【解读】皆大欢喜2 传统与问题：文学与性别传统的再次融合

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As You Like It 2: the Traditions and the Questions

皆大欢喜2 传统与问题：文学与性别传统的再次融合

As You Like It is one of Shakespeare’s most beloved romantic comedies. Like many comedies, it ends with marriage -- lots of marriages in fact. But the play is also, as we discussed in episode one, Shakespeare’s most extended exploration of sex, gender, and identity. Dr. Will Tosh, research fellow and lecturer at Shakespeare's Globe in London, explains that we miss the play’s point if we let the conventional comic ending erase all the questions the play has posed along the way.

《皆大欢喜》是莎士比亚最受喜爱的浪漫喜剧之一。和许多喜剧一样，它也是以婚礼结尾的，实际上，是许多的婚礼。不过，就像我们在上一集中所讨论的，这部戏剧更莎士比亚对性、性别和性别认同的一次最深刻广泛的探索。威尔·托什博士是伦敦环球剧场的研究员和讲师。在本集节目中，他将为我们分析，为什么说如果我们只关注戏剧的这个常规喜剧结尾，而忽视剧中提出的所有问题，就会错过戏剧的核心重点。

So we have the boy actor playing the girl Rosalind, who plays the boy Ganymede, who plays the girl Rosalind -- it becomes very hard to unpick those layers. And of course, that's the point -- so you have an extraordinary, multilayered millefeuille of gender and identity and performance.

我们看到一个男孩演员在扮演女孩罗瑟琳，而罗瑟琳又女扮男装，化身成了盖尼米德，之后盖尼米德又假扮回了女孩罗瑟琳。要拆开这一层层的身份相当有难度。但当然，这正是我们需要关注的核心重点，因为从这里，你可以体会到性别、性别认同以及表演的异乎寻常的多层次性。

My sense is that the greatest mistake one can make about As You Like It is to regard it as a fairytale or a fantasy or something sweetly inconsequential, just about kind of love and romance. Not that those things are ever inconsequential. This is a really substantial comedy of ideas and of people and of how people relate to one another, and indeed, how they relate to ideas. And if there's a sense in which its construction, its makeup is artificial in the most literal sense, as in kind of artful and to do with construction, the meaning is nonetheless really, really quite serious.

我认为，人们对《皆大欢喜》这部剧，最大的误解可能就是会把它看作是一个童话故事、一个奇幻故事，或认为这只是一部讲述甜蜜爱情的、“微不足道”的戏剧，会觉得它讲的只不过是浪漫爱情罢了。但事实上，它所探讨的内容可一点儿也不“微不足道”。这部戏剧饱含着各种观点、人物、人物关系，以及人物与观点之间的联系。虽然说从字面上看，这部戏剧的构架，它的构造是虚幻不现实的，是经过精巧设计的，但它所探讨的内涵与深意绝对是相当相当严肃的。

The play’s construction is key to the way it explores serious questions: What does it mean to be a man or a woman? Where does your identity as an individual come from? The play raises these questions by subvertingthe typical structure of a comedy.

戏剧的构架是我们探索那些严肃问题的关键所在。这些问题包括：男性和女性的身份意味着什么？个人的性别认同源自何处？这部戏剧颠覆了传统喜剧的构架，向我们抛出了这一个个问题。

One of the things someone coming to As You Like It, perhaps for the first time, might notice is that the structure of the play is not what they might expect from other Shakespeare comedies, which, certainly before As You Like It, tend to be motored and kind of powered much more by plot and by incident. Instead, what you find in As You Like It is a kind of quick, slow, quick rhythm. So we have what seems like a thousand things happening in the first act, where brothers fall apart, and murder is planned, a young woman gets exiled from the court with her best friend and cousin -- drama, drama, drama, drama, drama -- and then stillness. And then a flurry of activity in the final act as well as things get resolved. Actually, what Shakespeare seems to be doing is thinking about a structure and principle based around juxtaposition of idea and character and theme.

