【解读】第十二夜 3 语言特色：“我爱你太深”

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Twelfth Night - Part 3 - “I do adore thee so”

《第十二夜》——第3部分——“我爱你太深”

In episodes one and two, we talked about Twelfth Night as a pivotal moment in Shakespeare’s career: a bittersweet transitional point between his celebratory festive comedies and what are called his “problem plays,” plays that demand engagement with irresolvable social problems. Twelfth Nightis still concerned with the central issue of romantic comedy: love, and how we look for it. But, as we see in the following speeches, this play examines many different kinds of love and the pleasure and pain that go with them. Emma Smith, Professor of Shakespeare Studies at the University of Oxford, guides our discussion.

在前两集节目中，我们说到《第十二夜》是莎士比亚戏剧创作生涯中一部关键性的戏剧：这部苦乐参半的戏剧介于欢快热闹的节庆喜剧和探讨无法解决的社会矛盾的“问题剧”之间。虽然，戏剧依旧着眼于传统浪漫喜剧的核心问题——爱，以及我们对爱的追寻。但在本集节选的几段台词中，我们会发现戏剧探讨的是许多不同种类的爱，以及随之而来的喜悦和痛苦。本集节目中，英国牛津大学莎士比亚研究教授艾玛·史密斯将继续带领我们进行今天的谈论。

This speech, from Act One, is the very beginning of the play. It introduces the play’s romantic entanglements and sets the tone for its peculiar combination of melancholy and mirth. The Duke Orsino, pining with love for the Countess Olivia, describes his experience as both painful and sweet -- and invites the audience to assess how genuine this love is.

本段台词选自戏剧第一幕的戏剧开场，介绍了戏剧中种种情感纠葛，为戏剧奠定了苦乐参半的诡异基调。奥西诺公爵因为对奥丽维娅伯爵小姐的爱而忧伤憔悴，他说这种感觉既痛苦又甜蜜，并且邀请观众们来评判一下他的爱究竟有多真。

a. Orsino, 1.1.1-15, “If music be the food of love … That it alone is high fantastical.”

a. 奥西诺，第一幕，第一场，第1-15行，“假如音乐是爱情的食粮，......在一切事物中是最富于幻想的。”

ORSINO If music be the food of love, play on.

奥西诺：假如音乐是爱情的食粮，那么奏下去吧；

Give me excess of it, that, surfeiting,

尽量地奏下去，

The appetite may sicken and so die.

好让爱情因过饱噎塞而死。

That strain again! It had a dying fall.

又奏起这个调子来了！它有一种渐渐消沉下去的节奏。

O, it came o’er my ear like the sweet sound

啊！它经过我的耳畔，就像微风

That breathes upon a bank of violets,

吹拂一丛紫罗兰，发出轻柔的声音，

Stealing and giving odor. Enough; no more.

一面把花香偷走，一面又把花香分送。够了！别再奏下去了！

’Tis not so sweet now as it was before.

它现在已经不像原来那样甜蜜了。

O spirit of love, how quick and fresh art thou,

爱情的精灵呀！你是多么敏感而活泼；

That, notwithstanding thy capacity

虽然你有海一样

Receiveth as the sea, naught enters there,

的容量，可是无论怎样高贵超越的事物，

Of what validity and pitch soe’er,

一进你的范围，

But falls into abatement and low price

便会在顷刻间

Even in a minute. So full of shapes is fancy

失去了它的价值。爱情是这样充满了意象，

That it alone is high fantastical.

在一切事物中是最富于幻想的。

I saw a production ofTwelfth Nightwhen I was a teenager. I don't remember actually all that much about it except for the very opening, and it began with the “Liebestod” fromTristan und Isolde,and then Orsino’s famous line, “If music be the food of love, play on.” And for the first time, I think, I thought -- and I think this has really shaped my view of the play -- I thought, Orsino is talking about a huge passion. He's not just talking about someone plinking away on a lute or something. This is a really big scale emotional drama right from the start. And I think that's affected how I've seen the play ever since.

在我十多岁的时候，我看过一场《第十二夜》的演出。我已经记不清那场表演的具体情况了，但对于开场的这一段我至今却记忆犹新。戏剧在瓦格纳歌剧《特里斯坦与伊索尔德》中“爱之死”的音乐声中拉开帷幕，在这样的氛围下奥西诺说出了那句著名台词：“假如音乐是爱情的食粮，那么奏下去吧”。这句话一下子就决定了我对这部剧的看法，我觉得奥西诺其实是在探讨一种极强烈的情感。他说的不仅仅只是有人在弹奏乐器。戏剧在一开始就明确表示这是一部宏大的情感戏剧。从那之后，这种感觉就一直影响着我对《第十二夜》这部剧的看法。

I think this is an extraordinary speech to open the play with, and this language of indolent excess, surfeiting, appetite, strain, dying fall, the sweet sound o’er the bank of violets, “stealing and giving odor” -- this is a really decadent kind of a speech. It’s steeped in the self-indulgence of love, the sensual pleasure of the sensation of love. And it's not at all about the love object. I think that's what's really missing here. This is about the sense of being in love, what it's like to be in love. It's not about the love object, not even about idealizing the love object.

这段不同寻常的开场白提到了消沉、噎塞、焦虑、憔悴，以及那吹拂过长着紫罗兰河岸的轻柔声音，这声音“一面把花香偷走，一面又把花香分送”，整段台词的氛围堕落颓废，营造出了爱的自我放纵和肉体的欢愉。不过，这段台词却根本没有提及爱慕的对象，这个角色在这里完全缺失。台词所谈论的只是爱情这种感觉，谈论的是坠入爱河的感受。没有爱慕的对象，甚至都没有理想化的爱慕对象。

So this is a deeply narcissistic version of love, set out in this extraordinary mannered kind of poetry, and by ‘mannered,’ I suppose I mean this, at this point in Shakespeare's career: blank verse, as we know, is the iambic pentameter, the five beat, ten-syllable line, that is blank because it's unrhymed. And how Shakespeare's use of this sort of foundational unit changes over his career is how he uses the end of the line. So broadly speaking, if you look at a speech from early in Shakespeare's career, it will have a piece of punctuation at the end of each line. And that's to say, the unit of the line is a unit of syntactical sense, and it's natural to pause at the end of the line. And contrastingly, if you look at a speech from the second half of Shakespeare's career, it will almost certainlynothave a piece of punctuation at the end of the line, and you will read over the end, and that pentameter beat is disguised or more flexible because of that.

