Twelfth Night 1: The Story

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Twelfth Night: “Present Laughter” -- Part 1 -- Shipwreck, Rescue, and Romance

《第十二夜》：“欢笑嬉游莫放过了眼前”--第1部分--海难、获救、爱情故事

Twelfth Nighthas Shakespeare's most modern take on issues of gender and sexuality. For every age, he has seemed already to be there with us, or ahead of us. It's a wonderful play which blends, in the most perfect form, I think, we find in Shakespeare, melancholy and merriment. It's a comedy which really knows that you have to take your laughs where you can, and that there is always the burden of grief and the burden of the past over everything we do. And it's a play which is really interesting about forms of love and friendship, about selfishness and selflessness, and about how communities stick, ossify, and are made to change.

《第十二夜》展现出了莎士比亚在性别意识和性取向等问题上最新潮、最现代的观点和看法。莎士比亚似乎跟得上每一个时代的潮流，有时甚至还超越了它。这是一部精彩的戏剧，在所有莎剧中，它以最完美的形式将忧愁苦闷与欢乐嬉笑相融合。这是一部喜剧，它清楚地知道在哪里可以把观众逗得哈哈大笑，但同时，它还明白在我们每个人所做一切的背后，也总是会带着哀愁和对逝去时光的惋惜。这部剧很有意思，它探讨了爱情和友谊的模式，探讨了自私和无私，探讨了社会是如何凝聚、僵化，并最终被迫做出改变的过程。

I actually really loveTwelfth Night,I think it might be one of my favorite plays. I like that bittersweet sort of melancholy comedy. I think that suits many of us better than a sort of “hey-nonny-no” kind of a comedy. And I also think the play has got some really interesting things to say about gender and about sexuality and about acceptance and how those all fit with comedy, which is a genre we've tended to think of as perhaps being a bit exclusionary rather than inclusive.

我真的很喜欢《第十二夜》这部剧，这也许是我最喜欢的戏剧之一了。我喜欢这种苦乐参半的忧伤喜剧。我觉得它比那些“轻松欢快”的喜剧更适合我们大多数人。而且，在性别意识、性取向、性别接受，以及这些内容与喜剧的融合等问题上，它传达了很多有意思的观点。毕竟，以往我们可能会觉得喜剧这个戏剧流派的排斥性往往大于它的包容性。

I'm Emma Smith. I’m professor of Shakespeare Studies at the University of Oxford in the UK.

我是艾玛·史密斯，英国牛津大学莎士比亚研究教授。

In this episode, we discuss Twelfth Night with Professor Smith. Written around 1601, this comedy is named for the festival on the last night of the Twelve Days of Christmas, on the eve of the feast of the Epiphany. Twelfth Night, which marks both the culmination and the close of Christmas festivities, is an appropriate name for this comedy which strangely mixes sadness and joy.It begins under the threat of death: twins Viola and Sebastian are shipwrecked in Illyria and each thinks the other has drowned. Viola takes on the guise of a man named Cesario, and enters the service of her late father’s friend, Duke Orsino. Cesario helps Orsino woo the Countess Olivia -- all while Viola is falling in love with Orsino and Olivia is falling for Cesario. The play ends with marriage and romantic satisfaction for some of its characters, but not for all. Along the way, it explores many different kinds of love, attraction and identity, especially through the figure of Viola / Cesario: a female character who takes on a male identity and who would have originally been played, in Shakespeare’s company, by a man.

本集节目，我们将和史密斯教授一同探讨戏剧《第十二夜》。这部喜剧写于1601年左右，是以“圣诞节的十二天”中最后一个夜晚的节日命名的，这一天是主显节前夜。第十二夜是圣诞欢庆的高潮，但同时也标志着圣诞的结束，这很吻合这部喜剧那悲喜交加的奇怪氛围。故事在一次死亡的危险中徐徐拉开帷幕：双胞胎兄妹薇奥拉和西巴斯辛所乘坐的船只在伊利里亚遭遇海难，他们都误以为对方在事故中丧生。于是，薇奥拉女扮男装，化名为西萨里奥，做了她已故父亲的朋友奥西诺公爵的侍从。西萨里奥帮助奥西诺公爵追求伯爵小姐奥丽维娅，但在这个过程中，薇奥拉却爱上了奥西诺公爵，而奥丽维娅则爱上了薇奥拉装扮的西萨里奥。戏剧结尾时，剧中的部分角色两两结为了夫妻，收获了美满的爱情，但这样的美好结局却并非所有角色都有。从开始到结束，戏剧探讨了各种不同的爱情、吸引力和性别认同，尤其是通过薇奥拉或者说西萨里奥这个角色：这位女性角色假扮成了一名男子，而在莎士比亚那个时代，女性角色当初都是由剧团中的男演员扮演的。

I think Shakespeare enables us to think about issues which are important to us now. Don't think of Shakespeare, really, as a historical writer at all. I think of his plays as texts to think with and to bring into our own contemporary world. I think one of the ways the play has seemed so interesting to me now in the 21st century is that we know a lot more now about trans-narratives, about non-binary gender identities. And we might be able to look a bit differently at a play where a female character arrives shipwrecked on a beach where she knows somebody very prominent in the local community through family connections, but nevertheless chooses not to get help in a normal way, but to dress as a man, take on a male name, and pursue her new identity in this new space with this complete sort of change.