当人们欣赏《皆大欢喜》时，尤其是第一次接触这部戏剧时，也许首先会注意到的一点是，这部戏剧的构架与莎士比亚在这之前所创作的那些戏剧不同。在《皆大欢喜》之前，莎士比亚的喜剧往往都是由剧情和故事情节推动的。但到了《皆大欢喜》，你会发现这部剧采取的是“快慢快”的节奏。在第一幕中，我们感觉到，在这里好像发生了一千多件事情，如兄弟阋墙、策划谋杀，将一位年轻女子与她最好的朋友兼堂妹放逐出宫廷等等，戏剧性、戏剧性、戏剧性、戏剧性、戏剧性，数不清的戏剧化情节接连发生，但紧接着一切又都归于了平静。不过，在平静之后，到了最后一幕，一系列热热闹闹的事情又接连上演，同时所有的问题也在此得到了解决。实际上，莎士比亚在创作这部戏剧的时候，打造出了将观点、人物和主题并置的构架和原则。

The scenes in As You Like It are created by juxtaposing different personalities, moods, and qualities, and using the contrast between them as means of emphasis. The play combines court and country; reality and myth; male and female; truth-telling and disguise; love and exile. And one of the most extraordinary combinations is the Forest of Arden itself. The forest is drawn from all kinds of sources. There was a real Forest of Arden in Warwickshire, near where Shakespeare grew up. But the forest also originates in literature and myth. We hear that in the forest, the Duke and his men “live like the old Robin Hood of England. … and fleet the time carelessly, as they did in the golden world.” The story of Robin Hood is an English legend.

《皆大欢喜》中的场景将不同人物性格、情绪以及个人品质并置，并强调了它们之间的对比。戏剧融合了宫廷与乡村、现实与神话、男性与女性、真相与伪装，以及爱与流放。而其中最令人惊叹的融合之一就是阿尔丁森林。莎士比亚在刻画这座森林的时候，参考吸收了各种相关素材。在英国沃里克郡，的确就有一座叫做阿尔丁的森林，这座森林离莎士比亚的家乡很近。但同时，剧中的这座森林也融合了文学和神话的元素。在第一幕第一场中，我们就听查尔斯说，老公爵和他的随从们已经住在阿尔丁森林了，他们“在那边度着昔日英国的罗宾汉那样的生活，……逍遥自得地把时间消磨过去，像是置身在古昔的黄金时代里一样”。罗宾汉的故事是英国的一个民间传说。

It concerns a virtuous outlaw who takes to the woods in order to rob from the rich and give to the poor. And even in the 16th century, he was already emerging as a kind of iconic representation of the past “merry England,” who stood for a sort of different and better set of values to the present.

罗宾汉是英国民间传说中的一位绿林好汉，他行侠仗义、劫富济贫。即便是在16世纪，他就已经是昔日“可爱的英格兰”的象征了，他身上体现着与一种不同于现在的、更美好的价值观体系。

The golden world, the golden age, that goes back to Greek mythology and describes the kind of first stage of humankind on Earth and is very much analogous to the Garden of Eden. It's a sort of time of abundance and peace where men and women lived in nature and among the natural world without any need to toil or labor.

那个黄金世界、黄金年代源自希腊神话，描绘的是人类在地球上最初的阶段，非常类似于《圣经》故事中的伊甸园。那是富饶和平的年代，那时的男男女女都生活在大自然中，在那样一个自然的世界中，他们完全不需要辛勤地劳作。

But just as Shakespeare combines these different traditions to create the forest setting, he also combines the utopian notion of a natural paradise with less idealised social realities:

但正如莎士比亚结合不同传统创造了阿尔丁森林一样，他也将自然天堂这个乌托邦概念与一些不那么理想的社会现实融合在了一起：

The Duke's forest community isn't exactly a utopia of equals. It's not really a Robin Hood ideal. And when the Duke, in his first appearance on stage, the exiled Duke extols the kind of sweet life of rustic simplicity that he and his courtiers share -- we shouldn't forget that he has a group of forest servants who keep him fed and warm and clothed, and stop him feeling the kind of winter wind and the sharp pang of cold.

