【英文翻译版80】乔·安·卡瓦洛：《恋爱中的奥兰多》

英文文稿+中文翻译

Zachary Davis: The Italian Renaissance was an era of rebirth in the arts, sciences, engineering, anatomy, and architecture. But also for literature. One of the most influential works from this period was Matteo Maria Boiardo’s epic poem Orlando Innamorato.

扎卡里·戴维斯：意大利的文艺复兴时期不仅是一次艺术、科学、工程、解剖学和建筑学的复兴，还是一次文学的复兴。这一时期最具影响力的作品之一便是马迪奥·玛利亚·博亚尔多的传奇史诗《恋爱中的奥兰多》。

Jo Ann Cavallo: This is a poem of over 35,000 verses. It entered the popular consciousness through puppet theatre in Sicily, in southern Italy, in a way that is inconceivable for other literary texts that are part of the canon.

乔·安·卡瓦洛：这是一首超过三万五千节的诗。它经由当时意大利南部西西里的木偶剧院在民间广为流传，这对当时其它文学著作来说是难以想象的。

Zachary Davis: That’s Jo Ann Cavallo, a professor of Italian at Columbia University. 

扎卡里·戴维斯：这位是乔·安·卡瓦洛，哥伦比亚大学的意大利语教授。

Zachary Davis: Boiardo’s poem became widely popular among the masses through these nightly serialized puppet shows in Sicily. But before it was adapted for the puppet stage, it was read and adored by the nobility. 

扎卡里·戴维斯：博亚尔多的诗在当时在西西里以晚间木偶连续剧的形式在民间广为人知。但在被搬上木偶剧台之前，这部作品主要被贵族们阅读且深受其喜爱。

Zachary Davis: Orlando Innamorato was well received from the start, because Boiardo gave his audience something both familiar and new. He combined genres to create a beloved work of art that continues to influence Italian culture today. 

扎卡里·戴维斯：《恋爱中的奥兰多》从一开始就大受好评，因为博亚尔多给他的读者和观众们呈现了一些既熟悉又新奇的东西。他糅合了多种体裁，从而创作出了一部广受喜爱的艺术作品，直到今天仍然对意大利的文化有着持久的影响。

Jo Ann Cavallo: When I travel to Sicily, even recently, the older population knew all of the details of the lives of Boiardo’s characters, so it became part of their upbringing and culture and way of thinking about the world. And the poem that he writes, Orlando Innamorato, on the one hand, is coming from the tradition of the chivalric epic with acts of heroism and knights doing brave, brave deeds. And yet, on the other hand, his formation is that of a humanist going back to the classical texts, and so Homer and Virgil and Ovid, and what he ends up doing in his poem is to combine those. 

乔·安·卡瓦洛：每当我来到西西里，甚至直到最近，那里的老一辈人们都依然对博亚尔多笔下角色们的生平事迹耳熟能详。可以说这部诗已经已经成了他们成长、文化和思维方式的一部分。而他写的《热恋中的奥兰多》《恋爱中的奥兰多》这部诗，一方面源自骑士史诗的传统，包含各种英雄壮举和骑士们的英勇事迹。与此同时另一方面，他的结构是以一个人文主义者回归古典作品，像是荷马、维吉尔和奥维德，而他最后在诗里把所有这些都结合了起来。

Zachary Davis: Welcome to Writ Large, a podcast about how books change the world. I’m Zachary Davis. In each episode, I talk with one of the world’s leading scholars about one book that changed the course of history. For this episode, I sat down with Professor Jo Ann Cavallo to discuss Matteo Boiardo’s Orlando Innamorato.

扎卡里·戴维斯：欢迎收听：改变你和世界的100本书，在这里我们为大家讲述改变世界的书籍。我是扎卡里·戴维斯。每一集，我都会和一位世界顶尖学者讨论一本影响历史进程的书。在本集，我和乔·安·卡瓦洛教授一起讨论马迪奥·玛利亚·博亚尔多的《恋爱中的奥兰多》。

Zachary Davis: Who was Matteo Boiardo, and what was his context like? What were the ideas and culture swirling around him?

扎卡里·戴维斯：马迪奥·博亚尔多是谁，又处于一个什么样的时代背景？当时他周围的思想和文化氛围又是怎样的？

Jo Ann Cavallo: He was born in 1441, died in 1494, and he was in an aristocratic family. 

乔·安·卡瓦洛：他出生于1441年，死于1494年，属于一个贵族家庭。

Zachary Davis: Boiardo grew up in a town in Northern Italy during the early years of the Italian Renaissance. He was educated by his grandfather in the increasingly popular humanist style, which was a revival of ancient texts and ideals from ancient Greece and Rome. 