莎士比亚让我们有机会去思考一些对于如今的我们依旧有重要意义的问题。我们绝对不可以将莎士比亚看作是一位历史学作家。我在欣赏分析他的戏剧文本时，往往会将其代入我们当下的时代，结合我们如今的世界现实进行反思。我认为，在21世纪的今天，这部剧之所以还这么吸引人，其中一个原因在于我们如今对跨性别叙事，以及非二元性别身份认同有了更多了解。如今的我们对于这部戏剧的看法也许会和以往有些不同。剧中，一位女性角色在遭遇海难事故后，被冲到了海边，在那里她了解到当地的一位贵族与自己的家族有一定的渊源，但她却没有按照惯常的方式去向他寻求帮助，相反，她女扮男装，给自己取了个男子的名字，彻底地改变了自己的身份，开始在这个新地方寻找自己新的身份认同。

With her change of identity, Viola also catalyzes change for other characters in Illyria. Before she arrives, Orsino and Olivia are fixed in certain emotional states. The play’s first line, “If music be the food of love, play on,” is spoken by Orsino, who is pining with love for Olivia. But his dramatic, somewhat indulgent opening speech might make us question how genuine this love is.

薇奥拉身份的转变，还催发了伊利里亚中其他角色的改变。在薇奥拉到来之前，奥西诺和奥丽维娅之间的情感状况是稳定不变的。戏剧开篇的第一句，奥西诺说：“假如音乐是爱情的食粮，那么奏下去吧”，对奥丽维娅的爱令他消瘦憔悴。但这段夸张，甚至带点儿骄纵意味的开场白，不免让我们怀疑奥西诺对奥丽维娅的爱究竟有多少分是真的。

Orsino never sees Olivia in the flesh until the big final scene in which all the characters are there. He thinks about her, he imagines her, he idealizes her, he puts on a pedestal, he sends a messenger to give her sort of fancy, poetic kind of speeches, but doesn't know anything about her.

奥西诺从来没有亲眼见过奥丽维娅，他第一次亲眼见到奥丽维娅是在最后一场戏，全员都站在舞台上的那一刻。所以，虽然他思念着奥丽维娅，幻想着她，将她奉为完美，还派信使帮他传达华丽诗意的情话，但事实上他对她一无所知。

Olivia, too, is consumed by melancholy -- but not because of love. Her father and brother have died, and she has vowed to refuse all forms of romance while she mourns for seven years.

同样，奥丽维娅也一直郁郁寡欢，但她的忧伤不是因为爱情。奥丽维娅的父亲和兄长都去世了，于是她决定要为他们守孝七年，在这七年中她发誓拒绝任何形式的爱情。

We then meet another sister mourning a lost brother. Viola is washed ashore in Illyria after a shipwreck. Her twin brother Sebastian is nowhere to be seen and she fears he has drowned. When the ship’s captain tells her they are near Orsino’s court, she decides, “I’ll serve this duke.” But she doesn’t simply present herself to Orsino, even though he was a friend of her father’s. She dresses as a man and enters Orsino’s service as the male page Cesario. Cesario quickly wins Orsino’s favor (though Orsino teases Cesario that his red lips and high voice make him resemble “a woman's part”). Orsino sends Cesario to woo Olivia for him, a painful task for the disguised Viola: “Whoe’er I woo, myself would be his wife,” she confesses. She has fallen in love with Orsino.

我们又看到了一位哀悼着逝去哥哥的妹妹。薇奥拉在海难事故中被冲到了伊利里亚的海边。她没有看到双胞胎哥哥西巴斯辛，于是认为他已经被淹死了。船长告知薇奥拉奥西诺的宫廷就在附近时，她下定决心“要追随这位公爵”。但她没有直接对奥西诺公爵表明自己的身份，即便他是她父亲的旧相识。相反，她装扮成男孩的模样，化名为西萨里奥，当上了奥西诺公爵的侍从。虽然奥西诺也嘲笑西萨里奥，说他红润的嘴唇和尖锐的嗓音让他在“各方面都像个女人”，但很快，西萨里奥还是赢得了奥西诺的青睐。奥西诺派西萨里奥去为他追求奥丽维娅，这对于女扮男装的薇奥拉来说是一项痛苦的任务，薇奥拉说：“我一定要做他的夫人”。因为此时她已经爱上了奥西诺公爵。

Olivia has another eager suitor at her house -- the wealthy, foolish knight Sir Andrew Aguecheek. Sir Andrew is egged on by Sir Toby, Olivia’s rascally, drunken uncle, who helps himself to Sir Andrew’s money. Also at Olivia’s house is a professional fool, or “allowed Fool,” named Feste. Figures like Feste were attached to the court or to aristocratic houses and were permitted to say apparently disrespectful things that other people wouldn’t be allowed to say.

