【解读】亨利五世3 语言特色：“我们这一群弟兄”

Henry V -- Part 3 -- “We band of brothers”

亨利五世——第三部分——“我们这一群弟兄”

In episodes 1 and 2, we discussed what it means for Henry V to be a history play -- a play that explores the way history is recounted and recreated, and how the past influences the present. We also discussed the enigmatic character of Henry V, and the truths that discomfort him about status and war. In this episode, we’ll look closely at all these issues in three pivotal speeches from the play. Stephen Foley, associate professor of English and Comparative Literature at Brown University, guides our discussion.

在前两集节目中，我们从历史剧的角度探讨了《亨利五世》。历史剧重点关注对历史的叙述和再现，关注过去对现在的影响。同时，我们还分析了亨利五世那神秘的性格特点，以及深深困扰他的那些有关地位和战争的事实真相。本集节目，我们将欣赏三段台词，从这些台词入手，继续深入探讨上面的这些话题。今天，带领我们展开今天的探讨的依旧是布朗大学英语文学和比较文学副教授——史蒂芬·福利将带领我们展开今天的讨论。

Our first speech is the prologue spoken by the Chorus to open the play. The Chorus describes the historical events that the audience is about to see; apologizes that the stage cannot recreate those events in their full splendor; and invites the audience to assist in this historical recreation by imagining a greater spectacle than the actors can present. The Chorus also implicitly invites the audience to judge the historical figures in the play in a particularly favorable light.

今天，我们欣赏的第一段台词是歌队的开场白，这段开场白拉开了全剧的帷幕。歌队为观众介绍了即将看到的历史事件，还道歉说舞台无法完全再现这些震撼的故事，所以他邀请观众充分发挥想象力，在演员们表演的基础上在脑中绘出更为宏大的画面。同时，歌队也向观众暗示，请他们对剧中的历史人物尽可能地做出正面评价。

a. Chorus, Prologue (entire), “O, for a muse of fire … judge our play.”

a. 歌队，开场白（全），“啊！四溢的缪斯女神呀，......请大家多多包涵，静静地倾听。”

CHORUS O, for a muse of fire that would ascend

歌队：啊！四溢的缪斯女神呀，

The brightest heaven of invention!

你登上了光辉灿烂的想象的天国；

A kingdom for a stage, princes to act,

将王国视为舞台，让君主们扮演角色，

And monarchs to behold the swelling scene!

让帝王们睁大双眼观看那伟大的一幕！

Then should the warlike Harry, like himself,

惟有如此，那英武的亨利，才像他自己，

Assume the port of Mars, and at his heels,

才拥有战神的派头；在他的身后，

Leashed in like hounds, should famine, sword, and fire

“饥饿”“利剑”与“烈火”如同上了皮带的猎狗一般，

Crouch for employment. But pardon, gentles all,

蹲在地上，等待一声令下。然而，在场的绅士们，请谅解吧！

The flat unraisèd spirits that hath dared

如我们这般地位卑微的小人物，

On this unworthy scaffold to bring forth

竟然在这用数块破木块建成的舞台上，

So great an object. Can this cockpit hold

上演着气壮山河的故事。难道说，这样一个“斗鸡场”，

The vasty fields of France? Or may we cram

可以装下一个法兰西王国？或是那么多的将士

Within this wooden O the very casques

能够呆在我们这个用木头做成的圆框子中？

That did affright the air at Agincourt?

只需他们摇晃一下头盔，保证让阿金库尔的空气震颤不已！

O pardon, since a crookèd figure may

请饶恕吧！可不是，一个渺小的圈圈，

Attest in little place a million,

放在数字的后面，便成了一百万，

And let us, ciphers to this great account,

那么，让我们根据这微不足道的作用，

On your imaginary forces work.

让你展开无限的想象吧！

Suppose within the girdle of these walls

即使将两个强大的国家

Are now confined two mighty monarchies,

围在这些圆形的墙内；

Whose high uprearèd and abutting fronts

即两国接壤（一片连在一块的高地），

The perilous narrow ocean parts asunder.