扎卡里·戴维斯：在文艺复兴早期，博亚尔多在一个意大利北部的小镇长大。在祖父的教导下，他接受了在当时日益兴起的人文主义教育，也就是对古希腊和古罗马著作和思想的复兴。

Zachary Davis: Boiardo was a gifted child, and he started writing early in life. Some of his earliest works were love poems inspired by the early Renaissance poet Petrarch. As a young man, he studied Greek, Latin, philosophy, and law at the University of Ferrara and then assumed his role as a nobleman.

扎卡里·戴维斯：博亚尔多是一个很有天分的孩子，他从小就开始写作了。他的早期作品包括一些受文艺复兴早期诗人彼特拉克影响的爱情诗。在青年时期，他在费拉拉大学学习了希腊语、拉丁语、哲学和法律，并承担起了贵族的职责。

Jo Ann Cavallo: He became the count of Scandiano, a small territory. He was also one of the closest companions of Duke, the Duke of Ferrara, Ercole d'Este. So, he both was active as a military governor of the cities of Modena and Reggio Emilia in the Emilia region. 

乔·安·卡瓦洛：他成为了一块名叫斯坎迪亚诺的小领地的伯爵。同时他还和费拉拉公爵艾尔克雷·戴斯特结为挚友。所以他当时同时是艾米利亚地区的雷焦艾米利亚和摩德纳一系列城市的军事执政官。

Zachary Davis: Throughout this time, Boiardo continued writing. In fact, almost all of his works were written for Duke Ercole and his court. 

扎卡里·戴维斯：在这一时期，博亚尔多坚持写作。事实上，几乎他所有的作品都是给艾尔克雷和他的宫廷写的。

Jo Ann Cavallo: He wrote translations of historical works, most notably the translation of Herodotus, The Histories, and he was the first to translate The Histories into a vernacular language. He translated  The Lives of Famous Captains by Cornelius Nepos, Xenophon's The Life of Cyrus. He also translated Apuleius's Golden Ass and a play that he called Timone and that later Shakespeare turns into Timon of Athens, possibly having seen Boiardo’s text. So he wrote in a variety of genres. Also he has a book of lyric poetry which is considered the best collection of lyric poetry of the 15th century. 

乔·安·卡瓦洛：他翻译了一些历史作品，其中最有名的是翻译希罗多德的《历史》。同时他也是第一个把《历史》翻译成地方语言的人。他翻译了柯尔奈利乌斯·奈波斯的《名将传》，色诺芬的《居鲁士传》。他还翻译了阿普列尤斯的《金驴记》和一部叫《泰蒙》的戏剧，这部剧之后被莎士比亚改编成了《雅典的泰蒙》，很有可能是他看过了博亚尔多的原文。所以说他的作品涵盖了各种体裁。同时他还有一本抒情诗集，被认为是最好的15世纪抒情诗集。

Zachary Davis: Could you say a bit about lyric poetry? What were these poems like? Who were they written for?  

扎卡里·戴维斯：您能讲一讲抒情诗吗？这些诗是什么样的？又是写给谁的？

Jo Ann Cavallo: Unlike the poems of Boiardo’s most famous predecessors, and I’d say Petrarch among everyone, but also Dante, Boiardo didn't write about a fictionalized woman. He wrote about a woman that was from the court in Reggio Emilia named Antonia Caprara, and he wrote about the phases of their love affair from the euphoria of its beginnings to the delusion when she betrayed him and to his ultimate ability to get beyond the experience. 

乔·安·卡瓦洛：不像博亚尔多最著名的前辈们的作品，尤其是彼特拉克和但丁，博亚尔多并不是写给某个虚构的女人。他是写给一个来自雷焦艾米利亚宫廷的名叫安东妮亚·卡普拉拉的女人。他写到了他们恋情的各个阶段，从初识的欣喜到最终幻灭时他所受到的背叛，以及分手后终于能放下这段经历。

Zachary Davis: Despite the fact that his lover betrayed him, Boiardo’s poem was in favor of love.

扎卡里·戴维斯：尽管他的恋人背叛了他，博亚尔多的诗依然赞美爱情。

Jo Ann Cavallo: He began his poem not by disparaging the emotion of love, but by saying anyone who is young and does not fall in love has a heart that is empty. And so he valorizes the experience of this emotion, even if it didn't turn out so well for him.

乔·安·卡瓦洛：他的诗开头并不贬低爱的情感，而是宣称任何年轻却没有陷入爱情的人心灵一定是空荡荡的。所以他依然赞美这段经历，哪怕其最终结果并不尽如人意。

Zachary Davis: But Boiardo’s love poetry isn’t why he is remembered. He is remembered because of his epic poem Orlando Innamorato, which he began writing in his late 30s. 