在奥丽维娅家，她还有另外一位热情的追求者——富有但愚蠢的骑士，安德鲁·艾古契克爵士。奥丽维娅卑鄙无耻的醉汉叔父托比爵士怂恿安德鲁爵士去追求奥丽维娅，但实际上他不过是看上了安德鲁爵士的钱财。在奥丽维娅家中，还有一个职业小丑，那就是被称为“享有特权的傻子”的费斯特。费斯特这类角色生活在宫廷中，或者贵族人家里，他们可以随意说无礼的话语，而这些话语其他人是绝对不可以说出口的。

That function of the allowed fool is, traditionally, to use a kind of jesting or bantering form of particularly wordplay to show the vanity or the foolishness of the rest of the world. And so the great trick of the fool is to show really how everybody else other than him is foolish, because they don't have the insight that he does.

从传统上看，在戏剧里安排这种“享有特权的傻子”是为了用戏谑嘲讽的文字来表现世上其他人的虚荣和愚蠢。小丑这个角色最主要的作用是为了反衬出其他人有多么愚蠢，因为这些人无法像小丑那样洞察世事。

Feste gives a witty proof that Olivia is a fool, because she mourns that her brother is in heaven. Malvolio, Olivia’s haughty, austere steward, is contemptuous of Feste’s jokes. But Olivia chides him gently for taking offense at the Fool, saying Malvolio is “sick [with] self-love.”

奥丽维娅一直在为哥哥的去世而悲伤，费斯特却机智地表明了奥丽维娅这样做十分愚蠢。奥丽维娅家傲慢古板的管家马伏里奥对费斯特的玩笑十分鄙夷，但奥丽维娅温柔地表示马伏里奥冒犯了小丑费斯特，责备他实在是“太自命不凡了”。

Cesario arrives with a declaration of Orsino’s love. He and Olivia quickly fall into lively flirtatious banter. Olivia again rejects Orsino’s suit, but she is taken with Cesario, this confident, “well-favored” young man. When he leaves, she catches herself meditating on “this youth’s perfections,” and exclaims, “Even so quickly may one catch the plague?” She vowed to seclude herself from love -- but Cesario is making her break her vow. So begins the play’s complex romantic triangle.

西萨里奥带着奥西诺的情话宣言来到了奥丽维娅家。在这里，他和奥丽维娅开始了一段生动有趣的调情打趣。奥丽维娅再次拒绝了奥西诺的追求，但却爱上了西萨里奥这个自信漂亮的年轻人。西萨里奥离开后，她仔细思考着“这个年轻人的完美之处”，宣称自己竟然“这么快便染上那种病了？”虽然她立誓要远离爱情，但西萨里奥却让她打破了这个誓言。戏剧复杂的三角爱情故事就此开始上演。

Because Viola / Cesario is an object of attraction for both Orsino and Olivia, it's not really possible to, as it were, completely straighten out this play. Someone, somewhere, or perhaps all partners feel a sense of attraction which is not absolutely heterosexual. And it may be that Orsino sees through the disguise -- if you cast a female actor in the role of Viola, then in a way, it's more likely that Orsino somehow discerns that this unmasculine man is really a woman. That doesn't quite explain what's happening with Olivia. So I think the play feels quite permissive about those kinds of attractions.

奥西诺和奥丽维娅都爱慕着薇奥拉或者说她扮演的西萨里奥，所以，在剧中想要完全理清他们之间的关系是根本不可能的。他们中的某个人在某个时间，或者可以说他们所有人，都被一种力量吸引着，这种力量并不是绝对的异性恋的那种爱慕。也许有人会说，其实奥西诺早就看穿了薇奥拉的伪装。因为如果扮演薇奥拉的是位女演员，那么奥西诺很容易就能觉察出这位缺乏男子气概的男人实际上就是位女性。但这个理由无法解释奥丽维娅对西萨里奥的感情。所以，我认为这部戏剧中的性吸引力是多种多样的。

Act Two opens with another kind of attraction: possibly a deep friendship, possibly a romantic love. Viola’s brother Sebastian did notdrown but was rescued by a sailor named Antonio. Sebastian bids farewell to Antonio as he heads to Orsino’s court. Antonio pleads, “If you will not murder me for my love, let me be your servant,” but Sebastian refuses. Antonio’s life may be in danger if he’s found in Orsino’s court, where he has “many enemies,” but he still decides to follow Sebastian: “Come what may, I do adorethee so / That danger shall seem sport, and I will go.”