却被汹涌的浪涛（一道海峡）拦腰斩断，

Piece out our imperfections with your thoughts.

尽情地想象吧，以补偿我们的不足吧——

Into a thousand parts divide one man,

一个人，施展分身术，将他分为一千个人，

And make imaginary puissance.

组成一支并不存在的军队。

Think, when we talk of horses, that you see them

我们说到马儿，

Printing their proud hoofs i’ th’ receiving earth,

似乎千军万马出现在自己的眼前，尘土四处飞舞。

For ’tis your thoughts that now must deck our kings,

将我们的君主打扮得好一点，

Carry them here and there, jumping o’er times,

这也依赖于你们的想象力了，根据想象，让他们四处移动，

Turning th’ accomplishment of many years

在时光中跳跃，让千古万代的故事

Into an hourglass; for the which supply,

都在一个时辰里发生。为了这个任务，

Admit me chorus to this history,

请让我在戏开演前，

Who, prologue-like, your humble patience pray

向大家致敬——只说几句开场语，

Gently to hear, kindly to judge our play.

这出戏，请大家多多包涵，静静地倾听。

Stephen Foley: The five choruses are a reminder of the jointly performed work of the theater and its audience. The first prologue works through a set of imperatives or commands: “Oh, for a muse of fire that would ascend / The brightest heaven of invention!”

史蒂芬·福利：剧中的五段歌队表演是戏剧演出和观众之间的桥梁。第一段开场白中使用了很多祈使句和命令式的句子，例如开场的这一句：“啊！四溢的缪斯女神呀，你登上了光辉灿烂的想象的天国。”

In classical mythology, the muses were goddesses of learning and the arts, including poetry. Great epic poems of ancient Greece and Rome, including works that Shakespeare would have studied, traditionally began by invoking the Muse, to inspire the author’s imagination and help them to tell a powerful story. By calling upon a Muse of fire here, the Chorus frames Henry V as another great epic -- an English epic.

在古典神话中，缪斯是掌管知识和艺术的女神。她们所掌管的艺术就包含了诗歌这一形式。古希腊和古罗马那些著名史诗常常在开篇呼唤缪斯女神，希望女神可以激发作者的想象力，赋予他们灵感，帮助他们创作出震撼人心的故事。歌队在开场白中呼唤“四溢的缪斯女神”，也给《亨利五世》这部剧铺垫了全剧的基调，让戏剧呈现出史诗般的意味，仿佛是在对观众说，即将上演的这部剧是一部英国史诗巨著。

But the Chorus doesn’t seek help from the gods alone. He or she also asks for the assistance of the audience in bringing this story to life. Since the stage, this “unworthy scaffold,” cannot hold “the vasty fields of France,” the Chorus asks the audience to supply imaginatively what the stage cannot supply physically: “let us … on your imaginary forces work.”

歌队除了向女神乞求想象力，还恳请观众也展开想象的翅膀，赋予故事生命与活力。舞台是用“数块破木块建成的”，无法“装下一个法兰西王国”，所以歌队呼吁观众用想象填补现实的空缺，“让你展开无限的想象吧！”

Stephen Foley: It goes from heightened theatrical imagination to the work of the imagination in the minds of the members of the audience. It calls upon the audience to allow the theater to work as a form of multiplication upon the audience's imagination. And here is where the language of the prologue is working on the figure of arithmetic calculation. It begins with an apology for the theater being an empty ‘O’, a zero. And then it fills in that empty zero by multiplying it with the “crooked figures,” the actors who swelled the stage.

