【解读】皆大欢喜3 语言特色：“全世界是个舞台”

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As You Like It 3: the Language

皆大欢喜3 语言特色：“全世界是个舞台”

In the last two episodes, we discussed the ways thatAs You Like Itpushes the boundaries of traditional categories and conventions; and also the ways that the play strives to balance different moods and different conceptual points of view. In this episode, we speak with Dr. Will Tosh, research fellow and lecturer at Shakespeare's Globe in London, about moments in the play that particularly dramatize these points.

在前两集节目中，我们探讨了《皆大欢喜》是如何推进传统分类和约定惯例的边界的，还讨论了戏剧在不同情绪之间，在不同概念观点之间追求平衡的方法。本集节目，我们将继续对话伦敦莎士比亚环球剧场的研究员和讲师，威尔·托什博士，与他一同欣赏戏剧中的一些重要的对话和独白，看看莎士比亚是如何将那些重点内容以戏剧化的方式表现出来的。

Our first speech comes from Act 2. At the Duke’s invitation, Orlando has just gone to fetch his old servant Adam and bring him to the Duke’s camp for food and rest. Just before Orlando returns with Adam, the melancholy Jacques delivers this speech. It’s a famous speech, but one that might also reveal some of Jacques’s shortcomings -- especially hislackof balance.

我们下面要听到的第一段台词选自戏剧的第二幕。在这场戏中，奥兰多应老公爵的邀请，去接他年迈的仆人亚当到老公爵的营地中进餐休息。在奥兰多和亚当返回之前，忧郁的杰奎斯说了下面这段台词。这段台词非常著名，但同时也暴露出了杰奎斯的一些缺点，其中最明显的一个缺点就是他辩证性、全面性的匮乏。

a.Jacques, 2.7.145-173, “All the world’s a stage … sans everything.”

a. 杰奎斯，第二幕，第七场，第145-173行，“全世界是一个舞台......没有一切。”

JACQUES All the world’s a stage,

杰奎斯：全世界是一个舞台，

And all the men and women merely players.

所有的男男女女不过是一些演员；

They have their exits and their entrances,

他们都有下场的时候，也都有上场的时候。

And one man in his time plays many parts,

一个人的一生中扮演着好几个角色，

His acts being seven ages. At first the infant,

他的表演可以分为七个时期。最初是婴孩，

Mewling and puking in the nurse’s arms.

在保姆的怀中啼哭呕吐。

Then the whining schoolboy with his satchel

然后是背着书包、

And shining morning face, creeping like snail

满脸红光的学童，像蜗牛一样慢吞吞地拖着脚步，

Unwillingly to school. And then the lover,

不情愿地呜咽着上学堂。然后是情人，

Sighing like furnace, with a woeful ballad

像炉灶一样叹着气，写了一首悲哀的诗歌

Made to his mistress’ eyebrow. Then a soldier,

咏着他恋人的眉毛。然后是一个军人，

Full of strange oaths and bearded like the pard,

满口发着古怪的誓，胡须长得像豹子一样，

Jealous in honor, sudden and quick in quarrel,

爱惜着名誉，动不动就要打架，在炮口上

Seeking the bubble reputation

寻求着泡沫一样的

Even in the cannon’s mouth. And then the justice,

荣名。然后是法官，

In fair round belly with good capon lined,

胖胖圆圆的肚子塞满了阉鸡，

With eyes severe and beard of formal cut,

凛然的眼光，整洁的胡须，

Full of wise saws and modern instances;

满嘴都是格言和老生常谈；

And so he plays his part. The sixth age shifts

他这样扮演了他的一个角色。第六个时期变成了

Into the lean and slippered pantaloon

精瘦的趿着拖鞋的龙钟老叟，

With spectacles on nose and pouch on side,

鼻子上架着眼镜，腰边悬着钱袋；

His youthful hose, well saved, a world too wide

他那小心翼翼省下来的年轻时候的长袜子

For his shrunk shank, and his big manly voice,

套在他皱瘪的小腿上宽大异常；他那郎朗的男子的口音

Turning again toward childish treble, pipes

又变成了孩子似的尖声，像是吹着

And whistles in his sound. Last scene of all,

风笛和哨子。终结这段

That ends this strange eventful history,

古怪的多事的历史的最后一场，

Is second childishness and mere oblivion,

是孩提时代的再现，全然的遗忘，

Sans teeth, sans eyes, sans taste, sans everything.