在戏剧第二幕的开场，我们又感受到了另外两个角色之间的爱慕之情：这也许是一段深厚的友谊，这也许还是一场浪漫的爱情。在那次海难中，薇奥拉的哥哥西巴斯辛并没有淹死，而是被一位名叫安东尼奥的水手救了起来。在这场戏中，西巴斯辛即将出发前往奥西诺的宫廷，于是他来向安东尼奥告别。安东尼奥乞求说：“要是您看在我的交情分上，不愿叫我痛不欲生的话，请您允许我做您的仆人吧。”但是西巴斯辛拒绝了这个请求。他说如果有人发现安东尼奥出现在奥西诺的宫廷中的话，安东尼奥就会遭遇危险，因为他在那里有“许多敌人”，但尽管如此，安东尼奥依旧决定跟随西巴斯辛，他说：“但无论如何我爱你太深，履险如夷我定要把你寻。”

Even in the language of male friendship, which is more intimate than we would often use now -- it was very common for men to talk about loving their male friends or feeling intimately sort of recognised or known by them or them as soul mates and so on -- even in that context, I think “I do adore thee so” is quite passionate.

在莎士比亚时期，描绘男性之间友谊的文字比我们现在所使用的更加亲密，男性谈论对于男性友人的爱慕，谈论与男性友人之间那种灵魂伴侣式的被认可、被了解的亲密关系，都是很普遍常见的。但即使在那样的时代背景下，“无论如何我爱你太深”这句话，也是相当热情奔放了。

Olivia, too, is pursuing her love. She sends a ring to Cesario and Viola realizes that Olivia has fallen for her in her male guise. She wonders how this tangled love plot will end: “My master loves her dearly, / And I, poor monster, fond as much on him, / And she, mistaken, seems to dote on me. / What will become of this?” We then see another plot taking shape. Malvolio scolds Feste, Sir Andrew, and Sir Toby for their noise and drinking, and they grow indignant at his pompous, repressive ways. “Dost thou think, because thou art virtuous, there shall be no more cakes and ale?” Sir Toby demands. Maria, Olivia’s attendant, calls Malvolio “a kind of Puritan” and plans revenge.

奥丽维娅也在追求着她爱的人。她送了一枚戒指给西萨里奥，薇奥拉意识到奥丽维娅爱上了男装的自己。她想知道他们三个人之间纠缠的情爱会如何发展，说道：“我的主人深深地爱着她；我呢，可怜的小鬼，也是那样恋着我的主人；她呢，认错了人，似乎在思念我。这怎么了呢？”与此同时，另一条故事线也在慢慢展开：奥丽维娅的管家马伏里奥责备费斯特、安德鲁爵士、托比爵士，说他们吵闹还酗酒，他那种傲慢严苛的态度惹得那三个人很是不满。托比爵士质问道：“你以为你自己道德高尚，人家便不能喝酒取乐了吗？”奥丽维娅的女仆玛利娅称马伏里奥是个“鬼清教徒”，计划报复他。

So Malvolio’s a completely anti-festive character. He is Lent to the play’s Carnival. He's somebody who is holding in goods and food and supplies, rather than spending them out. He's against music, he’s against reveling, and he's for an early night in bed. So he stands, perhaps, for an anti-pleasure tendency, or an emerging tendency. The Puritans in Shakespeare's England are an emerging radical Protestant group. They are strongly opposed to aspects of life that they see as frivolous. They are pretty down on pleasure and self-indulgence and in forty years’ time, they're going to be in power in London, and one of the things they're going to do is close the theatres.

马伏里奥十分反对节日欢庆，在戏剧的狂欢气氛中，他就像是一个处于斋戒期的人。他只想牢牢守着商品、食物和供给，一点儿也不愿意把它们花出去。他反对音乐，反对寻欢作乐，主张每天早早上床去休息。他所代表的是反对享乐的那股新兴潮流。莎士比亚时期的英国，清教徒是一股新兴的激进宗教团体。他们强烈反对铺张浪费的生活方式，鄙视寻欢作乐和自我放纵。在之后的四十年间，清教徒逐渐成为了伦敦的主导势力，而他们之后要做的一件事情就是关闭剧院。

Maria, to Sir Toby’s delight, says she can write a letter imitating Olivia’s handwriting that will make Malvolio believe that Olivia loves him -- and make him behave like a fool in front of her.