扎卡里·戴维斯：但博亚尔多并不因爱情诗而为世人所铭记。真正让他名垂千古的是他年近四十时起笔的史诗《恋爱中的奥兰多》。

Jo Ann Cavallo: Even though the title is about a single character, Roland or, in the Italian tradition, Orlando, there are multiple characters from all over the world who undergo adventures in interlacing episodes so that you don't follow one thread. It's very much, there’s suspense builds up and then you switch gears, and you pick up another, another story. 

乔·安·卡瓦洛：尽管标题只提到一个角色罗兰，或者按照意大利传统应该叫奥兰多，但整部诗里有着许许多多来自世界各地的角色，他们各自的历险故事相互交错，所以你不止跟着一条故事线。它更像是先建立起一些悬念，调动起你的兴趣，然后又一个接一个地引出下面的故事。

Zachary Davis: Orlando Innamorato follows the adventures of Orlando, a character based on the historical French military leader Roland, who served under Charlemagne. 

扎卡里·戴维斯：《恋爱中的奥兰多》随着奥兰多的冒险展开，这个角色原型是历史上法国的军事将领罗兰，是查理曼麾下的一员。

Zachary Davis: The poem is divided into three books. The story opens with a banquet hosted by Charlemagne. Orlando is there along with other members of his court. A beautiful princess from central Asia named Angelica arrives at the banquet. She decides to hold a competition. She offers herself to whoever can defeat her brother in a fight. A knight named Ferraguto accepts the challenge and successfully kills her brother. Angelica then flees, and several members of Charlemagne’s court chase after her, including Orlando who becomes obsessed with the chase and goes completely mad.  

扎卡里·戴维斯：整部诗分为三卷。故事始于查理曼举办的一场宴会。奥兰多和其它宫廷成员都在宴会上。一位来自中亚，名叫安吉莉卡的美丽公主来到了宴会。她决定举行一场竞技赛。谁能打败她的哥哥，她便以身相许。一位叫费拉古托的骑士接受了挑战，并成功杀死了她的哥哥。安吉莉卡急忙逃跑，而几位查理曼的宫廷成员则紧随其后，其中包括对她痴迷到癫狂的奥兰多。

Jo Ann Cavallo: And he lost his head to such extent that he deserted his wife and his country and his king to go east and to follow her, to pursue her love and to undertake adventures to try to win her over. So that may be the initial guiding thread of the poem that takes us out of Paris and all over the world.

乔·安·卡瓦洛：并且他已经丧失理智到抛弃了自己的妻子，将国家和国王都抛于脑后，只为一路向东追逐她，历经了一系列冒险，只为赢得她的芳心。这大概就是整部诗开头的引子，带着我们离开巴黎踏上周游世界的旅程。

Zachary Davis: The story alternates between romance adventures and epic warfare.

扎卡里·戴维斯：整个故事在浪漫冒险和宏大战争之间交替进行。

Jo Ann Cavallo: The three books that comprise the Orlando Innamorato have three different beginnings, which might be another way of summarizing the poem. The first book is said to open with the threat of Gradasso, the king of Sericane, so the king from Southeast Asia, who is planning to arrive in France in order to win Orlando’s sword and Rinaldo's horse. So there's a threat coming from the East, but it will resolve itself in a romance adventure.

乔·安·卡瓦洛：构成《恋爱中的奥兰多》的三卷书分别有三个不同的开头，也算是以另一种方式概括了整部诗。第一卷书以赛利加纳的国王格拉达梭的威胁为开头。这位来自东南亚的国王想要去法国赢取奥兰多的宝剑和和拉纳尔多的宝马。而这个来自东方的威胁最终会在一场浪漫的冒险中化解。

Jo Ann Cavallo: Book Two opens with a different kind of threat coming from North Africa. The king, Agramante, of Bizerte, so modern-day Tunisia, wants to actually conquer France. So there is an imperialistic theme that comes into play and the idea that more is at stake than just the loss of a horse and a sword, but it could spell the end of the Frankish realm. 

乔·安·卡瓦洛：第二卷的开头则始于另一个来自北非的威胁。比泽特，也就是今天的突尼斯的国王阿格拉曼特想要征服法国。于是这一卷以帝国为主题，受到威胁的也不再仅仅是一匹马和一把剑，而是整个法兰克王国的存亡。

Jo Ann Cavallo: And the third book opens with a knight, Mandricardo, who is coming from Mongolia or the Mongol Empire in order to kill Orlando and to appropriate his sword in order to avenge the death of his father, the Mongol king Agricane, who had been killed by Orlando. 

