disregards the gods. The gods are cunning: they lie in wait, stepping through long reaches of time to hunt down the unholy.
Dionysus (Emerging from the palace, calling out): Pentheus! If you are still so curious to see what is forbidden, so obsessed with evil, come out. Let us see you dressed as a Maenad, ready to spy on your mother and her companions.
【彭透斯自宫门出。他身穿亚麻长裙，手持酒神杖，头戴长假发。他已被神附体。】
狄俄尼索斯（续）： 哎呀，你看起来活像卡德摩斯家的一个女儿。
[Pentheus enters, dressed in a linen gown, holding a thyrsus and wearing a long wig. He is possessed by the god.]
Dionysus (continued): Why, you look exactly like one of Cadmus’ daughters.
Pentheus: (Eyes glazed, voice tranced) I seem… to see two suns burning in the sky. And two cities of Thebes, each with its seven gates. And you—you are a bull walking before me. Horns have grown from your head. Were you always a beast? Ah, now I see, you are a bull indeed.
狄俄尼索斯： 你看见的是神。他虽曾为敌，如今宣布休战，与我们同行。你看见了先前目盲时看不见的。
Dionysus: You see the god. Though once he was your enemy, he now declares a truce and walks with us. You see now what you were blind to before.
彭透斯： （扭捏作态） 我看起来像谁吗？像伊诺，还是我母亲阿高厄？
Pentheus: (Simpering) Do I look like anyone? Like Ino, or my mother Agave?
狄俄尼索斯： 像极了，简直如同双生。不过瞧：你的一缕卷发从发网里松脱了，那是我刚才塞好的。
Dionysus: Exactly like them, as if you were twins. But look: a lock of your hair has slipped from the net, where I tucked it just now.
彭透斯： （天真地） 一定是我欢欣起舞，随着音乐摇头时弄松的。
Pentheus: (Innocently) It must have come loose while I was dancing, shaking my head to the music.
狄俄尼索斯： 那让我当你的侍女，帮你塞回去。别动。 （上前整理）
Dionysus: Then let me be your maid and tuck it back in. Stand still. (He steps forward to adjust the hair.)
彭透斯： 你弄吧！我完全交给你了。
Pentheus: You do it! I am entirely in your hands.
狄俄尼索斯： 还有，你的束带滑了。真不像话，裙摆在你脚踝处歪了。
Dionysus: And your sash is loose. Such a pity—the hem of your dress is crooked at the ankle.
彭透斯： （心神迷乱） 我……我无法思考。务必让裙边整齐！
Pentheus: (Dazed) I… I cannot think. Please, make the hem straight!
狄俄尼索斯： 等你亲眼看到酒神的狂女们是何等贞洁时，你会惊讶万分，并视我为最好的朋友。
Dionysus: When you see for yourself how chaste the Maenads are, you will be struck with wonder and count me as your best friend.
Pentheus: (With a sudden burst of delusional strength) Tell me, can I lift Mount Cithaeron? I want to carry the whole mountain on my shoulder, Maenads and all!
狄俄尼索斯： 如果你想，当然。你曾心智失常，但现在你的想法和健全人一样了。
Dionysus: If you wish, certainly. You were once of unsound mind, but now your thoughts are as they should be.
彭透斯： 我们该带撬棍去吗？还是我该用肩膀抵住山崖，把它掀起来？
Pentheus: Should we take crowbars? Or should I use my shoulder to heave the cliff up?
狄俄尼索斯： 什么？那会毁了宁芙的居所，毁掉潘神吹奏林间笛的神圣丛林啊。
Dionysus: What? And destroy the homes of the Nymphs, and the sacred groves where Pan plays his pipe?
彭透斯： 哦！你说得对。无论如何，不该用蛮力制服女人。我还是躲在冷杉树下好了。
Pentheus: Oh! You are right. In any case, one should not overcome women by force. I will hide under the fir trees instead.
狄俄尼索斯： （语带双关） 你会找到一个配得上你的埋伏处。
Dionysus: (With a double meaning) You will find the hiding place you deserve.
彭透斯： 我想也是。我已经能看见她们了，就在灌木丛里，像田野里的野兽一样交配，陷在情欲的罗网中。
Pentheus: I think so too. I can see them already, there in the thickets, mating like wild animals in the fields, caught in the nets of lust.
Dionysus: Exactly. That is your mission: you go to spy. You might frighten them… or they might frighten you. Let me lead you through the heart of Thebes, for you alone in this city are brave enough to do this.
彭透斯： 领我穿过忒拜城的中心吧，因为全城唯有我，敢这么做。
Pentheus: Lead me through the center of Thebes, for I am the only one in the city who dares to do this.
Dionysus: (Solemnly) You, and you alone, shall endure this. A great ordeal awaits you. I shall bring you there in safety… though another shall bring you back.
彭透斯： 是的……我母亲。你太宠我了！
Pentheus: Yes… my mother. You spoil me!
狄俄尼索斯： 我就是要宠你。
Dionysus: I intend to spoil you.
彭透斯： 来吧，我迫不及待要得到我的奖赏了！
Pentheus: Come, I cannot wait to receive my reward!
Chorus: Go! To the mountain, swift hounds of madness! Run, run to the revels of Cadmus’ daughters! Go and sting them against this man in women’s dress, this madman who spies on the Maenads, watching from behind the rocks, scouting from the heights! His mother shall be the first to see him. She will cry out to the Bacchants:
“Who is this spy? Who dares to come and watch the revels of the faithful of Thebes? Who gave him birth, O followers of Bacchus? This man was not born of woman. Some lioness gave him birth! Or one of the Libyan Gorgons!”
O Justice, principle of Order, spirit of Custom, come! Reveal yourself! Appear with sword in hand! Pierce the throat of the blasphemer, the mocker who goes forth, trampling on custom and profaning the gods! O Justice, strike down this evil, earth-born spawn of Echion!
He is gone, the unbeliever, out of control, foaming with rage, rebellious, running wild, madly attacking the secret rites of the god, defiling the sacraments of the Mother. He rushes toward the inviolable. He is consumed by fury. He runs headlong toward his death. For only death can bridle the wild words of mortals. We all race toward death. Therefore, I say, accept it, accept: to be humble is to be wise; to be humble is to be blessed.
But the wisdom of the world, I do not seek. I hunt another goal, those great, manifest, and certain ends by which our mortal lives are blessed. Let these be the prey I hunt: purity, humility; a gentle soul that accepts all things. Let me walk the path of custom, the eternal, honored road trodden by all, walking under the children of heaven with awe and trembling.
O Justice, principle of Order, spirit of Custom, come! Reveal yourself! Appear with sword in hand! Pierce the throat of the blasphemer, the mocker who goes forth, trampling on custom and profaning the gods! O Justice, strike down this evil, earth-born spawn of Echion!
O Dionysus, reveal yourself as a bull! Appear as a many-headed, darting serpent, or a fire-breathing lion! O Bacchus, come! Descend with your smile! Cast your noose over the man who hunts your Maenads! Hurl him to the ground! Let him be trampled under the feet of your bloodthirsty band!
第七场：彭透斯之死
【一名信使自山上奔来。】 [A Messenger enters, running from the mountain.]
Messenger: (In a heavy, ominous tone) O house that once was great throughout all Hellas! This house of Cadmus, the stranger from Sidon, who sowed the dragon’s teeth in this serpent-haunted soil! I am but a slave, a man of no account, yet even I mourn for the ruin of this master’s house.
歌队： （急切地） 怎么了？有酒神狂女们的消息？
Chorus: (Eagerly) What is it? Is there news of the Bacchants?
信使： （直接宣告） 我的消息是：厄喀翁之子，彭透斯，死了。
Messenger: (Directly) My news is this: Pentheus, the son of Echion, is dead.
歌队： （爆发出狂喜的欢呼） 万岁，布洛米俄斯！我们的神是伟大的神！
Chorus: (Bursting into a shout of joy) Victory to Bromius! Our god is a great god!
信使： （震惊、不解） 你们说什么，女人们？你们竟敢为这摧毁此家的灾祸而欢庆？
Messenger: (Shocked) What are you saying, women? Do you dare to rejoice in the disaster that has destroyed this house?
Chorus: (Coldly) I am no Greek. I worship my god in my own way. I no longer shrink in fear of dungeons. It is Dionysus, Dionysus—not Thebes—who has mastery over me!
信使： （仍感不义，但被催促） 但这幸灾乐祸是不对的……
Messenger: It is not right to gloat over such misfortune…
歌队： （急切地切入正题） 告诉我们，那个嘲笑着是怎么死的。他是如何被杀的？
Chorus: (Cutting to the point) Tell us how the mocker died. How was he killed?
Messenger: (Hesitantly beginning) There were three of us: Pentheus, myself, and that stranger who acted as our guide. We crossed the Asopus and entered the wild uplands of Cithaeron. In a grassy glen, we halted, holding our breath and keeping silent, so that we might see without being seen.
From that lookout, we saw the Maenads. Some were twining fresh ivy onto their wands; others, like young fillies released from painted yokes, were chanting Bacchic hymns. But Pentheus could not see well. He said, “Stranger, from where I stand, I cannot see these counterfeit Bacchants. But if I climb that towering fir tree overlooking the bank, I could better see their shameful lusts.”
Then the stranger performed a miracle. He reached up for the topmost branch of a great fir and pulled it down, down to the dark earth, until it was curved like a drawn bow. No mortal strength could have done it. Then, he seated Pentheus upon the highest tip and let the trunk rise, slowly and gently. The tree soared up toward the sky, with my master perched upon its crest.
Now the Maenads saw him more clearly than he saw them. No sooner was he visible than the stranger vanished, and a great voice from heaven cried out: “Women, I bring you the man who mocks you and my sacred rites. Take vengeance upon him.” As he spoke, a flash of fire lit the sky. The air grew still. The Maenads sprang up, and when the voice called a second time, they understood the god’s clear command.
They rushed through the woods and torrents, their feet driven mad by the breath of the god. When they saw my master perched in the tree, they pelted him with stones and hurled their thyrsi. They even tried to pry up the roots to topple the tree. Then Agave cried: “Maenads! Circle the trunk! We must catch this climbing beast before he reveals the god’s secrets!”
A thousand hands tore the fir tree from the earth. Pentheus fell from his high perch, screaming as he tumbled, for he knew his end was near. His own mother, like a lioness on her prey, was the first to fall upon him. He tore off his wig, pleading: “No, no! Mother! I am Pentheus, your own son! Have mercy, spare me, do not kill your own child!”
But Agave, foaming at the mouth, her eyes rolling in frenzy, was possessed by Bacchus. She seized his left arm, planted her foot against his chest, and wrenched the limb from its socket. Meanwhile, Ino and Autonoe and the whole host of Maenads set upon him. He shrieked with his last breath while they screamed in triumph. They tore away his arms, they ripped the feet from his legs; every hand was red with blood as they played ball with the scraps of his flesh.
The wretched remains are scattered everywhere. His mother has taken his head and fixed it upon her thyrsus. She thinks it is the head of a mountain lion and carries it in triumph. She is coming here now, boasting of her gruesome trophy. But the victory she brings home is nothing but her own grief. Let me leave this place of sorrow. To be humble and to fear the gods—these are the best possessions for a mortal man. [The Messenger exits.]
Chorus (Fifth Stasimon and Dance): —We dance in honor of Bacchus! We dance to celebrate the death of Pentheus, the fall of the dragon’s seed! He wore a woman’s dress; he carried the beautiful thyrsus! It was this that led him to his death, guided by a bull, down to the house of Hades!
Victory to the Bacchants! Victory to the women of Thebes! Your triumph is a thing of beauty, this trophy is a thing of beauty—a famous trophy drenched in grief! What a glorious game of the hunt! To clasp your own child in your arms, while he is dripping with blood!
Agave: (Singing in a high, floating tone) Women of Asia! We bring this fresh-cut branch back to the palace! It is the new sprig I plucked from the mountains in our joyful hunt. A young cub of a mountain lion, captured by me, without a net. Look, see the prize I bring!
On Cithaeron, our prey was slain! I was the first to strike him! The Maenads call me “Blessed Agave”! Daughters of Cadmus. This hunt—it was truly a joy.
Chorus: (Crowding forward, with hidden edge) Tell us, tell us! I see it. I welcome our god’s fellow-reveler. Where was it caught? On Cithaeron? Who killed it? Joyful indeed. And then?
Agave: Then share in my glory, share in this feast! See how young this cub is, how tender. Beneath its soft mane, the down is just beginning to sprout on its cheeks. Our god is wise. Bacchus the hunter, deftly and shrewdly, drove the Maenads upon his prey. Do you praise me now? Ha! The men of Thebes should also praise the mother of Pentheus and her extraordinary skill. I have won the trophy of this hunt!
Chorus: (Continuing to lead her on) “Share”? O wretched woman? With that wig, yes, he looks like a beast. I praise you. And Pentheus, your son? An extraordinary capture. Are you proud? This hunt—it was truly a joy.
Agave: (Completely oblivious) Then, you poor creatures, show this great prize to the citizens of Thebes! Show everyone the trophy you won in the hunt! [Agave boastfully raises her thyrsus, with the head of Pentheus impaled upon it.]
Agave: (To an imaginary audience) You citizens of this high-towered city! You men of Thebes! Behold your Queen’s hunting trophy! This is the prey we pursued, not with nets, nor with bronze spears, but captured by the bare hands of women. What value do your boasts have now? We, with our own hands, captured this prey and tore its bleeding body limb from limb!
Agave: (Suddenly shifting to an everyday, puzzled tone) —But where is my father, Cadmus? He should be here. And my son…—where is Pentheus? Call him. I want him to take the head of this wild lion I have killed and nail it to the city gates as a trophy.
第九场：觉醒与哀悼
【卡德摩斯上，仆从们抬着一具棺椁，内盛彭透斯支离的遗体。】 [Cadmus enters, followed by servants carrying a bier containing the mangled remains of Pentheus.]
Cadmus: (His voice old and weary) Follow me, servants. Bring this terrible burden and lay it before the palace. This is Pentheus. Only after a long and weary search did I painfully piece his body together from the glens of Cithaeron—where his remains lay scattered in fragments through the forest, no two pieces in the same place.
Agave: (Still in her frenzy) Now, father, you may boast of being the proudest man under the sun. For you are the father of the bravest daughters in the whole world. Take it, father, take it in your hands. Glory in my kill, and invite your friends to share in this feast of victory.
Cadmus: (Heartbroken) O gods, how I pity you—and myself. Bromius, the god of our own blood, has destroyed us all, justly—but with a justice too terrible to bear.
卡德摩斯： （引导她） 首先，抬起你的眼睛，望向天空。
Cadmus: (Guiding her) First, lift your eyes and look up at the sky.
阿高厄： 那儿。可是为什么？
Agave: There. But why?
卡德摩斯： 世界看起来和之前一样吗？还是它变了？
Cadmus: Does the world look as it did before? Or has it changed?
Agave: (Looking down, in shock and terror) Wha—What is this? What am I holding in my hands? No! O gods, no! It is—the head of Pentheus—I am holding my—
阿高厄： （茫然） 可……是谁杀了他？
Agave: (Dazed) But… who killed him?
卡德摩斯： （一字一句） 是你杀了他。你和你的姐妹们。在基泰戎，就在猎犬将阿克泰翁撕成碎片的地方。
Cadmus: (One word at a time) You killed him. You and your sisters. On Cithaeron, in the very place where the hounds tore Actaeon to pieces.
阿高厄： （开始明白） 那么……是狄俄尼索斯毁灭了我们？
Agave: (Beginning to understand) Then… it was Dionysus who destroyed us?
Cadmus: (Pointing to the bier) There he lies. I gathered the pieces with great labor. Child, you were the pillar of my house; you were my daughter’s son. Now, I must go, an exile and a disgraced man.
Agave: (Bursting into agony from complete sanity) O father! Now you see how the world is turned upside down. I am in torment, in agony! These cursed hands, stained with the curse of my son’s blood! How can I take him into my arms with these hands?
Agave: (The final benediction) O dearest, dearest face! Beautiful, boyish mouth! Now, I cover your head with this veil. Now, with loving care, I gather these broken limbs of flesh and bone—this body that I brought into the world.
歌队： （肃穆地） 让这景象，教诲所有目睹者：狄俄尼索斯，是宙斯之子。
Chorus: (Solemnly) Let this sight teach all who behold it: Dionysus is the son of Zeus.
第十场：神的判决
【狄俄尼索斯以神显之姿显现。】 [Dionysus appears in his divine form.]
Dionysus: (His voice vast and inhuman) I am Dionysus, son of Zeus. Yet the people of Thebes have profaned me. They slandered me, saying I was born of mortal seed; they even dared to threaten my person with violence. Therefore, I reveal the sufferings they must endure: they shall be driven from this city as enemies and wander in foreign lands; there, they shall submit to the yoke of slavery and spend their remaining days in bitter humiliation.
As for you, Agave, and your evil sisters, you must leave this city to atone for the murder you have committed. You are now unclean. You, Cadmus, shall be transformed into a serpent; and your wife Harmonia shall suffer the same fate. This is ordained by the oracle of Zeus. These are the words of Dionysus, born of no mortal father, but the true seed of Zeus.
卡德摩斯： （哀恳） 我们恳求您，狄俄尼索斯。我们错了。
Cadmus: (Pleading) We beseech you, Dionysus. We have done wrong.
Dionysus: (Coldly) Too late. You did not recognize me when you should have. I am a god. I was insulted by your house, and so your house must suffer. All this my father Zeus ordained long ago. [Dionysus vanishes.]
阿高厄： （声音空洞） 这是命定，父亲。我们必须走了。被放逐了！我们该去往何处？
Agave: (In a hollow voice) It is fate, father. We must go. Exiled! Where are we to go?
Cadmus: (Old and helpless) I do not know, my child. Your father can help you no more. Farewell, my unhappy child. This is the price of Hubris. [Cadmus exits.]
阿高厄： （诀别） 让我离开吧，让我永不再见基泰戎！我将它留给别的狂女了。 【阿高厄下。】
Agave: (Her final farewell) Let me go, and let me never see Cithaeron again! I leave it to other Maenads now. [Agave exits.]
Chorus (Exodos): (Chanting as they exit) The gods appear in many forms. The gods bring many things to pass. What was most expected has not been done. But for the unexpected, the god has found a way. [THE END]
MANFRED: The lamp must be replenish’d, but even then / It will not burn so long as I must watch: / My slumbers—if I slumber—are not sleep, / But a continuance of enduring thought, / Which then I can resist not: in my heart / There is a vigil, and these eyes but close / To look within; and yet I live, and bear / The aspect and the form of breathing men.
但悲痛本身应启迪智者。忧伤即是知识。知道得最深的人，必为那致命的真理哀悼最深：知识树并非生命树。
But grief should be the instructor of the wise; / Sorrow is knowledge: they who know the most / Must mourn the deepest o’er the fatal truth, / The Tree of Knowledge is not that of Life.
Philosophy and science, and the springs / Of wonder, and the wisdom of the world, / I have essay’d, and in my mind there is / A power to make these subject to itself— / But they avail not: I have done men good, / And I have met with good even among men— / But this avail’d not: I have had my foes, / And none have baffled, many fallen before me— / But this avail’d not:—Good, or evil, life, / Powers, passions, all I see in other beings, / Have been to me as rain unto the sands, / Since that all-nameless hour.
I have no dread, / And feel the curse to have no natural fear, / Nor fluttering throb, that beats with hopes or wishes, / Or winds itself about the petty existence / Of gentle companions.
Mysterious Agency! / Ye spirits of the unbounded Universe! / Whom I have sought in darkness and in light— / Ye, who do compass earth about, and dwell / In subtler essence—ye, to whom the tops / Of mountains inaccessible are haunts, / And earth’s and ocean’s caves familiar things— / I call upon ye by the written charm / Which gives me power upon you—Rise! Appear!
(他们还不来。)
(A pause.) They come not yet.
现在，以你们之中为首者的声音——以这令你们战栗的印记——以那不朽者的名义！现身！出现！出现！
Now by the voice of him who is the first / Among you—by this sign, which makes you tremble— / By the reluctant spirit of which is her / But for a time, I summon ye—Rise! Appear! Appear!
Spirits of earth and air, / Ye shall not thus elude me: by a power, / Deeper than all yet urged, a tyrant-spell, / Which had its birth in a celestial curse, / A starry constellation, and a thing / Of burning wreck, or a wandering hell / In the eternal space; by the strong curse / Which is upon my soul, and shall be on yours, / Till I compassed by what I seek, / I do compel ye to my will—Rise!
(停顿。随后传来众灵的声音。)
(A pause. A Seventh Spirit appears with the voices of the others.)
FIRST SPIRIT: Mortal! to thy bidding bow’d, / From my mansion in the cloud, / Which the breath of twilight builds, / And the summer’s sunbeam gilds / With the azure and vermilion, / Which is mix’d for my pavilion; / Though thy quest may be forbidden, / On a star-beam I have ridden: / To thine adjuration bow’d, / Mortal—be thy wish avow’d!
SECOND SPIRIT: Mont Blanc is the monarch of mountains; / They crown’d him long ago / On a throne of rocks, in a robe of clouds, / With a diadem of snow. / Around his waist are forests braced, / The Avalanche in his hand; / But ere it fall, that thundering ball / Must pause for my command. / The Glacier’s cold and restless mass / Moves onward day by day; / But I am he who bids it pass, / Or with its ice delay. / I am the Spirit of the place, / Could make the mountain bow / And quiver to his cavern’d base— / What with me wouldst thou?
THIRD SPIRIT: In the blue depth of the waters, / Where the wave hath no strife, / Where the wind is a stranger, / And the sea-snake hath life, / Where the Mermaid is decking / Her green hair with shells, / Like the storm on the surface / Came the sound of thy spells; / O’er my calm Hall of Coral / The deep echo roll’d— / To the Spirit of Ocean / Thy wishes unfold!
FOURTH SPIRIT: Where the slumbering earthquake / Lies pillow’d on fire, / And the lakes of bitumen / Rise boilingly higher; / Where the roots of the Andes / Strike deep in the earth, / As their summits to heaven / Shoot soaringly forth; / I have quitted my birthplace, / Thy bidding to bide— / Thy spell hath subdued me, / Thy will be my guide!
FIFTH SPIRIT: I am the Rider of the wind, / The Stirrer of the storm; / The hurricane I left behind / Is yet with lightning warm; / To speed to thee, o’er shore and sea / I swept upon the blast: / The fleet I met sail’d cheerfully, / For the last time they pass’d.
第六精灵的声音： 我的居所是夜的阴影。你的魔法为何要用光来折磨我？
SIXTH SPIRIT: My dwelling is the shadow of the night, / Why doth thy magic torture me with light?
SEVENTH SPIRIT: The star which rules thy destiny / Was ruled, ere earth began, by me: / It was a world as fresh and fair / As e’er revolved round sun in air; / Its course was free and regular, / Space bosom’d not a lovelier star. / The hour arrived—and it became / A wandering mass of shapeless flame, / A pathless comet, and a curse, / The menace of the universe; / Still rolling on with innate force, / Without a sphere, without a course, / A bright deformity on high, / The monster of the upper sky!
And thou! beneath its influence born— / Thou worm! whom I obey and scorn— / Forced by a power (which is not thine, / And lent thee but to make thee mine) / For this brief moment to descend, / Where these weak spirits round thee bend / And parley with a thing like thee— / What wouldst thou, Child of Clay! with me?
THE SEVEN SPIRITS: Earth, ocean, air, night, mountains, winds, thy star, / Are at thy beck and bidding, Child of Clay! / Before thee at thy quest their spirits are— / What wouldst thou with us, son of mortals—say?
曼弗雷德： 忘却……
MANFRED: Forgetfulness—
第一精灵： 忘却什么？忘却谁？为何要忘？
FIRST SPIRIT: Of what—of whom—and why?
曼弗雷德： 忘却我内心之物。读读那里吧。你们知道它，而我无法言说。
MANFRED: Of that which is within me; read it there— / Ye know it, and I cannot utter it.
SPIRIT: We can but give thee that which we possess: / Ask of us subjects, sovereignty, the power / O’er earth—the whole, or portion—or a sign / Which shall control the elements, whereof / We are the dominators, each and all, / These shall be thine.
曼弗雷德： 湮灭。自我的湮灭。难道你们不能从你们如此慷慨提供的隐秘领域中，榨取出我所求之物吗？
MANFRED: Oblivion, self-oblivion! / Can ye not wring from out the hidden realms / Ye offer so profusely what I ask?
精灵： 那不在我们的本质里，不在我们的能力中……但是——你可以死去。
SPIRIT: It is not in our essence, in our skill; / But—thou may’st die.
MANFRED: Ye mock me—but the power which brought ye here / Hath made you mine. Slaves, scoff not at my will! / The mind, the spirit, the Promethean spark, / The lightning of my being, is as bright, / Pervading, and far-darting as your own, / And shall not yield to yours, though coop’d in clay! / Answer, or I will teach you what I am.
精灵： 我们的回答一如之前；我们的答复正在你自己的话语之中。
SPIRIT: We answer as we answer’d; our reply / Is even in thine own words.
SPIRIT: Yet pause: being here, our will would do thee service; / Bethink thee, is there then no other gift / Which we can make not worthless in thine eyes?