令托比爵士高兴的是，玛利娅表示她会模仿奥丽维娅的字迹写一封信给马伏里奥，骗他让他误以为奥丽维娅爱上了自己，从而让马伏里奥在奥丽维娅面前出丑。

Meanwhile, Orsino is still pining for Olivia. While Feste sings a melancholy song about a lover nearing death, Orsino unburdens himself to Cesario and asks whether Cesario loves a woman. One “Of your complexion,” Cesario replies. Orsino tells him to go plead with Olivia again. Cesario says he must accept Olivia’s refusal, citing another story of disappointed love. He says that his “father had a daughter” who, he says, once loved someone, but she “never told her love.” instead she “sat like Patience on a monument, / Smiling at grief.” The story seems to describe Viola’s own feelings, hearing Orsino proclaim his love for Olivia and being unable to proclaim her love for him. This intimate conversation, charged with passion and frustration, shows how close Orsino and Cesario have become.

奥西诺也因为奥丽维娅日益消瘦。当费斯特唱起一首关于濒死的爱人的忧伤歌曲时，奥西诺向西萨里奥吐露了内心的悲伤，他问西萨里奥是否爱过某个女性。西萨里奥回答说：那是一个“像你这种脾气的人。”奥西诺让西萨里奥再去央求奥丽维娅一次。西萨里奥对奥西诺说，他必须接受奥丽维娅拒绝了自己这个事实，同时还对他讲述了一个有关无望的爱情的故事。他说他的“父亲有一个女儿”，她爱上了一个男人，但是她“从来不向人诉说她的爱情”，而是“像墓碑上刻着的‘忍耐’的化身，默坐着向悲哀微笑。”这个故事其实是薇奥拉自己的感受，她听着奥西诺诉说对奥丽维娅的爱意，但自己却不能说出对他的感情。从这段充满了激情和困苦烦扰的亲密对话中，我们可以感受到如今奥西诺和西萨里奥的关系已经发展到了十分亲密的地步了。

Malvolio thinks he has discoveredOlivia’spassion when he finds Maria’s forged letter appearing to declare Olivia’s love for him. Sir Toby and Sir Andrew, hidden nearby, can barely contain their laughter as Malvolio fantasizes about becoming “Count Malvolio” -- as he reads in the letter, “Some are born great, some achieve greatness, and some have greatness thrust upon ’em.”

另一边，马伏里奥看到了玛利娅伪造的那封信，信里写着奥丽维娅对他的爱意，于是他误以为自己发现了奥丽维娅对自己的感情。托比爵士和安德鲁爵士躲在不远处偷偷看着，当马伏里奥一边读着信里写着的“有的人是生来的富贵，有的人是挣来的富贵，有的人是送上来的富贵”，一边幻想着成为“马伏里奥伯爵”时，他们俩忍不住哈哈大笑。

In this version of his life, people, at his every whim, people run off and do his bidding. So it's a fantasy of social elevation, of no longer being the steward, but being the master of the house.

在马伏里奥的幻想中，人们会因为他的一时兴起而四处奔走，去完成他吩咐的事情。他幻想着自己社会地位的提升，他再也不只是个管家，而变成了这栋房子的主人。

Olivia isendeavouring to thrust greatness upon Cesario, for whom her passion is only growing. She finally tells him openly, “I love thee so, that … Nor wit nor reason can my passion hide.” But Cesario tells her, “no woman … Shall be mistress of [my heart], save I alone.” Sir Andrew, observing Cesario and Olivia alone together, despairs of ever winning Olivia. Sir Toby persuades him to do some deed of valor to impress her -- like challenging Cesario to a duel.

奥丽维娅对西萨里奥越爱越深，她在努力把他捧上尊贵的地位。她向他坦白说：“我爱你......理智拦不住热情的宣告。”但是西萨里奥却回应道：“没有女人能够把我的心占有，只有我是我自己的君后。”安德鲁爵士看到西萨里奥和奥丽维娅单独待在一起，倍感失落，他觉得自己无法赢得奥丽维娅的爱。然而，托比爵士却劝说他去做一些英勇的行为来打动奥丽维娅，提议他去和西萨里奥决斗。

Malvolio is also trying to impress Olivia. The letter said to put on cross-gartered yellow stockings, and he obeys the instructions. Olivia is so startled by Malvolio’s bizarre appearance and flirtatious manner that she thinks he may be insane. Maria and Sir Toby pretend to agree so they can have him bound in a dark room -- a common treatment for madness in Shakespeare’s time.

而马伏里奥同样也在寻思如何打动奥丽维娅。那封伪造的信件中写着要他穿上十字交叉的黄色袜带，他照做了。当奥丽维娅看到马伏里奥那怪异的衣着和轻佻的举止时，她十分惊讶，怀疑他可能发疯了。玛利娅和托比爵士也假装认同奥丽维娅的这个看法，因为这样他们就可以把马伏里奥关进黑屋子里。这是在莎士比亚时期对待疯子的常见做法。

Sir Toby delivers Sir Andrew’s challenge to Cesario. Cesario and Sir Andrew have just started their tremulous duel when Antonio enters. Mistaking Cesario for Sebastian, he draws his sword to protect him from Sir Andrew. Just then, officers from Orsino arrive and arrest Antonio. Antonio, remembering that he lent all his money to Sebastian, now asks Cesario to give him the money back. Cesario, confused, denies that Antonio gave him anything. Antonio is devastated that Sebastian, as he thinks, would be so unkind. But Viola, hearing herself addressed as “Sebastian,” is filled with a sudden hope that her brother might be alive.

