Romeo and Juliet 3: The Language

Romeo and Juliet -- Part 3 -- “What’s in a name?” (The Language)

《罗密欧与朱丽叶》——第三部分——“名字代表什么？”（语言）

In our first two episodes onRomeo and Juliet, we said this play is intensely aware that love and loss -- desire and death -- are inextricably connected. In this episode, Simon Palfrey, Professor of English at the University of Oxford, discusses three speeches from the play that share this tragic awareness, but which also display the passionate energies of the two characters Professor Palfrey calls the most “intelligent” in the play: Juliet and Mercutio.

在前两集节目中，我们说到《罗密欧与朱丽叶》这部剧深刻地认识到了爱情与失去的关系，探索了欲望与死亡之间那剪不断、理还乱的关系。在今天的这集节目里，牛津大学英语文学教授西蒙·帕尔弗里将为我们分析三段体现了这种悲剧意识的台词。同时，这几段台词也体现出了帕尔弗里教授心中全剧最“智慧”的两个角色身上那狂热强烈的巨大能量，这两个角色就是朱丽叶和茂丘西奥。

This speech takes place in Act One, as Romeo, Benvolio, and Mercutio are on their way to sneak into the Capulets’ party. Romeo is afraid that this evening will lead to some dark future consequence, for, as he says, “I dreamt a dream tonight.” His mention of a dream prompts this fantastical speech from Mercutio. His friends dismiss it afterwards - Romeo saying “Thou talk’st of nothing,” while Benvolio says, “This wind ... blows us from ourselves.” But for audiences, this speech can prove one of the most memorable, cryptic, and even frightening moments of the play.

第一段台词选自戏剧第一幕，罗密欧、班伏里奥和茂丘西奥走在路上，计划着偷偷溜进凯普莱特家的宴会。罗密欧担心这一晚可能会导致某些可怕的事情，他说：“昨天晚上我做了一个梦。”这句话引发了他的好友茂丘西奥一段梦幻奇妙的发言。对于茂丘西奥的话，他的两个朋友却表现得很不屑一顾。罗密欧说：“你全然在那儿痴人说梦”；班伏里奥则表示：“你讲起的这一阵风，不知把我们吹到哪儿去了。”但对于观众而言，这段台词绝对称得上是全剧最让人印象深刻、最晦涩难懂，甚至是最令人毛骨悚然的一个片段了。

MERCUTIO O, then I see Queen Mab hath been with you.

茂丘西奥：啊！那么一定春梦婆来望过你了。

She is the fairies’ midwife, and she comes

她是精灵们的稳婆；她的身体

In shape no bigger than an agate stone

只有郡吏手指上

On the forefinger of an alderman,

一颗玛瑙那么大；

Drawn with a team of little atomi

几匹蚂蚁大小的细马替她拖着车子，

Over men’s noses as they lie asleep.

越过酣睡的人们的鼻梁，

Her wagon spokes made of long spinners’ legs,

她的车辐是用蜘蛛的长脚作成的；

The cover of the wings of grasshoppers,

车篷是蚱蜢的翅膀；

Her traces of the smallest spider web,

挽索是小蜘蛛丝，

Her collars of the moonshine’s wat’ry beams,

颈带如水的月光；

Her whip of cricket’s bone, the lash of film,

马鞭是蟋蟀的骨头；缰绳是天际的游丝。

Her wagoner a small gray-coated gnat,

替她驾车的是一只小小的灰色的蚊虫，

Not half so big as a round little worm

它的大小还不及一个贪懒丫头的指尖上

Pricked from the lazy finger of a maid.

挑出来的懒虫的一半。

Her chariot is an empty hazelnut,

她的车子是野蚕用一个榛子的空壳

Made by the joiner squirrel or old grub,

替她造成，

Time out o’ mind the fairies’ coachmakers.

它们从古以来，就是精灵们的车匠。

And in this state she gallops night by night

她每夜驱着这样的车子，

Through lovers’ brains, and then they dream of love;

穿过情人们的脑中，他们就会在梦里谈情说爱；

On courtiers’ knees, that dream on cur’sies straight;

经过官员们的膝上，他们就会在梦里打躬作揖；

O’er lawyers’ fingers, who straight dream on fees;

经过律师们的手指，他们就会在梦里伸手讨讼费；

O’er ladies’ lips, who straight on kisses dream,

经过娘儿们的嘴唇，她们就会在梦里跟人家接吻，

Which oft the angry Mab with blisters plagues

可是因为春梦婆讨厌她们嘴里吐出来的糖果的气息，

Because their breaths with sweetmeats tainted are.

往往罚她们满嘴长着水泡。

Sometime she gallops o’er a courtier’s nose,

有时奔驰过庭臣的鼻子，

And then dreams he of smelling out a suit.

他就会在梦里寻找好差事；

And sometime comes she with a tithe-pig’s tail,

有时她从捐献给教会的猪身上拔下它的尾巴来，

Tickling a parson’s nose as he lies asleep;

撩拨着一个牧师的鼻孔，

Then he dreams of another benefice.

他就会梦见自己又领到一份俸禄；

Sometime she driveth o’er a soldier’s neck,

有时她绕过一个兵士的颈项，

And then dreams he of cutting foreign throats,

他就会梦见杀敌人的头，

Of breaches, ambuscadoes, Spanish blades,

进攻、埋伏、锐利的剑锋、

Of healths five fathom deep, and then anon

淋漓的痛饮——忽然

Drums in his ear, at which he starts and wakes

被耳边的鼓声惊醒，

And, being thus frighted, swears a prayer or two

咒骂了几句，

And sleeps again. This is that very Mab

又翻了个身睡去了。就是这一个春梦婆

That plats the manes of horses in the night

在夜里把马鬣打成了辫子，

And bakes the elflocks in foul sluttish hairs,

把懒女人的龌龊的乱发烘成一处处胶粘的硬块，

Which once untangled much misfortune bodes.

倘然把它们梳通了，就要遭逢祸事；

This is the hag, when maids lie on their backs,

就是这个婆子在人家女孩子们仰面睡觉的时候，

That presses them and learns them first to bear,

压在她们身上，

Making them women of good carriage.