所以，这其实是一种自我爱恋，作者运用极规整的诗歌形式描写这种感情。我所说的“规整”指的是莎士比亚在这一创作阶段所运用的无韵诗形式。无韵诗经常使用五步抑扬格，即每行诗五个音步，十个音节。它之所以被称为“无韵”是因为这种结构不讲求押韵。在整个创作生涯中，莎士比亚对这种基础结构的使用的变化体现在他对行末音韵的运用上。大体上说就是，如果你阅读莎士比亚早期的戏剧台词，你会发现在每行台词的末尾都有一个标点符号。这意味着，一行就是一个句法单元，一行停顿一次，这很自然。然而，和它形成鲜明对比的是，如果你阅读了第二个创作阶段中的那些台词，你会发现，每行的句末几乎没有标点，所以到了句末你还得继续往下读。这便打碎了五步格的节奏，或者说让这个节奏变得更加灵活了。

And I say all that because Orsino’s opening speech here is really heavily end-stopped. That's to say, it's got that punctuation. And I think, by this point, that feels, in Shakespearean language, like quite a formal, self-indulgent, or self-aggrandizing kind of way of speaking. This isn't just talking. This is giving a speech. And Orsino is giving a speech. It's beautiful, but it's decadent. And I suppose that self-indulgent, formal tone, as well as the self-indulgent vocabulary, is one of the ways the play suggests to us at the opening that this is a high emotion that is not going to be fulfilled in the course of the play. Don't put all your own hopes behind this, because it's not how it's going to work out. And these are clues, I suppose, which show us this is excessive. This is unnecessary. This is not going to be rewarded in the play.

我强调这个特点是因为奥西诺的这段开场白严格地在每行行末进行断句，每行的末尾都有标点。这让我们感觉，在这个阶段莎士比亚的语言十分正式，是自我陶醉、自我吹嘘式的演讲。奥西诺不只是在聊天，更像是在做演讲，他在做一场演讲。这段演讲很优美，但也很颓废萎靡。戏剧一开始，就在通过这种自我陶醉式的正式语调和自我陶醉式的词汇向我们暗示，这种高涨的情绪在戏剧推进过程中是无法得到满足的。不要把所有的希望寄托在这里，因为这种情绪根本不可能实现。其中各种线索让我们觉察到这一切都是过度的。这一切都不是必须的，这一切在剧中都不会得到回报。

This speech comes from Act One. Feste the Fool has just made a witty proof that the Lady Olivia could be called a fool - and he implied that her steward, Malvolio, is a fool as well. Malvolio responds with these sneering remarks about Feste, and Olivia responds with a gentle reproof that highlights some of the play’s key themes: wisdom, folly, and the proper direction for love.

下面这段台词同样选自第一幕。小丑费斯特刚刚机智地证明奥丽维娅小姐可以被称为“傻子”，同时还暗示说管家马伏里奥同样也可以被称为“傻子”。对此，马伏里奥说了一段讥讽嘲笑的话作为回应，而奥丽维娅对此则是温柔地指责，她的话语中重点谈论了戏剧的核心主题，即：智慧、愚蠢，以及爱情的正确方向。

b. Malvolio and Olivia, 1.5.81-95, “I marvel your Ladyship takes delight in such a barren rascal … though he do nothing but reprove.”

b. 马伏里奥和奥丽维娅，第一幕，第五场，第81-95行，“我不懂您小姐怎么会喜欢这种没有头脑的混账东西。......虽然他老是指摘人家的错处，也不能算为谩骂。”

MALVOLIO I marvel your Ladyship takes delight in

马伏里奥：我不懂您小姐怎么会喜欢

such a barren rascal. I saw him put down the other

这种没有头脑的混账东西。前天我看见他

day with an ordinary fool that has no more brain

给一个像石头一样冥顽不灵的下等的傻子

than a stone. Look you now, he’s out of his guard

算计去了。您瞧，他已经毫无

already. Unless you laugh and minister occasion to

招架之功了；要是您不笑笑给他一点题目，

him, he is gagged. I protest I take these wise men

他便要无话可说。我说，听见这种傻子的话

that crow so at these set kind of Fools no better than

也会那么高兴的聪明人，

the Fools’ zanies.

都不过是傻子们的应声虫罢了。

OLIVIA O, you are sick of self-love, Malvolio, and taste

奥丽维娅：啊！你是太自命不凡了，马伏里奥；

with a distempered appetite. To be generous, guiltless,

你缺少一副健全的胃口。你认为是炮弹的，

and of free disposition is to take those things

在宽容慷慨、气度汪洋的人看来，

for bird-bolts that you deem cannon bullets. There

不过是鸟箭。傻子

is no slander in an allowed Fool, though he do

有特许放肆的权利，

nothing but rail; nor no railing in a known discreet

虽然他满口骂人，人家不会见怪于他；

man, though he do nothing but reprove.

君子出言必有分量，虽然他老是指摘人家的错处，也不能算为谩骂。

In the play text -- the play’s first published in 1623 in the First Folio -- in the play text, Feste is called ‘Clown’ throughout, and only once called Feste. And Feste, I think, is a role rather than a proper name. It's related to festival, it's like being called ‘clown.’ It's not really his personal name, and in some ways, he isn't really a character who's a sort of a person or a human being. He's a function. He’s a function in the play, just as he’s a function in Olivia's household. And that function of the “allowed fool” is traditionally to use a kind of jesting or bantering form of particularly wordplay, perhaps also music and other kinds of tricks, 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. 