老公爵在森林中的那个群体严格来说也并不是一个人人平等的乌托邦世界，那甚至都算不上是罗宾汉式的理想典范。初次登台时，这位被流放的公爵赞美了他和侍臣们当时所过的朴素甜美乡村生活。但我们不能忘记的是，老公爵可是有一群仆人服侍他，确保他吃饱穿暖，所以他感觉不到冬天的风，也感受不到刺骨的严寒。

The Duke declares that life is “more sweet” in the forest and that he finds “good in everything.” But elsewhere in Arden are poor farmers like Corin who do feel the pangs of hunger and who don’t find forest life quite so sweet. Shakespeare constantly combines opposing elements in this play. Jacques’ melancholy is poised against the couples’ mirth. When Touchstone wants to marry Audrey to satisfy his “desires,” Jacques urges, “Get you to church, and have a good priest that can tell you what marriage is” -- representing love as something significant and spiritual in opposition to Touchstone’s focus on the physical. But in another scene, it’s Jacques who denounces love as “the worst fault,” while Orlando defends it. Through all these conversations, Shakespeare puts together different ideas and points of view. In combination, each perspective reveals its strengths and shortcomings and we’re invited to evaluate it afresh.

老公爵说森林中的生活“有趣得多”，并且他觉得“每一件事物中间，都可以找到些益处来”。但在阿尔丁森林中，也生活着柯林那样贫穷的农民，他们忍受着饥饿，自然不会觉得森林中的生活会有多有趣。在剧中，莎士比亚不断地将对立的元素相结合。就像是杰奎斯的忧郁对应着新婚夫妇们的欢乐那样。当得知“试金石”想与奥德蕾结婚，是为了满足“欲望”时，杰奎斯劝他说：“到教堂里去，找一位可以告诉你们婚姻的意义的好牧师”。由此可以看出，在杰奎斯心中，爱是一种意义重大的的精神体验，这与“试金石”那种只关注生理感受的态度是对立的。在另一场戏中，杰奎斯宣称爱是“最糟糕的错误”，但奥兰多却在极力为爱作辩护。莎士比亚在这些对话中，融合了各种不同的想法和观点。在这种融合中，每一种观点都显现出了各自的优势与弊端，而我们也可以对它们做全新的评估。

So we've got all points of view. We've got city and country, romance and melancholy, fantasy and reality, pursuit and seduction, youth and age, male and female. The thing that keeps the audience member engaged, the reader engaged, is the fact that Shakespeare is so careful not to take sides. And eventually it becomes clear that what seemed to be binaries and contrasts are not so binary after all. And the whole point of them being balanced opposite each other is that we're being invited to think about intermediacy, and to think about the messiness of those boundaries. It's to show that no one gets anywhere by thinking too strictly about X and Y and yes and no. We have to think about the mix of things.

在剧中，我们可以看到各种不同的观点。我们可以看到城市与乡村、爱情与忧郁、奇幻与现实、追求与引诱、年轻与年迈，以及男性与女性。而莎士比亚之所以能够让观众参与进来，让读者参与进来，是因为他十分谨慎地没有表明自己的立场。于是，那些似乎对立反差的内容，最后看起来竟一点而也不矛盾。这些对立反差之所以能够和谐共存的关键在于，我们作为读者和观众也被邀请参与进来，去思考这些对立之间的平衡点，以及这些概念之间的模糊的边界。这部戏剧让我们明白，如果过分严格地区分X与Y，去区分“是”与“非”的话，我们将寸步难行。我们需要综合地看待事物。

One of the key binaries that the play calls into question is the opposition of male and female, and the idea that male-female pairings define the scope of love. In As You Like It, there’s a sense that love and gender can take on entirely new forms.

这部戏剧质疑了不少对立概念，其中，最关键的一组对立之一就是男女性别之间的对立。同时，戏剧还对那种认为爱情只会发生在男女之间的观点提出了疑问。在《皆大欢喜》中，我们可以感受到爱情与性别以一些全新的形式被呈现了出来。

And that isn't really something that's just an invention of the past couple of decades. From the 18th century onwards, the allure of the play was based on the fact that it seemed to do interesting things to people's ideas of gender and what femaleness was, what maleness was. And audiences really enjoyed that kind of rollercoaster that the play takes you on.