MANFRED: No, none: yet stay—one moment, ere we part— / I would behold ye face to face. I hear / Your voices, sweet and melancholy sounds, / As music on the waters; and I see / The steady aspect of a clear large star; / But nothing more. Approach me as ye are, / Or one, or all, in your accustom’d forms.
MANFRED: I have no choice; there is no form on earth / Hideous or beautiful to me. Let him, / Who is most powerful of ye, take such aspect / As unto him may seem most fitting—Come!
第七精灵：(以一位美丽女性形象显现。) 看！
SEVENTH SPIRIT: (Appearing in the shape of a beautiful female figure.) Behold!
MANFRED: Oh God! if it be thus, and thou / Art not a madness and a mockery, / I yet might be most happy. I will clasp thee, / And we again will be—
(他难以自持。) 我的心……碎了！
(The figure vanishes.) My heart is crush’d!
(曼弗雷德不省人事，倒地。一个声音响起，吟诵下述咒语。)
(MANFRED falls senseless. A Voice is heard in the Incantation which follows.)
那个声音： 当月光洒在波浪，萤火虫闪烁于草丛，流星划过坟茔，鬼火游荡在沼泽；当流星纷纷坠落，猫头鹰彼此应和，寂静的叶子不再作响，在山峦的阴影里——我的灵魂将缠绕你的灵魂，带着力量与印记。 VOICE: When the moon is on the wave, / And the glow-worm in the grass, / And the meteor on the grave, / And the wisp on the morass; / When the falling stars are shooting, / And the answer’d owls are hooting, / And the silent leaves are still / In the shadow of the hill, / Shall my soul be upon thine, / With a power and with a sign.
Though thy slumber may be deep, / Yet thy spirit shall not sleep; / There are shades which will not vanish, / There are thoughts thou canst not banish; / By a power to thee unknown, / Thou canst never be alone; / Thou art wrapt as with a shroud, / Thou art gather’d in a cloud; / And for ever shalt thou dwell / In the spirit of this spell.
Though thou seest me not pass by, / Thou shalt feel me with thine eye / As a thing that, though unseen, / Must be near thee, and hath been; / And when in thy secret dread / Thou hast turn’d around thy head, / Thou shalt marvel I am not / As thy shadow on the spot, / And the power which thou dost feel / Shall be what thou must conceal.
And a magic voice and verse / Hath baptized thee with a curse; / And a spirit of the air / Hath begirt thee with a snare; / In the wind there is a voice / Shall forbid thee to rejoice; / And to thee shall Night deny / All the quiet of her sky; / And the Day shall have a sun, / Which shall make thee wish it done.
From thy false tears I did distil / An essence which hath strength to kill; / From thy own heart I then did wring / The black blood in its blackest spring; / From thy own smile I snatch’d the snake, / For there it coil’d as in a brake; / From thy own lip I drew the charm / Which gave all these their chiefest harm; / In proving every poison known, / I found the strongest was thine own.
By thy cold breast and serpent smile, / By thy unfathom’d gulfs of guile, / By that most seeming virtuous eye, / By thy shut soul’s hypocrisy; / By the perfection of thine art / Which pass’d for human thine own heart; / By thy delight in others’ pain, / And by thy brotherhood of Cain, / I call upon thee! and compel / Thyself to be thy proper Hell!
And on thy head I pour the vial / Which doth devote thee to this trial; / Nor to slumber, nor to die, / Shall be in thy destiny; / Though thy death shall still seem near / To thy wish, but as a fear; / Lo! the spell now binds thee, / And the clankless chain hath bound thee; / O’er thy heart and brain together / Hath the word been pass’d—now wither!
MANFRED: The spirits I have raised abandon me, / The spells which I have studied baffle me, / The remedy I reck’d of tortured me; / I lean no more on superhuman aid, / It hath no power upon the past, and for / The future, till the past be gulf’d in darkness, / It is not of my search.
My mother Earth! / And thou fresh-breaking Day, and you, ye Mountains, / Why are ye beautiful? I cannot love ye. / And thou, the bright eye of the universe, / That openest over all, and unto all / Art a delight—thou shin’st not on my heart.
And you, ye crags, upon whose extreme edge / I stand, and on the torrent’s brink beneath / Behold the tall pines dwindled as to shrubs / In dizziness of distance; when a leap, / A stir, a motion, even a breath, would bring / My breast upon its rocky bosom’s bed / To rest for ever—wherefore do I pause?
I feel the impulse—yet I do not plunge; / I see the peril—yet do not recede; / And my brain dizzies—yet my foot is firm; / There is a power upon me which withholds, / And makes it my fatality to live; / If it be life to wear within myself / This barrenness of spirit, and to be / My own soul’s sepulchre, for I have ceased / To justify my deeds unto myself— / The last infirmity of evil.
MANFRED (cont.): Ay, / Thou winged and cloud-cleaving minister, / Whose happy flight is highest into heaven, / Well may’st thou swoop so near me—I should be / Thy prey, and gorge thine eaglets; thou art gone / Where the eye cannot follow thee; but thine / Yet pierces downward, onward, or above, / With a pervading vision.—Beautiful!
How beautiful is all this visible world! / How glorious in its action and itself! / But we, who name ourselves its sovereigns, we, / Half dust, half deity, alike unfit / To sink or soar, with our mix’d essence make / A conflict of its elements, and breathe / The breath of degradation and of pride, / Contending with low wants and lofty will, / Till our mortality predominates, / And men are—what they name not to themselves, / And trust not to each other.
MANFRED (cont.): Hark! the note, / The natural music of the mountain reed— / For here the patriarchal days are not / A pastoral fable—pipes in the liberal air, / Mix’d with the sweet bells of the sauntering herd; / My soul would drink those echoes. Oh, that I were / The viewless spirit of a lovely sound, / A living voice, a breathing harmony, / A bodiless enjoyment—born and dying / With the blest tone which made me!
CHAMOIS HUNTER: Even so / This way the chamois leapt: her nimble feet / Have baffled me; my gains to-day will scarce / Repay my labor:—What is here? who seems / Not of my trade, and yet hath reach’d a height / Which none until this hour hath dared to tread / Save steps as light as their own native snows. / His garb is rich, his mien is proud, / His aspect airy, his eye flashing free. / I will approach him nearer.
MANFRED (not perceiving the other): To be thus— / Gray-hair’d with anguish, like these blasted pines, / Wrecks of a single winter, barkless, branchless, / A blighted trunk upon a cursed root, / Which feeds held on its own decay—to be / Thus, and for ever; and thus pass’d and to pass!— / My furrow’d brow / Is plough’d by moments, not by years; / And hours—all tortured into ages—hours / Which I outlive!
Ye toppling crags of ice! / Ye avalanches, whom a breath draws down / In mountainous o’erwhelming, come and crush me! / I hear ye momently above, beneath, / Crash with a frequent conflict; but ye pass, / And only fall on things that still would live; / On the young flourishing forest, or the hut / And hamlet of the harmless villager.
猎人： 山谷里的雾气开始升腾了。我得提醒他下山，不然他可能同时迷路丧命。
CHAMOIS HUNTER: The mists begin to rise from up the valley; / I’ll warn him to descend, or he may lose / His way and life together.
MANFRED: The mists boil up around the glaciers; clouds / Rise curling fast beneath me, white and sulphury, / Like foam from the roused ocean of deep Hell, / Whose every wave breaks on a living shore, / Heap’d with the damn’d like pebbles.—I am giddy.
猎人： 我必须小心靠近。若离得近了，突然的脚步声会惊到他。而且他看起来已经摇摇欲坠。
CHAMOIS HUNTER: I must approach him cautiously; if near, / A sudden step will startle him, and he / Seems tottering already.
MANFRED: Mountains have fallen, / Leaving a gap in the clouds, and with the shock / Rocking their Alpine echoes; earth-shaking, / Filling the mature and emerald valleys / With ruinous fragments; by a sudden crash / Damming the rivers with a sudden crash, / And turning the water into mist, and forcing / The springs to find new channels—even thus, / In its stage of decay, the Rosenberg fell: / Why stood I not beneath it?
猎人： 朋友！当心！你的下一步可能致命！看在造物主的份上，别站在那悬崖边上！
CHAMOIS HUNTER: Friend! have a care, / Your next step may be fatal!—for the love / Of Him who made you, stand not on that brink!
MANFRED (not hearing him): Such would have been for me a fitting tomb; / My bones had then been quiet in their depth; / They had not then been scatter’d on the rocks / For the wind’s pastime—as they shall be now. / In this one plunge.—Farewell, ye opening heavens! / Look not upon me thus reproachfully— / You were not meant for me—Earth! take these atoms!
(正当曼弗雷德要纵身跃下悬崖时，猎人抓住并阻止了他。)
(As MANFRED is in act to spring from the cliff, the CHAMOIS HUNTER seizes and retains him with a sudden effort.)
猎人： 住手，疯子！就算你活腻了，也别用你罪恶的血玷污我们纯洁的山谷。跟我走！我绝不会松手！
CHAMOIS HUNTER: Hold, madman!—though weary of thy life, / Stain not our pure vales with thy guilty blood— / Away with me—I will not quit my hold.
曼弗雷德： 我头晕目眩……不，别抓着我！！我浑身无力……群山在我周围旋转……我看不见了……你是谁？
MANFRED: I am giddy—ay, there’s a power!—hold me! / I am all feebleness—the mountains whirl / Spinning around me—I grow blind—What art thou?
CHAMOIS HUNTER: I’ll tell thee that anon.—Away with me— / The clouds grow thicker—there—now lean on me— / Place your foot here—here, take this staff, and cling / A moment to that shrub—now give me your hand, / And hold fast by my girdle—softly—well— / The chalet will be gain’d within an hour— / Come on, we’ll quickly find a surer footing, / And something like a pathway, which the torrent / Hath wash’d since winter.—Come, ’tis bravely done— / You should have been a hunter.—Follow me.
(他们艰难地攀下岩石。幕落。)
(As they descend the rocks with difficulty, the curtain falls.)
CHAMOIS HUNTER: No, no—yet pause awhile; yon step of yours / Is so unsettled, that the wind will shake it / Or the green turf o’erleap. I pray you, sit.
曼弗雷德： 无关紧要。我很清楚自己的路线，无需指引。
MANFRED: It matters not, my course for my own guide / Is clear enough; I need no further help.
CHAMOIS HUNTER: Thy garb and gait bespeak thee of high lineage— / One of the many chiefs, whose castles stand / On the tall crags that overlook the vales / Exposed to every wind and winter’s storm; / Which of these keepings is thine own? I know / All their wide portals;—in my mountain-life / I’ve seen the fires of many a festive hall / Light up the glaciers;—where is thine, Sir Count?
CHAMOIS HUNTER: Well, Sir, pardon me the question, / And be of better cheer. Come, taste my wine; / ’Tis of an ancient vintage; many a day / ’T’as warm’d my very veins among the glaciers, / And now, let it do thus for thine—Come, pledge me!
曼弗雷德： 拿走，拿走！杯沿上有血！难道它永远——永远——不会渗入大地吗？
MANFRED: Away, away! there’s blood upon the brim! / Will it then never—never sink in the earth?
猎人： 你什么意思？你神志不清了。
CHAMOIS HUNTER: What dost thou mean? thy senses wander from thee.
MANFRED: I say ’tis blood—my blood! the pure warm stream / Which ran in the veins of my fathers, and in ours / When we were in our youth, and had one heart, / And loved each other as we should not love, / And this was shed: but it strengthens and outlives, / And it upbraids me with its fatal brightness, / Reddening the clouds which make a bar betwixt / Our souls and heaven—where thou art gone, and I / Can never follow.
CHAMOIS HUNTER: Man of strange words, and some half-maddening sin, / Which makes thee people vacancy, whate’er / Thy dread and sufferance be, there’s comfort yet— / The aid of holy men, and heavenly patience—
MANFRED: Patience and patience! Hence—that word was made / For brutes of burthen, not for birds of prey; / Preach it to mortals of a dust like thine,— / I am not of thine order.
CHAMOIS HUNTER: Thanks to heaven! / I would not be of thine for the free fame / Of William Tell; but whatsoe’er thine ill, / It must be borne, and these wild starts are useless.
曼弗雷德： 难道我没有忍受吗？看看我——我还活着。
MANFRED: Do I not bear it?—Look on me—I live.
猎人： 这只是痉挛，不是健康的生命。
CHAMOIS HUNTER: This is convulsion, and no healthful life.
MANFRED: I tell thee, man! I have lived many years, / Many long years, but they are nothing now / To those which I must number: ages—ages— / Space and eternity—and consciousness, / With the fierce thirst of death—and still unslaked!
猎人： 可是，你额上连中年的印记都几乎未见。我比你年长得多。
CHAMOIS HUNTER: Why, on thy brow the seal of middle age / Hath scarce been set; I am thine elder far.
MANFRED: Think’st thou existence doth depend on time? / It doth; but actions are our epochs: mine / Have made my days and nights imperishable, / Endless, and all alike, as sands on the shore, / Innumerable atoms; and one desert, / Barren and cold, on which the wild waves break, / But nothing rests, save carcasses and wrecks, / Rocks, and the salt-surf weeds of bitterness.
猎人：(旁白) 唉！他疯了——但我还不能丢下他。
CHAMOIS HUNTER (aside): Alas! he’s mad—but I must not leave him thus.
曼弗雷德： 我倒希望我是疯了，那么我所见的一切，就只是一场错乱的梦。
MANFRED: I would I were—for then the things I see / Would be but a distemper’d dream.
猎人： 你到底看见了什么，或者说你以为自己看见了什么？
CHAMOIS HUNTER: What is it / That thou dost see, or think thou look’st upon?
MANFRED: Myself, and thee—a peasant of the Alps— / Thy humble virtues, hospitable home, / And spirit patient, pious, proud, and free; / Thy self-respect, grafted on innocent thoughts; / Thy days of health, and nights of sleep; thy toils, / By danger dignified, yet guiltless; hopes / Of cheerful old age and a quiet grave, / With cross and garland over its green turf, / And thy grandchildren’s love for epitaph; / This do I see—and then I look within— / It matters not—my soul was scorch’d already!
猎人： 那么，你愿意用你的命运交换我的吗？
CHAMOIS HUNTER: And wouldst thou then exchange thy lot for mine?
MANFRED: No, friend! I would not wrong thee, nor exchange / My lot with living being: I can bear— / However wretchedly, ’tis still to bear— / In life what others could not dream to sleep, / And live unhurt.
CHAMOIS HUNTER: And with this steadfastness of spirit, why / Dost thou still look on me with such an eye / Of dark and hollow meaning? I have known / Such things as thou hast said of; but they pass’d.
MANFRED: Oh, no, no, no! my injuries came down / On those who loved me—on those whom I loved best; / My foes have never suffer’d from my blow / Save in self-defence—but my embrace was fatal.
猎人： 愿上天赐你安宁！愿忏悔能使你恢复本心。我会为你祈祷。
CHAMOIS HUNTER: Heaven give thee rest! / And penitence restore thee to thyself; / My prayers shall be for thee.
MANFRED: I need them not, / But can endure thy pity. I depart— / ’Tis time—farewell!—Here’s gold, and thanks for thee; / No words—it is thy due.—Follow me not— / I know my path—the mountain peril’s past: / I once again beg of thee, follow not!
MANFRED: It is not noon—the sunbow’s rays still arch / The torrent with the many hues of heaven, / And roll the sheeted silver’s waving column / O’er the crag’s headlong perpendicular, / And fling its lines of foaming light along, / And to and fro, like the pale courser’s tail, / The Giant steed, to be bestrode by Death, / As told in the Apocalypse.
此刻，唯我双眼独享这瑰丽景象。我本该是这甜美孤寂中唯一的存在，与此地之灵共享这流水的礼赞。我要召唤她。 No eye / But mine now looks upon this amphitheatre, / I should be sole in this sweet solitude, / And with the Spirit of the place divide / The homage of these waters.—I will call her.
(曼弗雷德掬起一捧水洒向空中，同时低声念诵咒语。稍顿，阿尔卑斯女巫在瀑布虹霓的拱形光晕下升起。)
(MANFRED takes some of the water into the palm of his hand and flings it into the air, muttering the adjuration. After a pause, the WITCH OF THE ALPS rises beneath the arch of the sunbow of the torrent.)
MANFRED: Beautiful Spirit! with thy hair of light, / And dazzling eyes of glory… and the hue, / Of youth’s self-shaded cheek, which care-set slumbers, / Tinged by thy mother’s smile… into thy celestial aspect, and make tame / The beauties of the sunbow which bends o’er thee.
Beautiful Spirit! in thy calm clear brow, / Wherein is glass’d serenity of soul, / Which of itself shows immortality, / I read that thou wilt pardon to a Son / Of Earth, whom the abstruser powers permit / At times to commune with them—if that he / Avail him of his spells to call thee thus, / And gaze on thee a moment.
WITCH: Son of Earth! I know thee, and the powers which give thee power; / I know thee for a man of many thoughts, / And deeds of good and ill, extreme in both, / Fatal and fated in thy sufferings. / I have expected thee. What wouldst thou with me?
MANFRED: To look upon thy beauty—nothing further. / The face of the earth hath madden’d me, and I / Take refuge in her mysteries, and pierce / To the abodes of those who govern her— / But they can nothing aid me. I have sought / From them what they could not bestow, and now / I search no further.
女巫： 还有什么追求，是连最强大的存在、那些无形世界的统治者，也无能为力的？
WITCH: What could be the quest / Which is not in the power of the most powerful, / The rulers of the invisible?
曼弗雷德： 一个恩惠；但我何必重提？那是徒劳。
MANFRED: A boon; / But why should I repeat it? ’twere in vain.
MANFRED: Well, though it torture me, ’tis but the same; / My pang shall find a voice. From my youth upwards / My spirit walk’d not with the souls of men, / Nor look’d upon the earth with human eyes.
The thirst of their ambition was not mine, / The aim of their existence was not mine; / My joys, my griefs, my passions, and my powers, / Made me a stranger; though I wore the form, / I had no sympathy with breathing flesh, / Nor midst the creatures of clay that girded me / Was there but one who—but of her anon.
My early strength / To quaff the foam-fountains; to sleep / On the chill-white peaks; to follow the moon; / To gaze on the lightning; to listen / To the autumn wind’s singing. These were my pastimes, and to be alone.
Then, in my solitudes I settled down / Upon the caves of Death, to search its cause / From its effect; and drew from wither’d bones, / And skulls, and heap’d-up dust, conclusions most / Forbidden. … I made / My eyes familiar with Eternity.
MANFRED: She was like me in lineaments—her eyes, / Her hair, her features, all, to the very tone / Even of her voice, they said were like to mine; / But soften’d all, and temper’d into beauty.
她有着同样孤独的思绪与漫游，对隐秘知识的求索，以及一颗渴望理解宇宙的心灵。不仅如此；她还拥有那些比我更温柔的力量——怜悯、微笑与泪水——这些我都不曾拥有……她的缺点是我的；她的美德属于她自己。我爱她——却又毁了她！ She had the same lone thoughts and wanderings, / The quest of hidden knowledge, and a mind / To comprehend the universe: and besides, / She had the gentler powers—which I had not, / Pity, and smiles, and tears—which I had not… / Her faults were mine—her virtues were her own— / I loved her, and destroy’d her!
MANFRED: Not with my hand, but heart—which broke her heart; / It gazed on mine, and wither’d. I have shed / Blood, but not hers—and yet her blood was shed; / I saw—and could not staunch it.
WITCH: And for this— / A being of the race thou dost despise… / Hast thou compromised the gifts of our great knowledge, / And shrunk back into coward life? Begone!
MANFRED: Daughter of Air! I tell thee, since that hour— / Behold me in my slumbers—and survey / The vigilance of my despair. Come, sit! / My solitude is being peopled by / The Furies. I have pray’d / For madness as a blessing—’tis denied me. / I have affronted Death… / I dwell in my despair— / And live—and live for ever.
MANFRED: We are the fools of Time and Terror… / There is a power / Still in my science—I can spell the dead, / And ask them what it is we dread to be: / The sternest answer can but be the Grave, / And that is nothing—if they answer not… / If I had never lived, that which I loved / Had still been living; had I never loved, / That which I loved had still been beautiful— / Happy and giving happiness. … I dread / Before I do the thing. I have not shrunk / From spirit-illumined—but now I shudder… / But I can act even what I most abhor, / And champion human fears. The night approaches.
FIRST DESTINY: The moon is rising broad, and round, and bright; / Adown the fatal precipice, / The snows which never pass away / In the unmeasur’d depth of ice, / Are stirr’d as by a storm (yet all is still) / Upon the dizzy verge. … The crystal ocean of the mountain ice / Rolls its frozen billows, / Form’d in the mixing of the elements / And all arrested in their tumbling course, / A life-less world of eddies.
And this most steep fantastic pinnacle, / The fretwork of some earthquake—where the clouds / Pause to repose themselves in passing by— / Is sacred to our revels, or our vigils; / Here do I wait my sisters, on our way / To the Hall of Arimanes, for to-night / Is our great festival.
VOICE (without): The captive Usurper, / From his pride of place, / Is scatter’d and driven / In utter disgrace; / I broke through his slumbers, / I shiver’d his chain, / I leagued him with mortals— / He’s Tyrant again!
以百万人的鲜血，他将回报我的关照，以一国的毁灭——他的溃逃与绝望。
With the blood of a million he’ll answer my care, / With a nation’s destruction—his flight and despair.
SECOND VOICE (without): The ship sail’d on, the ship sail’d fast, / But I left not a sail, and I left not a mast; / There is not a plank of the hull or the deck, / And there is not a wretch to lament o’er his wreck; / Save one, whom I held, as he swam, by the hair, / And he was a subject well worthy my care; / A traitor on land, and a pirate at sea— / But I saved him to wreak further havoc for me!
FIRST DESTINY (answering): The city lies sleeping; / The morn, to deplore it, / May dawn on it weeping: / Sullenly, slowly, / The black plague flew o’er it— / Thousands lie lowly; / Sorrow and blushing are over the nations— / And the coming of things which shall be, and have been, / But the dead are the happy, who hear not the groan / Of a world that is moaning!
这一夜之功——这一国之毁——这我亲手所为的壮举！我行之已久，并将不断重演！
This work of a night—this wreck of a state— / Done by the spirit of evil and fate! / I have done it—and will do!
(第二命运与第三命运上场。)
(Enter SECOND and THIRD DESTINIES.)
三命运齐声： 赐予即索取，奴隶之魂灵。人心在我手，坟茔在足下。
THE THREE: Our hands contain the hearts of men, / Our footsteps are their graves; / We only give to take again / The spirits of our slaves!
第一命运： 欢迎！涅墨西斯在哪儿？
FIRST DESTINY: Welcome!—Where’s Nemesis?
第二命运： 在处理些大事；具体何事我不知晓，因我手头也忙得很。
SECOND DESTINY: At some great work; / But what I know not, for my hands were full.
第三命运： 看——她来了。
THIRD DESTINY: Behold she comes.
(涅墨西斯上场。)
(Enter NEMESIS.)
第一命运： 说，你去哪儿了？你和我的姐妹们今晚可有些迟了。
FIRST DESTINY: Say, where hast thou been? / My sisters and thyself are slow to-night.
NEMESIS: I was detain’d repairing shatter’d thrones, / Marrying fools, restoring dynasties, / Avenging men upon their enemies, / And making them repent their own revenge; / Goading the wise to madness; from the dull / Shaping out oracles to rule the world / Afresh, for they were waxing out of date, / And men had gnaw’d on each other, and talk’d / Of freedom, the forbidden fruit.—Away!
走吧！我们已耽搁了时辰。让我们驾云启程！
We have outstay’d the hour—mount we our clouds!
[同下。]
[Exeunt.]
][][
第二幕，第四场
ACT II, SCENE IV
场景： 阿里曼尼斯之殿。阿里曼尼斯端坐于王座，手握一团火球，众灵环绕。
Scene: The Hall of Arimanes. Arimanes on his Throne, a Globe of Fire in his hand, and the Spirits around him.
HYMN OF THE SPIRITS: Hail to our Master!—Prince of Earth and Air! / Who walks the clouds and waters… Life is his, / With all its infinite of agonies— / And his the spirit of whatever is!
(三命运与涅墨西斯上场。)
(Enter the DESTINIES and NEMESIS.)
第一命运： 荣耀归于阿里曼尼斯！他在人间的威权正日益增长。
FIRST DESTINY: Glory to Arimanes! on the earth / His power increaseth.
(曼弗雷德上场。)
(Enter MANFRED.)
第一精灵： 此为何物？一个凡人！你这鲁莽而自取灭亡的可怜虫！跪下礼拜！
A SPIRIT: What is here? / A mortal!—Thou most rash and fatal wretch, / Bow down and worship!
曼弗雷德： 我听见了；但你们也看到，我并未下跪。
MANFRED: I hear thee; and the powers which give thee power / I know; and see not why I should bow down.
第五精灵： 你胆敢拒绝宝座上的阿里曼尼斯？……跪下！我命令你。
FIFTH SPIRIT: Dost thou dare / Refuse to Arimanes on his throne / What the whole earth accords… / Kneel, and blaspheme not, else the world shall tremble!
MANFRED: Bid him bow down to that which is above him, / The overruling Infinite—the Maker / Who made him not for worship—let him kneel, / And we will kneel together.
FIRST DESTINY: Crush the worm! / Back, on your lives!—he is mine. / Prince of the Powers invisible! This man / Is of no common order… his knowledge, and his powers and will… / As much as is allow’d to fleshly nature.