乔·安·卡瓦洛：第三卷则从骑士曼德尔卡多展开，他从蒙古帝国赶来只为杀死奥兰多并夺取他的宝剑，好为他的父亲，也就是被奥兰多杀死的蒙古国国王阿格里凯恩复仇。

Jo Ann Cavallo: So, epic threads and many, many romance adventures.

乔·安·卡瓦洛：于是，整个故事就以这些史诗为线索，穿插了许许多多浪漫的历险。

Zachary Davis: Boiardo depicts several different kinds of love in this poem. 

扎卡里·戴维斯：博亚尔多在这部诗中描绘了几段不同的恋情。

Jo Ann Cavallo: It's not simply Orlando's head over heels in love for Angelica, or it's not simply about unrequited love. He has, he features two couples in the poem who are examples of requited love, and they're quite exceptional because the one couple, Brandimarte and Fiordelisa, are from opposite ends of the Earth. And when we encounter them in the poem, they are continuously acting on behalf of one another and helping one another, searching for one another, and they provide a model of requited love. 

乔·安·卡瓦洛：这部诗并不只是关于奥兰多对安吉莉卡疯狂的迷恋，也不仅仅是关于单相思。他在这部诗里还展现了两对相互恩爱的情侣，而且他们都很特别，因为其中一对恋人布兰迪玛特和菲奥德蕾莎分别来自世界的两端。而当我们在诗中碰到他们的时候，他们也总是代表着彼此，总是在互相帮助，不断地追寻着彼此。他们为互相回报的爱情提供了绝佳的模范。

Jo Ann Cavallo: The second couple, Ruggiero and Bradamante, are very much in a mixed union in the sense that Ruggiero’s father is a Southern Italian Christian and his mother is half African and half Amazon who converted for love of the father. Bradamante,  who's the sister of Rinaldo's, a half sister, because her father was a Frankish Christian, but her mother in most of the cantari, or most of the poems prior to Boiardo in the tradition, her mother was a Saracen. And when they meet, they are in enemy camps. Bradamante is fighting for the Franks and Ruggiero is fighting for the invading North Africans. And they are able to put their personal courtesy above their allegiance to their leader. And it's that couple, amongst every other character in the poem, that's designated as the ancestors of Boiardo’s dedicatee. 

乔·安·卡瓦洛：而第二对恋人吕吉埃洛和布拉达曼特更多的是一种混血联姻，因为吕吉埃洛的父亲是一位意大利南部的基督徒，而他的母亲则是半非裔半亚马逊人，并因为两人的爱情而转信基督教。而布拉达曼特则是拉纳尔多同父异母的妹妹，因为她的父亲是一位法兰克基督徒，而母亲却在诗篇的大部分章节里是一个萨拉森人。他们是在敌营里相遇的。布拉达曼特为法兰克人而战，而吕吉埃洛则是为入侵的北非人而战。然而他们将彼此间的私情置于他们所效忠的领袖之上。在整部诗的所有角色中，正是这对恋人被设定为博亚尔多的受馈赠人的祖先。

Jo Ann Cavallo: So there's something to be said about putting one's personal honor over everything else, because it leads to not only their own enamorment and marriage, but to the future Estense dynasty.

乔·安·卡瓦洛：所以在这里视个人荣誉高于一切无疑是有益的，因为它不仅使两人的爱情修成正果，还决定了埃斯滕斯王朝的未来。

Zachary Davis: Orlando Innamorato ends abruptly because Boiardo died before he could finish the poem. A generation later, the Italian poet Ludovico Ariosto picked up the thread where Boiardo left off in his own epic poem called Orlando furioso or Orlando Raging. 

扎卡里·戴维斯：博亚尔多还没来得及写完这部诗就去世了，因此《恋爱中的奥兰多》戛然而止。一代人之后，意大利诗人卢多维科•阿里奥斯托续写了博亚尔多的史诗未完成的部分，也被称作《疯狂的奥兰多》或者《愤怒的奥兰多》。

Jo Ann Cavallo: Ariosto takes him to a much darker place. So it's not a character we can smile with or even chuckle about. It's a character who wreaks havoc on nature by pulling up trees on horses and farmers and any innocent person in his path, including Angelica. When he meets her, he doesn't recognize her and plans to rape her, which is a shock because earlier when he's a character in Boiardo’s poem, he sees Angelica sleeping and only contemplates her, contemplates her beauty. And when she gives him a bath at one point, Boiardo makes the joke that nothing moves or nothing grows. And so he's quite incapable of showing any kind of physical desire for Angelica because it's such a question of adoration. And when he gets to Ariosto’s poem and loses his humanity, then he also loses any sense of self-control.