这并非过去几十年里才有的新鲜事物。18世纪以来，戏剧的吸引力就在于，它让人们的性别观念，以及人们对于“女性身份”和“男性身份”的认知发生了有趣的变化。在观看这部戏剧的时候，观众们就像在坐过山车，他们非常喜欢这种起起落落的刺激感觉。

This rollercoaster comes partly from the play’s pastoral setting. For centuries before Shakespeare, pastoral literature had explored different kinds of romantic and sexual relationships.

这种“过山车”般的感觉，部分来自于这部戏剧那种“田园牧歌式”的情节背景。在莎士比亚之前的数百年间，田园文学就已经书写了各种各样的浪漫关系和两性关系。

The pastoral mode is a poetic literary style that dates back to the Greeks and Romans, to poets who used a fantasy of a kind of countryside idyll to locate romantic stories of desire and seduction amongst shepherds and shepherdesses, and sometimes shepherds and shepherds, and shepherdesses and shepherdesses. Pastoral becomes such a hugely popular mode in late Renaissance England, so sort of mid-16th century onwards, because of its Latinate classical connections. But it also offers writers a sort of decorous classical literary context with which to explore sex, both hetero-erotic and homoerotic.

田园牧歌模式，是一种起源于希腊和罗马的诗歌风格。诗人用奇幻的田园诗描绘牧羊人和牧羊女之间有关欲望和引诱的浪漫爱情故事，有时候这样的故事也用来描绘牧羊人和牧羊人，以及牧羊女和牧羊女。在文艺复兴晚期，差不多是16世纪中期的时候，这种受希腊罗马文化影响的田园牧歌得到了广大英国人民的喜爱，因为它和当时备受推崇的古拉丁语作品产生了关联。同时，它也为作者们提供了一种古典高雅的文学语境，帮助他们去探寻性别关系，不仅仅是男女之间的关系，也包含了同性之间的关系。

And I think for some poets, the most attractive thing about the pastoral form was its convenient and deliberate gender indeterminacy. Those Latin poems, the Virgilian antecedents, included loads of poems in which the lover is a humble country shepherd and the beloved is a beautiful shepherd boy.

我认为，对于一些诗人而言，田园牧歌模式最吸引人的地方在于它那精巧好用的“性别不确定性”。在那些拉丁语诗歌中，在那些维吉尔风格诗歌的前身中，有大量诗歌描绘的是一位出身低微的乡下牧羊人与另一位美貌的牧羊男孩之间爱情。

One of the most famous shepherd boys in classical mythology was named Ganymede. This beautiful youth catches the eye of Zeus, the king of the gods, who carries him up to Mount Olympus to be his cupbearer and, in many versions of the story, his lover. The name “Ganymede” -- along with the Latinate names Silvius, Corin and Phoebe -- clearly signals that the play should be read in this pastoral and mythological context.

古典神话里，那些最著名的牧羊男孩中，有一位就叫“盖尼米德”。这位美丽的少年吸引了众神之王宙斯的注意。于是，宙斯将他带上了奥林匹斯山，让他当自己的斟酒人，以及，很多故事版本中所写的，他的情人。戏剧中“盖尼米德”这个名字，以及那些典型的拉丁语人名，如“西尔维斯”“柯林”和“菲苾”，都在明确提醒我们必须将这部戏剧放在田园牧歌和神话的情节背景下来欣赏。

Shakespeare is working in a very established mood, but he takes it into a sort of giddy world where anything goes. And I think this is Shakespeare acknowledging absolutely openly that the pastoral form is one of the conventional places in early modern English culture to articulate same-sex desire.

在创作的时候，莎士比亚的思路很明确，但他最终却构建出了一个令人眼花缭乱的反常世界，在这里任何事情都有可能发生。我认为这是莎士比亚对田园牧歌模式的绝对的、公开的认可。在他看来，这种艺术模式是早期现代英国文化中表达同性欲望的传统方式之一。

That giddy sense of ‘anything goes’ is captured in the play’s title As You Like It. And one of the most head-spinning things about the play isn’t simply that it might contain same-sex desire. It’s that gender itself becomes something fluid and unfixed: gender too can be as you like it.