MANFRED: Ye know what I have known; and without power / I could not be amongst ye: but there are / Powers deeper still beyond—I come in quest / Of such, to call upon them. Call the dead— / My question is for them.
涅墨西斯： 你要召唤何人？
NEMESIS: Whom would’st thou unsepulchre?
曼弗雷德： 一个没有坟墓的人。召唤阿斯塔特。
MANFRED: One without a tomb—call up Astarte.
(阿斯塔特的幽灵升起，默然伫立。)
(The Phantom of ASTARTE rises and stands in the midst.)
MANFRED: Can this be death? there’s bloom upon her cheek; / But now I see it is no living hue… / Astarte!—No, I cannot speak to her— / But bid her speak to me.
NEMESIS: By the power which hath broken the slumber which bound thee, / Speak to him who hath spoken… / She is silent, / And must be summon’d with a mightier spell. / Mortal! thy quest is vain, and so is ours.
MANFRED: Hear me, hear me— / Astarte! my beloved! speak to me: / I have so much endured—so much endure— / Look on me! the grave hath not changed thee more / Than I am changed for thee.
I have outwatch’d the stars, / And gazed o’er heaven in vain in search of thee. / Speak to me! … Speak to me! though it be in wrath;—but say— / I reck not what—but let me hear thee once— / This once—once more!
阿斯塔特的幽灵： 曼弗雷德！
PHANTOM: Manfred!
曼弗雷德： 哦！说啊——说啊！我仅凭这声音活着——这是你的声音！
MANFRED: Say on, say on— / I live but in the sound—it is thy voice!
ANOTHER SPIRIT: Yet see, he mastereth himself, and makes / His torture tributary to his will. / Had he been one of us, he would have made / An awful spirit.
曼弗雷德： 离去了……而她赐予的这份恩典，使我此刻离去时，犹负一份债务。
MANFRED: She is gone… / And I must follow.
[下。]
[Exit MANFRED.]
][][
第三幕，第一场
ACT III, SCENE I
场景： 曼弗雷德城堡内的一间大厅。
Scene: A Hall in the Castle of Manfred.
曼弗雷德与赫尔曼上场。
MANFRED and HERMAN.
曼弗雷德： 现在是什么时辰？
MANFRED: What is the hour?
赫尔曼： 离日落还有一个小时，看来会是个宜人的黄昏。
HERMAN: It wants but one till sunset, / And promises a lovely twilight.
曼弗雷德： 塔楼里的一切，是否都按我的吩咐安排妥当了？
MANFRED: Say, / Are all things so disposed of in the tower / As I directed?
赫尔曼： 一切均已就绪，大人；这是钥匙和匣子。
HERMAN: All, my lord, are ready; / Here is the key and casket.
MANFRED: There is a calm upon me— / Inexplicable stillness! which till now / Did not belong to what I knew of life. / If that I did not know philosophy / To be of all our vanities the motliest, / The merest word that ever fool’d the ear / From out the schoolman’s jargon, I should deem / The golden secret, the sought “Kalon,” found, / And seated in my soul.
这不会持久，但能知晓其存在，哪怕仅此一遭，也是好的。它以一种新的感知拓展了我的思想。
It will not last, / But it is well to have known it, though but once: / It hath enlarged my thoughts with a new sense, / And I should kneel, and humbly thank the powers / Which made me thus a being of the earth.
[赫尔曼重上。]
[Re-enter HERMAN.]
赫尔曼： 大人，圣莫里斯的修道院长请求觐见。
HERMAN: My lord, the Abbot of St. Maurice craves / Admittance to your presence.
圣莫里斯修道院长 (上场)： 愿您平安，曼弗雷德伯爵！
ABBOT: Peace be with Count Manfred!
曼弗雷德： 感谢您，神父！欢迎光临寒舍；您的到来令此地蓬荜生辉，也福泽居于此间的人。 MANFRED: Thanks, holy father! welcome to these walls; / Thy presence honours them, and blesseth those / Who dwell within them.
ABBOT: Would it were so, Count! / …Rumours strange, / And of unholy nature, are abroad, / And busy with thy name; a noble name / For centuries; … ’Tis said thou holdest converse / With the things forbidden by the church.
曼弗雷德： 又是哪些人在断言这些事情？
MANFRED: And who are they who do avouch these things?
院长： 我虔诚的教友们——受惊的乡民——甚至您自己的封臣……我来是为拯救，而非毁灭。
ABBOT: My pious brethren—the scared peasantry— / Even thy own vassals, who do look on thee / With most unquiet eyes. … I come to save, / And not destroy.
MANFRED: I hear thee. This is my reply: whate’er / I may have been, or am, doth rest between / Heaven and myself. I shall not choose a mortal / To be my mediator.
院长： 我的孩子！我所说的并非惩罚，而是忏悔与宽恕。
ABBOT: My son! I speak not of punishment, but penitence / And pardon.
MANFRED: Old man! there is no power in holy men, / Nor charm in prayer, nor purifying form / Of penitence, nor outward look, nor fast, / Nor agony— … Which can exorcise from the unbounded spirit / The quick-eyed memories of its own dead crimes, / … There is no future pang / Can deal that justice on the self-condemn’d / He deals on his own soul.
ABBOT: All this is well; / For this will pass away, and be succeeded / By an auspicious hope, which shall look up / With calm assurance to that blessed place / Which all who seek may win. … Come with me, / And I will teach thee all our church can teach.
MANFRED: When Rome’s sixth emperor was near his last, / The victim of a self-inflicted wound, / To shun the public tyranny of those / Whom he had make his slaves—a soldier, with / A show of loyal pity, would have stanch’d / The gushing throat with his abounding robe; / The dying Roman thrust him back, and said— / Some empire still in his expiring gaze— / “It is too late—is this fidelity?”
院长： 这又如何？
ABBOT: And what of this?
曼弗雷德： 我的回答与那罗马人一样——“太迟了。”
MANFRED: I answer with the Roman— / “It is too late!”
院长： 与自己的灵魂和解，永远不会太迟。
ABBOT: It never can be so, / To reconcile thyself with thy own soul, / And thy own soul with Heaven.
MANFRED: Ay—father! I have had those earthly visions / And noble aspirations in my youth… / I could not tame my nature down; for he / Must serve who fain would sway—and soothe—and sue— / … I disdained to mingle with / A herd, though to be leader—and of wolves. / The lion is alone, and so am I.
MANFRED: Because my nature was averse from life; / And yet not cruel; for I would not make, / But find a desolation:—like the wind, / The red-hot breath of the most lone Simoom, / Which dwells but in the desert… such have I been.
院长： 唉！我恐怕您已非我及我的使命所能救助……
ABBOT: Alas! I fear that thou art past all aid / From me and from my calling.
MANFRED: Look on me! there is an order / Of mortals on the earth, who do become / Old in their youth, and die ere middle age… / Some of heart-break, or of broken hopes— / … Look on me! there is an order / Of mortals on the earth…
ABBOT: This should have been a noble creature: he / Hath all the energy which would have made / A goodly frame of glorious elements, / Had they been wisely mingled; as it is, / It is an awful chaos—light and darkness— / And mind and dust—and passions and pure thoughts, / Mix’d, and contending without end or order, / All dormant or destructive. He will perish, / And yet he must not; I will try once more.
[下。]
[Exit.]
][][
第三幕，第二场
ACT III, SCENE II
场景： 城堡中另一室内。
Scene: Another Chamber in the Castle.
曼弗雷德与赫尔曼上场。
MANFRED and HERMAN.
赫尔曼： 大人，您吩咐我在日落时分听候差遣。太阳正沉入山后。
HERMAN: My lord, you bade me wait on you at sunset: / He sinks behind the mountain.
Glorious Orb! the idol / Of early nature, and the vigorous race / Of undiseased mankind, the giant sons / Of the embrace of angels, with a sex / More beautiful than spirits, and before / The worlds were yielded to the spirit of the air.
Most glorious orb! that wert a worship, ere / The mystery of thy making was reveal’d! / Thou earliest minister of the Almighty, / Which gladden’d, on their mountain tops, the hearts / Of the Chaldean shepherds, till they pour’d / Themselves in orisons!
Thou material God! / And representative of the Unknown— / Who chose thee for his shadow! Thou chief star! / Centre of many stars! which mak’st our earth / Endurable… Sire of the seasons! Monarch of the climes, / And those who dwell in them!
Thou risest, / And shin’st, and sett’st in glory. Fare thee well! / I ne’er shall see thee more. As my first glance / Of love and wonder was for thee, then take / My latest look.
HERMAN: ’Tis strange enough; night after night, for years, / He hath pursued long vigils in this tower, / Without a witness. … There is a room / Which none have enter’d: I would give the free / Full earnings of my last three years to scan / Its mysteries.
曼努埃尔： 那会很危险。知道多少，就满足于多少吧。
MANUEL: It were a dangerous spy-light; be content / With what thou know’st already.
赫尔曼： 唉，曼努埃尔！……在曼弗雷德伯爵出生之前，我侍奉的是他的父亲，而伯爵与他父亲并不相像。
HERMAN: Ah! Manuel! … I served / His father, whom he naught resembles.
MANUEL: I speak not of features or of form, / But mind and habits. Count Sigismund was proud, / But gay and free as on a battlefield; / … He had no silent thoughts, nor solitary pastimes, / Nor ever shunn’d the light or his fellow-men.
赫尔曼： 请别怪我多嘴，但那真是快活的时光啊！……
HERMAN: Beseech you, do not blame me, / But those were happy times!
MANUEL: Oh, Herman! I have seen within these walls / Strange sights and sounds. … That was a night indeed! / I do remember ’twas an hour like this; / … Count Manfred was, as now, within his tower,— / How occupied, we knew not, but with him / The sole companion of his wanderings / And watchings—her, whom of all earthly things / That lived, the only thing he seem’d to love,— / As he, indeed, by blood was bound to do, / The lady Astarte, his—
(突然。)
(Suddenly stops.)
嘘！谁来了？
Hush! who comes here?
(修道院长上场。)
(Enter the ABBOT.)
院长： 你们的主人在哪里？
ABBOT: Where is your master?
赫尔曼： 在他的塔楼里。
HERMAN: Yonder in the tower.
院长： 我必须和他谈谈。
ABBOT: I must speak with him.
曼努埃尔： 这不可能。他极重隐私，绝不能这样被打扰。
MANUEL: ’Tis impossible; / He is most private, and must not be thus / Intruded on.
院长： 纵有冲撞之咎，亦由我一身承当——但我必须见他。
ABBOT: Upon myself I take / The forfeit of my fault, if fault there be— / But I must see him.
赫尔曼： 您今晚已经见过他一次了。
HERMAN: Thou hast seen him once / To-night already.
院长： 赫尔曼！我命令你。去敲门，通报伯爵我来了。
ABBOT: Herman! I command thee, / Knock, and apprise the Count of my approach.
赫尔曼： 我们不敢。
HERMAN: We dare not.
院长： 那么看来，我只好亲自去通报我的来意了。
ABBOT: Then it seems I must / Be mine own herald.
曼努埃尔： 尊敬的神父，请留步！我恳求您，且慢！请这边走几步，容我私下相告。
MANUEL: Reverend father, stop! / I do beseech thee, pause. … Will it please you to step aside, / And I will tell you further.
MANFRED: The stars are forth, the moon above the tops / Of the snow-shining mountains.—Beautiful! / I do remember out of her mid-heaven, / In the close night-hour, I have learn’d the tongue / Of another world.
I do remember in my youth, when I / Was gazing on the dwelling of the Caesars… / And thou didst shine, thou rolling moon, upon / All this, and cast a wide and tender light… / Which make the dwelling of the ancient dead / A place of religion.
ABBOT: I see a dark and awful figure rise, / Like an infernal god, from out the earth; / … Behold! he unveils his face; on his brow / The scar of thunder is engraved; and from / His eyes leap forth the lightnings of the pit. / Avaunt!
(一精灵上场。)
(Enter a SPIRIT.)
曼弗雷德： 宣告——你的使命为何？
MANFRED: Pronounce—what is thy mission?
精灵： 来！此人的守护精灵。来！时辰到了。
SPIRIT: Come! … The Spirit of thy destiny. Come! The hour is come.
MANFRED: I am prepared for all things, but deny / The power which summons me. Who sent thee here? / I have commanded beings of a birth / More noble than thy kindred. Back!
MANFRED: I do defy ye;—though I feel my soul / Is ebbing from me, yet I do defy ye; / … No—I have been my own destroyer, and will be / My own hereafter.—Back, ye baffled fiends! / The hand of death is on me—but not yours!
ABBOT: Alas! how pale thou art—thy lips are white— / And thy breast heaves—and in thy gasping throat / The accents rattle:—Give thy prayers to Heaven— / Pray—albeit but in thought—but die not thus.
曼弗雷德： 结束了——我昏花的双眼已无法聚焦于你……永别了——将你的手给我。
MANFRED: ’Tis over—my dull eyes can fix thee not; / But all things swim around me, and the earth / Heaves as it were beneath me. Fare thee well— / Give me thy hand.
院长： 冰冷——冰冷——直透心底——但尚有一愿……唉！你感觉如何？
ABBOT: Cold—cold—even to the heart— / But yet one prayer—Alas! how farest thou?
曼弗雷德： 老先生……死去，并非那么艰难。
MANFRED: Old man! ’tis not so difficult to die.
(曼弗雷德死去。)
(MANFRED dies.)
院长： 他去了——他的灵魂已踏上无尘的旅程；但去往何方？我惧于思索——但他确实去了。
ABBOT: He’s gone—his soul hath ta’en its earthless flight; / Whither? I dread to think—but he is gone.
ACT I, Scene 1 [The Royal Chamber of the Palace of Lydia]
（利迪亚老王、泰梅西斯、泽纳库斯、马泽雷斯、菲德利奥、阿莫尔福、塞克斯托里奥及洛多维库斯上。众人行至王座前，却发现西里西亚的暴君阿玛特里特斯早已端坐于御椅之上。马泽雷斯上前，为他加冕。老王与泰梅西斯惊愕呆立。号声起。）(Enter the Old King, Tymethes, Zenocrates, Mazeres, Fidelio, Amorpho, Sextorio, and Lodovicus. They approach the throne, only to find Armatrites, the Tyrant of Cilicia, already seated upon the chair of state. Mazeres steps forward and crowns him. The Old King and Tymethes stand struck with amazement. Flourish of trumpets.)
阿玛特里特斯： （起身）斯佩兰扎！（希望！）
ARMATRITES: (Rising) Speranza! (Hope!)
众人： 阿玛特里特斯国王万岁！
ALL: Long live King Armatrites!
老王： 为何？
OLD KING: Why?
阿玛特里特斯： 老东西，惊呆了吗？我追随一个幻象而来——此刻，我便将它化为现实。
ARMATRITES: Old man, are you amazed? I followed a vision hither—and now, I have turned it into reality.
OLD KING: There is no nobility or virtue in this, but a defiance of religion, loyalty, heaven, and the laws of nature! That you should so treacherously break into a place that should be sacred to faith and honor! I sought help from a friend, not a hypocrite; I needed a royal neighbor, not a deadly enemy. Could a foe have done worse than this?
ARMATRITES: Alas, doting Lydia, is it no merit to have brought an army hither, hazarding our person and the lives of our soldiers to help you against your enemies? That would be to waste our courage, blunt our best men, exhaust our provisions, and throw our glory to unworthy souls. Why should we pour out the honey of our victory only for these drones to feast upon?
ARMATRITES: All or nothing. Nothing but this kingdom is worthy of our blood: eagles do not hunt flies, nor do they thank us for crumbs. As for Cilicia, our other realm, it shall be governed by our son, Zenocrates.
ZENOCRATES: (Kneeling) Sir, let me here beg for mercy, mercy for this venerable and unfortunate King, and for his sorrowful son, my dear friend and sworn brother, Tymethes. O, my most noble father, keep still the seal of honor and faith: a kingdom possessed by right and gentle rule yields far more joy than a realm usurped by violence.
阿玛特里特斯： （旁白）这小子几乎说动了我。
ARMATRITES: (Aside) The boy almost moves me.
马泽雷斯： （旁白）陛下心软了。（高声） 陛下，请记住，您已掌控一切。
MAZERES: (Aside) His Majesty relents. (Aloud) Sir, remember, you have all in your power.
MAZERES: The devil? It is a title! A kingdom! All Lydia! They breathe only under your scepter. The power is yours. Do not be bought by sweet words. A kingdom is precious: kiss your fortune, hold fast your mind, and settle your state.
ARMATRITES: Thanks to Mazeres; he has restored our spirit. Zenocrates, one word more is death. Your speech is a threat; either rise in silence, or fall in blood.
（泽纳库斯起身。）
(Zenocrates rises.)
老王： 暴君当道，除却血腥，还能指望什么？
OLD KING: When a tyrant rules, what can be expected but blood?
ARMATRITES: Our cruelty to your fortune is less than that of your treacherous nephew, Lapirus. He sought your life, basely besieged you, and sold you to the fury of your enemies. It is well known how wickedly he acted; our actions are but fit, call them policy, profit, foresight—no, rather just compensation. Deceit is common in peace; there, young heirs are often sold. You have your life; be thankful, for it is more than your treacherous nephew would have granted had he prevailed. Your fate is sealed; the sooner you depart, the safer for you.
老王： （旁白）拉皮鲁斯，你这背信弃义之徒，愿老夫的诅咒如奥林匹斯山压顶，令你永世不得翻身！
OLD KING: (Aside) Lapirus, you treacherous knave, may my curse press upon you like Mount Olympus, that you may never rise again!
菲德利奥： 您的王后带着两位婴孩逃离了都城，被这场叛变与新战事吓破了胆。
FIDELIO: Your Queen has fled the city with two infants, frightened by this revolt and the new wars.
OLD KING: This news is more grievous than the loss of my kingdom. She must have fled at the very start; had she stayed, she would be dead, exiled, or sold. Are there any loyal servants of mine left here?
OLD KING: All these? No, no; you forget I am no longer worth flattering. I am ruined, old, and exiled. I can only bow to the rising sun. If there be any who still serve me out of love, where are they? Let such a man now shame the world and follow me.
菲德利奥： 臣在此，陛下。
FIDELIO: I am here, my Liege.
阿莫尔福： 臣亦在此。
AMORPHO: And I.
老王： 什么，仅你二人？当记下：仅两人追随一位贫穷年迈的国王。
OLD KING: What, only two? Let it be recorded: only two follow a poor, aged King.
（老王、菲德利奥与阿莫尔福同下。）
(Exeunt Old King, Fidelio, and Amorpho.)
塞克斯托里奥： 再会了，国王。我就当条比目鱼，随潮水进退。
SEXTORIO: Farewell, King. I’ll be like a flatfish, moving with the tide.
洛多维库斯： 我也一样；这才是涨潮的一边。
LODOVICUS: And I; this is the side where the tide rises.
马泽雷斯： （对阿玛特里特斯）这些人现在归您了，陛下。
MAZERES: (To Armatrites) These men are yours now, Sir.
ARMATRITES: We shall favor them especially. (To Sextorio and Lodovicus) Attend our pleasure; those who serve us shall be promoted. (Taking Mazeres aside) His son Tymethes is no cause for concern. Young and fond of pleasure, he has no heart for policy.
ZENOCRATES: (Aside) Who but Mazeres, that court-fly, could so poison a King’s virtue? A man runs to sin in a moment’s leap; but to walk toward goodness, one must step as if on thin ice. My own father, so quickly turned tyrant!
泰梅西斯： 安静，求你安静。你若吵醒我，我便完了；说到底，这定是一场梦。
TYMETHES: Peace, I pray you, peace. If you wake me, I am undone; surely, this must be a dream.
TYMETHES: No dream? Then wake, beggar. My only comfort is these seemingly heroic kinsmen. Alas, Zenocrates, the loss of a kingdom, the exile of a father, the unknown fate of a mother—these pains are not half so great as the obstruction of my heart. No, what burns me is the matter between your sister and me. Whether because of fortune, or her father’s frowning face, all the structure of her love… now, she either will not, or dares not love me.
ZENOCRATES: Times change, but not true hearts; look at me—despite tyranny, I still hold you as a treasure. Fortune does but cloud a good man’s mirror; yet its value remains, unchanged by fate. Should virtue be cast aside like a rag because of misery? I will never call her sister who hates virtue in its distress.
（安菲多特上。）
(Enter Amphidote.)
泽纳库斯： （续）她来了，亲自为你驱散疑云。
ZENOCRATES: (Cont.) She comes herself to clear your doubts.
AMPHIDOTE: What a world is this! That my father, in his old age, should use tyranny against a friend, wasting the time of penance in plots, and committing more sins than he has tears to wash away?
泰梅西斯： 唉，殿下，命运已改我境遇；你可爱一个乞丐？
TYMETHES: Alas, Madam, fortune has changed my state; can you love a beggar?
ZENOCRATES: Save your wonder; she has proved herself unchanged. Before she came, I spoke for her virtue… After my father’s days, I swear this kingdom, now unlawfully possessed, shall be restored to you entire. Not as a dowry, but as your rightful due.
（马泽雷斯悄然上，窥视。）
(Mazeres enters quietly, spying.)
泽纳库斯： （续）来，让你们的唇相遇吧，纵使命运漂泊。
ZENOCRATES: (Cont.) Come, let your lips meet, though fortune wanders.
（安菲多特与泰梅西斯接吻。）
(Amphidote and Tymethes kiss.)
马泽雷斯： （旁白）哈！竟与一个乞丐如此慷慨地唇齿相亲？
MAZERES: (Aside) Ha! To be so generous with her lips to a beggar?
泽纳库斯： 如此，让你们的爱情在稳固中安歇；时间使人沦为不幸，亦能使同样的人获得福佑。
ZENOCRATES: Thus, let your love rest in certainty; time makes men miserable, yet can make the same men blessed.
MAZERES: What’s this? If Prince Zenocrates in a fit of charity chooses to share his glory to save a desperate beggar’s dying fortune… then my counsel to keep Tymethes here was folly. I have brought in a wolf and sought my own trouble. I love the Princess, and the King approves. If Tymethes becomes my rival… then I have built my own ruin with my own advice. No matter. My plots shall destroy him. If one fails, another shall rise, or a third. I must prevail. (Exit.)
][][
第一幕，第二场 [森林中]
ACT I, Scene 2 [In the Forest]
（老王后怀抱两名婴孩奔逃而上，后有紧追之声。）
(Enter the Old Queen, carrying two infants, fleeing; sounds of pursuit behind her.)
老王后： 我能带着这些可怜的孩儿逃往何方？在这深林之中，竟两度落难！他们掠走我的一切，剥尽我的衣衫，将我抛在这般绝境！是何等残酷的命运，在摧折我那善良的国王、我的夫君？我已辨不清哪一桩才是更大的苦难。啊，背信弃义的拉皮鲁斯！你这渎神的侄儿！愿那一颗罪恶灵魂所滋生的一切恐怖，统统报应在你身上！我可怜的孩儿，你们要么在此化为饿殍，要么……就让战争的饕餮之口，饮尽你们无辜的鲜血！ OLD QUEEN: Whither shall I fly with these poor infants? Twice distressed in these deep woods! They have rifled me of all, stripped me of my very garments, and left me in this wretched state! What cruel fate pursues my good King, my husband? I know not which misery is the greater. O, treacherous Lapirus! You sacrilegious nephew! May all the terrors that a guilty soul can breed light upon you! My poor babes, you must either perish here by famine, or… let the gluttonous jaws of war drink up your innocent blood!
（内喊声：“追！快追！”）
(Voices within: “Follow! Follow!”)
老王后（续）： 快逃！莫等他们追来，夺走我们的性命，玷污我的名节！
OLD QUEEN (Cont.): Away! Lest they overtake us, take our lives, and triumph over my honor!
LAPIRUS: Villain and fugitive!—you loathsome carcass!—where can you possibly hide? Now that you’ve betrayed your country, what disguise can keep you safe or free? Foul Lapirus! Earth, open your throat and swallow this bitter fruit, even if you hate the very taste of it!
（老王后奔逃上，两名兵卒紧追其后。）
(Enter the Old Queen, fleeing, pursued by two Soldiers.)
老王后： 救命！善心人哪，救救这可怜的妇人免遭屠戮！
OLD QUEEN: Help! Good people, save a poor, distressed woman from being slaughtered!
兵卒甲： 先把她的嘴堵上。当兵的得找点乐子。这是他们用血换来的权利。
1ST SOLDIER: First, shut her up. Soldiers need their fun. It’s a right they buy with their blood.
LAPIRUS: (Aside) A mother tortured by these heartless slaves? Let me redeem my honor by saving her. Let this one act of good kill the man I used to be.
兵卒乙： 快点，快点！
2ND SOLDIER: Hurry up, get on with it!
老王后： 若是有哪位女子曾生育你们——
OLD QUEEN: If any woman ever gave you birth—
拉皮鲁斯： （拔剑）无论谁生了他们，定是妖魔养了他们！无情无义的该死恶徒！
LAPIRUS: (Drawing his sword) Whoever bore them, surely a devil raised them! You heartless, damned villains!
两兵卒： 且慢，且慢，大人！我们是兵卒不假，可我们并不好斗。
BOTH SOLDIERS: Wait, wait, sir! We’re soldiers, it’s true, but we aren’t looking for a fight!