没有牙齿，没有眼睛，没有口味，没有一切。

I reckon a lot of the listeners will have heard some or all of this speech before, in any number of contexts, from the first line, “All the world's a stage,” excerpted and repeated, possiblyad nauseum, to snippets of the seven models of aging, growing masculinity. And I can see why, because the seven snapshots are so utterly beguiling. This is a character sketch like a Picasso pen stroke, a single sentence capturing an individual, the lover “sighing like furnace, with a woeful ballad / Made to his mistress’ eyebrow.” It's so wonderful because it's believable and it's also horribly undercutting. We can be completely clear about the nature of this slightly self-important lover. But we shouldn't ignore the fact that for early modern audience members, the idea that the world was a stage was extremely conventional and possibly, I hate to say it, even banal. Shakespeare gives Jacques a beautiful and delicate speech here. I mean, “second childishness and mere oblivion,” how amazing is that? But the sentiment is not much more original than Orlando's ropey old verses that he'll later stab into Arden’s trees.

我想很多听众肯定在许多文本中，都听到过这段台词的部分甚至全部内容。例如台词的第一句“全世界是个舞台”，就在很多地方被摘录、被重复，这句话可能都常见到了“令人厌烦”的程度；还有那段对于人生成长衰老的七个时期的描写，我们也经常听到。我明白为什么会这样，因为七个时期的这种表述真的十分绝妙，就像是毕加索笔下的人物速写，一个句子描写的就是一个人，情人“像炉灶一样叹着气，写了一首悲哀的诗歌/咏着他恋人的眉毛。”这个描写真的太棒了，它非常写实，但同时又是被极大地简化了的。从这几句话中，我们完全可以看出这位有点儿自大的情人的性格。我们不能忘了，对于早期现代的观众而言，“世界是个舞台”这个想法是十分普遍常见，甚至，是陈腐老套的，虽然我很不想用这个词来形容它。在这里，莎士比亚为杰奎斯写了一段优美精巧的台词。看看这一句：“是孩提时代的再现，全然的遗忘”，是不是很动人？但这种哀伤的感情其实和之后奥兰多刻在阿尔丁的树上的那些蹩脚的陈词滥调一样缺乏新意。

Jacques takes the chance to deliver a set-piece, and a slightly portentous one at that, to his long suffering courtiers. But the crucial thing in thinking about its meaning is to consider the speech’s context:right after Orlando has held up the feast at knife point and demanded food for himself and Adam, his aging servant. As Orlando leaves to fetch Adam, the Duke observes that this “wide and universal theater,” by which he means the world, “presents more woeful pageants than the scene wherein we play in.” In other words, some people have it even harder than they do.

杰奎斯利用这个机会，向他那些长期受苦的侍臣们发表了一段模式固定的、有点儿装腔作势的演讲。但思考这段台词的意义的关键，是要把它放到上下文中去评判。就在杰奎斯发表这段长篇大论之前不久，奥兰多拔剑阻挠了宴会的进行，因为他要为自己以及他那位年迈的仆人亚当讨要食物。在奥兰多离开去接亚当来的时候，老公爵评论说：“这个广大的宇宙的舞台上，还有比我们所演出的更悲惨的场面呢”。老公爵口中这个“广大的宇宙的舞台”指的就是他们生活的这个世界。老公爵的意思就是有一些人比他们还要悲惨。

Jacques responds with his speech, which ends on the massive downer, that at the end of life, we can expect to wind up with no faculties or sources of enjoyment and care: “Second childishness and mere oblivion, / Sans teeth, sans eyes, sans taste, sans everything” --sans, without, French, without -- without teeth, without eyes, without taste, without anything. And it's at that point, on Jacques’s very pessimistic final line, that Orlando enters, probably carrying Adam, the actor playing old Adam. And if he does, that's an iconic vision of filial duty and care that derives from the symbol of the heroic Aeneas bearing his father Anchises on his back from the burning city of Troy. Orlando’s actions undercut Jacques’s pessimism and make him look, dare I say it, a little bit of a fool.