戏剧标题《皆大欢喜》的英文，字面的意思是“你想它是什么样的它就可以是什么样”，从这，我们就可以体会到那种“任何事情都有可能发生”的缭乱感。剧中，最令人晕头转向的一件事情，还不只是它所包含的同性之间的欲望，而是性别本身都变得是易变又不固定的了，可以说对于性别，“你想它是什么样的它就可以是什么样”。

Now, Rosalind isn't a man. The whole point is that she isn't a man. But in her wooing of Orlando as Ganymede the boy, Shakespeare is staging a recognizably homoerotic seduction, and all the more so because, of course, Rosalind as Ganymede is actually a boy actor as Rosalind as Ganymede as Rosalind.

我们都知道，罗瑟琳不是男孩。这部剧的关键就在于她不是男孩。但当她装扮成男孩盖尼米德追求奥兰多时，莎士比亚所呈现的很明显就是同性之间的引诱。而且，我们也知道，在剧中是女孩罗瑟琳女扮男装成了盖尼米德，而盖尼米德又假扮回了罗瑟琳，但在莎士比亚那个年代，扮演女孩罗瑟琳的实际上也还是一位男孩演员。所以，这种同性之间的引诱就更加明显了。

So at any moment in the play, Orlando’s partner could be seen as “really” a woman because it’s the female character Rosalind; or as “really” a man because it’s the male actor playing Rosalind. Both possibilities always exist. And there’s a strong sense that Rosalind herself chooses to become Ganymede because of the new possibilities that the role affords her.

所以，不论是戏剧发展到那个阶段，和奥兰多演对手戏的那个演员，既可以被看作是一位“真正的”女性，因为罗瑟琳是一位女性角色；但同时也可以被看作是一位“真正的”男性，因为实际上扮演罗瑟琳这个角色的是男性演员。这两种可能性是一直存在的。我们可以强烈感觉到，其实是罗瑟琳本人选择成为盖尼米德的，因为这个男性身份给予了她许多新的可能性。

It's not entirely clear why Rosalind remains as Ganymede, other than she just really likes it. The freedom and power she gets as Ganymede is completely intoxicating, and the way it seems to work for her in wooing Orlando, as well, I think, seems hugely intoxicating. I think what happens is that Rosalind embraces the prospect of self-determination and independence in her male guise because this gives her the chance to push her agenda forward to actively woo.

我们并不完全清楚为什么罗瑟琳要坚持假扮成盖尼米德，除非说是她是真的很喜欢这个身份。盖尼米德这个身份为她带来的自由和力量令她陶醉兴奋。同样，在追求奥兰多的时候，这个身份所带来的效果也是令她尤为得意的。我认为，罗瑟琳之所以会欣然接受女扮男装时的自主和独立，是因为这个男性身份让她有机会主动出击，推进自己对奥兰多的追求。

For aristocratic young women like Rosalind, there would be certain expectations around romance and marriage. Men were supposed to court women. And women were supposed to receive men’s advances. If the woman wasn’t attracted to the man, she might be obliged to accept him anyway if her parents told her to. And if she was attracted to the man, she wasn’t supposed to say so.

在那个年代，对于罗瑟琳这样的贵族女性而言，爱情和婚姻有着特定的程序，应该是男性主动追求女性才行，而女性只能作为被动的接受方。一位女性即便她不喜欢某一位男性，但如果她的父母要求，那她无论如何也必须接受这位男性。而且，如果一位女性爱上了某个男性，她也绝对不可以把爱意说出来。

Shakespeare is looking into and he is destabilizing apparently secure contrasts. And in this case, it's an apparently secure contrast between assertive masculine romantic behavior and dutiful feminine receptiveness, which I think Shakespeare is throwing up in the air and saying, “let's look, let's see how it lands”, because almost certainly it doesn't land in the way you think it's going to land. And Rosalind is an extremely good example of what happens when you mix those categories up a little bit and give different people the power to control the destiny of their relationships.