教会她们怎样养儿子；

This is she—

就是她——

ROMEO Peace, peace, Mercutio, peace.

罗密欧：得啦，得啦，茂丘西奥，别说啦！

Thou talk’st of nothing.

你全然在那儿痴人说梦。

The reason I've chosen this speech is because it's a very famous, celebrated speech, which seems to add almost nothing to the play, I mean, apart from being sort of a tour de force of the imagination. And it's a speech that is, equally, almost never cut from performances. I think often it's performed just because it's vivid and a great showpiece, but I think that Mercutio is a far more pregnant figure than is usually understood, in a sense more pregnant with the play-world. I think this is so for two main reasons which we see in this play. First, he sort of establishes a very, sort of literally dangerous understanding of language and sex which the play has, its intimate feeling for heady minds and explosive privacy.

我想和大家分享这段台词，是因为它真的非常有名，很是为人们所称道。不过，说实话，这段台词除了赋予了戏剧超凡绝伦的丰富想象之外，似乎也并没有为戏剧增添什么实质性剧情。但是几乎每一场《罗密欧与朱丽叶》却都保留了这段台词。我认为保留这段台词也许只是因为它十分生动形象，但对于茂丘西奥这个角色本身，他其实远比人们所了解的要更为深刻有内涵，尤其是从戏剧的角度来理解他的话就更是如此了。从句中我们可以得出两个主要原因：首先，茂丘西奥的这段话对剧中的语言和性爱做了一番极为危险的诠释，刻画了一副令人迷乱的画面，揭露了那些隐匿于深处的隐私。

And second, I think that Mercutio sort of expresses these passions that it becomes Juliet's purpose to embody and to channel. So I think Mercutio can be understood to exist in a kind of rival play, a sort of virtual thing that grows out of his witticism. So I was saying earlier about how he's sacrificed halfway through the play, and part of this is because he's already articulating a rival play.

其次，我还觉得茂丘西奥身上的所展现出的火热激情，也是朱丽叶渴望拥有，并愿意为之倾注一切的。我们可以认为茂丘西奥存在于一部讲述对立关系的戏剧，而这部剧这在一定程度上是从他的俏皮打趣的话语中衍生出来的。就像我之前说的，茂丘西奥在戏剧发展到一半的时候就死去了，一部分原因是在于当时的他已经构建好了这部讲述对立关系的戏剧。

In the Queen Mab speech -- now it's a classic Shakespearean construction, if you like, with these conceits and fables tumbling in one out of another, and he offers a rival version of love and creation, a rival aesthetic to, say, Romeo's borrowed lyricism or Juliette's lucidity, a rival idea of how the world can be made and remade simply in the eyes of a lover.

这段关于春梦婆的台词如今已是公认的莎士比亚经典语言结构，里面充满了连珠的妙语和生动的寓言。在这段话中，他书写出了爱和创造之间的对立，勾勒出了一种对立美学，比如罗密欧借用的陈词滥调和朱丽叶明晰简易的语言之间的那种对立之美。同时这段台词还包含着一种对立的观念，讲述了世界是如何被创造，以及它又是如何在恋人的眼中被再造的。

So it's essentially a tale of genesis, tracing the spirit of desire and inception. And the vision is most obviously childlike in its anthropomorphic use of vegetable and insect life, its magnifying or, say, quickening of a natural world usually thought too small to describe or too static to command interest.

这段话从本质上看讲述了一个关于创世的故事，在探寻欲望和起源的根本内核。而且，这段台词还很孩子气，充满了童稚的天真，它将植物和昆虫拟人化，放大了自然界，赋予它勃勃生机。通常，在大多数人眼中，自然界都相当渺小细微，很难用言语描述，同时它的静滞也很难吸引人们的关注和兴趣。

And I read all this sort of stuff, and it reminds me of those early Disney cartoons zooming into an ant nest or a cricket's body and finding an alternative world. But the speech, for all its childlike brilliance, is also one of escalating violence. So what begins as an image of diminutive tiny charm soon turns into an anatomized or brutalized body. Magnification becomes evisceration, promising nothing but a skeleton, the word there “atomy,” meaning a skeleton.

当我阅读这类文字的时候，头脑中往往会浮现出迪士尼动画中那些在蚂蚁洞或蟋蟀窝中迂回前行的画面，就像是在探寻一个全新的世界。不过，这段台词虽然有着鲜明亮眼的童真童趣，但却也包含着不断升级的暴力元素。最开始是小小的可爱精灵，到后来却是被分解、被鞭笞的尸体。放大术变成了切除术，最后仅留下了一副骷髅，台词中的“细马”（atomi）指的就是骷髅。

And after a while, he envisages nature as a sort of rapidly enveloping web, as the cell, like cells dividing and subdividing and conquering by various kinds of violence or evacuation or dismembering. So you notice the wagon spokes made of long spinners legs, cover from the wings of grasshoppers, a whip from the bones of crickets. And then its sort of wonder -- so this idea of taking the natural world and repurposing it with your own slightly dangerous or slightly troubling purposes-- it’s little wonder that it's torturous dream vision mutates into a sort of obscure paranoid nightmare.

接着，他又把大自然想象成为一张迅速织成的蜘蛛网，就像是一个不断分裂、再分裂的细胞，并最终被各种暴力、抽空和肢解征服。大家一定也注意到了春梦婆所驾的车子的车辐是用蜘蛛的长脚做的，车篷是蚱蜢的翅膀，而马鞭则是蟋蟀的骨头。这里蕴含了一个奇妙的想法，就像是人们抽取出自然的一部分，把它们重新加以利用，以使它们符合自己有些危险、有些纷乱的目的。自然而然地，这个诡异可怕的梦境变得模糊扭曲。

So here, “Sometime she driveth o’er a soldier’s neck, / And then dreams he of cutting foreign throats, / Of breaches, ambuscadoes, Spanish blades, / Of healths five fathom deep, and then anon / Drums in his ear, at which he starts and wakes / And, being thus frighted, swears a prayer or two / And sleeps again.” You think, where's this coming from? And the idea here is that I think that yeah, this is not a harmless fairy here. For example, she's seeding dreams of war and conquest, the violence of seafaring imperialism, death upon death from treachery, or execution, cutting the foreign throats, or ambush, the word “ambuscadoes,” meaning ambush, or drowning, being five fathoms deep, and something like the violence of Verona becomes kind of pan-geographic, pan-Mediterranean, like a microcosm of geopolitical terror.