紧接着，杰奎斯便回应老公爵，说出了上面的那段台词。台词的结尾处令人十分沮丧，他说我们可以预料到，在人生即将结束的时候，我们是不可能拥有欢乐，也没有心情去关心什么东西的。“是孩提时代的再现，全然的遗忘，没有牙齿，没有眼睛，没有口味，没有一切。”原文中“没有”（san）是用法语表达的。而就在此时，在杰奎斯说完这无比消极的最后一句台词时，奥兰多再次登场，也许还带着亚当，带着那位扮演着年迈亚当的演员。这个场景对于杰奎斯刚刚说玩的那段台词是一个十足的讽刺。因为这一幕这就像是英雄埃涅阿斯背着他的父亲安喀塞斯逃出熊熊燃烧的特洛伊城那样，展现出了年轻人对老年人的孝顺和关爱。奥兰多的这个举动削弱了杰奎斯所营造的悲观情绪，这让杰奎斯显得有点儿，有点儿，我就直说了吧，有点儿愚蠢。

There are hints of this same dynamic throughout the play: Jacques would like to represent himself as more profound and insightful than the other characters but actually, he often comes across aslesswise, in part because his emphatic cynicism is at odds with the play’s own direction.

其实，在整部戏中，从不少细节里，我们都可以感受到这一点。杰奎斯总想表现得比其他角色更加深层、更加有内涵，但事实上，他却经常表现得“不那么”聪明，部分原因在于他那过度的愤世嫉俗与这整部剧的基调是格格不入的。

I would say Jacques represents a satire born of great pessimism, and in fact so pessimistic as to not really be satire, as to be something more approaching and nihilism. Although I would also say that the play itself is very uninterested in putting over a kind of final moral certainty. I think the whole point of the play is that it's about equipoise and balance.

杰奎斯代表了一种源自巨大悲观的讽刺。甚至可以说上，那种悲观都已经强烈到不是真正意义上的讽刺了，而更是接近于虚无主义。我认为，戏剧本身虽然完全不想传递某种既定的道德观念，但是从整体上看，这部戏剧还是探讨了与均衡和平衡有关的内容。

In fact, the name Jacques suggests the kind of judgment that this balanced play would pass on his extreme pessimism.

实际上，“杰奎斯”这个名字就暗示了这部有关均衡和平衡的戏剧，会对这个人物的极端悲观主义会做出怎样的评判。

His name was probably pronounced as a single long syllable in Shakespeare's time, Jakes, which makes the name a homophone for a privy or a latrine. And I think that's sort of where the mind ends up if it takes no pleasure in anything at all, which is what Jacques does. So I think he kind of is a fool, in the sense that his purpose is occasionally to look ridiculous. Andthe irony of Jacques as a fool is that he doesn't recognize that he is one.

在莎士比亚那个年代，人们很可能把“杰奎斯”这个名字简化读成一个单音节的长音词，把它读成“杰克斯”。而“杰克斯”这个单词，在英语里还有“厕所”、“茅厕”的意思。我认为，如果我们对任何事情都不感兴趣的话，那么我们的思维最终也只能落入厕所、茅厕那样的地方。这正是杰奎斯的情况。我觉得从某种程度上看，他就是一个傻瓜，因为他的意图和目的有时候看起来就很荒谬愚蠢。而讽刺的是，作为一个傻瓜，杰奎斯却根本没有意识到自己是一个傻瓜。

This exchange between Rosalind and Orlando takes place in Act 4. Rosalind is disguised as Ganymede, and Ganymede is pretending to be “Rosalind”, so that Orlando can play the game of wooing her. Rosalind has just taken the game so far as to start a pretend marriage ceremony with Orlando, with Celia as the witness. This dialogue takes place after the ceremony.

下面是第四幕中，罗瑟琳和奥兰多的一段对话。当时，为了让奥兰多能够与自己进行一场求爱游戏，罗瑟琳假扮的盖尼米德，又扮回了“罗瑟琳”。此刻，罗瑟琳已经将这场求爱游戏推进到了与奥兰多举办一场假婚礼的阶段了，婚礼上西莉娅是他们的主婚人。而这段对话就发生在这场婚礼之后。

Rosalind, 4.1.150-186, “Now tell me how long you would have her … let her never nurse her child herself, for she will breed it like a fool.” (Including Orlando’s replies)

罗瑟琳，第四幕，第一场，第150-186行，“现在你告诉我你占有了她之后，......那种女人千万不要让她抚养她自己的孩子，因为她会把他抚养成一个傻子的。”（含奥兰多的回应）

ROSALIND,as GanymedeNow tell me how long you

罗瑟琳（扮作盖尼米德）：现在你告诉我，你占有了她之后，

would have her after you have possessed her?

打算把对她的爱保留到多久？

ORLANDO Forever and a day.