莎士比亚其实是在研究和颠覆那些表面上看似乎固定的对立。在这部剧所探讨的问题中，男性果断的浪漫行为和女性温顺的接纳听从就是一个表面上看似乎固定的对立。但莎士比亚却把它们抛向空中，然后对我们说“一起来看看吧，看看它们会落在哪里！”，最终结果就是它们完全就落在了我们意想不到的地方。罗瑟琳就是一个极好的例子，从她身上，你可以感受到这些对立面的融合，可以感受到不同的人一旦被赋予了掌控自己与他人关系的能力时，究竟会做些什么事情。

When Rosalind meets Orlando, she seems simultaneously to feel the weight of traditional gender roles and to want to resist them. When she parts from Orlando, she says, “My pride fell with my fortunes. / I’ll ask him what he would.” She recognizes that a proud or self-respecting woman is supposed to act aloof, even with a man she likes. Rosalind can’t resist going back to Orlando. But she still has to pretend to follow the convention of accepting the man’s initiative, not taking the initiative herself, by going to Orlando only as if obeying an order from him: “Did you call, sir?” she asks. When Rosalind becomes Ganymede, though, she can throw off those conventions and order him to do what she wants. “Come, woo me, woo me,” she tells him during their courtship game. As Ganymede playing Rosalind, she can take control and tell Orlando to pursue her.

罗瑟琳第一眼见到奥兰多时，立刻就感受到了传统性别角色的束缚，她很想挣脱这些束缚。在与奥兰多告别时，她说“我的矜持和高傲随着我的命运一起被摧毁了，我且问他有什么话说”。说这句话的时候，她意识到，一位矜傲自重的女性必须与男性保持疏离的状态，即便那是她喜爱的男性。罗瑟琳忍不住想要回到奥兰多面前。但她依旧不得不假装遵循传统，等待男性的示好，而没有主动出击。即便后来当她走向奥兰多时，她也是装作听从了他的命令，她会问：“是您叫我们吗，先生？”但是，当罗瑟琳化身为盖尼米德时，她可以完全抛弃那些传统束缚，反过来要求作为男性的奥兰多照着自己女性的心意行事。在他们的求爱游戏中，罗瑟琳对奥兰多说“来，来向我求爱，来向我求爱”。此时，即便盖尼米德假扮回了罗瑟琳，她也能掌控局面，命令奥兰多来追求自己。

Playing Ganymede also allows Rosalind to express the full range of her personality. Like the play itself, she combines all kinds of different qualities -- including qualities that jar with conventionally “feminine” traits like delicacy and gentleness. Pretending to be “Ganymede” might start off as a convenient disguise, but ultimately, it allows Rosalind to become even more herself.

盖尼米德这个身份，让罗瑟琳可以展现自己所有的性格特点。就像这部剧本身一样，罗瑟琳的身上也融合了各种不同的特质，这些特质不只是娇柔温顺等传统“女性”的品质。罗瑟琳一开始决定装扮成“盖尼米德”也许不过是为了图方便和省事儿，但最终，这让罗瑟琳更好地展现了更为真实的自己。

We might think about the play as being about kind of exploring contrasting qualities and asking about how absolute those distinctions are, and I think harboring contrasting qualities seems to be her superpower. She can be cynical, like Jacques. And she says to Orlando, “Men have died and worms have eaten them, but not for love.” You know, she can be completely sort of a hard-assed, if I can use that expression, and about things. And she can be really dismissive, like Touchstone, of Orlando's terrible poetry. But she is one hundred percent honest, super earnest, in her love for Orlando. It is an absolutely profound and very important relationship.

我们也许会认为，这部戏剧是在探讨那些对立的内容，是在追问这些不同之处究竟有多么不一样。但在我看来，我认为，罗瑟琳身上囊括了种种对立品质，这似乎恰恰就是她最强的能力。她可以是愤世嫉俗的，就像杰奎斯那样。看看她曾经对奥兰多说的那些话：“人们一代一代地死去，他们的尸体都给蛆虫吃了，可是人们绝不会为爱情而死。”你看，她完全就是个“刻薄鬼”，请原谅我用了这样的表达。同时，她也可以像“试金石”那样，对奥兰多那些糟糕的诗歌表现出不屑一顾的态度，但她对于奥兰多的爱却又是百分之百真诚认真的。她和奥兰对之间的关系是十分深远且重大的。

If this relationship is so important, we might wonder why Rosalind continues to pose as Ganymede with Orlando when she could just reveal herself to him. Why does she ask him to play this wooing game instead?