史蒂芬·福利：它从高度的戏剧想象转变成了观众心中的想象。它呼吁观众充分发挥想象，从而成倍地提升戏剧的演出效果。开场白还用数字运算做类比。歌队在开场白一开始便向观众道歉，说剧院舞台空旷简陋，他说的第一个字“啊”，英语就是字母O，它的样子和数字零（0）很像。数字零（0）虽然渺小不起眼，但把它放在数字的后面，就可以让戏剧内容变得充实，而戏剧演员们就是这些渺小的圈圈。

If the audience will “into a thousand parts divide one man,” that is, if they imagine that one actor stands for many people, they can thereby create a vast army on the stage. Such an imaginative leap on the part of the audience will enable the play to “jump ... o’er times,” to go back to the past, and to thus bring “this history” to life.

如果观众可以将“一个人分成一千个人”，如果他们把一位演员想象成好几个人，那么他们就可以在舞台上创造出千军万马的宏伟画面。观众的想象可以让戏剧“在时光中跳跃”，回到过去，再次上演“一段历史”。

The Chorus makes its appeal to the audience by addressing them in flattering terms. This Prologue was written for the Globe, where Shakespeare’s company moved in 1599, the year the play was first performed. The Globe was a round, open-air theatre, referred to in the prologue as “This Wooden O,” and its audiences would have included people from all social classes. But the Chorus addresses them as “gentles all,” as though they are all members of the nobility. This anticipates King Henry’s own strategy in the play of calling every man in his army “gentle” and “noble.”

歌队用讨好的语气吸引观众。这段开场白是莎士比亚特意为环球剧场创作的。1599年，莎士比亚的剧团开始在这里进行表演。也正是在这一年，戏剧《亨利五世》首演。环球剧场是一个环形的露天剧场，开场白中的“圆框子”指的就是这里。前来观看戏剧演出的观众来自社会的不同阶层。但歌队以充满敬意的口吻亲切地喊他们为“在场的绅士们”，在他眼中似乎在场的每个人都是贵族。这和剧中国王亨利的演讲策略很像，剧中亨利也亲切地称军中将士是“庄严”“尊贵”的人。

By making it plain that the story relies on its hearers - “’tis your thoughts that now must deck our kings” - the Chorus highlights one of the play’s key themes: the exploration of how history is made. History isn’t a straightforward list of objective facts. It’s something recreated by later generations as each group tells and retells the story - and each retelling carries its own non-neutral judgment of events.

这段开场白简单概括就是戏剧效果如何取决于台下的观众和听众：“将我们的君主打扮得好一点，这也以依赖于你们的想象力”。歌队不断强调戏剧的一个核心主题，即历史是如何形成的。历史不是简单地罗列客观事实，它是后人在讲述、复述这段故事时的一个再创造，每一次的复述都会带上它特有的主观判断。

Stephen Foley: Each one of the five choruses invokes the audience as the judge and interpreter of history. In the famous first chorus, he calls upon the audience to “piece out our imperfections with your thoughts.” So in each one of the choruses, that same kind of contract is renewed, and the audience is reminded that it is in their memories that the moral judgments of history are made and that history itself is shaped.

史蒂芬·福利：全剧一共五段歌队表演，每段都呼唤观众们对历史做出判断和解读。在这段著名开场白中，歌队让观众们“尽情地想象，以补偿我们的不足”。在每一段歌队表演中，会不断提及类似的内容，这些内容反复提醒观众，那些对于历史的道德评判形成于我们的大脑之中，历史是我们头脑的产物。

The Chorus wants the audience to judge the history of Henry V in a very specific way. When the Chorus asks the audience to “piece out our imperfections” and to “kindly … judge our play,” he is explicitly asking for a generous appraisal of the actors and their production. But implicitly, he may be asking for the same generous judgment to be extended to the historical figures the actors represent. Because, throughout the play, the Chorus asks the audience to celebrate those figures.

歌队希望观众从特定的角度去评价亨利五世的一生，他请求观众“补偿自己不足，多多包涵”，这里的“多多包涵”是在含蓄地请求观众不要过分苛刻地批评演员和演出。但在细细品味，我们会发现他也在暗示我们对于演员们所扮演的历史人物也给予同样包容和包涵。因为，纵观整部戏剧，歌队一直是在呼吁观众赞美剧中的历史人物。

Stephen Foley: One of the things that the five choruses do is to swell the rhetoric and create a sense of heroic appreciation for Henry. I think the play also asks that we be particularly aware that remembering the past is a form of creating or recreating it.