台词中写道：“有时她绕过一个兵士的颈项，他就会梦见杀敌人的头，进攻、埋伏、锐利的剑锋、淋漓的痛饮——忽然被耳边的鼓声惊醒，咒骂了几句，又翻了个身睡去了。”你们觉得这一段故事的来源会是什么呢？我觉得这绝对算不上是一个单纯无害的童话故事。例如，春梦婆播撒着战争和征服的梦境，梦中有着海上帝国的暴虐，有着因背叛和刑罚所引起的一次次杀戮，割断外敌的喉咙、伏击，同时还提到了淹死，淹死于五英寻深的水下等等。维洛那城中的暴力突破了地理范围的限制，超越了地中海地区，变成了地缘政治恐怖的缩影。

You go to sleep here and your nightmare either remembers battles abroad or so almost engenders battles abroad. And so if Mercutio here is sort of constructing his own rival cosmos, it's one in which metaphoric language takes the place of bodies and action and even motive, but then his fantasy eventually turns into exactly what he would escape, misogyny, physical disgust. The invisible seas of life turned ugly and malevolent.

即便已经进入了梦乡，但人们在梦中却还惦记着，甚至还加入了境外的战争。如果说茂丘西奥构建的是属于他自己的对立宇宙，那么在这个宇宙中，隐喻性的语言取代了身体和行动，甚至动机，但他的幻想却最终却变成了他想要逃避的东西——对女性的厌恶，对生理的厌恶。生活的无形汪洋显露出了丑陋凶狠的模样。

So he says, “This is that very Mab / That plats the manes of horses in the night / And bakes the elflocks in foul sluttish hairs, / Which once untangled much misfortune bodes. / This is the hag, when maids lie on their backs, / That presses them and learns them first to bear, / Making them women of good carriage.” And so we've got the fairytale with which speech began has mutated into the “good carriage” of unwanted pregnancy. And Mab has metamorphosed into a devilish succubus. So there's this effective clairvoyance in everything Mercutio says -- his visions and curses work telepathically and live beyond him in others. So for example, Romeo begs him, “Peace, peace,” and Benvolio complains that “these words blow us from ourselves.”

茂丘西奥说：“就是这一个春梦婆，在夜里把马鬣打成了辫子，把懒女人的龌龊的乱发烘成一处处胶粘的硬块，倘然把它们梳通了，就要遭逢祸事；就是这个婆子在人家女孩子们仰面睡觉的时候，压在她们身上，教会她们怎样养儿子。”到这里，最开始的那个童话演变成了意外怀孕和“养儿子”。就此，春梦婆变异成了那邪恶的与睡梦中男子交媾的女梦淫妖。茂丘西奥说的每句话都有着强烈的预见性，他的幻想和诅咒甚至还传递到了其他人身上。罗密欧听完这段话后，便哀求道：“得啦，得啦，茂丘西奥，别说啦！”，班伏里奥也抱怨说：“你讲起的这一阵风，不知把我们吹到哪儿去了。”

But yeah, they're sort of right in that Romeo is not being blown from his self, but strangelyintohimself. So this speech gathers a kind of magical energy in that the moment that Mercutio stopped speaking, Romeo confesses that his mind misgives, and the night revels which Mercutio is leading him are going to “expire the term / Of a despisèd life.”

不过对于罗密欧，这段话并没有把他吹到某个不知道的地方，反而让他看清了自己的内心。这段话凝结着一股魔力，当茂丘西奥说完停下时，罗密欧坦明了心中的担忧，而茂丘西奥带他享受的那晚狂欢迷醉也正引着他走上一条“不可知的命运”之路。

And so Queen Mab becomes a kind of midwife of violence, turning desire into death. I think that all this stuff about the closeness of the imagination at work here, the platting the manes of horses in the night, the courtier’s knees, the lawyer’s fingers, the ladies’ lips, the blisters, plagues, all this sort of stuff -- the kind of magnification it gives us sort of, as though you've got this sort of microscope upon the tiniest movements of body -- I think it showcases the terrorism, perhaps the charisma of a truly Shakespearean imagination. And by that, I mean, a mind that, and a vision that cannot rest in what's merely apparent, that cannot help seeing what lies beneath, that cannot resist looking so closely at apparent beauty that it begins to look like horror and Mercutio’s X-ray vision is, in some ways, the play’s.

春梦婆助力了暴力的出生，将欲望变成了死亡。想象力在这里发挥出了强大作用，夜里的马鬣、官员们的膝盖、律师的手指、娘儿们的嘴唇、水泡等等，让我们看到了被放大了的身体上的最细微动作，一切都被放大，恐怖也由此而生，但同时我们也感受到了莎士比亚那超凡绝伦的想象力。人们的思维和视野不能仅仅停留在表面，我们总是会忍不住想要查看隐藏在表面之下的内容，也总是忍不住想要仔细观察那些显而易见的美，而通过细致入微的观察，我们会发现这种美竟然呈现出了惊悚的模样。茂丘西奥的观察就像是X光片一样透彻详尽，而这也正是这部戏剧的观察。

This dialogue comes from the famous balcony scene in Act Two, when Juliet steps outside and speaks to herself, not knowing that Romeo is listening in the garden below. Juliet’s words reveal the strength of her newfound passion for Romeo, as well as her startling ability to imagine a different relationship to the world in which she’s grown up -- although that new relationship might prove difficult to attain.

第二段台词选自第二幕那段著名的阳台戏。朱丽叶走出卧房，来到阳台上，自言自语地述说着心中的思绪，她并不知道罗密欧当时正躲在下面的花园中偷偷地听着。朱丽叶述说了自己刚刚觉察出来的对罗密欧的爱。同时，我们还可以感受到朱丽叶的强大能力，她敢于设想与从小到大所生活的世界构建一个全新的关系，即便这种全新的关系会很难实现。

JULIET O Romeo, Romeo, wherefore art thou Romeo?