奥兰多：永远，再加上一天。

ROSALIND,as GanymedeSay “a day” without the

罗瑟琳（扮作盖尼米德）：说一天，不用说

“ever.” No, no, Orlando, men are April when they

“永远”。不，不，奥兰多，男人们在求婚的时候是四月天，

woo, December when they wed. Maids are May

结婚的时候是十二月天，姑娘们做姑娘的时候

when they are maids, but the sky changes when

是五月天，一旦做了妻子，

they are wives. I will be more jealous of thee than a

一切就变了天。我要比一头巴巴里雄鸽

Barbary cock-pigeon over his hen, more clamorous

对待它的雌鸽更加多疑地对待你；

than a parrot against rain, more newfangled than

我要比下雨前的鹦鹉更加吵闹，

an ape, more giddy in my desires than a monkey. I

比猢狲更加弃旧怜新，比猴子更加反复无常；我

will weep for nothing, like Diana in the fountain,

会无端哭泣，像泉水边上的黛安娜女神一样，

and I will do that when you are disposed to be

要在你高兴的时候无端哭泣。

merry. I will laugh like a hyena, and that when thou

我要在你想睡的时候像土狼一样

art inclined to sleep.

纵声大笑。

ORLANDO But will my Rosalind do so?

奥兰多：但是我的罗瑟琳会做出这种事来吗？

ROSALIND,as GanymedeBy my life, she will do as I

罗瑟琳（扮作盖尼米德）：我可以发誓她会像我一样

do.

做出来的。

ORLANDO O, but she is wise.

奥兰多：啊！但是她是个聪明人哩。

ROSALIND,as GanymedeOr else she could not have

罗瑟琳（扮作盖尼米德）：她倘不聪明，

the wit to do this. The wiser, the waywarder. Make

怎么有本领做这等事？越是聪明，越是淘气。假如用

the doors upon a woman’s wit, and it will out at the

一扇门把一个女人的才情关起来，它会从窗子里

casement. Shut that, and ’twill out at the keyhole.

钻出来的；关了窗，它会从钥匙孔里钻出来的；

Stop that, ’twill fly with the smoke out at the

塞住了钥匙孔，它会跟一道烟从烟囱里

chimney.

飞出来的。

ORLANDO A man that had a wife with such a wit, he

奥兰多：男人娶到了这种有才情的老婆，就难免

might say “Wit, whither wilt?”

要感慨：“才情才情，看你横行到什么地方”了。

ROSALIND,as GanymedeNay, you might keep that

罗瑟琳（扮作盖尼米德）：不，你可以把那句骂人的话留起来，

check for it till you met your wife’s wit going to

等你瞧见你妻子的才情爬上了

your neighbor’s bed.

你邻人的床上去的时候再说。

ORLANDO And what wit could wit have to excuse that?

奥兰多：那时这位多才的妻子又将用怎样的才情来辩解呢？

ROSALIND,as GanymedeMarry, to say she came to

罗瑟琳（扮作盖尼米德）：呃，她会说她就是到那儿

seek you there. You shall never take her without her

找你去的。你捉住她，她总有话好说，

answer unless you take her without her tongue. O,

除非你把她的舌头割掉。唉！

that woman that cannot make her fault her husband’s

要是一个女人不会把她的错处推到她男人的身上去，

occasion, let her never nurse her child

那种女人千万不要让她抚养

herself, for she will breed it like a fool.

她自己的孩子，因为她会把孩子抚养成一个傻子的。

So this is the Rosalind-Orlando exchange. So there is a lot happening in this exchange, and I thinkit makes sense to think about it in its dramatic context. Rosalind as Ganymede as Rosalind has just married Orlando with Celia, an outraged witness and priest. So this is kind of their first exchange as a “married couple.”I mean, of course, they're not like, precisely married-married yet, as that happens at Hymen’s hand at the end of the play. But they are skirting very close to the legal wind in conducting what was known as a ceremonyde praesenti, or an irregular marriage without a priest, sometimes considered legally binding, which might explain Celia's shock at Rosalind’s boldness in taking Orlando's hand like this.And then maybe to our surprise, Rosalind pursues a classically misogynist sentiment here, that the excitable bridegroom is likely to find his vivacious new bride an intolerable nag before too long.