托比爵士向西萨里奥传达了安德鲁爵士的决斗挑战。西萨里奥和安德鲁爵士刚开始紧张对决，西巴斯辛和他的爱慕者安东尼奥也到了这里。安东尼奥把西萨里奥错认成了西巴斯辛，于是他拔剑保护西萨里奥不受安德鲁爵士的伤害。正在这时，奥西诺的官兵走了过来，他们逮捕了安东尼奥。安东尼奥想起自己把所有的钱都借给了西巴斯辛，于是他请求西萨里奥把钱还给他。西萨里奥听后十分困惑，并否认说安东尼奥给过自己任何东西。安东尼奥十分震惊，因为他没有想到西巴斯辛竟然会变得这样冷酷无情。不过，当薇奥拉听到有人称自己为“西巴斯辛”时，她突然感到了一丝希望，她觉得自己的哥哥也许还活着。

Just after Cesario is mistaken for Sebastian, Sebastian is mistaken for Cesario. Sir Toby and Sir Andrew come upon him and resume their fight. Olivia, too, thinks Sebastian is Cesario, and, as Antonio has just done, she throws herself into the fray to protect the man she loves. Sebastian is puzzled by her affectionate behavior: “I am mad, or else this is a dream,” he muses, but concludes, “If it be thus to dream, still let me sleep!” Olivia, delighted that “Cesario” now accepts her love, asks him to go to church and marry her. Sebastian agrees. It’s a rapid event, but one the play has prepared us for.

就在西萨里奥被误认作是西巴斯辛时，西巴斯辛也被误当成了西萨里奥。托比爵士和安德鲁爵士遇见了西巴斯辛，提出继续和他决斗。在这场戏中，奥丽维娅和刚才的安东尼奥一样，又把西巴斯辛错认成了西萨里奥，于是她冲入打斗中，想保护自己深爱的男子。西巴斯辛被她的热情给弄迷糊了，他想这“是疯眼昏迷？还是梦魂颠倒？”他细细思索，最终得出结论说“有这般好梦再不须梦醒！”奥丽维娅很高兴，因为这个“西萨里奥”现在终于接受了自己的爱，于是提出去教堂成婚。西巴斯辛同意了。虽然，这件事情发生得很快很突然，但实际上，戏剧早就为它做好了铺垫。

As soon as we meet Sebastian, we've got the coordinates of the play set out, haven't we, we know this is going to be how it's going to work out. So the fact that it takes a while for Sebastian to encounter Olivia and then very quickly they marry each other -- we have had time to get used to it. We know it's what's going to happen. I think sometimes part of the pleasure of Shakespeare's plays is more sort of structural than absolutely characterological. I think you can enjoy the pleasure of seeing the choreography of how a denouement is going to work out. And that's a pleasure which is different from, and not necessarily at the same time as, feeling a great relation to characters at an emotional level and thinking of how will it be for them, or, you know, is this really the right marriage for them?

我们看到西巴斯辛时，就明白戏剧将会如何发展，对吧？所以，虽然西巴斯辛直到这里才遇见奥丽维娅，但对于他们这么突然的婚姻，我们其实已经有了足够的时间去适应。我们知道故事就是会这样发展。我认为有时候莎剧的部分乐趣更多是源自它们的结构，而不仅仅只是人物性格。你可以享受故事的编排过程，看着戏剧一步步发展走向最终的结局。这种乐趣不同于与剧中人物产生强烈的共情，你不一定需要在欣赏戏剧的同时思考这件事对于剧中人物而言会是怎样，或者这个婚姻对他们是否真的合适。

While Sebastian wonders whether he is mad, Malvolio has been locked up as if he is mad. The unhappy steward pleads for paper to write to Olivia for help. Sir Toby is afraid of what Olivia will do if he upsets her any further and confesses, “I would we were well rid of this knavery.”