这部剧最早被收入在1623年版的第一对开本中，在戏剧的文本里面，费斯特从头到尾都被称作是“小丑”，仅仅只有一次是被称作“费斯特”的。我认为，与其说“费斯特”是一个合适的人名，倒不如说他是一个在剧中发挥重要作用的角色。这个角色与节日有关，“小丑”这个表达并不是他的真名，甚至从某种程度上说，这都算不上是人类角色。他只是一个工具，在剧中发挥一定作用。他是剧中的一个工具，就像他在奥丽维娅家中一样，都只是个工具。传统上看，这种“享有特权的傻子”是为了用一种嘲笑戏谑的文字游戏，结合音乐或者其他的把戏来讽刺世界上其他人的虚荣和愚蠢。所以小丑这个角色最主要的作用就是反衬出其他人的愚蠢，因为那些人不像他那样具备洞察世事的能力。

And we see Feste do that in a great set piece about Olivia's brother, where he says he will show her that she is the fool, and takes her through this sort of illogical logic, where she has to agree that since her brother is in heaven, there is no reason to mourn for him. So that establishes him and his procedures as a kind of verbal version of the inversion and the turning-things-on-its-head, which is such a feature of festival ritual anyway.

于是，我们看到费斯特利用固定套路对奥丽维娅的哥哥发表了一番见解，他说他要让奥丽维娅明白奥丽维娅自己其实也是个傻子，并把她带入了这种不合逻辑的推理方式中，最终让奥丽维娅承认，既然自己的哥哥已经去世，灵魂去了天上，那么就没有理由继续为他哀悼了。这让费斯特这个角色和他的行为方式呈现出一种语言上的颠覆，他在语言上把事情完全颠倒了过来，这就和节日仪式一样了。

The wisdom of fools and the folly of the wise is a common theme in Shakespearean comedies, especially Twelfth Night. Feste begins this encounter by exclaiming, “Wit … put me into good fooling! Those wits that think they have thee do very oft prove fools, and I that am sure I lack thee may pass for a wise man … “Better a witty Fool than a foolish wit.” Malvolio, in his caustic remarks, denies that Feste is a “witty fool,” calling him “barren” and “gagged” -- unable to produce any clever jokes. But by his response, Malvolio reveals himself as one of those “foolish wits”: someone who thinks so highly of his wisdom and his good qualities that he cannot stand any insult to his pride, even from a fool.

傻子的智慧和智者的愚蠢是莎士比亚喜剧中的常见主题，这个主题在《第十二夜》中尤为明显。费斯特的台词中有这样一段：“才情啊，请你帮我好好地装一下傻瓜！那些自负才情的人，实际上往往是些傻瓜；我知道自己没有才情，因此也许可以算作聪明人。......‘与其做愚蠢的智人，不如做聪明的愚人’”。然而管家马伏里奥却刻薄地表示，费斯特根本不是“聪明的愚人”，他说费斯特“没有头脑”“冥顽不灵”，根本讲不出什么机智有趣的笑话。但从马伏里奥的这番回应中，我们可以看出马伏里奥把自己形容成“聪明的愚人”，这种人对于自己的智慧和品格自命不凡，无法忍受任何人的侮辱和冒犯，傻子的也不行。

As Olivia reminds Malvolio, Feste is “allowed” and in fact encouraged to tease and provoke those around him. But Mavolio feels the provocations as “cannon bullets” because of his inflated sense of pride -- or as Olivia calls it, “self-love.” His self-love makes him “taste with a distempered appetite,” that is, assess things as other than what they really are. He values Feste too little because he prizes himself too much. In comedy, which pushes its characters to send love outwards towards romantic partners, inordinate love of oneself is not a desirable trait. We noted in discussing Orsino’s speech that his sort of self-indulgent narcissism is not going to be rewarded. Neither is Malvolio’s.

奥丽维娅提醒马伏里奥说，费斯特有“特许放肆的权利”，甚至他还被鼓励着去嘲弄惹怒周围的人。但马伏里奥却因为过度膨胀的骄傲，或者说因为奥丽维娅口中的那种“自命不凡”，而觉得这些冒犯的话语就像“炮弹”。他的自命不凡让他“缺少一副健全的胃口”，他无法根据事情本来的样子去进行评价判断。他过于鄙视费斯特了，因为他自视过高。在喜剧中，推动剧中人物向爱慕对象表达爱意，以及过度的自恋都不是可取的性格特质。在前面奥西诺的那段台词中，我们就探讨过他那种过度的自恋情感是得不到回报的。同样，在这里马伏里奥的自恋也不会得到任何回报。

In fact, it is the very fault of “self-love” that sets him up for his fall. Maria describes Malvolio in terms very similar to Olivia’s. Malvolio, Maria says, is “best persuaded of himself, … that it is his grounds of faith that allthat look on him love him And on that vice in him will my revenge find notable cause to work.” He is all the readier to believe what Maria’s forged letter says -- that Olivia loves him - because he has such love for himself.

实际上，马伏里奥的毁灭恰恰就是他的“自恋”导致的。玛利娅在形容马伏里奥时，所用的表述和奥丽维娅很相似。玛利娅说，马伏里奥“自信非凡，以为自己真了不得，谁看见他都会爱他；可以凭着那个弱点堂堂正正地给他一顿教训。”他根本不怀疑在玛利娅伪造的信件中说奥丽维娅深爱着他这一点，因为他对自己十分自信。

Of course, Olivia doesrespect and value Malvolio. She ends her remarks here by describing Feste and then Malvolio: “There is no slander in an allowedFool, though he do nothing but rail; nor no railing in a known discreet man, though he do nothing but reprove.” Her balanced parallel clauses and repetition of “rail” link these two characters and indicate that both have their own important role. If Feste’s folly is valuable, so is Malvolio’s discretion and prudence; Sebastian even describes Olivia herself as “discreet.” It’s when one goes too far in either direction that correction becomes necessary. Maria and Sir Toby’s plot will attempt to correct Malvolio’s excessive self-regard. Whether their own plot goes too far is a question for readers of the play.