这是罗瑟琳和奥兰多之间的一段对话，里面包含了大量信息，我认为在分析这段对话的时候，我们有必要把它放进戏剧性的上下文中。罗瑟琳装扮的盖尼米德扮回了罗瑟琳，在愤怒的西莉娅充当见证人兼牧师的情况下，罗瑟琳与奥兰多成了婚。所以这段对话，是他们作为“已婚夫妇”的第一次交流。我的意思是，当然，他们没有严格意义上的“结婚”。这场婚礼不同于戏剧结尾时，他们在婚姻之神许门的指引下缔结婚姻的那场正式婚礼。但他们的这个仪式已经十分接近于缔结合法婚姻关系的婚礼了，这是“根据现在诺言的婚约”，是没有牧师主持的“非正式婚礼”。有时，人们也承认这类婚礼的法律约束力，这大概就解释了为什么西莉娅看到罗瑟琳大胆地牵起奥兰多的手时，会那么诧异了。可是接下来，令我们惊讶的是，罗瑟琳说出了一段典型的厌恶女性者的观点，她表示，这位兴奋激动的新郎很快就会发现，他那活泼可爱的新娘其实是个让人难以忍受的麻烦精。

As Rosalind says, “I will be more jealous of thee than a / Barbary cock-pigeon over his hen, more clamorous / than a parrot against rain, more newfangled than / an ape, more giddy in my desires than a monkey. I / will weep for nothing, like Diana in the fountain,…” I'll just burst into tears for no reason whatsoever. “And I will do that when you are disposed to be / merry”, so when you're in a great mood, I will be weeping my eyes out. “I will laugh like a hyena and that when thou / art inclined to sleep,” so she'll do everything that's disruptive to Orlando's happy life.

罗瑟琳说“我要比一头巴巴里雄鸽对待它的雌鸽更加多疑地对待你；我要比下雨前的鹦鹉更加吵闹，比猢狲更加弃旧怜新，比猴子更加反复无常；我会无端哭泣，像泉水边上的黛安娜女神一样......”我会无缘无故地哭泣。“我要在你高兴的时候无端哭泣”，如果你心情很好很高兴，我也会大声哭泣。“我要在你想睡的时候像土狼一样纵声大笑”。这段话总的意思就是：这位新婚的妻子会做出一切扰乱奥兰多幸福生活的事情。

And she, moreover, suggests that Rosalind’s wit is a cover for her insatiable sexual appetite, her wayward wisdom carrying her beyond the bounds of the home to her neighbor's bed, where, if discovered, she will simply say that she has come in search of her husband. So what does Rosalind mean? Is she in earnest? No, I don't think so. This is part of the erotic game that she's playing with Orlando.

而且，她还暗示说，罗瑟琳的才情不过是为了掩盖她那永远无法被满足的性欲。她那淘气的才情，会让她越过家庭的边界，爬上邻居的床。而一旦被发现了，她就会辩解说是到那儿找自己的丈夫去的。那么，在这里罗瑟琳到底想表达什么意思呢？她的这些话是认真的吗？不，我觉得不是。我觉得这不过也是她和奥兰多这场情爱游戏的一部分。

We see more of it in the exchange after this exit. Orlando leaves. He says he has to attend the Duke at dinner. So clearly, the Duke's feudal habits persist even in the greenwood. And Rosalind immediately affects a sort of romantic despair at being the abandoned wife: “Oh, that flatteringtongue of yours won me. ’Tis but one cast away, and so, come, death.” Clearly, she's joking. And as Rosalind later explains to Celia, she really is in a sort of love-madness, which is how Elizabethans thought of extreme passion. Love, like any strong emotion, was an imbalance of the humors, and it made people behave in strange and atypical ways. Here, Rosalind pretending to be Ganymede pretending to be Rosalind, the most self-confident and assertive of women, play-acts being a subtle and cunning adulterer as a way of arousing and exciting Orlando. I mean, no wonder Celia is shocked.

而在奥兰多退场后，这一点就更加明显了。奥兰多表示他要离开一会儿，因为他不得不去陪老公爵吃饭。很明显，老公爵把他的封建习惯也带到了这片森林中。听完奥兰多的这番话后，她马上表现出那种弃妇的哀怨：“你是用你那种花言巧语来把我骗上了手的。到手了就会把我给丢弃了；好，死就死吧！”当然很明显，她是在开玩笑。就像罗瑟琳后来对西莉娅解释时说的，因为爱情，她已经有点儿疯狂了，而正是伊丽莎白时期人们对于极端热情的看法。他们认为爱，是一种强烈的情绪，是精神的失衡，会让人们行为怪异反常。在这场戏中，罗瑟琳假扮的盖尼米德正在装扮成罗瑟琳，在她身上体现出了最为自信果敢的女性形象。她扮作一个机智狡猾的通奸者，挑逗刺激着奥兰多。难怪西莉娅在目睹了这一切的时候，会如此震惊。

From the eighteenth century onwards, the part of Rosalinddidbecome a role for actresses to embrace their allure and show off their self-confidence.