但我们也会疑惑，既然这个关系如此重要，那罗瑟琳在明明可以向奥兰多坦白身份时候，为什么还要继续装作是盖尼米德呢？为什么还要要求和奥兰多玩这种求爱的游戏呢？

It’s partly, I think, to do with testing, mettle testing. And I think there's something about Rosalind’s embracing of the kind of agency and power that comes as Ganymede to get to the kind of truth of Orlando, unencumbered by the kind of traditions of male-female wooing.

我认为，部分原因是她想测试一下奥兰多，想测试一下他的勇气。我觉得罗瑟琳假扮成盖尼米德时，她所获得的动力和力量，让她有机会了解真正的奥兰多，并不会再受男女求爱传统的阻碍与束缚。

Orlando’s poems on the trees are full of the cliches of love poetry, which suggests that he starts off loving more a fantasy of Rosalind than Rosalind herself. As Ganymede, Rosalind can offer Orlando a more realistic picture of herself and of love and see if his love persists. She can also test how compatible they are, especially in conversation. When he first encountered Rosalind as a fine lady, Orlando was too nervous to speak. When he thinks he’s with another man, he’s able to start joining Rosalind in the kind of witty exchanges she loves. That’s another reason for the wooing game. It might simply be, as the play’s title suggests, that they like it.

奥兰多刻在树上的诗篇充斥着爱情诗的陈词滥调，这意味着他一开始爱上的与其说是罗瑟琳本人，还不如说是自己对她的幻想。而在假扮成盖尼米德时，罗瑟琳可以让奥兰多看到更真实的自己，也可以让他看到爱情更真实的模样。由此，她可以弄明白奥兰多的爱是否是持续持久的。她还可以通过这个考验，测试一下自己与奥兰多是否志趣相投的，尤其两人的谈话是否投机。因为，奥兰多第一次见到淑女打扮的罗瑟琳时，他紧张得话都说不出来。而在与盖尼米德相处时，奥兰多以为自己是在与一位男性相处，于是他能够用罗瑟琳喜爱的那种诙谐幽默的语言与她沟通交流。而这就是罗瑟琳开始这场求爱游戏的另一个原因。这可能就像戏剧标题所体现的那样，他们只是喜欢这场游戏吧。

But there's also, perhaps, something that suggests pleasure. And I'd be, I guess, kind of most interested in thinking about the joy and the kind of thrill that both Rosalind and Orlando feel in wooing one another, when Rosalind is Ganymede playing Rosalind. And that's an approach that I think often proves the most beguiling for modern productions, where productions recognize, whether or not Orlando knows it's Rosalind -- and I think it's probably more interesting if he doesn't -- but I think he recognizes that there's something profoundly kinky and cool and sexy about what he's doing and what they're both doing.

这里面也许还包含了一定的欢愉吧。令我很感兴趣的是，当罗瑟琳女扮男装假扮的盖尼米德又扮回了罗瑟琳自己时，她和奥兰多在互相求爱的过程中所体会到的那种快乐与刺激。我认为这种方法经常被证明是现代的创作中最诱人的，这些作品认识到，无论奥兰多是否知道那个男孩就是罗瑟琳，奥兰多一定也感受到了，他所做的那些事情，以及他和盖尼米德所做那些事情，是极其古怪，但又绝妙又性感的。我认为如果他不知道的话，可能就更有意思了。

There’s all kinds of new insights and possibilities and pleasures that this gender-bending wooing game can offer. But that also suggests that there might be something lost when the game ends. At the conclusion of the play, Rosalind appears as a woman once more. She is married to Orlando, and Celia, who had such “love” for Rosalind that she declared, “thou and I am one,” is married off too, to Oliver. Both men are granted land and status by the Duke, so that the women leave their lives as shepherds and are folded back into the hierarchies of the court. The audience is left to wonder whether any of the “liberty” discovered in the forest -- the freedom to speak honestly, the escape from restrictive gender roles -- whether this liberty will persist in these apparently traditional marriages.