史蒂芬·福利：这五段歌队表演都运用夸张的演说营造出了亨利英武的形象。戏剧也一直在提醒我们，对于历史的记忆其实也是一种创造和再创造的过程。

The Chorus knows that “The Life of Henry the Fifth,” as the First Folio called the play, will be partly a product of how people remember, imagine, and represent him. And so the Chorus presents him in carefully selected terms of praise, calling him “the mirror of all Christian kings,” and a “royal captain … like the sun.” But even so, these terms raise questions about who Henry is. In this speech, the Chorus celebrates Henry as “the warlike Harry,” who resembles Mars, the god of War. This apparently simple line actually complicates how we think of Henry and what he is “like.”

在一定程度上，歌队知道亨利五世的一生也是人们记忆、想象、再创作的产物。在第一对开本中，这部剧的标题叫做《亨利五世的一生》。歌队精心挑选了一系列赞美的辞藻来称赞亨利，称呼他是“那君主中的贤君”，说他是如同太阳般的皇家将领。可即便如此，这些形容词依旧让我们不禁想问，亨利究竟是谁。在开场白中，歌队称赞亨利是“英武的”哈利，象征着战神马尔斯。但就是这么一句简单的台词却打乱了我们对亨利的认知，让我们愈发疑惑亨利究竟是怎样的一个人。

Stephen Foley: I think that the choruses also have poetic interests and ambiguities of their own, and that there are moments where we can pause upon some of the celebratory rhetoric and look at how it fails clearly to cohere in that celebration. So I think for example of a simple line, like the one that gives us our first image of Henry: “Then should the warlike Harry, like himself, / Assume the port of Mars.” So what interests me in that line, first, is the collision of the words “warlike Harry” and “like himself.” It's an accidental overlap of “warlike” and “like,” but it alerts us to the confusing comparison of Harry to himself, which opens up a question about what exactly “warlike” means. Is he prone to war? When Harry tends to be combative, to be warlike, is he being “like himself”? What does it mean for a person to be like himself, to attain his true inner identity, to have gone from surface to core? So even in that sort of throwaway phrase, which we don't even pause to think about, this is a minor index of the ultimate un-interpretability of Henry as a character.

史蒂芬·福利：歌队的语言也带着特有的诗意和模糊性。在某些剧情中，我们会在一些赞美的话语上停稍作停留，感受一下这些赞美和现实之间的差距。说到这一点，我想到了一句简单的台词，我们也正是从这句台词中有了对于亨利的初步认识。这句台词说：“惟有如此，那英武的亨利，才像他自己，才拥有战神的派头。”我对这句台词很感兴趣，首先是像“战神”和像“他自己”这两个表达很矛盾。虽然像“战神”和像“他自己”之间有一定的重叠，但也让我们在哈利和亨利本人之间产生了混淆，我们不清楚，像“战神般”究竟是怎样的一种状态。亨利本人真的好战吗？是不是当他表现出好战个性时，他才像自己？一个人怎么可能说是像“自己”？即便是这么一个一扫而过的短语，一个我们不会留意的短语，也从很细微的角度显露出了亨利那无法解读的性格特点。

When we hear that King Henry prepares for war, “like himself,”, does this mean he is expressing his real character? Or is he only expressing something like his real character - not who he actually is? Is the war we’re about to see something that Henry wholly embraces? Or is it only something he accepts, with some reluctance, as a political expedient? A similar question is suggested by the phrase “assume the port of Mars.” To “assume” means to take upon oneself or to put on, as you would put on a suit of clothes. Here, we imagine Henry “putting on” the appearance of the god of war. But does this appearance reflect his nature - or conceal it? Is he assuming his true colours, or a disguise? Later in the play, Henry will disguise himself under a borrowed cloak. When he rallies his men to attack Harfleur, Henry tells them to “Disguise fair nature with hard-favored rage” and “lend the eye a terrible aspect” -- as though the “warlike” qualities of anger and ferocity should only be adopted temporarily when needed, and then set aside. Henry himself assumes different roles throughout the play, from the undaunted leader to the apprehensive foot soldier and the inarticulate lover. Which of these roles express his real character? Do any of them? The play continually presents us with the question of what Henry’s true nature is - and even as the Chorus celebrates him, it cannot help asking that question as well.