朱丽叶：罗密欧啊，罗密欧！为何你偏偏是罗密欧呢？

Deny thy father and refuse thy name,

否认你的父亲，抛弃你的姓名吧；

Or, if thou wilt not, be but sworn my love,

也许你不愿意这样做，那么只要你宣誓做我的爱人，

And I’ll no longer be a Capulet.

我也不愿再姓凯普莱特了。

ROMEO aside Shall I hear more, or shall I speak at this?

罗密欧（在暗处）：我是继续听下去，还是现在就对她说话？

JULIET ’Tis but thy name that is my enemy.

朱丽叶：只有你的名字才是我的仇敌；

Thou art thyself, though not a Montague.

你即使不姓蒙太古，仍然是这样的一个你，

What’s Montague? It is nor hand, nor foot,

姓不姓蒙太古又有什么关系呢？它又不是手，又不是脚，

Nor arm, nor face. O, be some other name

又不是手臂，又不是脸，又不是身体上

Belonging to a man.

任何其他部分。

What’s in a name? That which we call a rose

啊！换一个名字吧！姓名本来就是没有意义的；我们叫做玫瑰的这一种花，

By any other word would smell as sweet.

要是换了个名字，它的香味还是同样的芬芳；

So Romeo would, were he not Romeo called,

罗密欧要是换了别的名字，

Retain that dear perfection which he owes

他的可爱的完美

Without that title. Romeo, doff thy name,

也决不会有丝毫改变。罗密欧，抛弃你的名字吧；

And, for thy name, which is no part of thee,

我愿意把我整个的心灵，

Take all myself.

赔偿你这一个身外的空名。

ROMEO I take thee at thy word.

罗密欧：那么我就听你的话，

Call me but love, and I’ll be new baptized.

你只要叫我做爱，我就重新受洗，重新命名；

Henceforth I never will be Romeo.

从今以后，永远不再叫罗密欧。

This is kind of an amazing moment because it's a very simple moment in some ways, but it's the most famous moment in the play. And it has a fair claim to be the most famous moment, not only in Shakespeare, but in all plays, perhaps rivaled only by Hamlet's “to be or not to be” speech.

这段台词太精彩了！虽然很简单，但却是全剧最出名的一段。这甚至不只是莎剧中最著名的桥段，而是有史以来一切戏剧作品中最为出名的片段。能与之相提并论的大概也只有哈姆莱特的那段“生存还是毁灭”的台词了吧。

Now, firstly, I want to sort of situate the speech, in a sense, scenically. So this is the first moment that Juliet truly speaks to herself. So on the one hand, that might suggest we're getting a moment here where Juliet is expressing her inner thoughts. But even if it's spoken out loud, it's overheard -- but what if it's inward thought andstilloverheard, again, this question of the play, thinking about the ambivalence of freedom, the difficulty of freedom.

现在，我想先从剧情定位角度分析一下这段台词。此刻，朱丽叶是第一次真正意义上的自言自语。这意味着朱丽叶此时所说的都是内心的想法。她说出了心中所想，这些话却被别人偷听到了。内心的想法会被别人听见，于是这又回到了戏剧的探讨的那个问题上，它促使我们思考自由中的矛盾和困难。

But of course, this moment is also basically one of simple excitement and anticipation: at last I’m alone, at last I can speak. Now it's no accident that this moment should herald the most famous line, “O Romeo Romeo, wherefore art thou, Romeo.” Okay. Cause it's the first full line spoken by Juliet to herself.

不过当然，这一幕也包含着最简单、最根本的兴奋和期待。朱丽叶心里想着：我终于可以一个人呆着了，我终于可以说出内心的想法了。所以她开口便是：“罗密欧啊，罗密欧！为何你偏偏是罗密欧呢？”这是剧中朱丽叶对自己说出的第一句完整的话。

Now, the line’s often misheard or misinterpreted so as to mean, “Where is Romeo? Where are you?” Rather than why, or with what dire consequences, he is named Romeo. It's likely that Shakespeare recognized potential ambiguity. He could have written why are youcalledRomeo instead ofwherefore,and that he doesn't do this allows us, I think, legitimately to hear the question we feel sure she is thinking, even, as it were, inside a different question: Where art thou, Romeo? So her words express the wish we all share in and the presence we all believe in: He is here.

但这句台词却常常被误听成，或者被误解成：“罗密欧啊，罗密欧！何处是翩翩的罗密欧呢？”而不会想到朱丽叶是在问罗密欧为什么要叫罗密欧，不会想到她在思考这个名字会带来的可怕后果。似乎莎士比亚在创作时就已经觉察出了这种可能的误会。他在写台词时，完全可以写“你为什么取名叫做罗密欧呢？”而不是选用“为何”（wherefore）这个词，英文原文中表示“为何”（wherefore）的单词和表示“何处”（where）的单词在音形都非常相似。我猜想他就是故意不想让我们听清楚，刻意不想让我们弄明白朱丽叶究竟在想什么，就是想让我们听岔了，以为她在问另一个的问题，在问：罗密欧，你在何处呢？朱丽叶的话表达了我们都有的一个希冀，讲述了一个我们都已知的情况，那就是罗密欧就在现场。

Now, the crucial thing here is how Juliet is speaking to different audiences: herself, audience, unknown audience. And this suggests how her speaking is always kind of agitated with imminence, with things about to happen. It's anticipatory in its very setup. She doesn't just speak what she already knows, Juliet, right, she doesn't just say finished thoughts. Often by the time the speech has ended, she's changed, or the speech elicits or engineers change. So what I'm saying there is that the way in which the speech is set up as doubly heard and doubly addressed, and she doesn't realize that, means that the speech has potentials, which she, as it were, has to catch up to. So the speech is moving right ahead of her and bringing her with it.