18世纪之后，罗瑟琳这个角色的确让女性演员有机会显露自身诱惑力、展现自信心。

The play holds the stage for the next 300 years and becomes very popular, partly because it's a wonderful opportunity for actresses playing Rosalind as a part, as an emotional journey, but also as what's called a “trouser role,” as a way for actresses to show off their legs, to kind of really claim the stage with a kind of erotic self-confidence.

在之后的300年间，这部戏剧被不断搬上舞台，并受到了观众们的广泛喜爱。这一定程度上是因为罗瑟琳这个角色令扮演她的女性演员们不但有机会参与到一场激动人心的旅途中，而且有机会反串成一个男孩，他们叫做：扮演“裤装角色”。在扮演“裤装角色”的时候，女性演员们可以展露她们的大腿线条，以一种情色又撩人的自信吸引观众们的注意力。

And of course, that eroticism comes not only from Rosalind’s jokes about her neighbor’s bed, but from the fact that her performance as Orlando’s wife is still overlaying her performance as Ganymede.As we noted in episode one,it’s highly significant that Rosalind adopts the name of the beautiful shepherd boy who became the lover of Zeus, the king of the Gods. This name captures the distinctive allure that Rosalind's male avatar might have for Orlando. It also suggests how disruptive this new relationship might be to existing ties. The Orlando-Ganymede relationship fractures the relationship between Rosalind and Celia, as the Ganymede-Jupiter relationship also disturbed an existing couple.

当然了，这段对话中的情色信息，不仅仅来源于罗瑟琳开的那有关“爬上邻居的床”的笑话，还有一部分原因是，她在扮作奥兰多妻子的时候，其实还是男孩盖尼米德的身份。在第一集讲解中，我们就强调过，罗瑟琳选的这个化名“盖尼米德”是神话故事中一位美貌的牧羊男孩的名字，他后来成为了众神之王宙斯的情人。这个名字激发罗瑟琳的这个男性化身对于奥兰多的诱惑力，从中，我们还可以感受到这种新的关系对于已有的人际关系的颠覆。奥兰多与盖尼米德之间的关系打破了罗瑟琳与西莉娅之间的关系，正如神话故事中，盖尼米德与宙斯之间的关系破坏了宙斯夫妇之间的关系那样。

The significance about that Ganymede-Jupiter, Ganymede-Jove relationship is that in most retellings, Ganymede is a rival in Olympus, causes massive friction with Jupiter's wife, Juno, who is seriously not pleased to see her husband's attentions fastened on a beautiful young man. Soacross Europe, from classical antiquity until well into the 17th century and beyond, Ganymede is a symbol of youthful male sexual allure, primarily for other men and also of the domestic disturbances that might erupt when a master was smitten with particularly a servant or a junior, but also any male lover. And we see Ganymede used in that way in satires and poetry and other plays all across the period.

在很多版本的故事中，盖尼米德是奥林匹斯山众神的敌人，他和宙斯的妻子之间有巨大的摩擦，宙斯的妻子对于自己的丈夫痴迷于一个美丽的年轻男孩感到无比不满。所以，在整个欧洲，从古典时期到17世纪甚至之后，“盖尼米德”一直都象征着年轻男性的性诱惑力，尤其是对于其他男性的性诱惑力。此外，“盖尼米德”还象征着对家庭的侵扰。当家中的男主人迷上了一位男性仆人、一位年轻男子，或是有了任何男性情人的时候，都可能会引发家庭纷争。在那个时期的很多讽刺作品、诗歌和戏剧中，我们会发现盖尼米德往往都是以这种形象出现的。

This speech is the epilogue to the play, delivered by Rosalind after the main action has ended. Traditionally, epilogues brought the play to a full conclusion and invited the audience to applaud.