当西巴斯辛怀疑自己是不是发疯了的同时，马伏里奥也被当作疯子锁了起来。这个悲伤的管家哀求别人给他一张纸让他可以写信向奥丽维娅求助。托比爵士担心如果继续惹恼奥丽维娅，会让她更加厌恶自己，于是说“我希望这场恶作剧快快告个段落。”

Cesario returns to Olivia’s house with Orsino. Still believing Cesario is Sebastian, Antonio explains to them how he rescued this young man and, “pure for his love,” followed him to Illyria. Olivia is puzzled to see Cesario -- whom she believes she has just married -- at Orsino’s side. She brushes off Orsino to question Cesario. Orsino, growing angry and jealous, threatens to kill Cesario, though he cares for him too. He says: “I’ll sacrifice the lamb that I do love / To spite a raven’s heart within a dove.” Cesario says he would willingly go to die with Orsino, whom he loves more than he could ever love a wife. Olivia, shocked, calls to him, “Cesario, husband, stay.” Orsino and Cesario are both confused. But a priest counters Cesario’s denials and Orsino’s disbelief by confirming that he did indeed marry Olivia to this man. Orsino, like Antonio, is devastated at a trusted friend’s betrayal. He tells Cesario, “Farewell, and take her, but direct thy feet / Where thou and I henceforth may never meet.”

西萨里奥和奥西诺一同回到了奥丽维娅的家中。此时，安东尼奥依旧认为西萨里奥就是西巴斯辛，还对众人解释说自己是如何救了这个年轻人，而且是“为了他的缘故，纯粹出于爱心”，才会跟随他来到这里。奥丽维娅见到站在奥西诺身边的西萨里奥时，感到十分困惑，因为她刚刚才和他结完婚。她完全不顾奥西诺，就去质问西萨里奥。奥西诺看着这一切时，又生气又嫉妒，他威胁说要杀死西萨里奥，即便自己很关心他。奥西诺说：“我要牺牲我钟爱的羔羊，白鸽的外貌乌鸦的心肠。”西萨里奥说他宁愿和奥西诺一起死，因为他爱奥西诺远胜于对于一个妻子的爱情。奥丽维娅听后万分震惊，她大喊：“西萨里奥，我的夫，别去！”奥西诺和西萨里奥听到这句话后，十分困惑不解。此时，一位神父上前，反驳了西萨里奥的否认，并解答了奥西诺的疑虑，他证实说自己确实是将奥丽维娅嫁给了这位年轻人。和安东尼奥一样，奥西诺对于信任朋友的背叛十分震惊。他对西萨里奥说：“别了，你尽管和她论嫁娶；可留心以后别和我相遇。”

Into this tense scene come Sir Toby and Sir Andrew, crying that “Cesario” attacked them. After them comes Sebastian, who greets Antonio with love and relief. Looking from Sebastian to Cesario, Antonio asks, “How have you made division of yourself … which is Sebastian?” Sebastian now sees Cesario: “Do I stand there? … Were you a woman … I should my tears let fall upon your cheek / And say ‘Thrice welcome, drownèd Viola’.”

紧接着，托比爵士和安德鲁爵士登场，加入到这紧张的局势中，他们大喊着“西萨里奥”袭击了他们，在他们身后，紧跟着西巴斯辛，他深情地和安东尼奥打着招呼。安东尼奥看看西巴斯辛，又看看西萨里奥，问道：“你怎么会分身呢？......哪一个是西巴斯辛？”西巴斯辛看到西萨里奥后说：“那边站着的是我吗？......只要你是个女人，我一定会让我的眼泪滴在你的脸上，而说‘大大地欢迎，溺死了的薇奥拉’。”

There's a wonderful sequence when Sebastian recognizes Viola and calls her by her name, and it's the first time her name is used in the spoken dialogue of the play. If you went to see the play performed and hadn't read it, you wouldn't know what this character was called other than Cesario until Sebastian calls out “Viola.” But it's really striking that nobody picks that up and thinks, ‘Oh my God, this is the real person, and this is what this person’s really called.’ They don't seem to feel the need for that “real” person under the disguise -- and we see, importantly, Orsino continues to address Viola as Cesario.

西巴斯辛认出薇奥拉的这一段情节十分精彩，他喊出了“薇奥拉”这个名字，到此为止这个名字第一次才被人说出口。如果你看的是戏剧演出，没有读剧本，那么在这之前你只知道这个角色叫西萨里奥。在西巴斯辛喊出“薇奥拉”的这一刻，你才知道她的真名是什么。但令人惊讶的是，竟然没有人注意到这一点，没有人想过：“我的天呐，这才是她的真实身份，这才是她的真名。”他们似乎觉得没必要去认识伪装之下的那个“真”人，而且，在后续剧情中，我们发现，奥西诺即便是知道了薇奥拉的真名后，依旧称呼她为“西萨里奥”。

Sebastian tells the astonished Olivia, “So comes it, lady, you have been mistook … You are betrothed both to a maid and man.” Orsino understands that he too was mistaken about Cesario -- and that despite Olivia’s rejection, he may win a wife after all. “Boy,” he says to Cesario, “thou hast said to me a thousand times / Thou never shouldst love woman like to me.” Viola says she will keep that promise and always be true to him. Orsino replies, “Since you called me “master” for so long, / Here is my hand. You shall from this time be / Your master’s mistress.”