这里我们要注意朱丽叶其实是在对不同的听众群体说话，她在对自己说话，在对台下的观众，也在对未知的观众说话。她的话语因危机而躁动，因即将发生的事情而焦虑，预示着未来。她所说的并不只是她已经知晓的事情，也不只是成型的想法。很多时候，台词说完了，她的想法却发生了改变，促使她说出这段台词的诱因和动机也发生了变化。莎士比亚的这段台词是写给两群人听的，台词的对象就有两个群体，但朱丽叶本人却没有意识到这一点，这意味着朱丽叶需要去了解这段话的潜在的可能性。这段台词是超前的，台词带领着她向前奔跑。

Another puzzle about this speech is that Juliet bemoans his Christian name rather than his surname. This might seem ridiculous. Cause it's Montague, of course, that’s the problem. And the answer here is that “Romeo” is so much more intimate to Juliet than “Montague” could ever be. The sound of his name is beautiful to her -- the more so in English with its adjacent sighs, “O,” separated only by the personal pronoun “me,” “O me o.” The relatively tinny and adult Montague couldn't do this at all. So as it is, “Romeo,” thrice spoken, gathers a charge of eroticized wordplay, as one sense, that is, her response, her sort of projection of the name, is subverted by another sense, her powerful feelings for the name.

此外，这段台词还有一个令人困惑的地方。朱丽叶抱怨的是罗密欧的教名，而不是他的姓。这乍一看似乎很荒谬，因为一切的问题的根源在于蒙太古家族的姓。但朱丽叶之所以念叨着“罗密欧”这几个字，是因为这三个字对于朱丽叶而言，远比“蒙太古”更加亲切。“罗密欧”这个教名的发音听在朱丽叶耳中是十分优美动听的。“罗”（O）和“欧”（O）读起来就像两声叹息，中间隔了一个“密”（me）字，整个听上去就像是“哦-我-哦”。相比之下，“蒙太古”的发音却是尖细又成熟，根本无法产生那样的效果。朱丽叶连说三声“罗密欧”，就像是在玩一场情色的文字游戏。她的反应，她对这个名字的投射，已经被她对这个名字强烈的感情颠覆了。

Now, then, you get the actual, what she's doing with the words. So typically of Juliet’s speech -- they're very close to her, physically close, intimate to her emerging sensuality. So she traces his body in a kind of imaginative blazon: hand, foot, face -- I'm getting closer. She says, “My ears have yet not drunk a hundred words / Of thy tongue’s uttering, yet I know the sound.” So the sensory confusion here, is drinking, expresses a kind of synesthesia, as all her senses blend into a single excitement. And this is consistent with the basic purpose of Juliet in the play, or one of her basic purposes, to see through or exist before the divisions which separate experience from enjoyment. And her relish in the sound is felt all the more cause it returns her to the absent sight of his “dear perfection.” And you know, it returns it to the passion with which she repeats her Romeo's name, as she wants to feel the sounds rolling in her mouth.

从这里，我们可以真正地理解她所把玩的这些文字游戏。这是典型的朱丽叶式台词，这些话语与她非常贴合，是生理上的贴合，表现出了她内心涌动的欲望。朱丽叶想象着罗密欧的身体，想象着他的手、他的脚、他的脸，她觉得自己在一步步贴近罗密欧。她说：“我的耳朵里还没有灌进从你嘴里吐出来的一百个字，可是我认识你的声音。”她的肉体感官出现了混乱，“灌进”像是在饮酒，这属于联觉通感，她所有的官能感觉全都融汇成了单一的兴奋激动。这是朱丽叶贯穿全剧想要实现的基本目的，或者说基本目的之一，她希望抵达或超越那些将亲身体验和内心欢愉隔开的界线。她细细回味着这个名字的发音，这些音节让她再次意识到那“可爱的完美”的罗密欧不在自己身边。这个名字唤起了她心中的热情，她不断重复着罗密欧的名字，感受着这几个字的声音在舌尖翻滚游动。

Then we get the final thing about the speech, is of course, its famous thesis, as it were, about names -- “A rose by any other name would smell as sweet.” Now this can be seen as the epitome of Juliet’s would-be relationship to the given systems, institutions of her world. It suggests impatience with inherited forms, impatience with false idols, her wish to start from the ground up, without mediations or prejudice, “’Tis but thy name that is my enemy. / Thou art thyself, though not a Montague. / What’s Montague? It is nor hand, nor foot, / Nor arm, nor face. O, be some other name / Belonging to a man.” And obviously names are very important in this play, but dividing name and self is not so easy. Juliet runs through a series of options: Romeo repudiates his father's name, or she hers, or he being named differently, or simply removing his name as something that doesn't belong to him. Most characteristic of all, she wants to replace his name as a noun with a verb, “love.” But the signifier, a label by which a person’s known, can't just be discarded or replaced. Romeo's name precedes him, makes him a subject, locates him in the community. And the name isn't like a hand or a foot. Romeo could lose his hand or foot and retain his identity. Even her arguing about the rose is a bit suspect because of all the associations that come with the word.

最后，我们再来探讨一下这里那个有关名字的著名论点：“玫瑰要是换了个名字，它的香味还是同样的芬芳”。我们可以将这个观点看作是朱丽叶与她所存在的世界中的既定制度、既定机制的关系的缩影。继承的形式使她烦躁，虚假的崇拜令她厌倦，她希望从头开始，抛开一切的委曲求全，摈弃一切的偏见和成见。“只有你的名字才是我的仇敌；你即使不姓蒙太古，仍然是这样的一个你，姓不姓蒙太古又有什么关系呢？它又不是手，又不是脚，又不是手臂，又不是脸，又不是身体上任何其他部分。”在这部剧中，我们可以明显感受到名字的重要性，但是将名字和本我区分却并非易事。朱丽叶想到了一系列可能的选择：可以让罗密欧放弃家族的姓，也可以是她放弃家族的姓凯普莱特，还可以让罗密欧换个名字，又或者再简单一些，把名字作为某个身外之物给去掉。最有意思的是，朱丽叶甚至还想用动词“爱”来取代罗密欧的名字。但是，名字这个符号，作为一个人被认识的标志，是不能被随便抛弃或取代的。罗密欧的名字已经超越了他本人，让他得以作为独立个体存在于他所处的社会中。名字其实根本不像手，也不像脚。罗密欧可以没有手，可以没有脚，但他将永远保留自己的身份。而且由于这一切联想全都来源于单词，朱丽叶这段关于玫瑰的名字的论断其实也有点而站不住脚。

And Romeo says at the end, he will take herat her word. And of course there's a simple meaning here, that he's heard her confess her desire, and like a kind of magical genie, he appears to answer her words. There's a beautiful comic moment of meeting -- and she said, “Take all of me,” and he can't resist the invitation, he'll give off his name gladly, and in exchange, she will give herself to him. And so in some basic way, the exchange is exhilarating and irresistible. It’s also obviously dangerous and unsustainable, because if Romeo is her words come true, then as ever, there's a darker implication. If we take the words literally, as I think we always must in Shakespeare then to take her at her word is also not only to love her, to possess her -- and it certainly is this -- but it's to take her from herself.