（两兵卒逃下。）
(The Soldiers flee.)
老王后： 请容我劝您莫要指望任何报偿……唯有感谢与祈祷，这是一个乞丐仅有的礼物。
OLD QUEEN: Let me warn you not to expect any reward… except thanks and prayers. They are the only gifts a beggar has.
LAPIRUS: There is nothing I thirst for more than prayer. My soul is barren—like a grand house with no furniture inside. It lacks the curtains of sincere tears. Without prayer, a man is nothing but a ruined wall. Who are you, crossing this dangerous forest with such a precious and heavy burden?
OLD QUEEN: Generous sir, I was the Queen of Lydia—as happy then as I am miserable now. Then a traitor named Lapirus, the King’s own nephew, plotted to overthrow the state. Even as the King was making peace with his enemy, this man led a secret army to surround the land. Who could have expected such unnatural treason from a kinsman? I am that honored and most wretched Queen.
拉皮鲁斯： （旁白）啊，此刻便让我坠入永劫不复之地吧！（高声）请勿再言。
LAPIRUS: (Aside) O, let me sink into eternal hell this very second! (Aloud) Say no more.
OLD QUEEN: No, no. I will tell you everything. Your noble deed proved you are honest and worthy of my trust. Fearing the new wars and Lapirus’s betrayal, I chose to flee with these two infants rather than wait for a slow death.
拉皮鲁斯： （旁白）噢，她每一字都令我如受千刀万剐！
LAPIRUS: (Aside) Oh, every word she says is like a thousand stabs!
LAPIRUS: (Wildly) If it brings your sorrow any comfort, know this: Lapirus—the man you have every reason to curse and seek revenge upon—is hiding in this very forest… in a state as desperate as yours.
老王后： 什么？那个可憎的恶棍就在这森林里？
OLD QUEEN: What? That loathsome villain is in this forest?
LAPIRUS: Here, take my sword. Hold it tight. Are you resolved? Letting his blood stain your hand will only dirty your noble name. Even so, will you strike?
老王后： 我没看见他。
OLD QUEEN: I don’t see him.
拉皮鲁斯： 刺穿他那充满罪孽与背叛的骨头，让他亲眼看看他背誓灵魂的恐怖。准备好了吗？
LAPIRUS: Pierce through his guilty and treacherous bones. Let him see the horror of his lying soul. Are you ready?
OLD QUEEN: Lapirus! Oh, the hour of revenge is here! Now all your wicked deeds will be paid back at once: the ruin of your country, the sorrow of the King—your uncle—and my own suffering. It all meets in this one moment. (Aside) Why doesn’t he fight back? He just bows, prays, and begs. What more can I ask for? There is no glory in killing a man who kneels and repents for his crimes. If I send him to heaven, I’m afraid he’ll drag me down to hell with him. Listen to the cries of your poor children; they are calling for revenge too. Or is it just hunger in their bellies? Enough, enough—he deserves to die. (Pause) But—he just saved me and preserved my honor. Since I am his elder, how can I become his murderer? Will killing him bring back my kingdom? Besides, he was so resolute when he drew his sword for me. This truly troubles my heart! (Aloud) Stand up, stand up. Those who sincerely repent find redemption.
OLD QUEEN: I only ask for one penance for all your past faults: while we are stuck in this forest, your job is to find food and supplies for me and my children.
拉皮鲁斯： （惊愕，随即急切起身）臣若失职，愿地裂而吞我。
LAPIRUS: (Amazed, then rising eagerly) If I fail in this, let the earth open and swallow me whole.
老王后： （对婴孩）他们现在安静下来了；若我那老国王夫君在此，我愿永远居留于此。
OLD QUEEN: (To the infants) They are quiet now. If only the King were here, I would be happy to stay in this forest forever.
（同下。）(They exit together.)
][][
第一幕，第四场 [年轻王后寝宫外]
ACT I, Scene 4 [Outside the Young Queen’s Apartments]
（泰梅西斯与泽纳库斯上。）
(Enter Tymethes and Zenocrates.)
泽纳库斯： 且收了你这些愁绪吧。稍存些信念。我必教你重展欢颜。
ZENOCRATES: Put away these gloomy thoughts. Have a little faith. I’ll show you something to bring the smile back to your face.
泰梅西斯： 就像你父王葬礼上，你那身为嗣子的心情？
TYMETHES: What, like the joy of an heir at his father’s funeral?
泽纳库斯： 看来我妹妹确实令你魂牵梦萦。
ZENOCRATES: It seems my sister has truly taken possession of your soul.
泰梅西斯： 除她之外，世间再无欢愉与妙音。
TYMETHES: Without her, there is no joy or music left in the world.
ZENOCRATES: My friend, in this palace, my father is so wasted by jealousy that he keeps his beautiful wife locked away in seclusion. I doubt you’ve ever laid eyes on her.
泰梅西斯： 我直至此刻方知有此一人，自然未曾见过。
TYMETHES: I didn’t even know she existed until now, so of course I haven’t seen her.
泽纳库斯： 那么，正好借你新来的眼光，我特地带你去品评一番。
ZENOCRATES: Then, with your fresh eyes, I’ve brought you here specifically to judge her beauty.
泰梅西斯： 我倾诉的是爱慕。
TYMETHES: It’s love I’m talking about, not judgment.
泽纳库斯： 不，她值得令人妒忌，尽管妒忌本身，远配不上一国之君。
ZENOCRATES: No, she is worth the envy—even if jealousy itself is beneath a king.
（罗克萨诺上。）
(Enter Roxano.)
罗克萨诺： 我尊贵的殿下？
ROXANO: My noble lord?
泽纳库斯： 王后心情如何？
ZENOCRATES: How is the Queen’s mood?
（二人低语。）
(They whisper together.)
泰梅西斯： （旁白）我岂非先前见过此人？此人颇有龟公之相；我不知其名，亦不晓其职。
TYMETHES: (Aside) Haven’t I seen this fellow before? He has the look of a pimp about him; I don’t know his name or his office.
泽纳库斯： （高声）就照那些话去办。
ZENOCRATES: (Aloud) See it done as we discussed.
罗克萨诺： 遵命，殿下。凡是用得着小的之事，尽管吩咐。（下。）
ROXANO: At your service, my lord. Anything you need from me, just say the word. (Exit.)
ZENOCRATES: Who, Roxano? A highly trusted servant, handpicked by my father’s own suspicion. But like everyone else, he’s under the Young Queen’s command. Honestly, if the pay were right, she could pimp herself out. If a wife has no shame, no amount of spying or guarding can keep her chaste.
TYMETHES: You’re a prophet, Zenocrates. What’s the point of it all? Only jealousy, sighs, and ridiculous groaning. Hunger and lust can pierce through flesh and stone; they’ll blow through castle gates, chastity belts, and Italian locks like a whirlwind.
泽纳库斯： 那这些善妒的老爷们岂非疯了？他们锁住妻子，防尽天下男人，却独独不防自家奴仆？
ZENOCRATES: Aren’t these jealous masters insane? They lock up their wives and guard against every man on earth—except their own servants.
（年轻王后手持一书上。）
(The Young Queen enters, with a book.)
泽纳库斯 （续）： 说着便到，看，看，她来了。
ZENOCRATES (Cont.): Speaking of her—look, look, here she comes.
泰梅西斯： （旁白）诸美为证……我心底的欲望骤然升腾。优雅与完美自她眸中灼灼迸射。我目眩神迷。
TYMETHES: (Aside) By all that is beautiful… a sudden desire rises within me. Grace and perfection blaze from her eyes. I am dazzled.
泽纳库斯： （引见）这位是泰梅西斯，夫人，乃遭流放的前王之子。
ZENOCRATES: (Presenting him) This is Tymethes, Madam, son to the late exiled King.
年轻王后： 便是他么？
YOUNG QUEEN: Is it he?
泽纳库斯： 正是，亲爱的夫人。
ZENOCRATES: It is, dear Madam.
年轻王后： （旁白）我至今方知欲望之力竟如此磅礴！情欲在我五内翻腾；我怕这一瞥便注定是我的劫数。
YOUNG QUEEN: (Aside) I never knew the power of desire could be this immense! Lust churns within me; I fear this single look will be my undoing.
泽纳库斯： （低声提醒）喂，泰梅西斯？朋友？
ZENOCRATES: (Whispering) Hey, Tymethes? Friend?
泰梅西斯： （茫然四顾）嗯？
TYMETHES: (Startled) Hmm?
泽纳库斯： （低声提醒）上前向我们的夫人、我们的母后致意。
ZENOCRATES: (Whispering) Go forward and greet our Lady, our Queen.
年轻王后： （旁白）他竟如此大胆地朝我走来！（高声）阁下便是泰梅西斯王子，我听得可对？
YOUNG QUEEN: (Aside) How boldly he approaches me! (Aloud) You are Prince Tymethes, if I heard correctly?
泰梅西斯： 正是那不幸之人，最尊贵的夫人，在您无瑕的完美面前。
TYMETHES: I am that unfortunate man, most noble Lady, standing before your flawless perfection.
YOUNG QUEEN: Sir, remember your place. (Aside) He said “perfection”! (Aloud) This is no place for romance, and I am no fit subject for such talk; return to your friend.
泰梅西斯： （旁白）所有希望，尚未绽放便已夭折。
TYMETHES: (Aside) All hope is dead before it could even bloom.
年轻王后： （旁白）这话说得太过冷酷，实在……
YOUNG QUEEN: (Aside) That sounded too cold, far too…
（罗克萨诺持酒上。）
(Enter Roxano with wine.)
年轻王后 （续）： 啊，这是给我们儿子泽纳库斯和他那位无礼朋友的酒么？真是周到。
YOUNG QUEEN (Cont.): Ah, is this wine for our son Zenocrates and his… blunt friend? How thoughtful.
泰梅西斯： （旁白）哈，看来还有希望！若她肯借机祝我健康……
TYMETHES: (Aside) Ha, there’s hope yet! If she’ll only take the chance to toast my health…
TYMETHES: (Aside) Heavens! Why does misfortune’s contempt follow me so closely! She wouldn’t even offer a toast; what was she made for? I can’t stay here, lest I catch a fire that only cold death can quench or tame. (Aloud) Zenocrates, let’s go. (Exit.)
泽纳库斯： 我得走了；愿您心境如乐章，王后。
ZENOCRATES: I must be off. May your mood be like music, Queen.
年轻王后： 愿你亦如是。
YOUNG QUEEN: And yours as well.
泽纳库斯： 愿您心想事成，亦如我口所能宣。
ZENOCRATES: May your desires be fulfilled as easily as my words can say it.
YOUNG QUEEN (Cont.): That one left without a word, but he left me with enough thoughts for both of us. Tymethes? That’s the name. Poor heart, be careful: see the end before you begin the act. You can love, but love wisely. They say even the wisest man has one blind spot—and that’s when he’s in love. In that moment, folly becomes his master. I don’t need to fear the servants watching me: their loyalty is tied to my purse; they are more faithful to me than to my husband. The true threat, the danger, lies in the very man I must have—Tymethes. Young men like to boast. In his cups, he might brag to some cheap mistress, using my shame as a stepping stone to raise himself up… and from there, word would reach the King. A strange fate: the place where my desire lives is the same place where my fear dwells.
ARMATRITES: (Aside) Alone? Where are her guards? To let her sink into her own thoughts? That’s a dangerous indulgence. Her thoughts have a will of their own.
ROXANO: (Aside) My lady’s thoughts right now are far from the sweet smile she’s wearing for the tyrant. I consider myself a good judge of character, but their faces have never been more fake. My lady isn’t being honest with herself. She’s got some twisted ideas. If there’s anything she needs a hand with, she might just be lucky enough to tell me. She knows what I’m worth and what I can do; she can’t fool me. I offer dedicated service and total silence—what more could a lady ask for? She has total faith in us; those of us who guard her hem would all risk a little something to serve her and keep her happy.
（年轻王后忧思上。）(The Young Queen enters, deep in thought.)
老天，她来了。看这情状，定是服了什么古怪的药石。
Good grief, here she comes. By the looks of it, she’s taken some strange potion.
YOUNG QUEEN: (Aside) No logic can suppress this thought. It has a brute force pushing upward; do sparks ever fly down? I can no longer restrain this obsession with Tymethes. I try to threaten it with my husband’s jealousy, but it still rises above all opposition. I see the danger; I see the terror I’m in. I’m running toward an abyss on a single narrow plank. Yet, even if that board were three times narrower, I’d still risk stepping onto it. The pain of love! Who’s there? Roxano? He’s seen me. (Aloud) What news, Roxano?
罗克萨诺： 没什么好消息，夫人。
ROXANO: No good news, Madam.
年轻王后： 没有？那坏消息是什么？
YOUNG QUEEN: No? Then what’s the bad news?
罗克萨诺： 最坏的消息便是，夫人，您很不快活。
ROXANO: The worst news, Madam, is that you are very unhappy.
YOUNG QUEEN: He must never know who I am, even though I feel I’ll die if I can’t have him. My husband’s pale jealousy chases me like a hound; if Tymethes knew who he was enjoying, the word would reach the King. Since my desire carries such terrifying consequences, I’d rather die of love than any other way. What do you say?
ROXANO: Then he’ll say, like a proper gentleman, that he’ll do his duty: bring the two of you together, let you unite, and then leave the two of you alone. What more could a gentleman do?
ROXANO: Safely? Yes, I swear it on my hand, or may I never work this trade again. Leave it to me, Madam. I’ve got some clever tricks in mind that will let you see him and enjoy him without him ever knowing where he is or who he’s with.
ROXANO: Oh, that’s exactly what I don’t want him to know, Madam. Think about it: if he knew it was you, would you ever be safe? Hmph. Some young punks are so vain and ridiculous—if they slept with their own mother, they’d probably beat a drum and announce it in every tavern. It happens all the time. Since I’ve promised, I’ll swear to it: you’ll have him before tonight is over, and he won’t know it was you even by tomorrow morning.
YOUNG QUEEN: You are not only indispensable, you’re a delight. (Giving him money) Here, take your reward. Make sure everything is arranged perfectly. I pay you in gold today; I will repay you with honor in the future. (Exit.)
ROXANO: I’m your humble servant, Madam. Hey, beautiful gold! Heaven knows, this money was easy to earn. If you ask me, there’s no better business in the world than match-making. With this reward, a lowly servant like me can become a grand steward in no time. (Exit.)
][][
第二幕，第一场 [羊圈外]
ACT II, Scene 1 [Outside the Sheepfolds]
（地上有一深坑，以断枝覆盖，旁置一苹果。弄人与二牧羊女上。）
(A deep pit in the ground, covered with broken branches; an apple is placed nearby. Enter the Fool and two Shepherdesses.)
牧羊女甲： 来，兄弟，坑挖好了吗？
1ST SHEPHERDESS: Come on, brother—is the pit ready?
弄人： 挖好啦，我敢担保，深得像个精明的放高利贷者的良心！
FOOL: It’s dug, and I guarantee it’s as deep as a shrewd moneylender’s conscience!
牧羊女乙： 老天，那可够深的；它一顿早饭的工夫，就能吞掉一个带着三个孤儿的寡妇！轻点，是这个吗？
2ND SHEPHERDESS: Good grief, that’s deep enough. It could swallow a widow and three orphans before breakfast! Easy now, is this the spot?
牧羊女甲： 是，是，就是这个。
1ST SHEPHERDESS: Yes, yes, this is it.
弄人： 论深度，我敢发誓没话说；来瞧瞧，我把这些树枝交叉铺好了。
FOOL: I’ll swear to the depth any day. Take a look—I’ve laid these branches out in a perfect lattice.
牧羊女乙： 这苹果是干嘛的？
2ND SHEPHERDESS: What’s the apple for?
弄人： 逮狼用的。
FOOL: To catch wolves.
二人： 什么狼？
BOTH: What kind of wolves?
弄人： 哎，就是所有那些吃羊肉的混蛋，我指的是那些祸害咱们羊群的狼。我想把它们都困在这儿。
FOOL: Oh, all those mutton-eating bastards—I mean the wolves that harass our flocks. I want to trap the lot of them here.
牧羊女乙： 我倒纳闷，那些吃咱们羊的狼，到底是公狼还是母狼？
2ND SHEPHERDESS: I wonder, are these wolves that eat our sheep male or female?
FOOL: By their love for mutton, they should be male; but by their sheer greed, they must be female. A female wolf’s belly needs a dam to plug it, or it’ll never be full.
牧羊女甲： 怎么，母狼比公狼还坏？
1ST SHEPHERDESS: What, are the females worse than the males?
弄人： 怎么，难道母畜不比魔鬼更凶吗，您说说看？
FOOL: Well, isn’t a female beast fiercer than the devil himself? You tell me.
牧羊女甲： （笑）你这话可把我堵回去了。真逗。
1ST SHEPHERDESS: (Laughing) You’ve got me there. That’s funny.
FOOL: Listen, girl, even if the whole earth were parchment, the ocean ink, every twig a pen, and every rogue a clerk—even then, they’d only just begin to record the treachery of those female wolves!
牧羊女乙： 瘟死它们，公的母的都好：它们专吸咱们羊羔的血。
2ND SHEPHERDESS: A plague on them all, male or female. They suck the very blood out of our lambs.
弄人： 哎，总是最弱小的被挤到墙角。打个比方：推倒一只羊，它往前倒；推倒一个人，他往后倒。
FOOL: Ay, the weakest are always pushed to the wall. Think of it this way: push a sheep, it falls forward; push a man, he falls backward.
牧羊女甲： 有学问。先生，我好奇这世上有多少种狼啊？
1ST SHEPHERDESS: Very learned. Sir, I wonder how many kinds of wolves there are?
弄人： （纠正）“有多少种。”没人说“有多少种狼在。”——哎呀，就跟扑克牌里老K花色一样多呗。
FOOL: (Correcting her) “How many kinds.” Nobody says “how many kinds of wolves are in.” Well, there are as many kinds as there are rogues in a deck of cards.
牧羊女乙： 哦，那是四种。
2ND SHEPHERDESS: Oh, so four kinds then.
弄人： 头一等是宫廷狼，吃相龌龊，喝相却“干净”。
FOOL: The first are the Court-Wolves. Their eating is filthy, but their drinking is “clean.”
牧羊女乙： 为什么喝相“干净”？
2ND SHEPHERDESS: Why “clean” drinking?
弄人： 怎么，因为他们一喝醉，通常就把肚里的东西吐个精光，所以在喝酒这事上，倒是做得挺“干净”。
FOOL: Because when they get drunk, they usually vomit up everything in their stomachs. So, they keep their drinking quite “clean.”
牧羊女乙： 这么说来，先生，那些确实是“干净”酒徒了。
2ND SHEPHERDESS: I see, sir; they are “clean” drinkers indeed.
弄人： 下一等是乡野狼。粮食入仓时，他们笑得比狐狸还精；跳舞不跟曲调，只盯着斗里的金币转悠。
FOOL: The next are the Country-Wolves. When grain goes into the barn, they grin wider than foxes. They don’t dance to the tune; they only watch the gold coins spinning in the bin.
牧羊女甲： （纠正）“一枚金币加一配克！”没人说“一斗里的金币。”
1ST SHEPHERDESS: (Correcting) “A gold coin and a peck!” Nobody says “gold coins in a bin.”
2ND SHEPHERDESS: No, it’s “a pinch and a handful, and silly Polly’s belly swells”… let the gallows take those grain-hoarders! But aren’t there City-Wolves?
FOOL: Plenty of them, oh yes, in packs. You can see them all over the streets! They’ll eat carrion—they’d even swallow a harlot’s corpse—and that’s why we use the apple.
牧羊女甲： 他们有那么大的胃口？
1ST SHEPHERDESS: They have appetites that big?
弄人： 胃口？哎，妹子，拉琴的都没他们这么好的胃口！我见过有的，三两口就能吞掉一个贵族老爷。
FOOL: Appetite? Girl, a fiddler doesn’t have an appetite like theirs! I’ve seen some who could swallow a nobleman in three bites.
牧羊女乙： （纠正）你是说，“三小口”吧。
2ND SHEPHERDESS: (Correcting) You mean “three tiny nibbles.”
弄人： 游侠骑士在他们眼里不算什么；一个年轻的浪荡公子，他们能像吞条小鱼似的，整个儿吞下去。
FOOL: A knight-errant is nothing to them. They can swallow a young gallant whole, like a little minnow.
牧羊女甲： 老天！我奇怪那条小鱼怎么没被他噎着。
1ST SHEPHERDESS: Heavens! I wonder the minnow didn’t choke him.
FOOL: If you could find the throat of his conscience, the minnow might choke him. But those minnows swallow everything. Five silk-clad gallants are easier to swallow than a single plum. That’s how our City-Wolves do it—they gulp him down like a gold-leaf pill. Wrapped in smooth silk, he slides right down the throat without a single chew. That’s why they call them “silken-slick gallants.”
牧羊女甲： 非得喉咙深不见底才行。我可不当那种耍把戏的贵妇人。
1ST SHEPHERDESS: You’d need a bottomless throat for that. I’m glad I’m not a high-society lady playing those tricks.
FOOL: If you played those tricks, you wouldn’t be a lady. Lastly, there’s the Sea-Wolf, a terrifying predator. His belly is as big as a ship, and he swallows enough silk in one go to keep forty tailors busy all through Christmas!
1ST SHEPHERDESS: (Aside) I didn’t know these land-beasts knew so much about silk. (Aloud) Alright, the trap is set. What do we do once we catch a wolf?
弄人： 怎么，又大又凶的，咱就放生；又小又怂的，咱就吊起来。就这么着，行不？
FOOL: Well, the big, fierce ones we let go; the small, cowardly ones we hang. How’s that sound?
三人： 行，行，行！
ALL: Fine, fine, fine!
（三人下。拉皮鲁斯独自上，仍喃喃自语。）
(Exeunt. Enter Lapirus alone, still muttering to himself.)
LAPIRUS: You filthy carcass, breeding monsters, forced to live off the very thing that destroys you! Why must man be nature’s debtor? Every other creature feasts freely at the earth’s table, yet the earth, which brings forth everything for man, has almost no place to grant him real food. What a wicked wind blows here—not a single tree offers a friendly branch. Fallen Queen and poor children, the very earth you walk on is like a proud mother, refusing you a single bite.
LAPIRUS (Cont.): Ha! Thank you, Fortune. Now I defy you, Famine! Blessed tree, four lives grow within your fruit. Quick, I must taste it—every man for himself, or the world is lost.
（他上前拾取苹果，跌入坑中。）
(He goes to pick up the apple and falls into the pit.)
LAPIRUS (Cont.): Alas, I am a damned and most miserable man! Help! Help! Is there no angel to listen and carry my cry upward? No one to help? Oh, then let me wither and die!
（弄人上。）
(Enter the Fool.)
弄人： 抓到狼啦！抓到狼啦！
FOOL: Caught a wolf! Caught a wolf!
拉皮鲁斯： 噢，救命！我不是狼，好朋友。
LAPIRUS: Oh, help me! I’m no wolf, good friend.
弄人： 不是？那你是什么？
FOOL: No? Then what are you?
拉皮鲁斯： 一个悲惨的可怜虫。
LAPIRUS: A miserable wretch.
弄人： 你是个吱哇乱叫、专啄谷子的黄鼠狼放债人？
FOOL: Are you a squeaking, grain-pecking weasel of a moneylender?
拉皮鲁斯： 什么？不，不是。
LAPIRUS: What? No, I’m not.
弄人： 那你是个咧着猴嘴笑的当铺老板？
FOOL: Then are you a grinning, monkey-faced pawnbroker?
拉皮鲁斯： 不，不是！莫要嘲笑一个身处苦痛、伤口未愈之人：当敷香膏，而非猛药。
LAPIRUS: No, I’m not! Don’t mock a man in pain whose wounds haven’t healed. Give me balm, not poison.
弄人： （旁白）蜗牛壳的！他说话像个郎中！（高声）你若真是郎中，为何不自己治治，先生？
FOOL: (Aside) By a snail’s shell! He talks like a doctor. (Aloud) If you’re really a doctor, why don’t you cure yourself, sir?
拉皮鲁斯： 是什么？
LAPIRUS: A what?
弄人： 郎中啊。
FOOL: A doctor.
拉皮鲁斯： 我不是郎中，朋友；我叫拉皮鲁斯。
LAPIRUS: I’m no doctor, friend. My name is Lapirus.
弄人： 怎么着！好，好，好，好，好！哟，逮着只大耗子！拉，拉，拉，拉皮鲁斯，嗬！
FOOL: What! Well, well, well! Look at that—I’ve caught a giant rat! La-la-la-Lapirus, huh?
拉皮鲁斯： 拉皮鲁斯是我的名字；你不认得我吗？
LAPIRUS: Lapirus is my name. Don’t you recognize me?
弄人： 认得你？认得一个贪婪的无赖，连自己的国家都能出卖——而且这“出卖”，是懦夫般的背叛。
FOOL: Recognize you? I recognize a greedy rogue who sold out his own country—and did it with the betrayal of a coward.
拉皮鲁斯： 请不要折磨我，我求你。我就是那个可怜虫。我曾是恶棍，但我如今——
LAPIRUS: Don’t torture me, I beg you. I am that wretch. I was a villain, but now—
FOOL: Devils in the pit! It was you, you dog, who sold out my country and your uncle, the King! Tush. I may be a fool, but I’m no traitor. Stay down there and wait for the wolves to eat you, you treacherous Carthaginian bastard! You maggot! (Exit.)