当亨利王正在备战，正表现得像“自己”时，是不是就意味着此刻他所展现是最真实的自我？还是说他仅仅只是表现得“像”真实的自己，而并非真实的他？即将暴发的战争是不是就是亨利完全认同的东西？还是说他只是把战争看作一场政治征伐，他本人对战争实际上还是持保留态度的？“似乎才拥有战神的派头”也有着类似的意思。“似乎”有伪装、假装的意思，就像是披上了一件外衣。我们想象着亨利“披上了战神”的外衣。但这件外衣究竟是展现了真实的亨利，还是掩盖了真正的他呢？我们看到的是他本真的模样，还是他的伪装？剧中有这样一段情节，故事中亨利穿上借来的斗篷伪装自己。当他集结军队攻打哈弗勒尔时，他呼吁手下的将士们伪装自己，“使仁慈的性格变得满腹杀气”，并“怒睁着双眼”。亨利在剧中扮演着不同的角色，他有时是英勇无畏的军队将领，有时又变成了充满恐惧的士兵，还有的时候他又是一位不善言辞的爱人。但哪一个才是最真实的他呢？这些各不相同的身份都展现了真实的亨利吗？随着剧情的展开，让我们继续追问究竟哪个才是亨利最真实的模样。即便歌队不断地称赞歌颂他，我们依旧想要知道这个问题真正的答案。

Our next speech comes from Act Four, the night before Agincourt. Henry has just come away from talking, in disguise, with the foot soldiers Williams, Court, and Bates, who fear they might die in the battle the next day. In this privately spoken speech, Henry claims that the only thing that separates the king from common men like these is “ceremony,” the superficial adornments that go with office. But ceremony, he claims, is all but useless. It cannot heal illness or injury -- and the price the king pays for “ceremony” is loss of sleep and rest and peace. This speech reveals some of Henry’s insights about his royal position, but it also reveals some of his blind spots.

接下来的这段台词选自戏剧第四幕，阿金库尔战役前夜。亨利伪装成普通士兵和军营中的另外几位士兵在交谈对话。谈话中，威廉斯、考特、培茨说他们很害怕自己在第二天会战死沙场。这几位士兵退场后，亨利一人独自留在舞台上说出了这段台词。他表示君主和百姓的区别不过是那些所谓的“排场”，他承认这些“排场”华丽地装点了君主的地位，但他也认为这样的排场根本没有任何实际的用处，既不能医治疾病，也不能愈合伤口，而且君主为了这些“排场”不能安静地入眠，无法安心地休息，还不能享有平和与安宁。这段话反映出了亨利对自己皇室地位的看法，但从中我们也看到了亨利在认知上的一些盲点。

b. Henry V, 4.1.244-293 “What infinite heart’s ease … Whose hours the peasant best advantages.” (“Save ceremony, save general ceremony.”)

b. 亨利五世，第四幕，第一场，“登上了王位，他就必须放弃多少民间的乐趣！......最后最幸福的却是农民。”（“只除了讲排场，只除了大庭广众下的大排场？”）

HENRY V What infinite heart’s ease

亨利五世：登上了王位，

Must kings neglect that private men enjoy?

他就必须放弃多少民间的乐趣！

And what have kings that privates have not too,

而君主所得到的，有啥是普通老百姓所得不到的——

Save ceremony, save general ceremony?

只除了讲排场，只除了大庭广众下的大排场？

And what art thou, thou idol ceremony?