朱丽叶说完这段话后，罗密欧突然站出来对她说：“那么我就听你的话。”莎士比亚这样安排情节的意图其实很简单：罗密欧听到了朱丽叶的内心告白，于是，就像精灵一样，应着她的话蹿了出来。这场戏剧性的相见美好又动人，朱丽叶说：“我愿意把我整个的心灵，赔偿你这一个身外的空名。”对此，罗密欧完全无法拒绝，还无抵抗之力，于是他欣然地表示愿意放弃自己的名字，作为交换，朱丽叶也愿意将自己的心灵全都交给他。这样的交换是令人欣喜，是无法抵御的。但同时，它也很危险，充满了不确定因素。朱丽叶口中有关罗密欧的话语其实有着更为阴郁忧伤的隐喻。如果我们按字面意思来理解这句话，这也是我们在解读莎剧是应该做到的，那么听从她的话不仅仅指的是爱她，占有她——虽然确实也包含了这层意思——但更主要指的还是把她带离她的自我。

So Juliet cannot return from this exchange, not because she will lose her name, but because shecannotlose her name. And so we get these deep ironies, typical Shakespearean ironie, going through the scene, when as much as we can move with everything she says and endorse it absolutely as an emotional truth -- at the same time, it's untrue.

因此，一旦交换达成，朱丽叶便无法回来，这并不是因为她会失去自己的名字，而是因为她不能失去自己的名字。由此我们可以感受到这些深刻的讽刺，这些典型的莎士比亚式的讽刺，这样的讽刺贯穿了整部剧。当我们接受了朱丽叶口中所说的一切，并将它作为情感上的真理而绝对地赞同时，我们却会发现这一切并不是真实的。

This speech comes from Act Three. Romeo and Juliet have just been married, and Juliet is waiting impatiently for the day to end so that she can enjoy her wedding night with Romeo. The imagery carries echoes of the childhood she is about to leave behind, while the speech as a whole conveys her passionate excitement at coming into adulthood and her newfound sexual identity.

最后这段台词选自第三幕。罗密欧和朱丽叶刚刚举办完婚礼，朱丽叶焦急地等待着白天的结束，期待可以快点与罗密欧享受新婚之夜。台词中的意象呼应着她即将告别的童年时光，同时也透露出她了对于即将长大成人，以及刚刚觉醒的性别认同的兴奋和激动。

JULIET Gallop apace, you fiery-footed steeds,

朱丽叶：快快跑过去吧，踏着火云的骏马，

Towards Phoebus’ lodging. Such a wagoner

把太阳拖回到它的安息的所在；但愿

As Phaëton would whip you to the west

驾马的法厄同鞭策你们飞驰到西方，

And bring in cloudy night immediately.

让阴沉的暮夜赶快降临。

Spread thy close curtain, love-performing night,

展开你密密的帷幕吧，成全恋爱的黑夜！

That runaways’ eyes may wink, and Romeo

遮住夜行人的眼睛，让罗密欧

Leap to these arms, untalked of and unseen.

悄悄地投入我的怀里，不被人家看见也不被人家谈论！

Lovers can see to do their amorous rites

恋人们可以在他们自身美貌的光辉里

By their own beauties, or, if love be blind,

互相缱绻；即使恋爱是盲目的，

It best agrees with night. Come, civil night,

那也正好和黑夜相称。来吧，温文的夜，

Thou sober-suited matron all in black,

你朴素的黑衣妇人，

And learn me how to lose a winning match

教会我怎样在一场全胜的赌博中失败，

Played for a pair of stainless maidenhoods.

把个人纯洁的童贞互为赌注。

Hood my unmanned blood, bating in my cheeks,

用你黑色的罩巾遮住我脸上羞怯的红潮

With thy black mantle till strange love grow bold,

等我深藏内心的爱情慢慢地胆大起来，

Think true love acted simple modesty.

不再因为在行动上流露真情而惭愧。

Come, night. Come, Romeo. Come, thou day in

来吧，黑夜！来吧，罗密欧！来吧，你黑夜中的

night,

夜！

For thou wilt lie upon the wings of night

因为你将要睡在黑夜的翼上，

Whiter than new snow upon a raven’s back.

比乌鸦背上的新雪还要皎白。

Come, gentle night; come, loving black-browed

来吧，柔和的黑夜！来吧，可爱的黑颜的

night,

夜！

Give me my Romeo, and when I shall die,

把我的罗密欧给我！等他死了以后，

Take him and cut him out in little stars,

你再把他带去，分散成无数的星星，

And he will make the face of heaven so fine

把天空装饰得如此美丽，

That all the world will be in love with night

使全世界都恋爱这黑夜，

And pay no worship to the garish sun.

不再崇拜炫目的太阳。

O, I have bought the mansion of a love

啊！我已经买下了一所恋爱的华厦，

But not possessed it, and, though I am sold,

可是它还不曾属于我所有；

Not yet enjoyed. So tedious is this day

虽然我已经把自己出卖，可是还没有被买主领去。

As is the night before some festival

这日子长得真叫人厌烦，

To an impatient child that hath new robes

正像一个做好了新衣服的小孩，

And may not wear them.

在节日的前夜焦躁地等着天明一样。

This is a speech she's making when she's awaiting the night to come and for her marriage to be consummated. Now, the speech is very, very, very often cut, either cut completely or radically shortened. And it still is today, because it gives offence -- it's not the sort of thing a young girl should think, let alone speak. It's not the sort of thing a romantic heroine to speak. The speech is kind of rip-roaringly hungry. The sexual puns rise thick and fast as though from, you know, it's like suddenly awakened flesh or something, but I think Juliet intends every word.