最后我们要听到的这段台词，是戏剧的收场白。在主要剧情结束后，罗瑟琳说了下面这段台词。传统上，收场白表示戏剧圆满收尾，邀请观众们为戏剧鼓掌叫好。

a.Rosalind, Epilogue (entire)

a. 罗瑟琳，收场白（全）

ROSALIND It is not the fashion to see the lady the

罗瑟琳：叫娘儿们来念收场白，

epilogue, but it is no more unhandsome than to see

似乎不大合适；可是那也不见得比叫

the lord the prologue. If it be true that good wine

老爷子来念开场白更不成样子些。要是好酒

needs no bush, ’tis true that a good play needs no

无需招牌，那么好戏也不必有

epilogue. Yet to good wine they do use good bushes,

收场白；可是好酒要用好招牌，

and good plays prove the better by the help of good

好戏倘再加上一段好

epilogues. What a case am I in then that am neither

收场白，岂不更好？那么我现在的情形是怎样的呢？

a good epilogue nor cannot insinuate with you in

既然不会念一段好收场白，又不能用一出好戏来

the behalf of a good play! I am not furnished like a

讨好你们！我并没有穿得像个

beggar; therefore to beg will not become me. My

叫花子一样，因此我不能向你们乞求；我唯一的

way is to conjure you, and I’ll begin with the

法子是恳请。我要先向女人们

women. I charge you, O women, for the love you

着手。女人们啊！为着你们对于男人的

bear to men, to like as much of this play as please

爱情，请你们尽量地

you. And I charge you, O men, for the love you bear

喜欢这本戏。男人们啊！为着你们对于女子的

to women—as I perceive by your simpering, none

爱情--瞧你们那幅痴笑的神气，我就知道

of you hates them—that between you and the

你们谁都不讨厌她们的--请你们学着女人们的样子，

women the play may please. If I were a woman, I

也来喜欢这本戏。假如我是一个女人，

would kiss as many of you as had beards that

你们中间只要谁的胡子生得

pleased me, complexions that liked me, and breaths

叫我满意，脸蛋长得讨我欢喜，而且气息

that I defied not. And I am sure as many as have

也不叫我恶心的，我都愿意给他一吻。为了我这种慷慨的奉献，

good beards, or good faces, or sweet breaths will for

我相信凡是生得一副好胡子，长得一张好脸蛋，或是有一口好气息的诸君，

my kind offer, when I make curtsy, bid me farewell.

当我屈膝致敬的时候，都会向我道别。

So this is the epilogue.So here's a rarity. This is one of very few early modern plays to feature an epilogue spoken by a female character. BeforeAs You Like It, only one other survives in John Lyly’sGallatheafrom some years earlier, although in that play, it's possible that the female character has already been magically transformed into a boy, so it might not count.But this epilogue inAs You Like itdoes what epilogues are supposed to do, which is appeal to the audience for plaudits, to manage the conclusions and opinions of the spectators, and suggest a way for them to interpret what they've just seen. And on its own terms, it does just that. The play has finished. The characters have left the stage. Possibly Rosalind leaves and reenters, or possibly she never leaves. But at this point, it can be pretty sure that she is dressed and appearing as Rosalind, not as Ganymede, partly because that's the implication of the end of the scene previously, the closing scene of the play, but also because she says at the very start of this epilogue, “It is not the fashion to see the lady the / epilogue,” which wouldn't work quite as well if she was still dressed as Ganymede. Rosalind, as the epilogue, asks the men and women in the audience to “like as much of this play as please / you,” and invites them, as she curtsies and leaves the stage, to “bid me farewell,” to give a good round of applause.

这就是这部戏剧的收场白，之所以说这段收场白很特殊，是因为在早期现代的戏剧中，收场白很少会是由女性角色说的。在《皆大欢喜》之前，唯一一部由女性角色说收场白的戏剧是《皆大欢喜》写成前几年，约翰·黎里所创作《格莱希亚》。但在那部戏剧中，说收场白的女性角色已经被魔法变成了一个男孩，所以这部剧可能也不能算。《皆大欢喜》的这段收场白做了收场白应该做的一切。它呼吁观众们为戏剧鼓掌欢呼、把控了观众们得出的结论和产生的见解，并为他们解读分析刚刚看完的这部剧提供了一种思路。就这段收场白本身而言，它都做到了。戏剧刚刚结束，演员们已经走下了舞台，可能罗瑟琳也离场了，之后才再次登台，又或者她也许根本就没离开过舞台。但我们可以肯定的是，她在说这段台词的时候一定是女装打扮，而不是盖尼米德的样子，因为，这样的装扮表明之前剧情已经终结，戏剧也进入了尾声，同时，她在收场白一开始就说了“叫娘儿们来念收场白，似乎不大合适”，如果此刻她还是盖尼米德的装扮的话，这句话的效果就不怎么理想了。在收场白中，罗瑟琳呼吁观众中的男男女女们“尽量地喜欢这本戏”，并邀请他们，在她屈膝致敬退场的时候，向她道别，为她鼓掌。