拉皮鲁斯： （叹息）唉，我这至为悲惨可怜的造物！我如今方知，确有一种复仇的命运，专令恶人遭遇不幸。
LAPIRUS: (Sighing) Alas, I am the most miserable creature alive! Now I know for sure: there is a vengeful fate that ensures the wicked meet a wretched end.
][][
第二幕，第二场 [城堡内一室]
ACT II, Scene 2 [A Room in the Castle]
（泽纳库斯、泰梅西斯与安菲多特上，马泽雷斯尾随其后。）
(Enter Zenocrates, Tymethes, and Amphidote; Mazeres follows them.)
泰梅西斯： （瞥见马泽雷斯）我们被人盯着呢。
TYMETHES: (Spying Mazeres) We’re being watched.
泽纳库斯： 被谁？
ZENOCRATES: By whom?
泰梅西斯： 马泽雷斯跟着我们。
TYMETHES: Mazeres is tailing us.
安菲多特： 哦，他已公然自诩为我的追求者。你唯一的情敌。
AMPHIDOTE: Oh, he’s openly declared himself my suitor. Your only rival.
泰梅西斯： 见他的鬼。
TYMETHES: To hell with him.
安菲多特： 那你打算让他成为一个“热情似火”的追求者咯？
AMPHIDOTE: So, do you plan to make him a “burning” lover then?
泰梅西斯： 他最终或许会“火”起来的；他那副好身段正祈求着呢。
TYMETHES: He might just end up on fire eventually; that fine body of his is practically begging for it.
TYMETHES: Right. You leave first, my lady; I want to take my leave specifically while he’s watching. He’s a jealous type—a single kiss will pierce his heart. I’m going to deliver a heavy blow to him, right on your lips.
（二人接吻。）
(They kiss.)
马泽雷斯： （旁白）该死！遭天谴！又一个吻？他们怕不是以亲吻来计时的吧！
MAZERES: (Aside) Damnation! Curse them! Another kiss? Do they measure time by kisses?
泰梅西斯： （旁白）嗬，嗬。我这下刺中了他的肝胆，而非皮肉！他流散的是心绪，这可比伤口更糟。
TYMETHES: (Aside) Ha! I’ve stabbed him in the vitals, not just the skin. He’s bleeding out his peace of mind, which is far worse than a physical wound.
MAZERES: (Aside) Is he lingering just to torture me? Curse the moment I ever pleaded for his life. All my traps have failed. I can’t rely on those useless fools anymore. I’ll take a faster route—straight to the heart. I’ll hunt him down myself. (Exit.)
TYMETHES: Look at that—he’s stomping off with a scowl. No matter; call me when those angry eyebrows of his can actually cause an earthquake. Until then, I’m not moved.
ROXANO: (Aside) Lord, there he is, wandering about. I barely recognize myself in these rags. I can handle any disguise, though drinking is the only thing that hides me better—I’ll admit defeat there, as it can turn a proper gentleman into a total mess. Hush, I think I’ve been spotted.
泽纳库斯： 留意他。
ZENOCRATES: Keep an eye on him.
泰梅西斯： 我留意着呢。
TYMETHES: I am.
（罗克萨诺走近他们。）
(Roxano approaches them.)
罗克萨诺： 好心的老爷们，行行好，给点儿慈悲的施舍，救救我这命途多舛的可怜绅士吧？
ROXANO: Kind sirs, have a little mercy. Spare some charity for a poor gentleman who’s fallen on hard times?
ROXANO: (Aside) “A plague on me?” These young lords only give the kind of “charity” that sticks to you—as if it were a virtue. He doesn’t just want my hat off; he wants my skin and bones too. (Aloud) Thank you for your “grace,” my lord.
泰梅西斯： 不，那可不是恭维！
TYMETHES: No, that wasn’t a compliment!
安菲多特： 他称你为“老爷”呢。
AMPHIDOTE: He’s calling you “my lord.”
泽纳库斯： （笑）不，那是他们黑话里的‘大王’！
ZENOCRATES: (Laughing) No, in their slang, that means “King of the beggars”!
罗克萨诺： 好心的老爷们！我也曾风光过。
ROXANO: Kind sirs! I’ve seen better days.
泰梅西斯： 哦，那你现在算什么？
TYMETHES: Oh? And what are you now?
罗克萨诺： （唱）“养过好牲口啊，/娶过三房妻，/两个汉子要起义啊，/三个闺女躺平地……” ROXANO: (Sings) “I once kept fine cattle, / And married wives three, / Two men rose in riot, / And three girls lay low on the lea…”
（泰梅西斯朝罗克萨诺扔了些钱币。）
(Tymethes tosses some coins to Roxano.)
罗克萨诺 （续）： 噢，好心的老爷们哪！
ROXANO (Cont.): Oh, bless you, kind sirs!
泰梅西斯： （耸肩）天杀的，我自己也是个乞丐。
TYMETHES: (Shrugging) Hell, I’m a bit of a beggar myself.
罗克萨诺： 或许老爷您能熬过去。慈卑的老爷啊！
ROXANO: Perhaps you’ll pull through, my lord. Merciful sir!
泰梅西斯： 这家伙该挨鞭子。
TYMETHES: This fellow needs a whipping.
罗克萨诺： 老爷您怕是忘了自己也曾是乞丐的时候了。
ROXANO: Perhaps your lordship forgets when you were a beggar yourself.
泰梅西斯： （将他拉到一旁）就冲你这句话，我可得好好“赏”你，真的！
TYMETHES: (Pulling him aside) For that comment alone, I really ought to “reward” you!
罗克萨诺： 不过眼下既已避人耳目，就请合上您的钱袋，张开您的耳朵吧，阁下。
ROXANO: But now that we’re out of earshot, close your purse and open your ears, sir.
泰梅西斯： 怎么！
TYMETHES: What!
（安菲多特欲走向泰梅西斯与罗克萨诺。泽纳库斯抓住她的手臂。）
(Amphidote tries to walk toward them. Zenocrates catches her arm.)
ROXANO: (Aside) And I thought he wasn’t a fool. (Aloud) Otherwise, let me die a miserable death in this business—and the worst curse I can think of is to die like an old pimp.
泰梅西斯： 说得好。何时见面？
TYMETHES: Fair enough. When do we meet?
罗克萨诺： 明日傍晚，五时整。
ROXANO: Tomorrow evening, at five sharp.
泰梅西斯： 好。地点？
TYMETHES: Good. Where?
罗克萨诺： 皇家猎场附近，那座旧猎屋。
ROXANO: The old lodge near the royal hunting grounds.
泰梅西斯： 但是……她是诚实的，对吧？在她的意图上？
TYMETHES: But… she’s honest, right? In her intentions?
罗克萨诺： 若非如此，那这世上的正经人，怕是比公堂上‘讲良心’的律师还要稀罕了。
ROXANO: If she weren’t, then honest people in this world would be rarer than a lawyer with a conscience.
泰梅西斯： 够了。五时？猎屋？嗯，我会赴约。
TYMETHES: Enough. Five o’clock? The lodge? Fine, I’ll be there.
罗克萨诺： 愿您享尽女人最甜蜜的珍宝。（下。）
ROXANO: May you enjoy the sweetest treasures a woman has to offer. (Exit.)
泰梅西斯： （旁白）啊，忠贞不渝……我倒是听说过。
TYMETHES: (Aside) Ah, constant fidelity… I’ve heard rumors of it.
（泽纳库斯回到泰梅西斯身边。）
(Zenocrates returns to Tymethes.)
泽纳库斯： 怎么，你跟那乞丐了结完了？
ZENOCRATES: Well, are you finished with the beggar?
泰梅西斯： 这世上，还没哪个活人能说自己彻底打发了乞丐。
TYMETHES: No living soul can say they’ve truly finished with beggars in this world.
泽纳库斯： 我没问你营生；怎跟这等货色商议这么久？
ZENOCRATES: I wasn’t asking about your business; why did you consult with that low-life for so long?
TYMETHES: What? Are you crazy? If you dodge every beggar you see, you might miss out on someone extraordinary. I’ll bet he’s some kind of ruined gallant.
（同下。）(Exeunt together.)
][][
第二幕，第三场 [羊圈外]
ACT II, Scene 3 [Outside the Sheepfolds]
（老王、菲德利奥与阿莫尔福上。）
(Enter the Old King, Fidelio, and Amorpho.)
老王： 失却王后之痛，比利迪亚所有背信更甚。那没有人性的禽兽！
OLD KING: The pain of losing my Queen hurts more than all the treachery in Lydia. That heartless beast!
LAPIRUS: (Crying out from the pit) Hey! You up there! If you truly have human forms to match your voices—if you have hearts that can be pierced by the dying groans of a suffering soul—then have mercy on a wretch trapped in darkness! Please, come closer and lend a hand. Save me from this tiny grave and let me see the light of day again!
OLD KING: Poor soul—it must be some countryman who lost his way in the night and fell in. Everyone, lend a hand; let’s pull him up. Come on, my friend; even the highest of us can fall low.
拉皮鲁斯： 万千感谢与祈祷。
LAPIRUS: A thousand thanks and prayers to you.
老王： 你可真沉啊，先生，不管你是谁。
OLD KING: You’re quite a weight, sir, whoever you are.
拉皮鲁斯： 是我内心的重负，连带着我的魂魄，一齐往下坠。
LAPIRUS: It’s the heavy burden in my heart—it drags my very soul downward.
老王： 再使把劲，咱们的辛苦便没白费，微薄之力正助微薄之人。好了，先生，欢迎你来到——
OLD KING: One more pull and our work is done. A little help for a man in need. There now, sir—welcome back to—
（拉皮鲁斯与老王彼此认出。）
(Lapirus and the Old King recognize each other.)
老王： 拉皮鲁斯？是你？
OLD KING: Lapirus? Is it you?
（拉皮鲁斯再次瘫倒，非因坑洞，而是因为羞愧。）
(Lapirus collapses again, not from the pit, but from shame.)
The Old Queen enters, her face etched with grief, cradling two infants. One is dead. She places the living child on a mossy mound, then collapses into sorrow, clutching the dead infant to her chest. She moves toward the back of the stage and begins digging a shallow grave with her bare hands.
The 1st and 2nd Shepherdesses stroll in, looking relaxed and chatting in pantomime. The Fool follows them, mimicking their gestures. The 2nd Shepherdess spots the baby on the mound; the two women rush forward, playful and competing for the child. The Fool, seizing the moment, snatches the baby from their arms.
弄人怀抱婴孩起舞，百般逗弄，引得牧羊女忍俊不禁。
The Fool dances with the baby in his arms, making silly faces and teasing the child, making the Shepherdesses burst into silent laughter.
老王后还，尸身已掩。见土坡空空如也，她失魂落魄，四下寻觅，随即瘫倒在地，哀毁骨立。
The Old Queen returns, the tiny body now buried. Seeing the empty mound, she loses her mind with terror, searching frantically in all directions before collapsing to the ground in total despair.
众牧羊女怜之，招手唤其前。弄人躬身一揖，如仪奉还婴孩。
The Shepherdesses are moved to pity; they beckon her over. The Fool bows low with mock-solemnity and formally returns the baby to her.
Overjoyed, the Queen hugs the living child tight. She points to her own withered breasts, showing she has no milk left. The women understand and offer their own abundant milk to nurse the child. The Fool gives the baby a comical kiss on the forehead.
Lapirus leads the Old King and his courtiers onto the stage. The King and Queen lock eyes, then rush into a tight embrace. Lapirus kneels before the Queen, bowing his head in repentance. The Fool shrugs and throws up his hands to the audience with a self-mocking grin.
［乐声骤强，归于一沉郁和弦。灯光骤灭，众演员隐于暗处退场。］
[The music swells into a heavy, somber chord. The lights cut out, and the actors exit into the shadows.]
ROXANO: This is the lodge, the appointed spot, and the hour isn’t here yet. Well then. I wasn’t born for this trade; but right now, I’ve got the reek of a pimp in my very marrow. In this light, from head to toe, every hair on me smells like a bawd. Never mind, I’ll play the part well. I’m so jealous of that fellow’s luck that I could slit his throat for a moment’s pleasure. Thinking of the soft luxury waiting for him, I could chew up feathers and swallow them. The highest I can reach is some milkmaid—that’s the “cream” of my fortune. But he gets to wallow in nectar and ambrosia, while I’m stuck splashing in sour buttermilk!
（马泽雷斯沉思上。）
(Mazeres enters, brooding.)
马泽雷斯： （旁白）我得另想办法了，他绝不能活。
MAZERES: (Aside) I must find another way. He cannot be allowed to live.
ROXANO: (Aside) Who’s this? Lord Mazeres, looking like a thundercloud! He’s sought me out twice in private; I don’t know what his game is. What does he want with me? I’ll show myself; if the other one arrives now, I’ll take it as a brave capture, but it’s still early. Let’s test him.
马泽雷斯： （旁白）依我看，罗克萨诺最合适，也最不易惹人怀疑，因他本就常在宫中走动。
MAZERES: (Aside) Roxano is the best choice, I think—the least likely to cause suspicion since he’s always moving about the palace.
MAZERES: Yes, I haven’t asked you… (Pause) I’ve looked for you twice. Tell me, Roxano, do I carry any weight in your heart? Can I move your will? Has any part of me bonded with your very blood?
罗克萨诺： （旁白）这话听着可真是无礼。（高声）如同生命一般，大人。
ROXANO: (Aside) That’s a rude way to put it. (Aloud) As much as life itself, my lord.
马泽雷斯： 如同爱一般，伙计；那我便不多问了。
MAZERES: Like love itself, man; then I won’t ask further.
罗克萨诺： 那么便碰碰我吧，大人，试试我的成色。
ROXANO: Then touch me, my lord—test my mettle.
马泽雷斯： （给他金子）先给你金子，随之而来的将是我的宠幸，以及命运女神名下的一切馈赠。 MAZERES: (Giving him gold) Here is gold first. What follows will be my favor and everything Fortune has to give.
MAZERES: There is one called Tymethes, son of the exiled king. He haunts the palace now, favored by Zenocrates. That fellow is my disease. While he’s near, I’m restless and nothing goes right. I won’t brag about my rewards, but if you rid me of his physical shell, you’ll live in wealth and peace forever. You’re a smart man; think on it. Farewell. (Exit.)
ROXANO: (Aside) Well, well. “You’re a smart man; farewell.” The first lesson of wisdom is this: when gold is held out, grab it—even philosophers agree on that. I heard that from a very “learned” advisor. Now I have to think. Kill Tymethes? A man strangely loved by a lady and dreadfully hated by a lord? On this side, gold for introducing him; on that side, gold for killing him. Let me weigh them: which is heavier? Honestly, the murder-gold has more weight. What I like least about this is Lord Mazeres being his open enemy. He’s the King’s favorite; he can whisper thoughts into the King’s ear. I’d rather be torn apart by a whirlwind than fall into the fury of either of them. Truth be told, the smartest way is to be a total rogue. I’ll blow the whole affair wide open. I’ll sell him out completely.
（马泽雷斯上。）
(Mazeres enters.)
马泽雷斯： 想好了吗？我可否施恩于你？我能化消遣为功业，使你这双手赢得尊荣。
MAZERES: Have you decided? May I grant you my favor? I can turn a pastime into a great deed and bring honor to those hands of yours.
罗克萨诺： 大人？
ROXANO: My lord?
马泽雷斯： 你已下定决心，而我，将成为你的靠山？
MAZERES: Have you made up your mind? Shall I be your patron?
ROXANO: You’ll see my resolve soon enough. Before I even tell you the plan, you can start being proud of your revenge. No one’s hatred was ever so lucky. Just let me work my magic, and you’ll see.
马泽雷斯： 你让我心痒难耐。
MAZERES: You make me impatient.
罗克萨诺： 泰梅西斯将在此与我会面。
ROXANO: Tymethes is meeting me right here.
马泽雷斯： 在此？妙极。
MAZERES: Here? Excellent.
罗克萨诺： 我本就打算向您和盘托出，大人；请您明白这一点。
ROXANO: I always intended to tell you everything, my lord; please understand that.
TYMETHES: A sweet, tender lady? Heavens, who could it be? I can’t know her name or see her face? I hope this isn’t some trick to give me a beating. Or maybe a “welcome” of clubs? Or tossing me in a blanket for a big tumble? Honestly, as long as it’s a lady and her maids doing the tossing, I don’t mind—because if they throw me in a blanket, I’ll throw them in the sheets, and we’ll call it even.
马泽雷斯： （低声）我既佩服这计策，也佩服我的复仇。
MAZERES: (Whispering) I admire the plan as much as I admire my revenge.
罗克萨诺： （低声）大人，我为您铺路。
ROXANO: (Whispering) My lord, I’m paving the way for you.
马泽雷斯： （低声）你盯好你的“朋友”。
MAZERES: (Whispering) Keep a close eye on your “friend.”
（马泽雷斯下。罗克萨诺走向泰梅西斯。）
(Mazeres exits. Roxano approaches Tymethes.)
泰梅西斯： 你在这儿。我们分秒不差地碰面了。那么，那么，接下来怎么做？
TYMETHES: There you are. We met right on the dot. So, so—what’s next?
罗克萨诺： 没什么，只需把这头罩戴在您头上。
ROXANO: Nothing much—just put this hood over your head.
泰梅西斯： 什么？我可从没蒙着眼走过路。
TYMETHES: What? I’ve never walked blindfolded in my life.
ROXANO: You’ll never want to do it any other way, sir, because all the secret affairs of this world are blind by nature. Besides, sir, if a man sees the evil he does, he’ll see every tiny sin as a bloody business.
泰梅西斯： 这话从一个仆役嘴里说出来，倒有几分道理。
TYMETHES: That’s surprisingly philosophical coming from a servant.
罗克萨诺： 做下人的，总得跟着主子的脚步，先生。
ROXANO: A servant must always follow in his master’s footsteps, sir.
泰梅西斯： 那倒未必，总不能跟到主子相好的闺房里去吧。
TYMETHES: Not always—you wouldn’t follow him into his mistress’s bedroom, would you?
TYMETHES: (Muffled) “And after dark, you can’t tell who is who.” With that kind of experience, you might become an expert. Come, give me your hand. You might prove to be an honest lad, my friend, but whatever happens, I trust you.
ROXANO: Ah, sir—try me before you trust me. But let’s not waste the golden hour. Come, follow me, sir. Hey, this is exactly what you pleasure-seeking gentlemen value. You’d rather lose your eyes than lose your thrill. (Exit.)
][][
第三幕，第二场 [猎屋寝殿，夜]
ACT III, Scene 2 [A Bedchamber in the Lodge, Night]
（夜色中，年轻王后独自上。她手持一书，并非阅读，而是如握护身符般死死攥着。她侧耳凝听，静候。）
(In the darkness, enter the Young Queen alone. She holds a book, not for reading, but clutching it like a protective talisman. She tilts her head, listening, waiting.)
YOUNG QUEEN: The servants are all bound by heavy oaths. Their silence has been bought with gold, then sealed. Now my very life and fortune hang in their hands… and in his.
年轻王后 （续）： 罗克萨诺发誓，他的计划定会滴水不漏—— 那是个能为贵妇了却任何心愿的男人。
YOUNG QUEEN (Cont.): Roxano swore his plan would be flawless—he is a man who can satisfy any lady’s whim.
YOUNG QUEEN (Cont.): God! Time crawls like a venomous insect! Is this how the hours feel for thieves and adulterers—this agonizing? Every second is a hammer-blow, falling hard on the anvil of my fear. This is the only true clock: the thunder of lust within a terrified heart.
［她听见幕后一响——一声足音，一句耳语。她蓦然僵住，恐惧与渴望交织的神情如电光掠过脸庞。］
[She hears a sound offstage—a footfall, a whisper. She freezes suddenly; a look of mingled terror and longing flashes across her face like lightning.]
年轻王后 （对自己，稳住心神）： 此刻。序幕拉开。
YOUNG QUEEN (To herself, steadying her nerves): Now. The prologue begins.
［她迅疾而决绝地退下，前往那约定的地点。］
[She exits swiftly and resolutely toward the appointed place.]
][][
第三幕，第三场 [猎屋宴厅]
ACT III, Scene 3 [The Banqueting Hall in the Lodge]
（乐声轻柔，桌上灯盏陈列，挂毯铺展。罗克萨诺引蒙眼的泰梅西斯上。马泽雷斯默然迎上。）
(Soft music; lamps are set on the table, tapestries displayed. Roxano enters, leading the blindfolded Tymethes. Mazeres enters silently to meet them.)
泰梅西斯： （闷声）我们这趟“盲程”走到哪儿了？
TYMETHES: (Muffled) How far have we come on this “blind journey”?
马泽雷斯： （对罗克萨诺低语）嘘！罗克萨诺！
MAZERES: (Whispering to Roxano) Shh! Roxano!
罗克萨诺： 您到了您的——（对马泽雷斯低语）大人，请回避；我来帮您装扮一番。
ROXANO: You’ve reached your— (Whispering to Mazeres) My lord, step aside; let me help you with your disguise.
马泽雷斯： （对罗克萨诺低语）够了。（下。）
MAZERES: (Whispering to Roxano) Enough. (Exit.)
泰梅西斯： （闷声）我觉得自己走在一处地下墓穴里。
TYMETHES: (Muffled) I feel as if I’m walking through a catacomb.
罗克萨诺： 如今，您久蔽的双目重见天光。且看，大人——这便是您的新天地。 （扯下头罩。）
ROXANO: Now, let those long-veiled eyes see the light of day. Behold, my lord—your new world. (He pulls off the hood.)
泰梅西斯： 老天，天亮了！
TYMETHES: Heavens, it’s broad daylight!
罗克萨诺： 请在此歇息，大人，您将得偿所愿；静候您的欲念，它们自会呈上。（下。）
ROXANO: Rest here, my lord; your heart’s desire is at hand. Just wait, and your lusts will be served up to you. (Exit.)
TYMETHES: (Aside) Though it’s night, this place is dawn itself compared to the darkness that led me here. Ha! Tapestries on the floor? What place is this? Such magnificent curtains? A room so richly adorned? The lamps and their glow, the wealth and its splendor! These silent witnesses tell me this is no ordinary woman. I think I’m beginning to understand my mistress better. Whoever she is, I’m already in love with this unseen beauty, for everything in this room displays such exquisite courtly taste.
（乐声大作。瓦莱斯塔与斯卡特戴面具捧宴席上；他们放下宴席即下。）
(Loud music. Valesta and Scate enter in masks, carrying a banquet; they set the table and exit.)
TYMETHES: The servants are masked? Lord, I admire her management of love. It seems this woman has the skill to be wanton while shielding a man’s shame—or perhaps shielding her own reputation when she hands it over to a man’s tongue. I’d swear to keep the secrets of love, but a woman is wise not to trust me. Everything said or done seems perfectly measured; it all comes down to her own joy and cleverness.
（罗克萨诺与扮作蒙面仆役、手持酒壶的马泽雷斯上。）
(Roxano and Mazeres enter, disguised as a masked servant with a wine flagon.)
ROXANO: This feast comes by her own grace. She prepared it for you herself, and as these delicacies show, it is meant to enchant the soul and lead you into the joys of love. By her command, I welcome you, our most noble guest, to enjoy this feast before the greater banquet of bliss.
ROXANO: (Aside) Lord Mazeres has snatched this duty for himself. I can hardly stop laughing; he plays the devil perfectly in that mask—wherever he bows is cursed ground. How could that foolish boy guess that beneath the mask hides his mortal enemy? It’s the fashion of the times—great men kill just as flatterers stab.
MAZERES: (Aside) If only I could poison him now—decently, aptly, exquisitely! My revenge declares my joy! (Offering the poisoned cup.) Your wine, my lord.
（泰梅西斯不慎打翻酒杯。）
(Tymethes accidentally knocks over the cup.)
泰梅西斯： 哎哟。（对马泽雷斯）把这脏东西收拾了，听见没？
TYMETHES: Oops! (To Mazeres) Clean up this mess, do you hear me?
MAZERES: (Aside) Damnation! The poisoned wine spilled on the floor, and my great revenge is ruined! Now my frustrated fury must find another way to destroy you.
罗克萨诺： （旁白）这杯酒可是彻底砸了马泽雷斯大人的指望。
ROXANO: (Aside) That spill has completely crushed Lord Mazeres’ hopes.
[Eerie, unsettling music swells. The Young Queen, masked and in a sheer robe, passes across the far end of the room attended by Valesta. She does not look at Tymethes. They disappear through another door.]
泰梅西斯： 我从未见过有人能像我们此刻这般，为寻欢作乐安排得如此巧妙；真是奇招，且执行得如此美妙。
TYMETHES: I’ve never seen pleasure managed with such ingenuity; a strange plan, and so beautifully executed.
罗克萨诺： 风与潮汐皆已就位，大人；您已驶入一片极乐之海。宽衣吧，阁下。
ROXANO: The wind and tide are in place, my lord; you have sailed into a sea of bliss. Undress, sir.
（泰梅西斯开始宽衣。）
(Tymethes begins to undress.)
泰梅西斯： 我定将有一次甜蜜的航程。
TYMETHES: I’m sure to have a sweet voyage.
罗克萨诺： 是的，大人，若您知晓全部的话。
ROXANO: Yes, my lord—if only you knew the half of it.