朱丽叶说这段台词的时候，正在焦急得等待着黑夜的降临，期盼着让婚姻有着实质性的发展。但今天很多演出却会把这段台词剔去，要么完全删除，要么就是大段大段地删减。因为即便在当今社会，人们也会觉得这段台词太大胆了，会觉得这些内容根本不是一个小女孩应该想的，更不应该把它说出口。朱丽叶作为浪漫爱情剧的女主角是不应该说这样的话的，否则就显得非常饥渴。这里面有很多性暗示的话语，就像突然觉醒的肉体。但我却认为这里的每一个字，都朱丽叶是仔细斟酌后才选定。

So, “Spread thy close curtain, love-performing night, / That runaways’ eyes may wink, and Romeo / Leap to these arms, untalked of and unseen. / Lovers can see to do their amorous rites” -- So she calls upon night to cover everything so that no one will see them have sex. Equally, the close curtain she longs to spread is her own. She's coming into adulthood piece by piece, looking pitilessly at what she's about to perform, at the maidenhood she said to lose, and she's saying, “Come.” She says the word six times. You know, I was saying before that Juliet being thirteen makes this moment both monstrous, in the sense of a sort of strange possession, and kind of awesome, precocious or sublime, as she's taken over by stuff that dwarfs her education.

“展开你密密的帷幕吧，成全恋爱的黑夜！遮住夜行人的眼睛，让罗密欧悄悄地投入我的怀里，不被人家看见也不被人家谈论！”她呼唤黑夜将一切遮蔽，这样就没有人可以看到她和罗密欧的性事。她还渴望由她本人展开那密密的帷幕。她一步一步走向成年，冷静地看着自己将要做的事情，完全不在意即将失去的处子之身，她口中念着“来吧”，这两个字她连说了六次。之前我就说提醒过大家注意一点，此时的朱丽叶只有13岁，于是这样的设计就更是显得骇人听闻，透着一种怪异的占有欲，令人惊叹。这段话早熟却又崇高，因为此刻的朱丽叶已经全身心投入到了一种情绪中，这种情绪让她之前所受的教育完全发挥不出作用。

But as much as she's been taken over here by sexual imagination, as much as every image turns into this delicious obscenity, as much as, you know, every last object in the world is suddenly sexualized -- for all of that, we can still hear Juliet speaking. So witness the mischievous ironies, she says, “runaways’ eyes may wink,” or her subverting of authority in the lines “Come, civil night, / Thou sober-suited matron all in black, / And learn me how to lose a winning match / Played for a pair of stainless maidenhoods.”

她的脑中充斥着与性相关的想象，她口中的每一个意象都带上了诱人的情色意味，似乎世间一切都突然染上了性的色彩，我们从朱丽叶口中听到了这一切。她看着这些恶意的反讽，说到：“遮住夜行人的眼睛”，她甚至还说出了那句离经叛道的“来吧，温文的夜，你朴素的黑衣妇人，教会我怎样在一场全胜的赌博中失败，把个人纯洁的童贞互为赌注。”

Now, she imagines here her old tutor is a “sober-suited matron,” as a widow in mourning, the sober backdrop to her own youthful intoxication -- “learning how to lose a winning match,” like she's remembering some pointless game of cards she was taught, suitable for a young lady, and now she wants completely different lessons, different lessons entirely.

在她的想象中，那年迈的家庭教师是一位“朴素的黑衣妇人”，是一位哀悼亡夫的寡妇，她的朴素清冷映衬着少女朱丽叶的迷醉狂喜。“教会我怎样在一场全胜的赌博中失败”，她似乎还想到了曾经学过那无聊的纸牌游戏，这个游戏非常适合年少的淑女，但现在她渴望学一些完全不同的东西，一些与以往所学完全不一样的内容。

But in her vision, even the old and the forgotten are sort of enfranchised in sexual delight. She says, “learn me” -- now that mainly means “teach me,” but it also implicitly suggests “Learnfromme,” as though she and her man, her boy, will enact a pattern for the universe.

在她的脑海中，即便是那些年迈的人，那些被遗忘的人也有权享受性事上的欢愉。那句“教会我”（learn me）主要指的是请你来教导我，但同时也意味着“向我学习”（learn from me），就好像她和她的爱人和她深爱的那个男孩，他们将为宇宙开辟一个全新的模式。

She says, “Give me my Romeo, and when I shall die, / Take him and cut him out in little stars, / And he will make the face of heaven so fine / That all the world will be in love with night.” Now this image is at once very simple and promiscuously suggestive. She's saying, Give me him, and she produces this theme ecstatically correspondent to the joy she anticipates. It's a world which is sort of exploding with endlessly reconfigured Romeos. I'm thinking it may be images like this, and the early one of the lightning, maybe, suggested the endless sort of many scenes of fireworks exploding in the night sky in Baz Luhrmann's film.

她说：“把我的罗密欧给我！等他死了以后，你再把他带去，分散成无数的星星，把天空装饰得如此美丽，使全世界都恋爱这黑夜。”此处的意象突然又变得非常简单，非常杂乱纷扰。她说，把他给我。她激动地提出了这个话题，呼应着内心所期待的欣喜。在她想象的世界里，数不尽的全新的罗密欧喷涌爆发。这段话中的这些意象，以及之前提到的那道闪电就像是巴兹·鲁尔曼电影中那些在夜空中盛放的烟花。

Anyway, it's characteristic that in the phrase “When I shall die,” the sexual meaning of “die” is primary rather than dependent or secondary. It means to have sex or, not necessarily the female orgasm, but of course, it can mean that. So she imagines lying back and seeing the sky aflame with little stars, each one of them a little fraction or glisten of Romeo. So he's at once gone from her, his essence sort of fissioning into multiplicity and still at her beck and call, like he is throughout the play at her beck and call, pleasing her as his beauty hangs above her.