乔·安·卡瓦洛：阿里奥斯托笔下的奥兰多变得更加黑暗。他不再是一个能让我们会心一笑的角色。他大肆破坏，将大树连根拔起，砸向马匹、农民、或是任何无辜的挡路者，连安吉莉卡也不例外。当他见到安吉莉卡后却没有认出她，反而想要强奸她。这实在是难以置信，因为在之前博亚尔多的诗里，他看到了熟睡的安吉莉卡也仅仅是静静地凝视着她，凝视着她的美貌。而有一次安吉莉卡为他洗浴时，博亚尔多还开玩笑说一切都静止了。所以奥兰多对安吉莉卡基本没有表现出任何肉体上的欲望，以免玷污对她的爱慕。而到了阿里斯托的诗里他却完全丧失了人性，完全丧失了任何自控能力。

Zachary Davis: In Orlando Innamorato, Boiardo drew heavily on two bodies of chivalric literature: the Carolingian cycle and the Arthurian legends.

扎卡里·戴维斯：在《恋爱中的奥兰多》中，博亚尔多大量地借鉴了两种骑士文学，分别是加洛林纪事和亚瑟王传说。

Zachary Davis: The Carolingian cycle came from France and focuses on Charlemagne, the 8th century king of the Franks. Many of the stories are about battles between the Christian Franks and the Muslim Saracens and explore themes of nationalism, war, and personal honor. The Arthurian legends, on the other hand, came from England and focus on King Arthur, the 6th century British ruler. The Arthurian legends typically contain elements of chivalry, love, and adventure. 

扎卡里·戴维斯：加洛林纪事源自法国，主要是关于8世纪的法兰克国王查理曼。其中很多故事都是有关法兰克基督徒和萨拉森穆斯林之间的战斗，并探讨类似民族主义、战争和个人荣耀之类的主题。而另一方面，亚瑟王传说则来自英格兰，主要是关于不列颠6世纪的统治者亚瑟王。亚瑟王传说通常都包含骑士精神、爱情与冒险等元素。

Zachary Davis: Boiardo uses some of the same characters from the Arthurian and Carolingian legends in his poem. 

扎卡里·戴维斯：博亚尔多在他的诗里借用了一些来自加洛林纪事和亚瑟王传说里的人物。

Jo Ann Cavallo: What he actually does in the poem is to use the Carolingian knights such as Roland, who in Italian becomes Orlando, Charlemagne and other knights who were known to the court. But he basically turns them into Arthurian characters so that they are pursuing love interests and are involved in magical adventures and quests rather than fighting over religion, which is really put on the back burner.

乔·安·卡瓦洛：实际上他借用了不少加洛林骑士，比如罗兰，他在意大利语里就变成了奥兰多，以及查理曼和其他宫廷里有名的骑士。但实际上他又把这些角色变成了亚瑟王传说里的人物，让他们追求爱情，并卷入各种魔法冒险旅途而不是为宗教而战，那些都被暂时搁到一边去了。

Zachary Davis: But Boiardo’s literary borrowing didn’t stop there. He also included elements from the Greek and Roman epics he had read in his humanist education, such as the Odyssey and the Aeneid.

扎卡里·戴维斯：但博亚尔多借鉴的文学作品不止这些。他还加入了一些他受人文主义教育时读到的希腊和罗马神话里的一些元素，比如《奥德赛》和《埃涅阿斯纪》。

Jo Ann Cavallo: So, there's a way that Boiardo will take a classical episode and then rework it at will to give examples of, let’s say, behavior to avoid and behavior to follow, which was a common way of reading literature for the humanists. 

乔·安·卡瓦洛：所以博亚尔多有这样一套方法，通过把某一个古典故事按他的想法重新加工，从而示范哪些行为应当遵守而哪些行为应当避免，这在当时人文主义者们阅读文学作品时很普遍。

Jo Ann Cavallo: So you will find the medieval knight Orlando encountering the Cyclops. And rather than simply blinding him, he kills the Cyclops. So he does one better than Odysseus. And then rather than just leaving very prudently as Aeneas did, he actually goes to the Cyclops’s cave and removes this huge 10 foot by 10-foot boulder to liberate all of the prisoners who had been left inside. So he brings this idea of the knight errands of medieval chivalry and the imperative to help others, regardless of who they are, any strangers that one meets along the way. He brings that to an episode that had been very well known from classical literature. 