泰梅西斯： 难道还有我不知道的？还有什么可说的？
TYMETHES: Is there more I don’t know? What else is there to say?
罗克萨诺： 事成之后，另有五百克朗恭候阁下。
ROXANO: After the deed is done, five hundred crowns are waiting for you, sir.
ROXANO: It’s a gift from my kind lady. Her generosity is cloudless and bright. Some love pleasures that cost them dearly; but I see that’s not your way. You prefer the kind that comes with a feast and five hundred crowns extra.
泰梅西斯： 没错，老天作证，我就爱这种，而且我看你跟我想法一样。
TYMETHES: Exactly—God knows I love that kind, and I see you think just like I do.
罗克萨诺： 咱们倒是颇为投契，大人。
ROXANO: We are perfectly matched, my lord.
泰梅西斯： 可她为何要事先奖赏我？万一我在床上表现得像个十足的阉人，她可怎么知道？
TYMETHES: But why reward me beforehand? How does she know I won’t perform like a total eunuch in bed?
罗克萨诺： 哎哟，大人，就您这路风流人物，我可从没见过哪个不是此中绝顶高手。
ROXANO: Oh, my lord, I’ve never seen a gallant of your stripe who wasn’t a master of the craft.
泰梅西斯： 什么？说真的，咱们半斤八两。不过这有张字条；上面写的什么？
TYMETHES: What? Truthfully, we’re two of a kind. But here’s a note; what does it say?
ROXANO: (Reading) “My love and bounty shall grow as you prize my peace; unless you are willing to forfeit your life, do not seek my name. Enjoy my body: for your sake, I take this risk. Be wise, then, and keep your silence; even in the face of death, you must not look upon my true face.”
（马泽雷斯悄然上，未被察觉。）
(Mazeres enters quietly, unobserved.)
泰梅西斯： 我这就去？
TYMETHES: Shall I go now?
罗克萨诺： 穿过那扇门，主人。穿过那扇门。
ROXANO: Through that door, master. Through that door.
泰梅西斯： 好吧，我这就更衣，安于我这“摸索”而来的运气便是。（下。）
TYMETHES: Well, I’ll undress and trust in this “groping” luck of mine. (Exit.)
罗克萨诺： 哎，大人，您会摸索到正地方的。（下。）
ROXANO: Ah, my lord, you’ll grope your way to the right spot. (Exit.)
MAZERES: I’ll follow and watch my heaped-up revenge overflow. His destruction is my duty; what I’ve seen tonight would make stones blush. Her lust is like lightning in a storm—terrifying, wild, like a drunkard’s thunder. This path is full of peril, and though I use the skills of a pimp, with spies for eyes and ears, what role is too foul if it destroys my enemy? This is only the beginning; it won’t stop here. Next time, I’ll turn him to ash and foul air. (Exit.)
][][
第四幕，第一场 [城堡内一室]
ACT IV, Scene 1 [A Room in the Castle]
（翌日。泰梅西斯与泽纳库斯上。）
(The next day. Tymethes and Zenocrates enter.)
泰梅西斯： 告诉我，这世上可曾有过如此天衣无缝的机巧？
TYMETHES: Tell me, has there ever been such flawless ingenuity in all the world?
泽纳库斯： 好家伙！蒙着眼被引去会见一位夫人，受以盛礼，宴席之上人人面具遮脸！
ZENOCRATES: Lord! Led blindfold to a lady, received with such ceremony, and every face at the banquet hidden behind a mask!
泰梅西斯： 全是，老天作证！可这一切比起她床笫间那妙不可言的欢愉，都算不得什么。
TYMETHES: Every single one, I swear! But all of that is nothing compared to the exquisite pleasures of her bed.
TYMETHES: No, don’t ask, brother; I’d sooner lose one eye if I could use the other to see her. (Takes a jewel from his pocket) See this jewel? I slipped it off her finger while she lay in a deep, post-coital sleep.
泽纳库斯： 猜不出她是谁，也猜不出那地方？
ZENOCRATES: No guess as to her identity, or the place?
TYMETHES: Not a clue, though I’ve racked my brain. I tell you, man, it was so well-ordered—such admirable craft—that between my blindfold and their masks, I was no wiser when my eyes were freed than when they were bound. I stood before them plainly enough, but to me, every lamp was shrouded and every face was a mist.
（阿玛特里特斯与马泽雷斯悄然上，窥视。）
(Amatritus and Mazeres enter quietly, spying.)
泽纳库斯： 天哪，我真佩服这手段！
ZENOCRATES: By heavens, I admire the method!
泰梅西斯： （笑）不，你的佩服可比不上我的。我那份感受，远非你的热情所能及。
TYMETHES: (Laughing) No, your admiration can’t touch mine. What I felt is far beyond the reach of your mere enthusiasm.
（安菲多特上。）
(Amphidote enters.)
泽纳库斯： 好了，暂且打住；看，我妹妹来了。
ZENOCRATES: Enough for now; look, here comes my sister.
阿玛特里特斯： （对马泽雷斯低语）你确定吗，马泽雷斯，他在追求我们的女儿？
AMATRITUS: (Whispering to Mazeres) Are you certain, Mazeres, that he pursues our daughter?
马泽雷斯： （低语）我确定更多，陛下：她对他也有意。
MAZERES: (Whispering) I am certain of more, Sire: she returns his affection.
阿玛特里特斯： （低语）那个乞丐？
AMATRITUS: (Whispering) That beggar?
马泽雷斯： （低语）更糟，陛下，是那个恶棍、叛国者。
MAZERES: (Whispering) Worse, Sire—that rogue, that traitor.
阿玛特里特斯： （低语）什么？
AMATRITUS: (Whispering) What?
马泽雷斯： （低语）请恕罪，陛下；时机更成熟时，真相自会浮现。
MAZERES: (Whispering) Forgive me, Sire; the truth will emerge when the time is riper.
（泰梅西斯亲吻安菲多特。）
(Tymethes kisses Amphidote.)
马泽雷斯 （续）： （低语）请看那儿，陛下。
MAZERES (Cont.): (Whispering) Look there, Sire.
阿玛特里特斯： （低语）她竟敢如此放肆，忘却对我们的尊重，黯淡自身光彩去抬举他？！
AMATRITUS: (Whispering) Does she dare be so bold—to forget her respect for us and dim her own glory just to elevate him?!
MAZERES: (Whispering) Favors between them are a common rule. I hear of letters, private suppers, whispered intimacies… and the most “assignated” of meetings.
阿玛特里特斯： （低语）我会让他们的幽会变成送命的陷阱。
AMATRITUS: (Whispering) I shall turn their meetings into a fatal snare.
（安菲多特瞥见泰梅西斯手中的珠宝。）
(Amphidote spies the jewel in Tymethes’ hand.)
安菲多特： 说实话，阁下，我要这枚珠宝。
AMPHIDOTE: In truth, sir, I must have that jewel.
泰梅西斯： 这……这非我所能赠人之物。
TYMETHES: This… this is not something I can give away.
阿玛特里特斯： （对马泽雷斯低语）那是什么，马泽雷斯？
AMATRITUS: (Whispering to Mazeres) What is that, Mazeres?
马泽雷斯： （低语）哎呀，陛下，她正优雅地向他要一枚珠宝，而他却推拒，仿佛心中有鬼。
MAZERES: (Whispering) Ah, Sire, she gracefully begs a jewel of him, yet he demurs as if his conscience were burdened.
安菲多特： 我非要不可，阁下。
AMPHIDOTE: I insist, sir.
泰梅西斯： （递过珠宝）既然如此，那你定会将其妥善保管，不让任何外人窥见吧？
TYMETHES: (Handing it over) Since you insist—you will keep it safe then, and let no stranger’s eye behold it?
安菲多特： （欣喜）我发誓。
AMPHIDOTE: (Joyfully) I swear it.
泰梅西斯： 那便够了。
TYMETHES: Then it is enough.
（二人接吻。泽纳库斯与安菲多特下。）
(They kiss. Zenocrates and Amphidote exeunt.)
马泽雷斯： （对阿玛特里特斯低语）现在是她的了，陛下，他们以吻别收场。
MAZERES: (Whispering to Amatritus) Now it is hers, Sire; they seal the theft with a kiss.
阿玛特里特斯： （低语）我会让那些会面变得苦涩；双方都将后悔。马泽雷斯，我们发觉你至今所言皆实。
AMATRITUS: (Whispering) I will make those meetings bitter; both shall repent. Mazeres, we find that all you have spoken is the truth.
TYMETHES: Is there truly no way to see this lady? Curse this restless heart! What did the note say? “Unless you are willing to forfeit your life, do not seek my name.” Pish. Empty words. She was so wanton, so “industrious” in her passion last night—how could she ever bear to see me die?
（马泽雷斯与罗克萨诺上。）
(Mazeres and Roxano enter.)
马泽雷斯： （对罗克萨诺低语）够了；他们是清白的。我很中意你。去，引导他走向毁灭吧。
MAZERES: (Whispering to Roxano) Enough; they are innocent. I like you well. Go, lead him to his ruin.
罗克萨诺： （低语）交给我吧，大人；保管引导好他。我会引导他的。
ROXANO: (Whispering) Leave him to me, my lord; I’ll lead him well. I’ll guide him.
TYMETHES: Exactly. I’ll join you shortly. (Aside) I’ll go to her, whatever follows. What could happen? Since she still craves my love, she would never plot my death. (Exit.)
ROXANO: Good, good. I admire a man in a hurry to destroy himself. He has a leaping spirit for vice—he’d jump into the very jaws of hell to grab it. But for virtue? He drags his feet like he’s sent on a dull, profitless errand. Nature is wicked: she loves most what she should hate. In this world, only white hair, sorrow, and sin grow faster than weeds. (Exit.)
][][
第四幕，第二场 [城堡内一室]
ACT IV, Scene 2 [A Room in the Castle]
（安菲多特与马泽雷斯上。）
(Amphidote and Mazeres enter.)
安菲多特： 大人，何事？
AMPHIDOTE: What is it, my lord?
马泽雷斯： 我也不知；国王传召您。
MAZERES: I know not; the King summons you.
安菲多特： 既如此，我们遵命便是。
AMPHIDOTE: Then we must obey.
（阿玛特里特斯上。）
(Amatritus enters.)
马泽雷斯： 啊，陛下驾到。
MAZERES: Ah, His Majesty approaches.
阿玛特里特斯： 这是何人？
AMATRITUS: Who is this?
安菲多特： 我，父王？陛下曾认得我的，您最顺从的女儿。
AMPHIDOTE: It is I, Father. You once knew me as your most obedient daughter.
阿玛特里特斯： 谁对你这么说，谁便是撒谎；此刻的你，已非吾女。
AMATRITUS: Whoever told you that lied; at this moment, you are no daughter of mine.
AMATRITUS: No longer, for I do not recognize the creature you have become, and I shall work harder to forget you. You have forgotten my favor and your own worth. I look upon you now as a fallen thing, a stain upon my grace—and upon your own blood—a disgrace to my house. Was there not one noble among my chosen lords fit for your favor, that you must pick this Tymethes? The son of my arch-enemy! A knave! A beggar! A thing already dead to all fortune, honor, or hope! Base creature, to place your affections so hotly upon him where they can never be repaid! Do not deny it; I know the favors you have shown him: tokens of love, secret letters, private meetings, and those habitual whispers between you. Come, where is his gift? Show me his token!
安菲多特： （困惑）陛下受了严重的误导；臣女从未收受任何信物。
AMPHIDOTE: (Confused) Your Majesty is gravely misled; I have received no such token.
AMATRITUS: Shameless wretch! When I have seen with my own eyes and heard with my own ears how you shamefully debased your highest honor, casting aside all ancestral pride—you begged a jewel from him!
AMPHIDOTE: Begged? (Realizing, with a short laugh) Oh, forgive me, Father, I forgot for a moment. (Produces the jewel) Here it is; you must mean this one.
阿玛特里特斯： （一把夺过）此物？你从何得来？
AMATRITUS: (Snatching it) This? Where did you get this?
安菲多特： 我刚递给您的呀，父王。
AMPHIDOTE: I just gave it to you, Father.
阿玛特里特斯： 那是谁给你的？
AMPHIDOTE: Who gave it to you?
安菲多特： 泰梅西斯。
AMPHIDOTE: Tymethes.
阿玛特里特斯： 哈！谁给他的？
AMATRITUS: Ha! And who gave it to him?
安菲多特： “给他”？这臣女不知，父王。他是王子，偶有珠宝随手赠人，有何不可？
AMPHIDOTE: “To him”? That I do not know, Father. He is a prince; why should he not have jewels to give away as he pleases?
阿玛特里特斯： （呼唤）马泽雷斯！
AMATRITUS: (Calling) Mazeres!
马泽雷斯： 陛下！
MAZERES: My Liege!
阿玛特里特斯： （出示珠宝）这是王后的！朕的王后的，马泽雷斯！此物怎会到他手中？
AMATRITUS: (Showing the jewel) This belongs to the Queen! My Queen’s, Mazeres! How did it come into his hands?
马泽雷斯： 臣可解此惑，陛下。
MAZERES: I can solve that riddle, Sire.
阿玛特里特斯： 你能吗，马泽雷斯？
AMATRITUS: Can you, Mazeres?
马泽雷斯： 面具已揭。陛下请看：一个奸徒。一个玷污您龙床的叛贼。
MAZERES: The mask is off. Behold, Sire: an adulterer. A traitor who defiles your royal bed.
阿玛特里特斯： 呃？噢，朕要因这折磨爆裂了！
AMATRITUS: Ugh? Oh, I shall burst with this torture!
马泽雷斯： 就在今夜，他已被引入王后怀中、体内。
MAZERES: Even this very night, he was brought into the Queen’s arms—into her very body.
阿玛特里特斯： 朕感体内一股旋风，即将撕碎这副血肉凡躯！
AMATRITUS: I feel a whirlwind within me, ready to tear this mortal flesh asunder!
马泽雷斯： 臣追踪他至行事之处。
MAZERES: I tracked him to the very place of the deed.
MAZERES: To be certain, I did not hesitate to soil my eyes and foul my ears with their wanton sounds; it was loyalty that drove me to confirm the filth of what I discovered.
阿玛特里特斯： 朕这满腔苦胆如怒潮翻涌；满身热血皆化作了毒药，呸，连五脏六腑都散发着苦味！
AMATRITUS: My gall overflows like a raging tide; my very blood turns to venom—pah, even my vitals reek of bitterness!
马泽雷斯： 就在今夜。
MAZERES: This very night.
阿玛特里特斯： （呼唤）洛多维库斯！
AMATRITUS: (Calling) Lodovicus!
（洛多维库斯上。）
(Lodovicus enters.)
洛多维库斯： 陛下？
LODOVICUS: Your Majesty?
阿玛特里特斯： 你是如何发迹的？说来听听。
AMATRITUS: How did you rise to power? Tell me.
洛多维库斯： 陛下，微臣最初是个掮客。
LODOVICUS: Sire, I began as a broker.
阿玛特里特斯： 那便是打根上就是个无赖；没指望了。（呼唤）塞克斯托里奥！
AMATRITUS: Then you were a knave from the root; no hope there. (Calling) Sextorio!
（塞克斯托里奥上。）
(Sextorio enters.)
塞克斯托里奥： 臣在，陛下！
SEXTORIO: Here, Sire!
阿玛特里特斯： 朕知你正直；你是如何发迹的？说来听听。
AMATRITUS: I know you to be honest; how did you rise?
塞克斯托里奥： 全凭陛下恩宠，非臣有何功绩可恃。
SEXTORIO: Purely by your Majesty’s favor; I have no merit of my own to claim.
阿玛特里特斯： 你这回答诚实。去，散布消息，说朕已在四十里格之外。在宫中巧妙散开。
AMATRITUS: An honest answer. Go, spread the word that I am forty leagues away. Let it be subtly whispered through the palace.
塞克斯托里奥： 臣定忠实执行，陛下。
SEXTORIO: I shall perform it faithfully, Sire.
阿玛特里特斯： 不。要做得诡诈，去吧；你若做得忠厚，你便没命。
AMATRITUS: No. Do it craftily. Go; if you do it with simple honesty, you are a dead man.
AMATRITUS (Cont.): A violent force has robbed me of all senses. I am blind with rage, Mazeres. Lead me: I walk upon the void, seeing neither footprint nor path; I have lost myself, yet I cannot escape this fury.
AMPHIDOTE: It must be true. Tymethes? Adultery? With the Queen? My mother? I hate him now. As beauty hates a skeleton, or a usurer hates a gift given for nothing. He is like a leper in my eyes now, covered in the black venom of sin, a foul, syphilitic sore.
AMPHIDOTE (Cont.): (Musing) Poor Mazeres, who has waited for me so long with true devotion, starved by my coldness—his loyalty now proves that love. (Calling) Oh, Mazeres?
马泽雷斯： 殿下？
MAZERES: Your Highness?
安菲多特： 我的……爱人？大人，我本该称您，但我想说……我的爱人。
AMPHIDOTE: My… lover? “My lord” I should call you, but I wish to say… my lover.
MAZERES: (Startled) Uh—I pray your Highness forgives my actions? Do not judge me harshly; I was forced to reveal the truth, not out of jealousy because he was my rival, nor from any old grudge, but by the very nature of the deed itself.
安菲多特： 起来，亲爱的马泽雷斯，你仍在吾之眷顾之中。
AMPHIDOTE: Rise, dear Mazeres. You remain in my favor.
马泽雷斯： 若恒久效力可称功绩，臣愿以此相报。
MAZERES: If constant service be a merit, I offer it in return.
MAZERES: (Aside) Ha! This observation and follow-up are timed to perfection. The King returns late tonight and will scour every secret passage. I must be with him. (Aloud) My love?
安菲多特： 我恨不得初见之时，便已迫他殒命。（下。）
AMPHIDOTE: I wish I had forced his death the moment I first saw him. (Exit.)
MAZERES: Better still. It fits my revenge perfectly. Now my plot bears fruit. The end shall see me at the height of power. She is mine. The crown is within reach. I am… fulfilled. (Exit.)
][][
第四幕，第三场 [林中宅邸内室]
ACT IV, Scene 3 [An Inner Room in the Forest Lodge]
（年轻王后与瓦莱斯塔持灯上。）
(The Young Queen and Valesta enter with a lamp.)
年轻王后： 好了，暂且退下；把灯也带走。若他前来，莫让人察觉我在。你知如何款待他，去吧。
YOUNG QUEEN: Enough, retire for now; and take the light with you. If he comes, let no one sense my presence. You know how to entertain him; go.
YOUNG QUEEN (Cont.): In truth, I find no joy, no matter how high my power climbs. I wish only to ally myself with desolate darkness and fearful fancies; tonight, there is no music in my soul. Why should I fear? The loyalty of every servant sleeps within my favor; neither bribes nor threats can rouse them from the dream of my safety. As for the King, I have just learned he has ridden forty leagues away. Yet this heavy mood, like a tyrant, uses the cover of night to usurp my spirit.
（她入睡。罗克萨诺引蒙头的提米西斯上。）
(She falls asleep. Roxano enters, leading the hooded Tymethes.)
提米西斯： （闷声）此番路程似乎比初次更长。
TYMETHES: (Muffled) This journey seems longer than the first.
罗克萨诺： 欢愉一经品尝，再尝便觉乏味。
ROXANO: Pleasure, once tasted, grows tedious upon the second serving.
提米西斯： （闷声）此乃常理？
TYMETHES: (Muffled) Is that the general rule?
罗克萨诺： 哦，大人，经验确证如此。初临是为享用那未知之妙，如今一切不过是重复，任您如何行事。
ROXANO: Oh, sir, experience confirms it. The first time is to enjoy the unknown wonder; now, it is all mere repetition, no matter how you perform.
提米西斯： （旁白）我偏要证其虚妄；她的容颜于我永远新鲜。
TYMETHES: (Aside) I shall prove that false; her face will be forever fresh to me.
ROXANO: (Removing the hood) I suddenly recall urgent business with Lord Mazeres. It concerns my duty to the King. You are inside the lodge now, sir; this is the private chamber.
提米西斯： 太暗了，我什么也看不见。
TYMETHES: It’s too dark; I can’t see a thing.
罗克萨诺： 无妨，大人，只要您感觉尚存便足矣。
ROXANO: No matter, sir, as long as your senses remain, that is enough.
ROXANO: Can’t you tell? It is in my hand, sir. Forgive me, I must withdraw for a moment. But for my safety and your own, do not leave this room until I return.
提米西斯： 好，我以手为誓，绝不离开。
TYMETHES: Very well, I give my hand on it; I shall not leave.
TYMETHES: (Aside) Shh! Is he gone? Then I shall venture forth like a shrewd explorer to discover that unknown beauty, whose mind is as meticulous as her strategy. (Lights a dark lantern.) Behold, this light is enough to fulfill all my desires; by it, I shall taste the forbidden fruit which, as she said, brings death: a death that devours. Quietly now, where am I? Let me see… it is not the same room as last time; no, slightly different. Yet still the high tapestries, the courtly decor—yes, everything— (He spots the sleeping Young Queen.) Ah! All that a mortal could wish for is gathered in your eternal loveliness, your grace! It is the Young Queen!
（她惊醒。）
(She starts awake.)
年轻王后： （震惊）你竟背叛我？你意欲何为？
YOUNG QUEEN: (Shocked) You betray me? What is your intent?
提米西斯： 绝无打扰您……尊贵之身完美安宁之意。
TYMETHES: Never to disturb the perfect peace of your noble person.
年轻王后： 啊，我必遭毁灭无疑！
YOUNG QUEEN: Ah, I am surely destroyed!
提米西斯： 令人倾慕的夫人，请听我言，听我起誓。
TYMETHES: Admirable lady, hear me speak; hear my oath.
年轻王后： 啊，不幸的年轻人，如今无人能救你！
YOUNG QUEEN: Oh, unhappy youth, now no one can save you!
TYMETHES: (Misunderstanding her) By all that humanity holds dear, noble Queen, by every bond an oath can tie, I shall prove myself faithful, silent, and watchful—as solemn as a soul before the sacred call of death. Your own spirit is not more loyal to your secrets than I am to them, to all things, and to you.
年轻王后： 啊，建筑于言语之上的爱恋何其可悲！若我对天道的信仰，已如对人之誓言般荡然无存！
YOUNG QUEEN: How wretched is a love built upon words! If only my faith in heaven were as vanished as my faith in the oaths of men!
提米西斯： 若我食而无饱，生而无知，爱而无得，若我永远——
TYMETHES: If I should eat and never be filled, live and never know, love and never gain—if I ever—
年轻王后： 好了，这已超出所需。
YOUNG QUEEN: Enough, this exceeds what is needed.
提米西斯： 那么尚有慰藉。
TYMETHES: Then there is comfort.
年轻王后： 你既自称如此忠诚，我命你行一小小忏悔，以试你真心，如何？
YOUNG QUEEN: Since you claim such loyalty, I command you to perform a small penance to test your heart. Shall I?
YOUNG QUEEN: Spend only this hour of your offense in sincere confession of your sins and the errors of your reckless youth; if you are cleansed, you shall have what you prize most.
提米西斯： 若我此行忏悔有伪，愿永世不得您眷顾。
TYMETHES: If my repentance be false, may I be forever cast from your favor.
TYMETHES: The Young Queen herself! Luckily all went well and her anger is cooled. I swear, when she began to command penance, I expected a harsher sentence. Her wit is as pleasing as her beauty; I have never seen affection bloom so fast—sincere and burning, yet without suspicion. To realize the Sovereign I serve is also the secret of my bed… my shock is beyond measure. It is a strange fortune—
TYMETHES (Cont., aside): Quiet, she comes; kneel in penance— (Aloud) “I repent sincerely, as a dying man bids the world farewell, with this broken and contrite heart, confessing all my life—the original sin I was born with, the wicked thoughts of my wanton youth… Amen.”
YOUNG QUEEN (Cont.): I allowed him to don the armor of the soul and sent him like a Knight Templar into eternity. (To the corpse) For you must taste this one death through many deaths; if any warning ever touched your senses, this pity and love have already confessed too much. Rash, reckless youth, my soul bleeds for you. How many times did I warn you that this path meant death? Yet you pressed on, foolish man, knowing the cost. But what destruction is youth not willing to chase? You could have lived long, loved, and enjoyed pleasure, had your whims not destroyed our happiness. One who breaks his own oath can never keep mine. We must be safe, youth; no one knows of this. There is more love to come, more glory—yes, plenty. Yet, defying death, I shall kiss you still. (Kisses his mangled face.) Oh, strange malady! That we find comfort in slaughter out of fear! This poor, bleeding frame—whom shall I entrust it to? There is a secret passage leading to the castle depths; I shall leave him there for now. Unhappy wretch, you never knew how precious possession truly was!
YOUNG QUEEN: It was mine, my noble husband. Look upon this villain; he has received his due reward. Look here, my King: this violent youth, whom I have never seen before tonight, seemed to know the secret paths of the dark passages. He burst in, found me with a dark lantern as I prayed alone, and seized me… dragging me to this room, far from guards or rescue, intending to defile my honor. But in the struggle, guided by the gods, my hand found a pistol. And so, with a bullet, I ransomed my chastity from his lust, leaving him here as you see.