当然，奥丽维娅也确实很尊敬、看重马伏里奥。她在这段台词最后，先评价了费斯特，接着就谈到了马伏里奥，她说：“傻子有放肆的权利，虽然他满口骂人，人家不会见怪于他；君子出言必有分量，虽然他老是指摘人家的错处，也不能算为谩骂。”奥丽维娅使用了并列的句式，不断重复“骂”这个字，把马伏里奥和费斯特两个角色联系在一起，暗示这两个角色都有着各自的重要作用。如果说费斯特的愚笨在剧中有着很重要的作用，那么马伏里奥的审慎和节俭也同样重要。西巴斯辛甚至也说奥丽维娅自己就是个审慎的人。当一个人在某方面做得过度时，就有必要对他进行一定的修正。玛利娅和托比爵士暗中策划纠正马伏里奥的过度自信。至于他们的这次密谋策划有没有过度，就需要读者们自行进行判断和评价了。

This speech comes from Act Two, just after we meet Viola’s twin brother, Sebastian. He was rescued from the shipwreck by a sailor named Antonio, to whom he now bids farewell. Antonio’s response brings out another dimension of love as explored in this play.

下面这段台词选自第二幕，薇奥拉的双胞胎哥哥西巴斯辛刚刚登场。他遭遇了海难，被一位名叫安东尼奥的水手救下。在这之前，西巴斯辛刚刚向安东尼奥告别，而安东尼奥对此的回应让我们感受到了戏剧所探索的另一个维度中的爱情。

c. Antonio, 2.1.35-35, 43-47, “If you will not murder me for my love … I do adore thee so / That danger shall seem sport, and I will go.”

c. 安东尼奥，第二幕，第一场，第35-35行，第43-47行，“要是您看在我的交情分上，不愿叫我痛不欲生的话，......但无论如何我爱你太深，履险如夷我定要把你寻。”

ANTONIO If you will not murder me for my love, let me

安东尼奥：要是您看在我的交情分上，不愿叫我痛不欲生的话，

be your servant.

请允许我做您的仆人吧。

SEBASTIAN If you will not undo what you have done --

西巴斯辛：您已经搭救了我的生命，

that is, kill him whom you have recovered -- desire

要是您不愿让我抱愧而死，

it not. Fare you well at once. My bosom is full of

那么请不要提出那样的请求，免得您白白救了我一场。我立刻告辞了！我的心是kindness, and I am yet so near the manners of my

怪软的，还不曾脱去

mother that, upon the least occasion more, mine

我母亲的性质，为了一点点理由，

eyes will tell tales of me. I am bound to the Count

我的眼睛里就会露出我的弱点来。就要到奥西诺公爵

Orsino’s court. Farewell.

的宫廷里去，再会了。

ANTONIO The gentleness of all the gods go with thee!

安东尼奥：一切神明护佑着你！

I have many enemies in Orsino’s court,

我在奥西诺的宫廷里有许多敌人，

Else would I very shortly see thee there.

否则我就会马上到那边去会你——

But come what may, I do adore thee so

但无论如何我爱你太深，

That danger shall seem sport, and I will go.

履险如夷我定要把你寻。

So this is a lovely exchange between Antonio and Sebastian, and it brings out one of the overlapping themes of the play, which is between love and service, the idea that to be a servant, to be a lover, these are similar kind of or adjacent power relations.

安东尼奥和西巴斯辛的这段对话引出了戏剧中一组互相重叠的主题，即爱情与效劳之间的关系，以及仆人和爱人的相似之处。

Antonio wants to be Sebastian's servant, just as, we've already heard. Viola wants to be the servant of Olivia and then puts herself in service to Orsino. So service and love, the position of servant, it's very overcharged, actually, throughoutTwelfth Night, and here's another example of it. And Sebastian's kind of rejection of this is confused and confusing -- and often, confused or confusing speeches in Shakespeare, actors tell us, tend to suggest over-emotion or emotion that hasn't fully been articulated or can't be fully articulated.

从这段对话中，我们看出安东尼奥想继续作西巴斯辛的仆人，同样，薇奥拉也想成为奥丽维娅的仆人，因为她认为这样就可以为奥西诺服务。这里重点突出了效劳与爱情，以及仆人的地位。实际上，在《第十二夜》整部戏剧中，这是又一个在强调这些内容的例子。西巴斯辛对于安东尼奥这个提议的拒绝是含混且令人困惑的。在莎剧中，通过这种含混困惑的台词，演员们往往是在向我们传递一种过度的情绪，传递一种未被充分表达，或者无法被充分表达的情绪。

So as Sebastian is saying that he is very emotional -- “I am yet so near the manners of my mother … mine eyes will tell tales of me” -- it's a very long involved way of saying ‘I'm going to cry if you keep going’ or ‘I'm near to tears’ -- I love the fact that Sebastian says where he's going, even in the act of saying, ‘No, don't don't come with me.’ That seems a real sign to me of the dividedness about this scene of parting, which is also a scene of kind of bonding and reconnection. If you really wanted to break with someone and to go off somewhere, you wouldn't tell them where you were going.

西巴斯辛说自己其实是一个十分情绪化的人，他说“我的心是怪软的，还不曾脱去我母亲的性质，......我的眼睛里就会流露出我的弱点来。”这一长段台词的核心就是“如果你坚持这样的话，我就要哭了”。我很喜欢西巴斯辛说他要前往哪儿的这段，虽然他对安东尼奥说“不，不要，不要跟我一起”，但他还是对安东尼奥说了此行的目的地。我认为，这才是真正意义上的离别场景，同时这一幕也构建出了两人亲密关系，并为之后他们的相逢做了铺垫。因为，如果你真的想离开某个人，去到另一个地方，你是不会告诉他说你要去哪儿的。

And Sebastian leaves on that note: “Farewell.” And Antonio -- I don't if you can hear it, but you can certainly see it if you go into the speech on the page -- Antonio begins to speak in verse. He's been speaking in prose with Sebastian. And what's important about those forms is when they change, is when a scene that has been in prose, which has quite loose rhythms, turns to be in inverse. It would be like a moment in a jazz song or something where the tempo changes. You would be able to hear that, and speaking in verse and speaking in a soliloquy, speaking alone on stage, those two formal factors both give this speech of Antonio’s much more weight, much more emotional weight and much more authenticity.