乔·安·卡瓦洛：于是当中世纪骑士奥兰多碰上独眼巨人时，并没有只是把他刺瞎，而是直接杀死了独眼巨人。他这就比奥德修斯做得更好。而之后他并没有像埃涅阿斯一样谨慎地离开，而是去独眼巨人的洞里挪开一块十尺长十尺宽的巨石，好释放所有被关在里面的人。所以他提倡这些中世纪骑士精神的侠义之举，即骑士应该去帮助他人，无论对方身份，不论他们是否只是旅途中碰到的陌生人。他把这些都加入到了古典文学中一篇很有名的故事里。

Zachary Davis: Boiardo was writing Orlando Innamorato for the duke and his court, and he wanted these stories to be entertaining. But he did use the text to explore complex questions and advocate a moral vision of the world.  

扎卡里·戴维斯：博亚尔多的《恋爱中的奥兰多》是为公爵和他的宫廷所写的，所以他想让这些故事更娱乐一些。但同时他也用这部诗来探究一些复杂的问题，并提倡一种追求道德的世界观。

Jo Ann Cavallo: There's an ethics of action behind them, so he's not very preachy and he's not very judgmental of his characters, but at the same time it's clear that he is advocating a universal code of chivalry with respect across borders. He's condemning treachery and fraud. He's commenting on those who fall in love at first sight without understanding the essence of the other but just judging by surface appearance. He's encouraging perseverance when a knight will fail undertaking some kind of mission in the first or second attempt, and then keep on trying and changing strategies and ultimately prevailing over fortune so it becomes a test of virtue over fortune. So almost any episode that you look at behind or beyond the entertaining surface, there is a sense of the world, a sense of, on the one hand, the inhumanity of man and then the humanity of many of his characters.

乔·安·卡瓦洛：所以他的角色背后有一套道德行为准则，虽然他并没有过分说教，也没有太多评判他笔下角色的行为，但他同时还是很显然在提倡一种放之四海皆准的骑士精神守则。他谴责背叛和欺骗行为。他评判那些贸然爱上他人的外表，却对他们的内在一无所知的人。他鼓励坚持不懈的精神，即使一个骑士可能会在执行一个任务时失败一次两次，但只要他继续不断尝试并改变策略，最终就能战胜命运。于是这就成了高尚美德战胜命运的一场考验。而在几乎每一个故事里，如果你透过它娱乐表象仔细深究，就会发现里面有一种对世界的关怀，一方面体现了人类的残忍，但也凸显了他笔下的角色是何等人道。

Zachary Davis: What was so important about chivalric culture to the people of this time?

扎卡里·戴维斯：骑士精神文化为什么对那时的人如此重要呢？

Jo Ann Cavallo: When I think of chivalry in the Orlando Innamorato, since it was written at a time in which this was, I’d say, in flux, the court of Ferrara was imbued with images of chivalry. And yet the court itself was made up of courtiers and diplomats who were more fascinated with the thematics than involved in, in military practice. 

乔·安·卡瓦洛：当我想起《恋爱中的奥兰多》里的骑士精神，它是在骑士精神受到动摇的年代所写的。那时费拉拉的宫廷充满了骑士精神的形象，然而那时的宫廷本身却是由侍臣和外交家构成的，他们更多的只是热衷于这些题材，却并不想在军事中践行它们。

Jo Ann Cavallo: One theme, I think, is justice. And many of the most beloved knights are continuously coming upon a situation of injustice and trying to do something in order to right the situation. So the knights are undertaking heroic actions whereby a lot is at stake for, not only for themselves, but for strangers, for communities that they enter. Something else that I find attractive and that I assume would have been attractive for those of the time was the sense of freedom because the knights were very often outside the confines of Charlemagne's court. Orlando leaves Charlemagne's court because he's in love with the Princess Angelica of Cathay. But the other, another knight, Astolfo, deliberately decides to leave Charlemagne's court because he condemns it for its abuses and for Charlemagne's own blindspots. And he undertakes a voyage across Eurasia and through right up to China. And this sense of mobility, I think, is part of the appeal of the poem, that the knights are able to travel the world. And not only the male knights, the female knights as well.

乔·安·卡瓦洛：其中一个主题，我想应该是正义。很多最受人爱戴的骑士总会不断地遇上种种不公，然后努力做些什么来还一个公道。所以骑士所做出的英雄之举并不只是出于他们自己的安危，还是为了帮助他们碰到的陌生人，去帮助他们经过的群体。而另一个很吸引我的地方，而且我猜也很吸引当时的人的一个地方就是那种自由，因为骑士们往往是云游在外而不受查理曼宫廷所约束的。奥兰多只因为爱上了契丹公主安吉莉卡就离开了查理曼宫廷。而另一个骑士，阿斯托尔佛有意离开查理曼宫廷只因为他谴责了后者的滥权，以及查理曼本人的忽视。于是他展开了横跨欧亚大陆的旅行，最后一直走到了中国。而能够像这样自由行动，我想也是这部诗吸引人的一点，毕竟骑士们可以云游世界。而且不只是男性骑士，女性骑士也是如此。

Zachary Davis: Yes, imagine you're a peasant stuck to your feudal land. Stories about strong, brave knights wandering the world must have been quite escapist.