AMATRITUS: Come here; closer. How did this man come here? I’d like to hear it. I want to learn the method. Tell me, that I may marvel and “love” you all the more for it. Tell me, why is the timing so crooked? He falls, yet you stand? Ha! Why is that?
年轻王后： 我……我为陛下感到遗憾，我不明白。
YOUNG QUEEN: I… I am sorry for your Majesty, but I do not understand.
AMATRITUS: The deed itself is not as terrible as the clouds of doubt it raises. The cunning of it shocks me far more than the evil of the crime—that he should die before my fury had even begun.
年轻王后： 陛下？
YOUNG QUEEN: Sire?
阿玛特里特斯： 过来，再过来，伸出你左手。让我看看那曾戴戒指的手指。
AMATRITUS: Come, closer still. Give me your left hand. Let me see the finger that once wore a ring.
年轻王后： 那并非戴戒指的手指，陛下。
YOUNG QUEEN: That was not the finger for a ring, Sire.
阿玛特里特斯： 那么，你慷慨赠予此珠宝的，又是何人？
AMATRITUS: To whom, then, did you so generously give this jewel?
年轻王后： （旁白）我不喜此问。
YOUNG QUEEN: (Aside) I do not like this question.
阿玛特里特斯： （出示珠宝）仔细看看。认得么？认得，你发抖了。
AMATRITUS: (Producing the jewel) Look closely. Do you know it? You do; you’re trembling.
年轻王后： （旁白）啊，天哪，此物怎会在此？（高声）此乃陛下所赐，是我之物！
YOUNG QUEEN: (Aside) Oh god, how did this get here? (Aloud) It was your Majesty’s gift to me—it is mine!
AMATRITUS: The setting remains, but the stone is new. You metaphysical harlot, do you still think your tricks can deceive me? I expected a blush of shame on your cheeks, but I see none. Is this how lust strangles shame? Where is my witness? Where? (Calling) Roxano!
（马泽雷斯假扮罗克萨诺上。）
(Mazeres enters, disguised as Roxano.)
年轻王后： 啊，我被出卖了！
YOUNG QUEEN: Ah, I am betrayed!
阿玛特里特斯： 那女子可是奸妇？
AMATRITUS: Is this woman an adulteress?
马泽雷斯： 正是，陛下。
MAZERES: She is, Sire.
阿玛特里特斯： 这男子可是在与其私通时被擒？享宴并受尽其极乐款待？
AMATRITUS: Was this man caught in the act of adultery? Feasting and receiving her ultimate pleasures?
马泽雷斯： 属实，陛下；是我引他前来，见他受享，并如您所言，“受纳”一切。
MAZERES: It is true, Sire; I led him here, saw him enjoy her, and, as you say, “receive” it all.
年轻王后： 啊，罗克萨诺！
YOUNG QUEEN: Oh, Roxano!
马泽雷斯： （旁白）如此，我略施小计便将二人蒙骗；如今他将厌弃她。（下。）
MAZERES: (Aside) Thus, with a small trick, I have deceived them both; now he shall loathe her. (Exit.)
阿玛特里特斯： 尚需更多证人么？我可再召。
AMATRITUS: Need I more witnesses? I can call others.
YOUNG QUEEN: Ah, no. There is a witness here within me that accuses me more than all the bought loyalty in the world. Sentence me to death; only save me from the long torture of your gaze. Let me not live to be executed by your frown… I confess.
AMATRITUS: Ah, only now do I feel the sting! All previous evidence was like dead flesh; I felt nothing until this confession. Now I stand beside the crime and watch it all unfold: the secret messages, the cunning passages, the intricate plots, the whispers, the hours, the feasts, and the obscene candlelight! It all stabs my eyes at once. Yet, you shall live.
年轻王后： 什么？不，不。莫以生命折磨我。我求一死。
YOUNG QUEEN: What? No, no. Do not torture me with life. I beg for death.
AMATRITUS: Ah, have you not confessed? No more excuses? Where is your cunning now? I saw it in your confession: you do not want to die. Since you have hunted this stag, now you shall taste the venison yourself. I have prepared a seat for you; you shall be the only diner at this feast.
AMATRITUS: (Kicking the corpse) This is the stag you shot yourself. The venison for your own teeth. You shall taste its flavor. A more noble seat is set for you, the most noble of tasters. Ho! Sextorio! Lodovicus!
AMATRITUS: Drag away this carrion and dismember it at once. I cannot inflict a living man’s rage upon him, for every torture, horror, gallows, rack, or wheel I can imagine—a thousand new ways to die—he escaped them all before he could taste even one.
AMATRITUS (Cont.): But you shall live. Now, take this candle, kneel, and weep. Let’s see which runs out first: the flame or your tears. (The Young Queen kneels.) I will provide your food; you shall not die. If there be a hell on earth to punish sin, it is to marry a harlot and let her sink you into guilt. (Exit.)
YOUNG QUEEN: I long feared this calamity before it came. My ill-omened dreams and terrible premonitions foresaw this end long before the fruit was ripe.
MAZERES: (Aside) She kneels there, unaware that I was the clever one who exposed her lechery. If I can take Roxano’s life, I’ll be perfectly safe; I’m fishing in muddy waters now. (Aloud) Madam, what is this? A living Queen should not be so close to the dust.
年轻王后： 埋于土下，方更安全，也快活得多。
YOUNG QUEEN: It is safer and much happier to be buried beneath the earth.
马泽雷斯： 是何等事由，竟驱使您将自身荣光贬抑至如此卑微境地，陷于这般苦楚？
MAZERES: What cause could drive you to debase your glory to such a lowly state, trapped in such misery?
年轻王后： 是我仆从的背叛，大人。
YOUNG QUEEN: The treachery of my servants, my lord.
马泽雷斯： 他们竟敢背叛？最卑劣的臣仆，竟敢扰乱如此神圣女主人的甜美安宁？
MAZERES: They dared to betray you? The basest of knaves, daring to disturb the sweet peace of so sacred a mistress?
YOUNG QUEEN: I am certain there is a villain whom I once deeply trusted, chosen as my chief confidant, who broke his faith and sold me to my violent and uncontrollable husband.
马泽雷斯： 但请告我他是谁，我愿以剑为夫人效力，刺入其心，从而配得上如您这般一位女主人。
MAZERES: Only tell me who he is; I will use my sword in your service, Madam, and pierce his heart, to prove myself worthy of such a mistress as you.
（罗克萨诺上。）
(Roxano enters.)
年轻王后： 啊，我，太快便看见他了！
YOUNG QUEEN: Ah, I see him too soon!
马泽雷斯： 夫人，请退避；莫让他见光。
MAZERES: Madam, withdraw; let him not see the light.
罗克萨诺： （旁白）哈，现在该是领赏之时。
ROXANO: (Aside) Ha, now is the time for my reward.
MAZERES: He deserves death; I would not spare even my own kin. Though the sword’s point is a journey from the heart, that journey is but the length of a blade. (Draws and stabs Roxano.)
罗克萨诺： 哈？这是何意？这便是“奖赏”？
ROXANO: Huh? What is this? Is this the “reward”?
马泽雷斯： 受死吧，逆贼！你这玷污‘忠诚’二字的害虫，不配活在光天化日之下！ （杀死罗克萨诺。）
MAZERES: Die, traitor! You vermin who defile the word “loyalty,” you are not fit to live in the light of day! (Kills Roxano.)
年轻王后： 此乃些许微末复仇；多谢，大人。将他丢入那洞穴，他不久前正是从那里爬出，将我出卖予国王。
YOUNG QUEEN: A small bit of revenge; thank you, my lord. Throw him into that cave from which he recently crawled to sell me to the King.
马泽雷斯： 啊，恶徒，进去吧，赶上你的灵魂。（拖罗克萨诺尸体下。）
MAZERES: Ah, villain, go in and catch up with your soul. (Drags Roxano’s body off.)
年轻王后： 此处是一颗困惑袒露的心；愿那尚温的钢铁，为我提供同样“效劳”，成全一位王后心愿的至交。
YOUNG QUEEN: Here is a heart laid bare and confused; would that that warm steel could perform the same “service” for me, the ultimate friend to a Queen’s wish.
MAZERES: Ah, forgive me, that would be a total wickedness. I do not threaten angels, even if I slay devils. Fear not for your peace: the King’s anger will cool. I shall serve you faithfully here.
年轻王后： 我们甚悦。
YOUNG QUEEN: We are most pleased.
马泽雷斯： （旁白）悦如无物；我不会进言劝国王违背他已决意之事。（下。）
MAZERES: (Aside) Pleased by nothing; I will not speak a word to turn the King from what he has already resolved. (Exit.)
年轻王后： 在我最信任之处遭背叛？啊，上天，再无任何苦难，堪与我之遭遇相配！
YOUNG QUEEN: Betrayed where I most trusted? Oh, heavens, there is no suffering to match my own!
(Amatritus enters, followed by Sextorio and Lodovicus. They carry covered dishes or cloth bundles with ritual slowness, placing them around the kneeling Queen. They then uncover them, revealing the dismembered limbs of Tymethes.)
AMATRITUS: Good, place them further forward; right there, settle them well. Display before her eyes the dismembered limbs of the lover she craved. Welcome, Madam; behold your feast—fine meat, coarse fare. Your lust was sweet; why is it bitter now? By heaven, you shall have no other food until your own bowels become the grave for this corpse. To ensure it, come, I shall lock you away safely, far from human pity. Hang those pieces up; the dregs of the cup of passion taste the most bitter.
ZENOCRATES: Ah, my Tymethes! The truest joy this earth could offer! Could your fate be so stony-hearted, so contrary to the sweet spring of your youth and hope? This must be the venomous work of Mazeres—that accursed adversary. If my reckoning holds, his own intrigue shall topple like a high tower, crushing his own breast beneath its weight.
（阿玛特里特斯上场。）
(Amatritus enters.)
泽纳库斯： 我尊贵的主上。
ZENOCRATES: My noble Lord.
阿玛特里特斯： 噢，你真该早些来见我们。
AMATRITUS: Oh, you should have come to us sooner.
泽纳库斯： 为何，陛下？
ZENOCRATES: Why, Sire?
阿玛特里特斯： 你那位朋友的残肢刚刚凯旋般经过，我想那景象必定令你十分欣喜。
AMATRITUS: The mangled remains of your friend have just passed by in a sort of triumph; I thought the sight would surely have delighted you.
ZENOCRATES: Any knave who pleases my father is no friend of mine. I would have found more satisfaction in that sight had it not been for Mazeres—who let his malice slide into wickedness before the crime even took shape, strangling the fruit before it could ripen. This was a singular “service,” if your fuming Majesty could but see it aright: the politician Mazeres acted more to sate his own venomous spite than for any true peace to settle your mind. He permitted that loathsome treason to occur, though he might have stifled it in its first chaotic breath.
ZENOCRATES: I beseech you, Sire, consider with a man’s composure and a prudent mind: when he saw those dalliances cross the line into a profanation of your peace, and yet committed the matter to time—was the path he trod one of loyalty, or a road to your ultimate ruin?
ZENOCRATES: What makes this matter so hideous, so heavy, so horrific? What unsettles your mind and kindles such fury in your heated breast? Is it not the crime itself?
阿玛特里特斯： （突然）噢！
AMATRITUS: (Suddenly) Oh!
泽纳库斯： 仅有意图便足以判他死刑，那已是充分的交代；但付诸行动——
ZENOCRATES: The intent alone was enough to damn him, and would have been sufficient satisfaction; but to let it proceed to the act—
阿玛特里特斯： 不可容忍！塞克斯托里奥！塞克斯托里奥在哪？
AMATRITUS: Intolerable! Sextorio! Where is Sextorio?
ZENOCRATES: (Aside) Keep your temper, Zenocrates; let me snare him alone. (He withdraws to one side.) It may succeed. Watch, my friend, and see how I express my “love.”
阿玛特里特斯： （旁白）噢，恶棍！若他一见那情景便刺穿他，那我此刻的一分悲痛，便能免去万分！
AMATRITUS: (Aside) Oh, villain! Had he but pierced him at the first sight of the deed, one part of my current grief would have spared ten thousand!
（马泽雷斯与塞克斯托里奥上。）
(Mazeres and Sextorio enter.)
马泽雷斯： （旁白）我梦见因我近日的效劳会有新的封赏，还奇怪他怎能将我的功劳搁置这么久。
MAZERES: (Aside) I dreamed of new rewards for my recent services; I wondered how he could let my merits sit idle for so long.
AMATRITUS: My memory fails me; I still owe you some honors, Mazeres. What office shall we find for you? Your recent service is still warm in our memory, and highly favored. Tell me in detail, how did you so craftily apprehend them?
马泽雷斯： 我被引入一间侍从室，陛下。
MAZERES: I was brought into a waiting room, Sire.
阿玛特里特斯： 是吗！
AMATRITUS: Is that so!
马泽雷斯： 并戴上面具，帮忙侍奉那场“宴席”。
MAZERES: And I wore a mask, helping to serve that “banquet.”
阿玛特里特斯： 哈，哈！
AMATRITUS: Ha, ha!
马泽雷斯： 看见他被私下引入一间密室。
MAZERES: I saw him privately led into a secret chamber.
阿玛特里特斯： 而你仍任由他行事？
AMATRITUS: And you still let him proceed?
马泽雷斯： 我让他“游戏”，陛下。
MAZERES: I let him “play,” Sire.
阿玛特里特斯： 哈，哈，哈！
AMATRITUS: Ha, ha, ha!
马泽雷斯： 我一直就近监视，直到她的双臂拥抱了他。
MAZERES: I kept a close watch until her arms embraced him.
AMATRITUS: Well said, Mazeres! Since you love a show so much, I shall grant you a grand finale—drag him away! Let him taste the most venomous, most lingering tortures this world can devise!
（阿玛特里特斯和塞克斯托里奥拖拽着震惊的马泽雷斯下场。）
(Amatritus and Sextorio exeunt dragging the shocked Mazeres.)
泽纳库斯： （旁白）任何言辞都无法表达我的欣喜。这是一种如此高贵的狂喜，唯有灵魂方能领受。 ZENOCRATES: (Aside) No words can express my joy. This is an ecstasy so noble, only the soul can receive it.
（安菲多特与洛多维克斯上。）
(Amphidote and Lodovicus enter.)
安菲多特： 大人，马泽雷斯已被带去处死了吗？
AMPHIDOTE: My lord, has Mazeres been taken to his death?
洛多维克斯： 恐怕千真万确，亲爱的公主。（下。）
LODOVICUS: I fear it is only too true, dear Princess. (Exit.)
AMPHIDOTE: (Aside) Cursed be the tongue that pronounced his sentence; forever ruined be the hand that sunders him from life! Was there no one else more fit for this tyranny than the one our heart has chosen? Oh, the misery of love! I cannot live and think on this!
ZENOCRATES: Yes, proof enough, in truth. Hear me: Mazeres has reached his eternal home, wherever his body may lie. I prompted the blow! I brewed a bitter cup that quickly stopped his breath.
安菲多特： （旁白）噢，天哪，我的灵魂要出窍了！ （呼喊）拿点酒来，喂！
AMPHIDOTE: (Aside) Oh, heavens, my soul is departing! (Calling) Bring some wine, ho!
泽纳库斯： 给我们的妹妹拿酒来，这消息值得庆贺！
ZENOCRATES: Bring wine for our sister; this news is worth a celebration!
（洛多维克斯持酒上。）
(Lodovicus enters with wine.)
安菲多特： 好，给我；现在退下吧。
AMPHIDOTE: Good, give it to me. Now, leave us.
（洛多维克斯下。）
(Lodovicus exits.)
泽纳库斯： 复仇从未结出过比我想象中我的复仇更幸运的果实。
ZENOCRATES: Never has revenge borne a luckier fruit than what my vengeance has yielded.
（她在酒中下毒。）
(She poisons the wine.)
安菲多特： （旁白）我要启程了，马泽雷斯，来与你相会。 （递过酒杯）给，泽纳库斯。
AMPHIDOTE: (Aside) I am setting out, Mazeres, to meet you. (Handing the cup) Here, Zenocrates.
泽纳库斯： 你看上去可不像这个时辰该有的欢快样子。
ZENOCRATES: You do not look as cheerful as this hour demands.
安菲多特： 喝了这杯就会了。
AMPHIDOTE: I will be, once this is drunk.
泽纳库斯： 哈，酒既能弥补缺憾，也能引生许多。为我们这最后一击的复仇之举干杯。 （二人饮酒。）
ZENOCRATES: Ha! Wine can make up for many lacks, and breed many more. Let us drink to this final stroke of our revenge. (They both drink.)
AMPHIDOTE: He was the mirror that reflected the true face of this court. You saw only a plot; I saw a man who acted while you prated of philosophy. You killed the actor. I killed the author.
泽纳库斯： （踉跄）我们……我们本要恢复一个王国。让一切回归旧日……
ZENOCRATES: (Staggering) We… we were meant to restore a kingdom. To bring everything back to the old days…
ZENOCRATES: (Falling, gasping his final words to the void) Ah, Tymethes… Father… what garden did we think we were tending? Nothing grows here but… poison… and… (Dies.)
][][
第五幕，第二场 [城堡大厅]
ACT V, Scene 2 [The Main Hall of the Castle]
（雷电交加。一颗彗星出现。阿玛特里特斯上。）
(Thunder and lightning. A comet appears. Amatritus enters.)
AMATRITUS: Ha? Thunder? And you, bone-chilling winds, you swift-winged lightning? And you, blazing star, I like not your strange, long-tailed fire; your light is fatal. Ha? See how all their malignant powers conspire in the destruction of my children! Their envied status has been envied by that vicious force, struck down by some jealousy, and now—dead. The omens are foul! Sextorio! Lodovicus!
（塞克斯托里奥与洛多维克斯上。）
(Sextorio and Lodovicus enter.)
阿玛特里特斯： 先把那些尸体从我眼前搬走。
AMATRITUS: Remove those corpses from my sight at once.
塞克斯托里奥： 都死了，陛下。
SEXTORIO: All dead, Sire.
阿玛特里特斯： 是啊，而我们安全；我们自己的死亡反倒不那么可怕了。
AMATRITUS: Yes, and we are safe; our own deaths seem less terrifying now.
（塞克斯托里奥与洛多维克斯搬走尸体。老国王一行乔装成朝圣者立于一旁。）
(They remove the bodies. The Old King, Lapirus, Fidelio, and Amorpho enter, disguised as Pilgrims.)
老国王： （旁白）上天保佑，那边映入眼帘的，是何等恐怖非人的景象？
OLD KING: (Aside) Heavens preserve us, what horrific, inhuman sight greets our eyes there?
菲德里奥： （旁白）那是何物？残肢断臂如腊肉般悬挂……天哪，这哪里是人间寝殿，分明是修罗屠场!
FIDELIO: (Aside) What are those? Severed limbs hanging like cured meats… God, this is no royal chamber, but a slaughterhouse!
阿玛特里特斯： 神圣可敬的朝圣者，欢迎。
AMATRITUS: Holy and venerable pilgrims, welcome.
老国王： 莽撞的异乡人，被暴风雨驱赶至此。
OLD KING: Rash strangers, driven here by the storm.
（响亮的音乐。宴席被送上。阿玛特里特斯引年轻王后上。她面前摆着装着提米西斯头颅的肉盘。）
(Loud music. A banquet is served. Amatritus leads in the Young Queen. Before her is a dish containing Tymethes’ head.)
AMATRITUS: (To the Young Queen) As your penance, I command that you taste no other food—nor would she dare—until the body of her lover is utterly consumed within her own.
老国王： （旁白）哦，天哪，我的儿子提米西斯！
OLD KING: (Aside) Oh, gods, my son Tymethes!
（老国王亮明身份，众人除去伪装。）
(The Old King reveals himself; all cast off their disguises.)
阿玛特里特斯： 哈？这些是什么人？老国王？拉皮鲁斯？被出卖了？
AMATRITUS: Ha? Who are these men? The Old King? Lapirus? Betrayed?
老国王： 死吧，残忍、嗜杀的暴君！ （众人刺杀阿玛特里特斯。）
OLD KING: Die, cruel and murderous tyrant! (They stab Amatritus.)
阿玛特里特斯： 哈哈哈！就这样笑着咽气吧！我的淫欲从未比我的死更令我愉快。（死。）
AMATRITUS: Ha, ha, ha! Let me expire laughing! My lust never gave me more pleasure than my death. (Dies.)
（老王后除去伪装，举起幼子马诺菲斯。）
(The Old Queen reveals herself, holding the infant Manophis.)
老王后： 看，一位有望的继承人。莫惊愕；他是马诺菲斯。
OLD QUEEN: Behold, a hopeful heir. Be not amazed; it is Manophis.
老国王： 为那些肢体准备体面的葬礼吧。一阵欢欣的钟声，将苦难尽数击退。
OLD KING: Prepare a decent burial for those remains. Let a joyful peal of bells strike back all our miseries.
[The Old King’s voice falls into silence. All turn toward the newborn infant, forming a tableau of hope and reconciliation. The music shifts into a solemn, yet slightly pompous, ceremonial melody.]
[The Young Queen alone, like a forgotten sacrificial offering, remains frozen at her small table. The platter before her is empty, yet her eyes remain fixed—glaring either at the invisible remnants of the “flesh” upon the table, or toward the space where the severed limbs once hung. There are no tears upon her face, only an utter hollowness, a detached calm, as if the soul itself has been extricated from this body that was forced to consume its own love.]
[The lights dim, until at last only a single overhead spotlight remains, coldly enveloping her and the empty plate. All other clamor and light in the hall vanish. A silence lasts for several seconds.]
ACT I. THE LAND SPEAKS. SCENE 1 – ELECTRA’S FIRST MONOLOGUE.
ELECTRA Հա՛յր։ Father.
Քո անունը չեմ ասում բարձր, որ պատերը չլսեն և չսովորեն այն հնչյունը, որ պիտի մաշեն իրենց լեզուներով։ I do not speak your name aloud, so the walls will not hear it and learn that sound only to wear it down with their tongues.
Ես կանգնած եմ այստեղ ոչ թե որովհետև սպասում եմ, այլ որովհետև գնալու տեղ չկա այն կնոջ համար, որի ներսում հողը արդեն բացվել է։ I stand here not because I wait, but because there is no place to go for the woman inside whom the earth has already opened.
Գիշերները ես հաշվում եմ քո ոսկորների թվով։ Առավոտները՝ քո արյանի չչորացած հետքերով քարերի վրա։ At night I count your bones. By morning, the still-wet tracks of your blood on the stones.
Նրանք ասում են՝ «Ժամանակը բուժում է»։ Սուտ են խոսում։ Ժամանակը սովորեցնում է միայն, թե ինչպես ապրել վերքի մեջ առանց գոռալու։ They say, “Time heals.” They lie. Time only teaches how to live in a wound without screaming.
Ես սովորել եմ։ Ես չեմ լացում, երբ նրանք նայում են։ Ես չեմ աղաչում։ Ես չեմ ընկնում գետնին ինչպես կանայք, որոնք ուզում են մխիթարվել։ I have learned. I do not cry when they watch. I do not beg. I do not fall to the ground like women who seek comfort.
Իմ մխիթարությունը հիշողությունն է։ Իմ աղոթքը՝ չմոռանալը։ My comfort is memory. My prayer is not to forget.
Նրանք քայլում են քո տան մեջ քո անունը բերանում, ինչպես կեղտոտ հաց։ Նրանք քնում են քո անկողնում և մտածում են՝ հողը լռել է։ Բայց հողը չի լռում։ They walk in your house with your name in their mouths, like dirty bread. They sleep in your bed and think the earth is silent. But the earth does not remain silent.
Հողը լսում է ինձ։ Քարերը լսում են։ Գիշերը, երբ ոչ ոք չի համարձակվում շնչել, ես խոսում եմ նրանց հետ։ The earth listens to me. The stones listen. At night, when no one dares to breathe, I speak with them.
Ես ասում եմ՝ «Պահեք»։ Պահեք այն օրը։ Պահեք այն ժամը։ Պահեք այն ձեռքը, որ պիտի բարձրանա։ I say, “Preserve.” Preserve that day. Preserve that hour. Preserve that hand which must rise.
Ես դեռ գիտեմ բառերը։ Ես դեռ գիտեմ անունները։ Ես չեմ շտապում։ I still know the words. I still know the names. I do not rush.
Ով շտապում է՝ մոռանում է։ Ամեն բան սպասում է ինձ։ Who hurries forgets. Everything waits for me.
Ահա ես այստեղ եմ, հա՛յր, որ չմոռացնեմ։ Here I am, Father, so that I will not forget.
֎
ACT 1. WHEN SHADOWS SPEAK.
SCENE 2 – THE WATCHING WOMEN CHORUS.
WATCHING WOMAN I Նայեցե՛ք նրան։ Look at her. Նա չի շարժվում։ She does not move.
WATCHING WOMAN II Երբ մարդը չի շարժվում, կամ շատ ուժեղ է, կամ արդեն քար է։ When a person does not move, they are either very strong, or already stone.
WATCHING WOMAN III Նա չի լացում։ Սա ամենավտանգավոր նշանն է։ She does not cry. This is the most dangerous sign.
WATCHING WOMAN IV Լացը փրկություն է։ Լացը բաց է թողնում։ Ավելի լավ է բաց թողնել, իսկ նա պահում է։ Crying is salvation. Crying lets go. It is better to let go, but she holds on.
[All four step slowly forward, forming a semi-circle; light tightens on Electra at center stage.]