这场颠倒性别的求爱游戏，提出了各种新的观点、新的可能性，以及新的让我们感到愉快的方式。但这也意味着，在游戏结束时，我们就会失去某些东西。在戏剧结束时，罗瑟琳再次以女性的形象走上舞台，并嫁给了奥兰多，而同样“爱着”罗瑟琳，并对罗瑟琳宣称“你我两人有如一体”的西莉娅最终也与奥列佛结了婚。老公爵给了奥兰多和奥列佛这两位男性土地和地位，于是作为他们妻子，西莉也不必继续过牧羊人的生活了，罗瑟琳也重新回到了宫廷的阶级制度中。随着戏剧的结束，观众们开始思考，在阿尔丁森林中，人们所发现的这种“自由”，即言论自由和不受性别角色束缚的自由，是否能够在这些传统的婚姻中继续存在。

It's a sort of closure into a world of respectability that I think the play is kind of ambivalent about, actually. I think, you know, Shakespeare is, well, very hard to classify in a single word. But I think some of us -- I include myself in this -- are guilty of ascribing a radicalism to him that isn't necessarily always there. And I think the exploration of gender and sexual possibilities that As You Like It offers doesn't set out to upend the world. And I think the ending of the play, and the kind of closure of the play, brings us back to patriarchal norms in a way which is quite final. And often, I think, modern productions slightly struggle with, because the joy and the fluidity and the wit of most of the play means that actually, the kind of hetero-normative ending is a bit of a downer.

这个结局最终让主角们进入到了贵族阶层社会，戏剧对这个结局也是保持一种矛盾态度的。我们很难把莎士比亚归到某个单一的世界中。但是，也有些人，包括我自己在内，都会把莎士比亚归到激进的那一派中，但这其实是不对的，因为他并不总是激进的。我认为《皆大欢喜》这部剧中，对性别和性别可能性的探索并不是为了颠覆这个世界。我觉得，戏剧的结尾，也就是在戏剧收尾的地方，这部戏又最终把我们带回到了父权规范中。我常常想，这也是这部戏剧的现代创作会些许有些挣扎的地方，因为很多剧中的欢愉、剧中那种一气呵成的感觉，以及所体现出来的智慧都在告诉我们，那种常规的异性恋的结局多少令人有点儿失望。

Of course, the marriages aren’t exactly the ending. If the four male-female couples seem to stabilize gender identities, the play’s epilogue seems to unsettle them once more, raising again all the questions that the play asks about gender and identity -- the questions that have made the play so exciting and thought-provoking in the centuries since its writing.

当然，婚姻并不是真正的终结。因为即便这四对新人已经明确了自己的性别，戏剧的收场白也会再次将其打乱。收场白中又一次提出了针对性别和性别认同的那些问题。也正是这些问题使得这部戏剧在这数百年间，依旧这么激动人心，发人深思。

Unsurprisingly, this play has been a kind of lodestar for people thinking about questions of identity and queerness in the early modern period, and identity and gender awareness and performance in modernity, because of the way it seems to put everything up for discussion: in terms of how men are supposed to behave, how women are supposed to behave, what a man is or what a woman is, what it means to be indeterminate, and the kind of power and potential that can accrue in not taking those categories for granted and asking questions about them and pushing the boundaries of those categories.

不用惊讶，这部戏剧，对于人们思考早期现代的有关性别认同和性别反常、身份意识和性别意识，以及现代性的表演等问题，都有一定的指导意义。因为它以一种特殊的方式在探讨那些事情：男性应该怎么行为处事、女性又应该怎么行为处事、什么是男性、什么是女性、性别模糊意味着什么，以及如果不将已有的分类视作是理所当然，而是对它们提出质疑，并优化分类的界线的话，我们可以获得哪些权利和可能性？

In the next episode, we’ll look in more detail at some of the speeches in the play in order to see exactly how Rosalind pushes those boundaries, and to explore how Shakespeare’s writing works to profoundly disrupt our conventional ideas about gender.

下集节目，我们将更加深入地分析戏剧的一些台词选段，从中感受罗瑟琳是如何推进那些界限的。同时，我们也将探索莎士比亚的作品是如何颠覆我们传统性别观念的。