西巴斯辛对震惊的奥丽维娅说：“小姐，原来您是弄错了......您现在同时是一个女人和一个男人的妻子了。”奥西诺明白自己也误会西萨里奥了，他同时意识到，虽然奥丽维娅拒绝了自己的求爱，但他依旧可以为自己争取一位妻子。他对西萨里奥说：“孩子，你曾经向我说过一千次决不会像比爱我一样更深爱着一个女人。”薇奥拉表示自己会遵守诺言，一直对他忠心耿耿。奥西诺回应说：“你既然一直把我称作主人，从此以后，你便是你主人的主妇了。握着我的手吧。”

This happy reunion is interrupted by Malvolio. “Madam,” he tells Olivia, “you have done me … Notorious wrong.” The tricksters confess the plot and Feste reminds Malvolio how he scorned them. Malvolio storms out, saying, “I’ll be revenged on the whole pack of you!” Olivia laments his abuse. Orsino sends attendants to “entreat him to a peace” and recalls Olivia’s attention to the two wedding celebrations. In terms of plot, the marriages of Olivia and Sebastian, and Orsino and Viola, represent a traditional romantic-comic ending; but in performance, the final tableau of Olivia-Sebastian and Orsino-Cesariocan represent a playfully transgressive ending in terms of gender. So do the play’s final lines, spoken by Orsino to his new partner: “Cesario, come, / For so you shall be while you are a man. / But when in other habits you are seen, / Orsino’s mistress, and his fancy’s queen.”

但这快乐的团聚被马伏里奥打断了，他对奥丽维娅说：“小姐，您屈待了我，大大地屈待了我！”那些策划这次恶作剧的人也承认了自己的把戏，但费斯特也提醒马伏里奥说他曾经是如何轻蔑鄙视他们的。马伏里奥非常气愤地走了出去，一边说着：“我一定要出这一口气，你们这批东西一个都不放过。”奥丽维娅对他的遭遇表示同情。奥西诺派侍从去追他回来，“跟他讲个和”，同时他还提醒奥丽维娅举行两场婚礼。就情节上说，奥丽维娅和西巴斯辛的婚姻，以及奥西诺和薇奥拉的婚姻是典型的传统的爱情喜剧结局。但在表演上，奥丽维娅和西巴斯辛，以及奥西诺和西萨里奥的这场舞台定格，却戏谑地呈现出了一种有别于传统婚姻性别模式的画面。戏剧结尾，奥西诺对他新婚妻子说：“西萨里奥，来吧；当你还是一个男人的时候，你便是西萨里奥——等你换过了别样的衣裙，你才是奥西诺心上情人。”

The play ends with a song sung by Feste. Its refrain is, “For the rain it raineth every day” -- until the last verse, which ends, “But that’s all one, our play is done, / And we’ll strive to pleaseyou every day.” These lyrics, like the final scene, reflect the play’s mixture of mirth and melancholy.

最后，戏剧在小丑费斯特的歌声中结束。这首歌的副歌部分是这样：“朝朝雨雨呀又风风”，最后两句歌词韵文是“咱们的戏文早完篇，愿诸君欢喜笑融融！”这些歌词，和最后一场戏一样，都透露着一种悲喜交加的情绪。

Malvolio, of course, had his attempt to imagine a future for himself with Olivia and then been pretty cruelly treated. So he vows revenge on everybody. And Feste, who's always been on the outside, he is still on the outside of things, present but observing rather than participating. So it has an unusual number of characters who are outside the circle, and therefore perhaps draws attention to the idea that the comic ending is not for everyone. It’s a world of sadness and rejection as well as a world of connection and merriment. That continues throughout.

当然马伏里奥曾幻想可以和奥丽维娅结婚，但却被无情地欺侮。所以他发誓要报复所有人。而小丑费斯特，则一直游离于故事的外围，他置身于故事之外，观察着这一切，但并不参与其中。戏剧有大量居于外圈的角色，所以这就令我们注意到这样一种观点：有人认为戏剧的喜剧结尾并不属于所有角色。这个世界有亲密和欢乐，但也有悲伤和拒绝，这种悲喜交加的情况会永远持续。

In the next episode, we’ll look at Twelfth Night’s strange combination of sadness and joy to discuss what tragedy and comedy mean for Shakespeare. We’ll also discuss how the play explores gender identities, especially through the figure that continues to be called “Cesario.”

下集节目，我们将关注《第十二夜》那奇怪的悲欢交集，以此探讨对于莎士比亚而言，悲剧和喜剧究竟意味着什么。同时，我们还将探讨戏剧对性别意识这个问题的探索，我们会将注意力放在这个一直被称为“西萨里奥”的人物身上。