西巴斯辛对安东尼奥说“再会了”。至于安东尼奥在此时开始用韵文形式说台词了。之前，他一直用散文体形式与西巴斯辛对话。这个变化很重要，因为当结构形式变化时，那种韵律松散的散文式场景一下子就变得讲求韵律了。就像是爵士乐中节拍突然改变。你可以听出这种变化，韵文形式的台词和独白形式的台词，这两种正式的结构都让安东尼奥的台词显得格外有分量，情绪格外丰富，格外真挚。

And this word that seems most important to me here is “Come what may, I doadorethee so / That danger shall seem sport and I will go.” Antonio sets up here why Orsino’s court is dangerous to him, and why it is going to be a risk to him to follow Sebastian. But nevertheless, in that couplet -- which is such a common way that Shakespeare ends a scene and gives us a decisive sort of decision point or a moment to work with -- that couplet “So / go,” Antonio vows that his passions will take him to follow Sebastian. And we can see -- “love,” “desire,” “kill,” “adore” -- this is an overwrought exchange. It's high emotion.

我觉得，安东尼奥说的最重要的一句话是“但无论如何我爱你太深，履险如夷我定要把你寻。”他在这里解释说奥西诺的宫廷对他来说十分危险，所以，如果跟随西巴斯辛一同前往，他会遭遇巨大危险。莎士比亚经常会以一组对句结束一个场景，为我们展现一个关键的决定或时刻。这里的这组对句也是如此，安东尼奥发誓他对西巴斯辛强烈的感情促使自己不顾自身安危，一路跟随着他前往危险之地。在这里“交情”、欲望、“死”，以及“爱”等词激烈地交替碰撞表达着极为强烈的感情。

I think that Shakespeare has brought Antonio into the play to give us an example of a different kind of -- another kind of love, not necessarily a different kind. Often performances understand Antonio and Sebastian's love as homosexual, in some, either reciprocally or one-sidedly, and certainly Antonio’s description of his feelings for Sebastian as ‘adoration’ -- that's a pretty -- 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 being, 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. And that gives us a slightly different view of this relationship, because Antonio then becomes the model of a generous or selfless love, that what he tends to be doing is giving things to Sebastian, protecting him, and then ultimately giving him away or watching while he is given away to someone else.

我认为，莎士比亚将安东尼奥这个角色安排进来，是想为我们展现另一种的爱情，这种爱情与之前那些爱情并没有什么不同。很多戏剧表演会将安东尼奥和西巴斯辛之间的爱刻画成同性之爱。在一些戏剧作品中，他们之间的爱情是相互的，在另一些作品中，这种爱情又是单方面的。安东尼奥在诉说对西巴斯辛的感情时，用到了“爱”这个词，在莎士比亚那个年代，这个词所描绘男性之间的关系比我们当今所说的男性间关系更为亲密。在那个时代，男性经常谈论对同性伙伴的爱，他们认为这种亲密之情类似于灵魂伴侣之间的情谊。但即便是在那个年代，在当时的语境下，我依旧觉得“我爱你太深”这句话所表达的感情太过于浓烈，太过于露骨了。这就让我们对安东尼奥和西巴斯辛之间的感情有了些许不一样的看法，因为在这里安东尼奥是慷慨无私爱情的典范，他给予西巴斯辛很多东西，保护着他，并且最终甘愿把他交给别人，看着他与他人成婚。

And that's a contrast with what's often been seen as a theme of the play, which is narcissism, or what Olivia says to Malvolio is “self-love.” “You are sick of self-love.” And Antonio’s relation to Sebastian could be a counter to that. So I think is a really interesting character who, together with the cross-dressing and the ambiguities, really brings this play out for me as a depiction of different kinds, different versions of love, and different versions of intimacy, including same-sex intimacy of different sorts.

这与戏剧中“自恋”这个主题形成了鲜明对比，“自恋”是奥丽维娅对马伏里奥的评价，是“自命不凡”，“你是太自命不凡了”。而安东尼奥对西巴斯辛的感情却恰恰相反。因此，我认为这个有趣的角色与戏剧中女扮男装和模棱两可等元素相结合，让我感受到了戏剧所刻画的那种与众不同的爱情，那种不同的亲密关系，如同性之间的亲密关系等等。

This speech comes from Act Two. Olivia has conceived a sudden passion for Orsino’s messenger, Cesario. She sends Malvolio to give Cesario a ring, telling him it’s a ring from Orsino that she wishes to return, but it's really a ring of her own -- a secret message of love to Cesario. When Viola in her guise as Cesario realizes how Olivia feels, she responds with this soliloquy that expresses her confusion and anticipates how the play’s confusions will be resolved.

下面这段台词选自第二幕。奥丽维娅突然对奥西诺的信使西萨里奥产生了好感。她派马伏里奥去送一枚戒指给西萨里奥，并告诉他这是奥西诺的戒指，她想把戒指归还给奥西诺。但实际上，这是奥丽维娅自己的一枚戒指，她想秘密地将戒指送给西萨里奥，作为他们之间的信物。假扮成西萨里奥的薇奥拉觉察出了奥丽维娅对自己的感情，说了这段独白。独白表达了她心中的困惑，她期待戏剧中的这些困惑最终都能得以解决。

d. Viola, 2.2.17-41, “I left no ring with her … It is too hard a knot for me t’untie.”

d. 薇奥拉，第二幕，第二场，第17-41行，“我没有留下戒指呀，......叫我打开这结儿怎么成。”

VIOLA I left no ring with her. What means this lady?