你又算啥呢——你偶像似的大场面？

What kind of god art thou that suffer’st more

与崇拜你的人相比，你忍受的痛苦更多，

Of mortal griefs than do thy worshipers?

又是什么神灵？

What are thy rents? What are thy comings-in?

你得到的租金是多少？又得到了多少收入？

O ceremony, show me but thy worth!

啊，场面，让我瞧瞧你有多大价值？

What is thy soul of adoration?

你以什么来使人们如此崇拜你？

Art thou aught else but place, degree, and form,

除了身位、名衔、外表等

Creating awe and fear in other men,

让人敬畏而又害怕之外——你还有啥呢？

Wherein thou art less happy, being feared,

你让人恐惧，

Than they in fearing?

干嘛反而没有那些忐忑不安的人高兴呢？

What drink’st thou oft, instead of homage sweet,

你天天饮用的，除了带着毒汁的恭维取代了单纯的敬重外，

But poisoned flattery? O, be sick, great greatness,

还有啥呢？啊，崇高的“崇高”呀！

And bid thy ceremony give thee cure!

等你一病不起了，命令你的排场来为你医治疾病吧！

Think’st thou the fiery fever will go out

你是否觉得那滚烫的发烧，

With titles blown from adulation?

会由于许多一味恭维而自动消退吗？

Will it give place to flexure and low bending?

靠讲究礼节，就会突然摆脱病痛吗？

Canst thou, when thou command’st the beggar’s knee,

当你吩咐要饭的跪在你的面前的话，

Command the health of it? No, thou proud dream,

你能同时吩咐他向你献出健康吗？不，你这自命不凡的梦幻呀；

That play’st so subtly with a king’s repose.

你如此擅长玩弄上帝的睡眠。

I am a king that find thee, and I know

我这个国王早已将你看得清清楚楚。我知道，

’Tis not the balm, the scepter, and the ball,

不管是圣上加冕用的圣油、权杖和那金球，

The sword, the mace, the crown imperial,

也不管那剑、御杖、皇冠、

The intertissued robe of gold and pearl,

那用金线编织和镶嵌这珍珠的王袍；

The farcèd title running ’fore the King,

那排在帝号前的连绵不断的荣衔；

The throne he sits on, nor the tide of pomp

不管他占据的高高的王位，

That beats upon the high shore of this world;

或是那声名赫赫的荣华富贵，如同汹涌的浪潮漫过了海岸——

No, not all these, thrice-gorgeous ceremony,

不，无论这所有的无比辉煌的场面，

Not all these, laid in bed majestical,

也无法让你在君主的床上安静地入眠，

Can sleep so soundly as the wretched slave

便如一个下贱的奴隶那般睡得十分甜美。

Who, with a body filled and vacant mind,

一个奴仆，吃饱了，脑袋空虚，

Gets him to rest, crammed with distressful bread;

爬到了床上——

Never sees horrid night, the child of hell,

辛苦了一整天，便不再目睹那阴森恐怖的、产生于地狱的夜晚。

But, like a lackey, from the rise to set

他反而像是一个服侍太阳神的小奴才，

Sweats in the eye of Phoebus, and all night

从太阳升起到太阳落山，只是沐浴着阳光，挥洒着汗水，

Sleeps in Elysium; next day after dawn

等晚上来临后，便通宵睡在乐园里。

Doth rise and help Hyperion to his horse,

次日，天拂晓后，又迅速地起了床，

And follows so the ever-running year

忙着为太阳神套好马车，年年岁岁，

With profitable labor to his grave.

他便干着这些活儿，一直到死。

And, but for ceremony, such a wretch,

这样，一个奴仆，只缺少豪华的排场，

Winding up days with toil and nights with sleep,

否则，他清早出工，夜晚收工，

Had the forehand and vantage of a king.

远非做君主可比的。

The slave, a member of the country’s peace,

他昏昏沉沉、平平安安地活着，

Enjoys it, but in gross brain little wots

一点都没有想到为了维护太平，

What watch the King keeps to maintain the peace,

君主面对孤灯，是何等操心，他日夜操劳，

Whose hours the peasant best advantages.