而在“等他死了以后”这句中，我们要关注的一点是，“死”这个字的性意味在此占据了主导地位，而绝非依附性、次要的。它指的是发生性关系，或者女性的性高潮，虽然不一定非得这么理解，但肯定也是有这层含义的。朱丽叶想象着自己仰躺着，看着天空中的点点繁星，每颗星星就像是罗密欧的分身，耀眼闪亮。此刻罗密欧虽然不在她身边，但他最本真裂变出了无数个体，留在了她的身边，随时待命，回应着她的呼唤。罗密欧的美丽光彩悬挂在她的头顶，时刻准备着博她的欢心。

“Take him and cut him out.” So Romeo here is at her direction, sort of putty in her hands, or, you know, it's like a child again, so like a sheet of paper which the girl can transform with her craft and her scissors into lots of little stars.

“把他带去，分散成无数的星星。”罗密欧听着她的指挥，任她摆布。这句话透着十足的孩子气，我们似乎看到一个小女孩，拿着一把剪刀做手工，她把手中的纸片剪成了无数颗小小的星星。

Now it's clear that there are sort of death-teasing, demonic, even vampiric shades to Juliet’s sexuality. Her alliance with loving, black-browed night, makes her confederacy with a dark side pretty clear, the puns on dying, she's seeing herself and her love in the sky -- all of these things portend the tragedy to come. but it's more presently this is about desire, and desire that's as far from morbid as anything could be.

同时，我们在朱丽叶的性意识中还可以明显地觉察出她对死亡的嘲弄，可以感受到那类似恶魔，甚至是吸血鬼的鬼魅气氛。她与充满亲爱的阴郁黑夜结盟，他们的联盟带着明显的阴暗色彩。而那个关于死亡的双关，她说看到自己和爱人升到了空中，也预示着悲剧的降临。不过就目前的剧情来看，这段话更多的还是在谈论欲望，谈论那种最正常不过的欲望。

So she's given her one of the Shakespeare's great imaginings of sex. And I think we, you know, just the spaciousness of the image, its deliberation as she directs it to happen and watches, as if she's half out of her own body, the unfolding repetitions, the shapes within shapes, that kind of magical sense of a world slowed down to one's own pulse and then extended beyond normal possibility, this intense wistfulness that wishes the moment longer, like she often does in the play, somehow knowing that it is longer than its actual occurrence -- and then, maybe even a sort of melancholy anticipation that the boy, having brought her to this little death, will leave.

莎士比亚为她书写了一段相当缠绵的有关性的想象。这里的意象气势恢弘，朱丽叶淡定从容地指挥着这一切，然后在一旁默默观看，似乎她有一半的灵魂已经脱离出了肉体。那不断延伸的重复，图像套着图像，那种充满了魔力的感觉就好像整个世界都跟着她的脉动放慢了节奏，超越了寻常的可能性。她忧郁苦闷，希望这一刻慢点儿过去。朱丽叶在剧中经常会产生这样的感觉，在她的感知里事情的节奏比实际更为悠长缓慢。她也许还苦闷地觉得，她的爱人，这个带她来到死亡的男孩，将离她而去。

And so finally here, there's something here which I think goes to the heart of the place. So there's something in Juliet’s soliloquy which knows -- and the knowledge isn't intellectual knowing, it's more foundational than that -- that sex involves congress with animalism, in the sense of the insistent hawking and hunting images, that it implies rational as well as physical abandon, that it’s jealous and hungry, that it’s sort of stupid in the sense of mindless in its multiple applications, and yet at the same time crafty, and that the eye’s always on the target and obstructions are there to be avoided.

终于，我们来到了最内核的部分了。在朱丽叶的这段独白让我们明白性爱中包含了兽欲，这一点我们可以从驯鹰和狩猎这些意象中感受到。这个认知不是学术知识，它比学术知识更为基础。性爱暗喻着心理的放逐，也暗示着生理的放纵，是嫉妒的，也是饥渴的。性爱纷繁复杂，有点儿蠢钝愚笨，但同时，它也是机灵狡黠的，它时刻关注着自己的目标，总能留意到需要避开的障碍物。

I like the sense of Juliet thinking about, she remains this kind of very intelligent person in the moment. She's not simply transported out of the moment. She's aware that sex turns the normal world and everyday world into a facade, one that presents a false face of propriety and sociality, when in fact the true face is what she imagines here, panting, hot, in anguish.

我很欣赏朱丽叶思考问题的天赋，直至此时，她依旧充满着智慧。她不仅仅超脱了当下的时刻，她还意识到性爱揭露了寻常的世界的虚伪。以往，我们的日常世界总是呈现出规矩得体的假象，但朱丽叶却看清了它的真面目，它是躁动的，是火热的，也是令人痛苦的。

And importantly, that compulsive punning, like she does here, like Mercutio does in his speech -- compulsive punning may well be the truest mode of speech, as every single object you see gets turned into a sexual compliment or a sexual conspirator -- and that our daily life, or not just daily life, but our day life, our daylight life, all dressed and polite and efficient, securely named and essentially anonymous, is just a bleached pretense, and that it cannot rest, or not for long, in just a cozy hug. She doesn't want a cozy hug. And that if it's perverse, as some critics have said, to think of mutilating your lover at the moment of greatest intimacy, it’s because sex is constitutionally perverse. It takes a different path.

还有一点就是那有趣的双关，朱丽叶的这段台词中有双关，茂丘西奥的台词中也有双关。这些引人入胜的双关也许才是最真实的说话方式，你眼中所看到的每一个物体都会被变成对性爱的赞美，会成为了性爱的共谋。我们的日常生活，或许不只是日常生活，而是在白天的生活，我们衣着得体、谦恭有礼、高效能干的白天状态，也不过是一种褪色的伪装。性爱无法，或者说无法长时间停留在一个温暖安逸的拥抱里。朱丽叶也不想要什么温暖安逸的拥抱。如果像一些批评家所说的那样，在最亲密的时刻想到残害你的爱人是不正常的，那是因为性爱从本质上就是不正常的，它会另辟蹊径。

And finally, it's because sex, desire, rehearses all the final things that we can never else survive.

最终，因为性爱，欲望排演出了所有我们无法逃脱的最终结局。