薇奥拉：我没有留下戒指呀。这位小姐是什么意思？

Fortune forbid my outside have not charmed her!

但愿她不要迷恋了我的外貌才好！

She made good view of me, indeed so much

她把我打量得那么仔细；真的，

That methought her eyes had lost her tongue,

我觉得她看得我那么出神，连我自己讲的话儿也顾不到了，

For she did speak in starts distractedly.

那么没头没脑，颠颠倒倒的。

She loves me, sure! The cunning of her passion

一定的，她爱上我啦；情急智生，

Invites me in this churlish messenger.

才差这个无礼的使者来邀请我。

None of my lord’s ring? Why, he sent her none!

不要我主人的戒指！嘿，他并没有把什么戒指送给她呀！

I am the man. If it be so, as ’tis,

我才是她意中的人；正是这样的话——事实上却是这样——

Poor lady, she were better love a dream.

那么，可怜的小姐，她真是做梦了！

Disguise, I see thou art a wickedness

我现在才明白假扮的确不是一桩好事，

Wherein the pregnant enemy does much.

魔鬼会乘机大显他的身手。

How easy is it for the proper false

一个又漂亮又靠不住的男人，

In women’s waxen hearts to set their forms!

多么容易占据了女人家柔弱的心！

Alas, our frailty is the cause, not we,

唉！这都是我们生性脆弱的缘故，不是我们自身的错处

For such as we are made of, such we be.

因为上天造下我们是哪样的人，我们就是哪样的人。

How will this fadge? My master loves her dearly,

这种事情怎么了结呢？我的主人深深地爱着她；

And I, poor monster, fond as much on him,

我呢，可怜的小鬼，也是那样恋着他；

And she, mistaken, seems to dote on me.

她呢，认错了人，似乎在思念我。

What will become of this? As I am man,

这怎么了呢？因为我是个男人，

My state is desperate for my master’s love.

我没有希望叫我的主人爱上我；

As I am woman (now, alas the day!),

因为我是个女人，唉！

What thriftless sighs shall poor Olivia breathe!

可怜的奥丽维娅也要白费无数的叹息了！

O Time, thou must untangle this, not I.

这纠纷要让时间来理清，

It is too hard a knot for me t’ untie.

叫我打开这结儿怎么成！

So this moment where Viola realizes the confusions and the human cost, maybe, of her appearance as Cesario is Viola’s longest speech after her first scene. It's an important moment when she is alone on stage in a kind of soliloquy form. So comedies are not really big on soliloquy. Comic characters understand themselves through dialogue, through talking to other people. That's the message of comedy, that we are most ourselves in company. The message of tragedy is kind of, we’re most ourselves when we're on our own, and that's why a tragedy tends to be all about soliloquizing. But in comedy, I think soliloquies tend to be moments of crisis or worry. They're moments which perhaps express something which is slightly contrary to the comic mood or the comic resolution of the plot.

这是薇奥拉自首次登场后说的最长的一段台词，这里她意识到了女扮男装成西萨里奥后所引发的混乱和代价。她独自一人站在舞台上诉说着这段重要的独白。其实，大部分的喜剧并不十分注重独白。喜剧角色往往是通过对话，通过与他人的聊天来表现自我。喜剧想要传递的内容就是，人们是在与他人的交往中展现最真实的自我。与之相反，悲剧要传递的则是人们是在独处时才会流露最真实的自己。因此，往往悲剧才会大量运用独白。而在喜剧中，多数时候，独白预示着危机和焦虑，传递着稍许背离喜剧轨迹的情绪和情节。

And here, Viola’s speech is all about confusion. She has some slightly abstracted and complex forms of speech which elevate what she's saying and elevate, perhaps, the jeopardy of the moment: “Disguise, I see thou art a wickedness / Wherein the pregnant enemy does much. / How easy is it for the proper false / In women’s waxen hearts to set their forms! / … Our frailty is the cause, not we.” So she's picking up the language of essential female conduct that she and Orsino have discussed, and she's thinking about how a woman, in particular, has been caught up in her disguise. And that language of being caught up, the language of knotting or something, is explicit in the end of the speech: “Time, thou must untangle this, not I. / It is too hard a knot for me t’ untie.” And that's a really interesting and relevant synopsis of comedy itself, in which it is usually the axis of time which resolves problems, they get sorted out, not necessarily through direct intervention or through character, but just through the unfolding of plot, the untangling of plot.

独白中薇奥拉思考的全是混乱与困惑。她运用略为抽象复杂的言语形式升华了语言的内容，也许还增强了此刻的危机感，她说“我现在才明白假扮的确不是一桩好事，魔鬼会乘机大显他的身手。一个又漂亮又靠不住的男人，多么容易占据了女人家柔弱的心！这都是我们生性脆弱的缘故，不是我们自身的错处。”她运用了和奥西诺讨论过的那种典型的女性行为语言，思考一位女性是如何被自己的伪装而着迷。这种着迷，这种纠缠打结，在台词的末尾表达得十分明确：“这纠纷要让时间来理清，叫我打开这结儿怎么成！”这点很有趣，它与喜剧本身的故事脉络息息相关。在喜剧故事中，很多时候都是由时间来解决这种种的问题，这些问题不是通过直接的干预或人为的动作解决的，而是通过情节的发展被逐步理清。

I think what's interesting about this speech is that Viola is alone on stage, that she's a little bit discomforted by her encounter with Olivia, she recognizes the triangle that the plot has established, and asks the question sort of rhetorically, ‘How is the play? How's the comedy going to work out now?’ She asks it, of course, just as we have met Sebastian, we've met her brother, who's given the answer. So it's an example of dramatic irony, I guess. Dramatic irony is when we as audience members know more than the characters, Viola’s questions in this speech are implicitly answered, have been answered, in the preceding scene with the introduction of Sebastian.