But when we start unpicking the tactics, we might be rather surprised by the figure who was revealed to us on the stage. I mean, this is Rosalind, the play's heroine, who, in the previous scene, has returned to the stage, having shed her disguise as Ganymede, to marry Orlando. And she's dressed like a courtly, elite woman, a proper lady -- or is she? Like Rosalind, the Rosalind we've come to know, she presents herself, this epilogue, she stages herself as a sort of romance expert,interposing herself in the battle of the sexes to appeal to both women and men, for the respective love they bear each other, to approve of the play. And in doing so, she presents herself as an alluring figure tobothgroups, flirtatiously offering to kiss as many of the men -- does she include the women? She might do -- as she fancied: “O men, for the love you bear / to women -- as I perceive by your simpering, none / of you hates them -- that between you and the / women the play may please.”

但是，如果我们深入分析这些小把戏的话，我们对于舞台上所展示的罗瑟琳这个人物会感到无比的惊讶。作为戏剧的女主角，罗瑟琳在上一场戏中卸下了盖尼米德这个伪装，以女装登上舞台，与奥兰多结了婚。她的衣着打扮是温文尔雅的贵族女性装束，十分淑女，不是吗？这样的罗瑟琳，我们所了解的罗瑟琳，她在这段收场白中，表现得就像是一位爱情专家。她将自己置于两性的对决中，她呼吁女人们和男人们，为了各自对对方的爱清，而尽量地喜欢这本戏。她这样的做法，对于女性和男性两个群体，都是极具诱惑力的。她卖弄轻佻地说愿意给很多男性一吻，她这句话的对象包含了女性们吗？也许是包含了的，她说：“男人们啊！为着你们对于女子的爱情--瞧你们那幅痴笑的神气，我就知道你们谁都不讨厌她们的--请你们学着女人们的样子，也来喜欢这本戏”。

But in the closing sentences, Rosalind makes assumptions about her gender instantly unstable. “If I were a woman,” she claims, “if I were a woman, I / would kiss as many of you as had beards that / pleased me, complexions that liked me and breaths that I defied not.” Because, of course, she isn't a woman at this point. Rosalindisa boy, not Ganymede, but the boy actor who performed the role.The epilogue, as is typical, is spoken by the artisan and not by the artwork.This is the voice of an adolescent boy actor from the Elizabethan stage, speaking with confidence and surprising sexual frankness to an audiencewhohe has just seduced.As Rosalind, the epilogue speaker finishes by saying, “And I am sure as many as have / good beards, or good faces, or sweet breaths will for / my kind offer, when I make curtsy, bid me farewell.”

但在最后的几句台词中，罗瑟琳又对自己的那不确定的性别做了假设。她说：“假如我是一个女人，你们中间只要谁的胡子生得叫我满意，脸蛋长得讨我欢喜，而且气息也不叫我恶心，我都愿意给他一吻”。这个时候，她就不再是女性的身份了。这时的罗瑟琳是一个男孩，这里指的不是盖尼米德，而是指扮演罗瑟琳的男孩演员。这段典型的收场白就是站在表演者的角度说的，而非戏剧的角度。我们听到的是伊丽莎白时期的一位处于青春期的男孩演员的声音，他自信地，带着令人惊讶的赤裸裸的性暗示，对他刚刚引诱过得观众们说出了这几句话。作为罗瑟琳，这位收场白的发言者是这样结束的：“为了我这种慷慨的奉献，我相信凡是生得一副好胡子，长得一张好脸蛋，或是有一口好气息的诸君，当我屈膝致敬的时候，都会向我道别”。

We see coming together many of the lines thatAs You Like Itpresents to us as audience members, as readers of Shakespeare, as consumers of literary culture and literature, the ways in which this play deals with gender and sexual identity, and really the way the play deals with art, artistry, and theater as a construction. So in raising so many questions about performance and identity and romance and seduction and courtship, the epilogue really brings together so many of the questions and topics that makeAs You Like It so enduringly fascinating.

从《皆大欢喜》的很多台词中，我们都能够看到戏剧向我们这些观众、这些莎剧读者、这些文化和文学欣赏者，展示了它处理性别和性别认同的方式，以及将艺术、艺术技巧和戏剧作为一种构架的方式。这段收场白提出了许多有关表演、性别认同、浪漫爱情，以及引诱和求爱的问题，正是它所汇聚的这一系列问题和话题，使得《皆大欢喜》经久不衰、魅力永存。