最后最幸福的却是农民。

Stephen Foley: The King here asks the question, “What infinite heart’s ease / Must kings neglect that private men enjoy?” So here we're being invited to behold the inner workings of Henry's consciousness and to see how it feels to be a king, and indeed, we see the emptiness which a king feels, being a wise and politic man, in the ceremonial obeisance which is given to him.

史蒂芬·福利：亨利王问，“登上了王位，国王必须放弃多少民间的乐趣？”从这段话中，我们窥探到了亨利的真实想法。我们深入国王的内心，目睹了他所感受到的空虚，看到了在排场十足的崇敬之下，作为一位智者、政治家，国王所感受到的孤寂。

We spoke in Episode Two about how history and the past follow people into the present. In this speech, we see how Henry has been shaped by his past, knowingly or unknowingly, as we hear echoes from this play’s prequel, Henry IV. When he inherited the throne from his father, King Henry IV, he also inherited a set of burdens that his father lamented using similar imagery. King Henry IV once wondered why sleep visited the “loathsome beds” of the lowly but not the “kingly couch.”, exclaiming  “How many thousand of my poorest subjects / Are at this hour asleep!” So too, Henry V claims here that the king “in bed majestical” cannot “sleep so soundly as the wretched slave.” Henry also echoes the man who was almost a surrogate father to him, back in the taverns of Eastcheap. The rascally Falstaff questioned the value of “honor” in terms very similar to how Henry questions the value of ceremony here: “Can honor set to a leg? No. Or an arm? No … Honor hath no skill in surgery,” said Falstaff. So too Henry asks bitterly of “ceremony,” “Canst thou, when thou command’st the beggar’s knee, / Command the health of it?” Perhaps Henry learned from his one-time companion to be skeptical of royal ideology -- of claims that a man really is nobler or superior to others, just because his society has agreed to treat him as though he is.

在上集节目中，我们谈论了历史和过往是如何影响、塑造当下人们的。从这段台词中，我们可感受到亨利过往经历对他的影响，这些影响有的明显、有的含蓄，但里面都都透着戏剧的前传《亨利四世》的影子。亨利五世不仅仅继承了他父亲亨利四世的王位，也继承了一连串的责任与重担。亨利四世也用过类似的语言来形容这些责任和重担，他也问过为什么睡眠总是愿意去拜访平民们那污秽的床铺，而不愿来到国王的卧榻前。他说：“我的几千个最贫贱的人民正在这时候酣然熟眠！”类似地，亨利五世也说睡在“君主床上”的国王无法“像下贱的奴隶那般睡得十分甜美”。在上面的这段台词中，亨利还提到了在伦敦东市街那些小酒馆里扮演着他父亲角色的一个男人——福斯塔夫。那个一副无赖模样的福斯塔夫也类似的说辞质疑过“荣耀”的价值。福斯塔夫问：“荣誉能够替我重装一条腿吗？不。重装一条手臂吗？不。那么荣誉一点不懂得外科的医术吗？不懂。”这和亨利质疑“排场”是的论调如出一辙，亨利问：“当你吩咐要饭的跪在你的面前的话，你能同时吩咐他向你献出健康吗？”亨利也许就是从这位昔日玩伴那里学会了去质疑皇室的意识形态。对于皇室所宣称的一个人比别人更高贵、更优越，亨利持怀疑态度，因为他所处的社会只会按照一个人固有的身份和地位去看待这个人。

But if Henry drew some useful lessons from Falstaff, he’s failed to learn from the common soldiers he’s just met. Bates, Court, and Williams are “private men” but they have none of the “infinite heart’s ease” that Henry ascribes to them. They spend the night fearing for their lives, not sleeping in Elysium. And Williams reminds Henry that the king does have something that privates do not, something more substantial than ceremony - the option of saving his life. Poor, ordinary men cannot preserve themselves by becoming prisoners for ransom; kings can. It was Williams’ mention of ransom that made Henry so angry with him. Perhaps this is why Henry forgets, or suppresses, his awareness of his royal privileges in this speech: he finds it too uncomfortable to confront the real differences that set him in advantage over his men. His public rhetoric is always trying to make those differences disappear.