扎卡里·戴维斯：是的，想象一下你是个农夫，一辈子守着你的封地。那么有关强大而勇敢的骑士云游四海的故事一定是个逃避现实的好办法。

Jo Ann Cavallo: Yes, and the literature was read by those, of course, who are literate and were therefore of an upper class, but the stories also did circulate orally through all levels of society, so I think it did provide maybe not only models, but some escapism.

乔·安·卡瓦洛：没错，这种文学当时主要是给那些有文化的上流社会人士读的，但后来这些故事也口头流传到社会的各个阶层，所以我想它确实不仅仅起到了模范作用，还提供了些许对现实的解脱。

Zachary Davis: The first two books of Orlando Innamorato were published in Boiardo’s lifetime. Book Three was published in 1495, the year after his death. His poem and Ariosto’s continuation, Orlando furioso, were instant successes, especially among the royal courts that Boiardo wrote for.

扎卡里·戴维斯：《恋爱中的奥兰多》的头两卷在博亚尔多在世时就发表了。第三卷则出版于1495年，那是在他去世一年后。他的诗，以及阿里奥斯托的续集《疯狂的奥兰多》一面世就取得了成功，受到了尤其是皇室宫廷的喜爱，也就是博亚尔多原本的受众。

Jo Ann Cavallo: The readers of the time from the courts began to name their children after the characters that they found in Boiardo and Ariosto. So they really identified with them. They had debates over whether Rinaldo or Orlando should be considered the greater hero. 

乔·安·卡瓦洛：那时宫廷里的读者都开始以博亚尔多和阿里奥斯托笔下的角色来给孩子们起名。所以他们真的很认同这些角色。他们还经常争论究竟拉纳尔多和奥兰多谁是更伟大的英雄。

Jo Ann Cavallo: There are so many accounts of rewritings of these stories and continuations. So, since Boiardo’s poem was left unfinished, there were five different continuations by three poets, not counting Ariosto, that tried to finish all of those love adventures that Boiardi had left suspended. So it really ushered in a new genre of romance epic, and that continued through the next century. 

乔·安·卡瓦洛：当时还有很多对这些故事的改写和续写。于是，自从博亚尔多未能完成这这部诗便猝然长逝以后，一共出现了来自三个诗人的五部不同的续集，这还不包括想要给所有这些悬而未决的爱情冒险做一个了结的阿里奥斯托。所以这部诗真的引领了一种新的浪漫史诗体裁，并一直延续了一个世纪。

Zachary Davis: These rewritings and adaptations were mostly read by the upper classes because they were the ones who could read. But the stories eventually spread among the general public by way of oral performance and through the popular Italian puppet theatres in cities like Sicily.

扎卡里·戴维斯：这些改写改编作品主要是在上流社会中流传，毕竟也只有他们识字。但这些故事最终还是通过口头表演和像是意大利城市西西里广受欢迎的木偶剧场流传到了民间。

Jo Ann Cavallo: These were performed nightly in plays that could go on for over 300 consecutive nights. In which the people of Sicily, mostly a male audience, would follow the adventures of the knights day after day, and they would hear the stories of the knights on the streets told by storytellers or even read from a prose version of the epic. And they would discuss these characters, they would know them in and out. 

乔·安·卡瓦洛：这些故事出现在每天的晚间剧里，时常能连续演上300多晚。这样西西里的居民们，主要是男性观众，就可以每天随着骑士们展开一场场冒险，而且他们还会在街上听到有人讲起这些骑士的故事，甚至是读到这部史诗的散文版本。他们还会讨论这些角色，把他们里里外外讲个透。

Zachary Davis: Where were these puppet shows performed? Was it basically like us going to the movies today as a kind of popular entertainment?

扎卡里·戴维斯：这些木偶戏都在哪里演出呢？是不是就像今天我们看电影一样是一种大众娱乐？

Jo Ann Cavallo: The plays, unfortunately, were not filmed, so we don't have the ability to view a full cycle. But there are scripts, and so we can read about what was seen on a daily basis.

乔·安·卡瓦洛：很遗憾这些戏并没有被录下来，所以我们没办法把它们完整看一遍。但仍有剧本流传了下来，所以我们可以读到当时每天看得都有什么内容。

Jo Ann Cavallo: If you go to Sicily today, there is a very limited repertory. And so, it's also geared towards foreigners who may not understand the language, and unfortunately, there's a lot more emphasis on the battles and on the technique of the sword fights than there is on the stories and the dialogues, which was more characteristic of the traditional puppet theater because the public was interested in the stories. 