这段台词有趣的地方在于，这是薇奥拉独自站在舞台上说出的。她对于自己和奥丽维娅之间的感情纠葛感到有些许的不适，她觉察出了剧情构建的三角关系，并发问“这部戏剧，这部喜剧将如何理清这些纷乱的关系？”当然，就在她问出这个问题之前，我们已经见过了她的双胞胎哥哥西巴斯辛，而解决这些问题的办法就在西巴斯辛身上。所以，我认为这算是一个典型的戏剧性反讽。所谓“戏剧性反讽”，指的是观众知道比剧中角色更多的信息。薇奥拉在这里提的这个问题，在前文已经有了答案，在西巴斯辛出场时，我们就知道可以如何理清这个难题。

This speech comes from Act Two. Maria, Sir Toby, Sir Andrew, and Feste have just set in motion their revenge plot against Malvolio. They leave him a letter, forged in Olivia’s handwriting, that appears to declare Olivia’s love for Malvolio. Here, Malvolio reads the letter and is entirely taken in. The scene offers wonderful potential for comedy but also for discomfort, as the happiness Malvolio expresses here will ultimately convert to grief and anger as a result of this deception.

下面这段台词选自第二幕。玛利娅、托比爵士、安德鲁爵士和费斯特四人刚刚开始着手对马伏里奥的报复计划。他们伪造奥丽维娅的笔迹给他留了一封信，假借奥丽维娅之口，诉说着对马伏里奥的爱意。这便是马伏里奥读信的那场戏，他完全相信了信中的内容。这场戏充斥着喜剧的各种特点，但同时也让我们产生一种不适感。因为，马伏里奥此刻所表现出的愉快和欢乐最终将变成悲伤和愤怒。因为这一切不过是个骗局。

e. Malvolio, 2.5.143-183, “M.O.A.I. This simulation … I will smile. I will do everything that thou wilt have me.”

e. 马伏里奥，第二幕，第五场，第143-183行，“M.O.A.I.；这隐语......我要微笑；我要做每一件你吩咐我做的事。”

MALVOLIO “M.O.A.I.” This simulation is not as the

马伏里奥：M.O.A.I.这隐语可跟前面所说的不很合辙；

former, and yet to crush this a little, it would bow

可是稍为把它颠倒一下，也就可以适合

to me, for every one of these letters are in my name.

我了，因为这几个字母都在我的名字里。

Soft, here follows prose.

且慢！这儿还有散文呢。

If this fall into thy hand, revolve. In my

“要是这封信落到你手里，请你想一想。照我的

stars I am above thee, but be not afraid of greatness.

命运而论，我是在你之上，可是你不用慎怕富贵：

Some are born great, some achieve greatness, and

有的人是生来的富贵，有的人是挣来的富贵，

some have greatness thrust upon ’em. Thy fates open

有的人是送上来的富贵。你的好运已经向你

their hands. Let thy blood and spirit embrace them.

伸出手来，赶快用你的全副精神抱住它。

And, to inure thyself to what thou art like to be, cast

你应该练习一下怎样才合乎你所将要做的那种人的身份，

thy humble slough and appear fresh. Be opposite with

脱去你卑恭的旧习，放出一些活泼的神气来。对亲戚不妨

a kinsman, surly with servants. Let thy tongue tang

分庭抗礼,对仆人不妨摆摆架子;你嘴里要鼓唇弄舌地

arguments of state. Put thyself into the trick of singularity.

谈些国家大事，装出一副矜持的样子。

She thus advises thee that sighs for thee.

为你叹息的人儿这样吩咐着你。

Remember who commended thy yellow stockings and

记住谁曾经赞美过你的黄袜子，

wished to see thee ever cross-gartered. I say, remember.

愿意看见你永远扎着十字交叉的袜带；我对你说，你记着吧。

Go to, thou art made, if thou desir’st to be so. If

好，只要你自己愿意，你就可以出头了；否则

not, let me see thee a steward still, the fellow of

让我见你一生一世做个管家，

servants, and not worthy to touch Fortune’s fingers.

与众仆为伍，不值得抬举。

Farewell. She that would alter services with thee,

再会！我是愿意跟你交换地位的，

The Fortunate-Unhappy.

幸运的不幸者。”

Daylight and champian discovers not more! This is

青天白日也没有这么明白，平原旷野也没有这么

open. I will be proud, I will read politic authors, I

显豁。我要摆起架子来，谈起国家大事来；

will baffle Sir Toby, I will wash off gross acquaintance,

我要叫托比丧气，我要断绝那些鄙贱之交，

I will be point-devise the very man. I do not

我要一点不含糊地做起这么一个人来。我没有

now fool myself, to let imagination jade me; for

自己哄骗自己，让想象把我愚弄；因为

every reason excites to this, that my lady loves me.

每一个理由都指点着说，我的小姐爱上了我。

She did commend my yellow stockings of late, she

她最近称赞过我的黄袜子，和我的

did praise my leg being cross-gartered, and in this

十字交叉的袜带；她就是

she manifests herself to my love and, with a kind of

用这种方法表示她爱我，用一种

injunction, drives me to these habits of her liking. I

命令的方法叫我打扮成为她所喜欢的样式。谢谢我的

thank my stars, I am happy. I will be strange, stout,

命星，我好幸福！我要放出高傲的神气来，

in yellow stockings, and cross-gartered, even with

穿了黄袜子，扎着十字交叉的袜带，

the swiftness of putting on. Jove and my stars be

立刻就去装束起来。赞美上帝

praised! Here is yet a postscript.

和我的命星！这儿还有附启：

Thou canst not choose but know who I

“你一定想得到我是

am. If thou entertain’st my love, let it appear in thy

谁。要是你接受我的爱情，请你用微笑表示

smiling; thy smiles become thee well. Therefore in my

你的意思；你的微笑是很好看的。我的好人儿，

presence still smile, dear my sweet, I prithee.

请你当着我的面前永远微笑着吧。”

Jove, I thank thee! I will smile. I will do everything

上帝，我谢谢你！我要微笑；我要做每一件

that thou wilt have me.