WATCHING WOMAN I Նրա աչքերը փակ չեն, բայց քուն չկա դրանց մեջ։ Her eyes are not closed, but there is no sleep in them.
WATCHING WOMAN II Նա լսում է այն, ինչ մենք չենք լսում։ She hears what we cannot hear.
WATCHING WOMAN III Գիշերը ես տեսա նրան պատերի հետ խոսելիս։ At night I saw her speaking with the walls.
WATCHING WOMAN IV Չէ՛, նա չէր խոսում։ Նա հրաման էր տալիս։ No, she was not speaking. She was giving orders.
[Short pause; all whisper, eyes fixed on Electra.]
WATCHING WOMAN I Նա հոր անունը բերանում է պահում ինչպես դանակ։ She keeps her father’s name in her mouth like a knife.
WATCHING WOMAN II Եվ չի օգտագործում։ And she does not use it.
WATCHING WOMAN III Դանակը, որ չի օգտագործվում, ավելի սուր է դառնում։ The knife that is not used becomes sharper.
WATCHING WOMAN IV Նա մեզ չի նայում, որովհետև մենք արդեն մեռած ենք նրա համար։ She does not look at us, because we are already dead to her.
WATCHING WOMAN I Կինը, որ մոռանում է իր մարմինը, վտանգավոր է։ The woman who forgets her body is dangerous.
WATCHING WOMAN II Կինը, որ հիշում է միայն հիշողությունը, ավելի վտանգավոր է։ The woman who remembers only memory is more dangerous.
WATCHING WOMAN III Նա չի խելագարվել։ Դեռ ոչ։ She is not mad. Not yet.
WATCHING WOMAN IV Խելագարությունը աղմուկ է։ Սա լռություն է։ Madness is noise. This is silence.
[They step back slowly, bow slightly, then freeze.]
WATCHING WOMEN [I-VI.] Նա չի աղաչում։ Նա չի խնդրում։ Նա չի մոռանում։ And she does not beg. She does not plead. She does not forget.
Եվ ով չի մոռանում, չի ներում։ And whoever does not forget does not forgive.
[Light dims on the Watching Women; focus tightens on Electra center stage, alone, silent. Stone scraping fades. Soft wind continues.]
֎
ACT I. MEMORY BECOMES FLESH. SCENE 3 – ELECTRA’S SECOND MONOLOGUE.
ELECTRA Հիշողությունը այլևս գլխումս չէ։ Memory is no longer in my head.
[Steps forward, hands brushing over thighs and torso as if tracing an internal map.]
Այն իջել է ներքև, ոսկորների մեջ, ուր բառերը չեն հասնում։ It has descended down, into the bones, where words cannot reach.
[Breath deepens; slight tremor in knees; light flickers over her feet.]
Երբ քայլում եմ, հողը ծանրանում է իմ տակ։ Երբ կանգնում եմ, ծնկներս դողում են ոչ հոգնածությունից — այլ որովհետև ինչ-որ բան ուզում է ծնվել ներսում։ When I walk, the earth grows heavy beneath me. When I stand, my knees tremble not from fatigue— but because something wants to be born inside.
[She leans forward, hands almost touching floor, as if feeling a pulse in the earth.]
Ես չեմ կարող երկար նստել։ Ես չեմ կարող պառկել։ Մարմինս գիտի մի բան, որ լեզուս դեռ չի համարձակվում ասել։ I cannot sit for long. I cannot lie down. My body knows something my tongue still does not dare to speak.
[Takes quick breath, chest heaving; slight shiver of shoulders.]
Գիշերը արթնանում եմ քրտինքի մեջ, և դա վախ չէ։ Դա հիշողություն է, որ դուրս է եկել երակներիս վրա։ At night I wake in sweat, and it is not fear. It is memory that has risen through my veins.
[Hand rises slowly toward heart, then traces ribs; light glows slightly red over torso.]
Հա՛յր… քո արյունը ես չեմ տեսել։ Բայց իմ ձեռքերը գիտեն դրա ջերմությունը։ Father… I have not seen your blood. But my hands know its warmth.
[She clenches fists, nails digging slightly into palms; metallic scrape echoes softly.]
Երբ սեղմում եմ մատներս, ինչ-որ բան խշշում է ներսումս, ինչպես մետաղը՝ քարերին դիպչելիս։ When I clench my fingers, something rustles inside me, like metal striking stone.
[Pauses; lifts gaze to audience; voice softens, almost whispering.]
Նրանք ասում են՝ «Մոռացիր, աղջիկ»։ Բայց ես չեմ կարող մոռանալ այն, ինչ հիմա քայլում է իմ մեջ։ They say, “Forget, girl.” But I cannot forget what now walks inside me.
[Steps forward slowly, spreading arms slightly; light warms, highlighting face and torso.]
Ես քեզ կրում եմ ոչ թե սրտումս — այլ ազդրերիս մեջ, մեջքիս լարումում, ատամներիս սեղմման մեջ։ I carry you not in my heart— but in my thighs, in the tension of my back, in the clench of my teeth.
[Breath heavy, audible; pauses to inhale; hand brushes along ribs.]
Երբ շնչում եմ, շունչս ծանր է։ Երբ բացում եմ բերանս, բառերը դառն են։ When I breathe, my breath is heavy. When I open my mouth, the words are bitter.
[Steps back, fists unclench, arms drop slowly.]
Ես այլևս չեմ խոսում հողի հետ։ Հողը խոսում է ինձնով։ I no longer speak with the earth. The earth speaks through me.
Եթե ձեռք բարձրացնեմ, դա իմը չի լինի։ Եթե գոռամ, դա ձայն չէ — դա ճեղք է։ If I raise my hand, it will not be mine. If I scream, it is not a voice— it is a rupture.
[Turns slowly, one hand extended, as if feeling invisible resistance.]
Ես չեմ շտապում։ Բայց մարմինս սկսել է հաշվել։ I am not in a hurry. But my body has begun to count.
Օրերը՝ ոչ արևով, այլ զարկերով։ The days— not by the sun, but by the beats.
[Pause; light flickers; shadow of wall stretches behind her.]
Եվ երբ թիվը լրացվի, ես չեմ հարցնի։ And when the count is complete, I will not ask.
[Step forward sharply; sudden tension in shoulders and hands.]
Ես կշարժվեմ։ I will move.
[Lights dim to near darkness; heartbeat sound grows louder and slower; scrape and metallic tinkle fade.]
֎
ACT II. THE VULTURE GROWS SCENE 1 – THE WATCHING WOMEN [THE OMEN OF ELECTRA]
[The Watching Women enter from different sides, moving silently at first, like shadows pooling into the center. Each step is measured, yet the air trembles with urgency.]
WATCHING WOMAN I Որտե՞ղ է թաքնվում Էլեկտրան։ Where is Electra hiding?
WATCHING WOMAN II Սա Էլեկտրայի ժամը է։ Այն ժամը, երբ նա լաց է լինում հոր գերեզմանի մոտ, մինչդեռ պատերը զրնգում են։ This is Electra’s hour. The hour when she weeps at her father’s grave, while the walls resound.
[A sudden metallic clink echoes; Electra darts out from the inner hall, unseen until now. Everyone turns toward her. She recoils like a wild animal, one arm shielding her face.]
WATCHING WOMAN I Տեսա՞ր, թե ինչպես էր նա մեզ նայում։ Did you see how she looked at us?
WATCHING WOMAN II Չարաճճի։ Նա վայրի կատվի նման է։ Mischievous. She is like a wild cat.
WATCHING WOMAN III Այս պահին նա պառկած է և տնքում է։ At this moment, she lies and prowls.
WATCHING WOMAN I Նա միշտ պառկում է և այդպես տնքում, երբ արևը մայր է մտնում։ She always lies and prowls like this when the sun sets.
WATCHING WOMAN III Եվ հետո մենք չափազանց հեռու գնացինք։ Չափազանց մոտեցանք նրան։ And then we went too far. We approached her too closely.
WATCHING WOMAN I Նա չի կարող դիմանալ, եթե պարզապես նայես նրան։ She cannot bear it if you simply look at her.
WATCHING WOMAN III Մենք չափազանց մոտեցանք նրան։ Հետո նա գոռաց մեզ վրա՝ ինչպես կատվի։ «Գնացե՛ք, ճանճեր, հեռացե՛ք», – գոռաց նա։ We approached her too closely. Then she shouted at us like a cat: “Go, flies, get away!”
WATCHING WOMAN IV «Կեղտոտ ճանճեր, հեռացեք»։ “Filthy flies, get away.”
WATCHING WOMAN III «Մի՛ բավարարվեք իմ վերքերով»։ [raises her hand, striking air as if the lash lands] Եվ մեզ հարվածեց հանգույցված կաշվի կտորով։ “Do not settle for my wounds.” And she struck us with a knotted piece of leather.
[Electra straightens. The laugh rises from her throat—harsh, chattering, not melodic, not human.]
ELECTRA Դուք… դուք ինչ-որ բան մոռացել եք ասել։ You… you forgot to say something.
WATCHING WOMAN IV «Սողալով հեռացեք», – գոռաց նա մեզ վրա։ «Քաղցր կերեք և ճարպ կերեք, և գաղտնի պառկեք քնելու, դուք և ձեր ժողովուրդը…» “Creep away,” she shouted at us. “Eat sweet and fat, and lie down in secret, you and your people…”
WATCHING WOMAN III Մենք անգործ չէինք մնացել— We did not remain idle—
WATCHING WOMAN IV Մենք պատասխանեցինք նրան։ We answered her.
WATCHING WOMAN III Այո՛։ «Եթե քաղցած ես, – պատասխանեցի ես Էլեկտրային, – ուրեմն դու նաև կրքոտ ես»։ Yes. “If you are hungry,” I answered Electra, “then you are also fierce.”
ELECTRA Կրքոտ… Դուք սխալվում եք։ Ես քաղցած չեմ սննդի համար։ Ես քաղցած չեմ սիրո կամ մխիթարության համար։ Fierce… You are mistaken. I am not hungry for food. I am not hungry for love or comfort.
WATCHING WOMAN II Հետո ի՞նչ… Then what…
ELECTRA [Voice erupts, guttural, animal-like growl.] Ես իմ փորի մեջ անգղ եմ կերակրում։ Ամեն օր։ Ամեն ժամ։ Եվ նա աճում է։ Նրա կտուցը սուր է իմ ներսից։ Նրա թևերը ճեղքում են իմ կողերը՝ դուրս գալու համար։ I feed a vulture in my belly. Every day. Every hour. And it grows. Its beak is sharp inside me. Its wings tear through my ribs to get out.
[She folds her hands toward her stomach, as if caressing and restraining the monstrosity within.]
Տեսնու՞մ եք նրան։ Նա սպասում է։ Ինչպես ես։ Do you see it? It waits. Like me.
WATCHING WOMAN I [Half whisper, gasping.] Դիակուտող… Corpse-devourer…
ELECTRA [Soft, almost intimate, metallic in tone.] Այո՛։ Դիակուտող։ Ես նստում եմ այնտեղ, որտեղ կարող եմ զգալ դիակի հոտը։ Ես քերում եմ հողը վաղուց մեռածի հետևից։ Ինչո՞ւ… Yes. Corpse-devourer. I sit where I can smell the corpse. I scratch the earth behind the long-dead. Why…
[Voice sharpens, metallic.]
Որովհետև դիակը սպասում է։ Եվ անգղը սպասում է։ Եվ ես… ես միայն այն միջնորդն եմ, որ պետք է միավորի նրանց։ Because the corpse waits. And the vulture waits. And I… I am only the mediator who must unite them.
[Short, frozen silence. The Watching Women are paralyzed.]
Այժմ գնացեք։ Գնացեք և պատմեք ձեր ժողովրդին։ Ասացեք, որ Էլեկտրան ոչ թե լաց է լինում… Այլ կերակրում է։ Go now. Go and tell your people. Say that Electra does not weep… She feeds.
[She turns, back to them. The Watching Women scatter quickly, clumsily, like shadows fleeing. Spotlight narrows to Electra, alone. Heartbeat softens, metallic echoes fade.]
֎
ACT II. THE HAUNTED MOTHER. SCENE 2 – CLYTEMNESTRA ENTERS.
[Clytemnestra enters slowly from upstage right. Hair plastered to her forehead with sweat. Her body seems to carry a weight of unseen horrors. She stops mid-stage, breath ragged, glancing at Electra but not approaching.]
CLYTEMNESTRA Ջուր տվե՛ք։ Give me water.
[Silence. Nobody moves. Her voice trembles slightly, but is commanding.]
Օդն այստեղ խիտ է։ Սա տուն չէ։ Սա փակված մարմին է։ The air is thick here. This is not a house. This is a closed body.
[She notices Electra. Stares but keeps distance.]
Դու այստեղ ես։ Ես գիտեի։ You are here. I knew it.
Գիշերը, երբ աչքերս փակեցի, դու կանգնած էիր նույն տեղում, և պատերը քրտնում էին։ At night, when I closed my eyes, you stood in the same place, and the walls sweated.
[Pause. She wipes her neck with her hand.]
Իմ մարմինը չի քնում։ Այն հիշում է, երբ ես չեմ ուզում։ My body does not sleep. It remembers when I do not want it to.
Երազներս չեն գալիս պատկերներով։ Նրանք գալիս են հոտով։ Մետաղ։ Հող։ Թաց մազ։ My dreams do not come as images. They come as smell. Metal. Earth. Wet hair.
Երբեմն արթնանում եմ գոռալով, բայց ձայն չկա։ Միայն բերանս է բաց։ Sometimes I wake screaming, but there is no sound. Only my mouth is open.
[Pause. Breath ragged. She takes a tentative step toward Electra, then stops.]
Դու լռում ես։ Դու միշտ լռում ես այնպես, որ թվում է՝ իմ ներսը լսելի է դառնում։ You are silent. You are always silent in such a way that it seems my inside becomes audible.
Ասա մի բան։ Նույնիսկ անեծք։ Նույնիսկ սուտ։ Say something. Even a curse. Even a lie.
Լռությունը կպչում է մաշկիս։ Silence sticks to my skin.
[She steps closer, then halts.]
Ես թագուհի եմ։ Բայց գիշերը թագը ծանրանում է գլխիս վրա, ինչպես քար։ I am a queen. But at night the crown grows heavy on my head, like stone.
Իմ մարմինը չի հավատում իմ իշխանությանը։ My body does not believe in my authority.
Ձեռքերս դողում են։ Ոտքերս հիշում են փախուստը։ My hands tremble. My feet remember fleeing.
[Her voice cracks.]
Ես չեմ վախենում քեզնից։ I am not afraid of you.
[Short pause.]
Սա սուտ է։ This is a lie.
Ես վախենում եմ քո հիշողությունից։ I am afraid of your memory.
[She glances at Electra’s hands.]
Որովհետև այն մարմին ունի։ Because it has a body.
[Short, heavy silence. She stands, frozen, caught between dread and awe.]
Դու ոչինչ չես անում, բայց տունը այլևս չի ենթարկվում ինձ։ You do nothing, yet the house no longer obeys me.
Պատերը շնչում են քեզնով։ Հողը ծանրանում է։ The walls breathe you. The earth grows heavy.
Ասա ինձ՝ դու ինչ ես սպասում։ Tell me— what are you waiting for?
[Whispers.] Ո՞վ է գալու։ Who is coming?
[Silence. Metallic scrape again, closer. A lantern flickers and dies. The wind moves the curtain but the door does not open.]
WATCHING WOMAN [whispering from different corners.] — Ճանապարհի հոտ կա։ — Օտար փոշի։ — Ոտքերի ձայն՝ առանց մարդու։ — There is the scent of a path. — Foreign dust. — Footsteps without a human.
[Clytemnestra shivers, sensing the presence.]
CLYTEMNESTRA Ո՞վ է այստեղ։ Who is here?
[No answer. Only metallic scraping, slowly approaching. Her body tenses.]
WATCHING WOMAN [deep, layered voices.] Այն, ինչ հեռու էր, այլևս հեռու չէ։ Այն, ինչ անուն չուներ, մոտենում է։ That which was distant, is no longer distant. That which had no name, approaches.
[All eyes on Electra. She stands calm, poised, the center of the stage.]
ELECTRA [soft, almost gentle, voice steady.] Երազը չի սպանում — այն պարզապես բացում է դուռը։ The dream does not kill— it simply opens the door.
[Lights slowly dim, leaving only shadows and faint outlines of the characters. The metallic echoes linger as the tension thickens.]
֎
ACT II. DREAMS BECOME FLESH. SCENE 3 – CLYTEMNESTRA [CONTINUES.]
[Clytemnestra sits on a low platform or step. Her hands tremble. Sweat drips down her face. Every emotion is small, hesitant. She begins her fragmented monologue.]
CLYTEMNESTRA Ես չեմ քնում։ I do not sleep.
Եթե աչքերս փակվեն, այն քուն չէ — դա ներս ընկնել է։ If my eyes close, it is not sleep— it is falling inward.
Երազներս չեն գալիս պատմությամբ։ Նրանք գալիս են մարմնով։ My dreams do not come as stories. They come with a body.
Սկզբում՝ մի ձայն։ Ոչ անուն։ Ոչ խոսք։ Միայն ծանրություն, ինչպես քայլ թաց հողի վրա։ At first— a sound. No name. No words. Only weight, like a step on wet earth.
Հետո՝ ձեռքեր։ Then— hands.
Ես չեմ տեսնում դեմք։ Ես տեսնում եմ միայն ինչպես են ձեռքերը իմնից մեծ։ I do not see a face. I see only how the hands are bigger than mine.
Նրանք ինձ չեն խփում։ Դա ավելի վատ է։ They do not strike me. It is worse.
Նրանք չափում են։ Իմ վիզը։ Իմ ուսերը։ Իմ քունքը։ They measure. My neck. My shoulders. My sleep.
[Breathing quickens, almost panicked.]
Երբեմն արթնանում եմ իմ անունը բերանում, բայց դա իմ ձայնը չէ։ Sometimes I wake my name in my mouth, but it is not my voice.
Այլ ձայն է, որ սովորել է իմ բերանը։ It is another voice that has learned my mouth.
Երբեմն ես վազում եմ երազի մեջ, բայց ոտքերս չեն հպվում գետնին։ Sometimes I run in a dream, but my feet do not touch the ground.
Ես լողում եմ արյան միջով, և այն տաք է։ I swim through blood, and it is warm.
Չի այրում։ It does not burn.
Սա ամենասարսափելին է։ This is the most terrible.
[Short pause. Her hands clench, she looks at Electra almost pleadingly.]
Երեկ երազում տեսա ծառ։ Yesterday, in a dream, I saw a tree.
Չոր։ Արմատները՝ դուրս եկած։ Dry. Roots torn out.
Երբ մոտեցա, տեսա՝ արմատների տակ մարմին կա։ When I approached, I saw— beneath the roots was a body.
Ես գիտեի՝ եթե նայեմ դեմքին, ես չեմ արթնանա։ I knew— if I looked at its face, I would not wake.
Ես չնայեցի։ I did not look.
[She speaks without tears; voice empty, almost metallic.]
Բայց մարմինը բացեց աչքերը։ But the body opened its eyes.
[Pause. She trembles slightly, voice softer, fragile.]
Ես թագուհի եմ։ Բայց գիշերը ես պարզապես միս եմ։ I am a queen. But at night I am only flesh.
Եվ միսը հիշում է։ And the flesh remembers.
[Whisper, directed at Electra, almost a confession.]
Ասա ինձ… սա պատիժ է՞, թե հիշեցում։ Tell me… is this punishment, or remembrance?
[She leans forward slightly, eyes searching. A faint metallic clang offstage. Wind rustles the curtain; door remains closed.]
WATCHING WOMEN [I-VI.] [whispering, from different corners.] — Ճանապարհի հոտ կա։ — Օտար փոշի։ — Ոտքերի ձայն՝ առանց մարդու։ — There is the scent of a path. — Foreign dust. — Footsteps without a human.
[Clytemnestra shivers, senses the approach. Fear, awe, and guilt swirl into physical tension.]
CLYTEMNESTRA Ո՞վ է այստեղ։ Who is here?
[Silence. The metallic scrape grows nearer, closer. Her body freezes. A single flickering lantern casts quick shadows.]
WATCHING WOMEN [I-IV.] [deep, layered.] Այն, ինչ հեռու էր, այլևս հեռու չէ։ Այն, ինչ անուն չուներ, մոտենում է։ That which was distant, is no longer distant. That which had no name, approaches.
[All eyes on Electra, still and poised.]
ELECTRA [soft, deliberate, almost gentle.] Երազը չի սպանում — այն պարզապես բացում է դուռը։ The dream does not kill— it simply opens the door.
[Lights dim gradually, shadows swallowing the edges of the stage. Metallic echoes linger. Tension thickens, ready to erupt into the Straussian frenzy of Act III.]
֎
ACT III. THE BLOOD STANDS STILL. SCENE 1 – ORESTES’ FIRST ENTRANCE.
[Door opens silently. Orestes stands at the threshold, body rigid, face unreadable. His presence is cold, almost spectral.]
ORESTES Ես տուն եմ եկել։ I have come home.
[Silence. Clytemnestra trembles, Electra remains still, eyes fixed on him.]
CLYTEMNESTRA Դու— You—
ORESTES [cutting, precise.] Ես տուն եմ եկել։ I have come home.
CLYTEMNESTRA Տունը… Այո՛, տունը… [pleading, fragile.] The house… Yes, the house… Եկ… քո տեղը ներսում է… Come… your place is inside…
ORESTES Իմ տեղը միշտ այստեղ է եղել։ My place has always been here.
ELECTRA [voice rises, then cracks.] Դու ուշացար։ You were late.
ORESTES Դու սպասեցիր։ You waited.
[Long silence. Orestes looks at Clytemnestra. She does not meet his eyes, only watches the crown fall slightly on her neck.]
֎
ACT III. LAST PLEA. SCENE 2 – CLYTEMNESTRA ENTERS.
CLYTEMNESTRA Կրկին լսե՛ք ինձ։ Hear me again.
Ես խոսում եմ, ոչ որպես թագուհի, այլ որպես մարմին, որ դեռ ցանկանում է շնչել։ I speak not as a queen, but as a body that still wants to breathe.
Արյունը իմն է, բայց ո՞վ է հանձնելը: The blood is mine, but who shall surrender it?
Թող ձեր ձեռքը դառնա փափուկ, Թող ձեր աչքը մի պայթի… Let your hand become gentle, Let your eye not burst…
Ես պատրաստ եմ՝ մատանիներ, ոսկի, հող, անուշաբույր… I am ready— rings, gold, soil, fragrance…
Լացեք, եթե պետք է, բայց թող ինձ ապրելու թույլտվություն տաք: Cry, if you must, but grant me permission to live.
[Sharp, urgent, pleading.]
Վերադարձեք… Թող շնչեմ… Թող ես էլ ճեղքեմ լռությունը… Return… Let me breathe… Let me break the silence as well…
[Electra remains cold, unyielding. Orestes’ presence is controlled, silent. Clytemnestra understands: time has run out. The crown slips from her head.]
֎
ACT III. – STRAUSSIAN FRENZY. SCENE 3 – ELECTRA ENTERS.
ELECTRA [with no warning, twisted smile.] Դու մտածեիր, որ շանս ունես… You thought… you had a chance…
[She moves toward Clytemnestra like a predator. Mother recoils.]
CLYTEMNESTRA [screaming, merciless.] Ազնիվ չէ՛… You are not innocent…
ORESTES [breathless, cold.] Դու ժամանակ չունես։ You have no time.
[Clytemnestra runs, claws extended, feet sliding on the floor. Electra grabs her, tight but not tender. Orestes raises the knife.]
ELECTRA [sharp, almost sensitive.] Արդեն իսկ վերջ։ It is already over.
[Movement erupts—blows, grabs, knife. Clytemnestra cries, but not as queen—she is only body, realizing the inevitability. Short, muted silence. Electra’s small smile—the first crack of ecstasy.]
֎
ACT III. FINAL COLLAPSE. SCENE 4 – ELECTRA ENTERS.
ELECTRA [firm, whisper.] Այս տունը… այլևս մերն է։ This house… is ours now.
[Orestes makes a small, precise motion. No enemy, no words. Lights fade gradually. Only the shadows of walls remain.]
֎
ACT III.– SHORT EPILOGUE.
SCENE 5 – ELECTRA ENTERS.
ELECTRA Արյունը մնաց հողին, ոչ ոք չի մաքրելու, ոչ ոք չի մոռանալու: The blood remains on the earth, no one will cleanse it, no one will forget it:
Անկարող է իմ շունչը մոռանալ տառապանքը, անձրևը չի լվացնելու մեղքը, սիրտը չի մոռանալու ծիծաղն ու լացը, Եվ այս տունը… այս տունը միշտ կհիշի այն, ինչ եղել է: My breath cannot forget the suffering, the rain will not wash away the guilt, the heart will not forget laughter and tears, and this house… this house will always remember what has been:
Այս դատը… այս արյունը… Այժմ մերն է, բայց ոչ խաղաղություն։ Ոչ մեղք՝ չի մնացել, ոչ անմեղություն։ This judgment… this blood… is now ours, but there is no peace. No guilt remains, no innocence.
[Silence. Electra and Orestes stand side by side, breaths balanced, eyes sharp. The room heavy, silent. Darkness.]
memories of my ghost sista 