乔·安·卡瓦洛：如果你今天去西西里，那里还有很少的一些保留剧目轮演。而且它们还为不懂意大利语的外国人做了一些改动，但不幸的是，这种剧更多的着重于战斗和击剑的技法而非剧情和对白。后两者是传统木偶剧的特色，毕竟大众对故事本身更感兴趣。

Jo Ann Cavallo: And in fact, there are many anecdotes about a puppeteer either changing the story or making a mistake with the character and the audience correcting him because they knew the stories as well as the puppeteers did. So I think you could say it was like a soap opera of the time because the episodes were interlaced, and you'd be going back and forth between the vicissitudes of one character or another. But unlike the soap operas, the audience already knew for the most part how the story was going to develop and wanted to see it over and over again.

乔·安·卡瓦洛：而且事实上，还有很多趣闻轶事讲到木偶师改动了剧情或者对某个角色犯了个错误，结果被台下观众给纠正了，因为观众们和木偶师一样对这些故事耳熟能详。所以我觉得你可以把它称作是那个时候的肥皂剧，因为每个篇章都是相互关联的，而且你会随着某个角色一同前前后后经历各种起伏。但和肥皂剧不同的是，观众们对大部分情节发展都已经了然于心，只不过他们还想把它再看一遍又一遍。

Zachary Davis: How long were these stories really popular?

扎卡里·戴维斯：这些故事一直流行了多久呢？

Jo Ann Cavallo: In terms of canonical works, I'd say by the end of the 16th century there's a movement away from writing new chivalric texts. So, the main impetus of writing new works seems to be dying out. But there's an undercurrent in popular culture which keeps the chivalric works alive because they continue to be printed and read, either read out loud on the street to those who are illiterate or read in one's own private residence. So that follows through until maybe the 1950s with television in the home. And that's what is usually considered the end of traditional puppet theater, when the crowds did not find their nightly entertainment by going to the puppet theaters in the cities and in the rural areas, but could stay in their own home and watch a variety of new programs on TV. So I'd say the characters and the stories from Boiardo were very well known in Italy and especially in Sicily until the advent of television.

乔·安·卡瓦洛：像权威性作品的话，我得说在16世纪末期就出现了一股偏离骑士文学的运动。所以，创作新的作品似乎也就失去动力了。但同时在大众文化里依然有一股暗流让骑士文学仍然活跃，因为它们不断被印刷，被阅读，要么是在街上被大声朗读给不识字的人，要么就是在住所里被私下阅读。这可能一直持续到1950年代，直到电视进到家家户户。这也是通常所认为的传统木偶剧院没落的时候，这时再也没有人们每天晚上去城市里和乡村里的木偶剧院找消遣了，相反他们只要待在家里就能在电视上收看各种节目。所以我可以说博亚尔多笔下的角色和故事在电视普及以前在意大利，特别是西西里，一直都家喻户晓。

Zachary Davis: In Orlando Innamorato, Boiardo created a template for modern entertainment. His stories include love, adventure, and new worlds and perspectives. By combining the heroic Greek and Latin epic poems with the medieval Arthurian and Carolingian legends, Boiardo created a new epic vernacular and gave audiences captivating stories through which they could explore questions of morality, failure, and courage.  

扎卡里·戴维斯：通过《恋爱中的奥兰多》，博亚尔多为当代娱乐创造了一种模版。他的故事包含了爱情、冒险、新的世界与新观点。通过将希腊语和拉丁语的英雄史诗跟中世纪的亚瑟王和卡洛林传说相结合，博亚尔多创造了一种新的史诗奇观，并为观众们提供了引人入胜的故事，使他们得以探究思索关于道德、失败与勇气等种种问题。

Jo Ann Cavallo: I think very often of these characters. Of course, I've lived with them for probably 40 years, but for me they are models. even as entertaining as they are, they do offer ways of thinking about the world outside of one's comfort zone.

乔·安·卡瓦洛：我时常会想起这些角色。当然了，我已经和他们一起度过有40年了，但对我来说他们依然是榜样。尽管十分娱乐，他们也依然使我们能够跨出舒适区来重新思考这个世界。

Zachary Davis: Writ Large is a production of Ximalaya. Writ Large is produced by Jack Pombriant, Liza French, and me, Zachary Davis. Script editing is by Galen Beebe. We get help from Feiran Du, Ariel Liu, and Monica Zhang. Our theme song is by Ian Coss. Don’t miss an episode. Subscribe today in the Ximalaya app. Thanks for listening. See you next time. Thanks for listening. See you next time.

扎卡里·戴维斯：本节目由喜马拉雅独家制作播出。感谢您的收听，我们下期再见！​