你吩咐我做的事。

Malvolio here is reading the letter ostensibly from Olivia, but as we know, not so. It starts with this code or anagram, M.O.A.I., which is a sort of miniature version of the kinds of contorted logic that Malvolio is being encouraged to apply to the letter, that he feels as if he is working something out about it, and working out for himself how this applies to him and who has written it, when of course, he's falling completely into a trap which has been set for him.

马伏里奥以为这封信是奥丽维娅写给自己的，课我们都知道，事实并非如此。信的开头是“M.O.A.I.”这样一串密码，这是一个缩影，象征着马伏里奥被鼓动着去用来解读这封信的扭曲逻辑。马伏里奥认为自己可以从中解读出某种信息，解读出一些与自己有关的内容，并猜出这封信是谁写的。就这样，他完全落入了设置好的陷阱中。

So he realizes that all these letters are in "my name". And to me that emphasizes something which is quite odd about the play, which is the overlap between the names.It's not exactly clear why Viola and Olivia are almost anagrams of each other, and Malvolio, too, seems a version of that, but with this negative, ‘Mal,’ in front of it.There’s some circulation of letters and of identities going on in the naming in this play, which is emphasized here in the riddle.

他推断这字母都来自自己的名字。我认为，这里突显出了戏剧一个很古怪的地方，那就是人名之间的相似。我们无法明确得知为什么奥丽维娅和薇奥拉的名字会如此相似，甚至连“马伏里奥”也跟它们都很像，就像是在这两个名字前面加了“马伏”这个前缀似的。在这部戏中，从人物的命名中可以看出字母和身份的变化，而信开头的这串密码则恰好突出了这一点。

And we can see that Malvolio’s set up here with an idea about social mobility that the play itself is absolutely against.It's so interesting to me that this has become one of the great quotations from the play when it's something that the play itself so vehemently disagrees with: “Some are born great, some achieve greatness, and some have greatness thrust upon ‘em.”That's a model of how you can rise in a society, and it's a model which is encouraging Malvolio to this overweening sense of being the husband of Olivia. But it's not what the play believes. This is not a play in which people marry out of their station or have greatness thrust upon them. You're either -- I think in Shakespeare, you're great when you start, or you're not great at all.

在这段剧情中，我们看到马伏里奥产生了改变自己社会地位的想法，不过这个想法是戏剧特别批判的。这一点就很有意思，因为台词中说到“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”，这一句已经成为了这部剧中一个被频繁引用的句子，然而戏剧本身却并不赞同这个观点。这句话探讨了提升社会地位的方式，这让马伏里奥产生了一种自负的情绪，他妄想通过与奥丽维娅结合实现自身地位的突破。但戏剧并不认同这样的观点。在这部戏剧中，剧中人物无法通过婚姻来改变自身的地位，不存在什么“送上来的富贵”。在所有莎剧中，那一个个角色要么是生来就富贵的，要么就根本得不到富贵。

We've got this very elaborate mannered letter, ostensibly from Olivia, and the “Fortunate- Unhappy signature” is the sort of paradox of love in this play, and perhaps the paradox of the of the play itself, the movement towards kind of enjoyment and towards melancholy, which so characterizesTwelfth Night.

这封署名为“幸运的不幸者”的真挚书信是仿照奥丽维娅的笔迹写的，这封信就像是剧中的爱情悖论，甚至这部戏剧本身就是一个悖论，它朝着欢愉发展的同时，也在向着忧伤惆怅前进，这是《第十二夜》这部剧的一个显著特色。

And then we see Malvolio moving round -- one of the things that's so prominent to me in the second part of this speech is how often he uses the word “I.”Iwill be proud,Iwill read politic authors,Iwill baffle Sir Toby.” And then most sadly, I think, for the audience who knows what's happening, “I amhappy.” “I thank my stars, I amhappy.” So this is a strange kind of assertion of self, of a Malvolio who isn't a steward, isn't predominantly defined by being in the service of someone else and being in relation to someone else, but is himself the first person in his own narrative. And that's a moment of self-assertion at which the play snatches from him: “I will be strange, stout, in yellow stockings, and cross-gartered” -- the play has three, I think, mentions of what Malvolio is going to look like before it actually brings him in on stage. This is a very careful piece of stage choreography, which is ramping up the expectation about how extraordinary this presence is going to be on the stage. And here is Malvolio starting it off: “Jove, I thank thee! I will smile. I will do everything that thou wilt have me.”

我们看着马伏里奥在舞台上走来走去。我很关注这段台词的后半部分，这里，马伏里奥频繁地使用了“我”这个字眼。他说“我要摆起架子来，谈起国家大事来；我要叫托比丧气”。接下来就是最令人伤感的一句话，因为知晓实情的观众都知道后续的剧情会是如何。马伏里奥说“我好幸福！”“谢谢我的命星，我好幸福！”这里的自我宣言很古怪，马伏里奥不再以管家的身份，不再通过服务他人而获得自我价值，不再通过与他人的关系明确自己的身份，这里，他以自己的名义说出了这段话。然而，戏剧很快就又夺走了他对自我的肯定，马伏里奥说：“我要放出高傲的神气来，穿了黄袜子，扎着十字交叉的袜带”。如果我没有记错的话，这里有三次提到了马伏里奥之后再次登台时要穿的衣着。这段舞台设计很巧妙，它将人们对于舞台上的荒诞离奇拔到了一个新的高度。马伏里奥一开始就说“上帝，我谢谢你！我要微笑；我要做每一件你吩咐我做的事。”

I think I don't know if it was always like this, but I think for modern audiences, this is such a painful speech. It's a speech which looks like a speech of self realisation, but which is the ultimate speech of self-deception, Malvolio is deceiving himself, but he's also very actively being deceived by the other characters, and in some sense by the play itself.

我不知道以前的观众对于这一段持有怎样的看法，但我认为，对于如今的观众而言，这段台词十分令人痛苦，它看起来像是一段自我宣言，但最终被证明这不过是自欺欺人。马伏里奥在欺骗自己，但是这种欺骗也是其他角色有意为之，或者说是这部戏剧刻意的设计。