如果说亨利从福斯塔夫身上学到了一些有用的东西的话，那么他却没能从刚刚遇到的三个士兵身上有所学习、有所收获。培茨、考特、威廉斯都是平民，但他们却并没有享受任何亨利口中平民应该拥有的乐趣。整个晚上，他们都担惊受怕、忧心忡忡，根本没有酣然地熟睡在乐园中。威廉斯还提醒亨利说，国王确实享有平民所不具备的一样东西，这样东西是所谓的“排场”所不能比拟的。他说，国王有权利选择拯救自己的生命。穷苦的平民不可能用赎金保命，但国王可以。威廉斯提到赎金，这大大地惹怒了亨利。亨利之所以在这段台词中隐藏、掩饰自己所享王室特权，是因为他发现他很难直面自己真正享有的那些特权，而这些特权恰好也是平民所不可能拥有的。他在演说的时候，一直试图抹杀这些差距的存在。

Stephen Foley: What interests me about the speech is that I think it lapses into self-pity. And Henry makes a spectacle of himself as all alone on the throne, with no friends, nobody to keep him company, because a king can have no friends. And to me, the giveaway in the speech about Henry's pride and his inability truly to think like a common person is in the shift in the rhetoric from the initial representation of the difference between king and private to the rhetoric of master and slave. Henry is asking for sympathy for the king, but he can't do that without simultaneously putting down the feelings and the thoughts of those beneath him. So he cannot imagine what it is to be a King without giving us his version of what it means to be a slave.

史蒂芬·福利：这段台词很有意思的地方在于，说话人逐渐陷入了自怨自艾的状态。亨利觉得自己是一个孤单坐在宝座之上的君主，没有朋友、没有伙伴，因为国王也不需要朋友。我们可以感受到亨利的骄傲，可以觉察出他无法像平民一样去思考问题。因为，这段话虽然在一开始是在讨论国王和平民之间的不同，但在后半段他却转而开始议论主人和奴隶之间的关系了。亨利希望别人同情怜悯国王，但同时他又瞧不起那些地位低于自己的人，他压根瞧不上这些人的情绪和想法。因此他只能凭借自己对于奴隶的了解去想象国王的所遭受的是什么样的苦难。

Stephen Foley: And I think of these lines in particular in relation to the famous distinction between a master and slave that Hegel makes, and that W.E.B. DuBois picks up on. Both those men, in different ways, argued that those who are subject to power are aware both of what it means to be subject to power and of what the king does in exerting that power. But the king is blind. The master is blind, always, to what it feels like to be a slave, because he sees the slave only as the creature of his will.

史蒂芬·福利：这几句台词让我联想到了德国哲学家黑格尔著名的主奴关系辩证法，之后美国社会学家杜波依斯也对这个话题展开了探讨。黑格尔和杜波依斯用不同的方法探讨了同样的内容，他们都认为那些受制于权力的人既知道受制于权力意味着什么，也知道国王在行使这种权力时做了什么。但国王却如同盲人，他对此一无所知。主人不知道身为奴隶是一种怎样的感受，因为他只是将奴隶视为自己意愿的产物。

There is, indeed, an odd incompatibility in the terms that Henry uses to describe the ordinary person’s experience. On the one hand, he uses colloquial English terms from a very low register that tend to disparage  the commoner: terms such as “wretched slave,” “lackey,” “crammed with bread,” and “gross brain,” . On the other hand, he incorporates learned references to classical mythology that elevate the common person’s experience but that are also quite removed from it: Hyperion, the sun; Phoebus, the sun god; Elysium, where the souls of ancient heroes rested after death. These noble sounding descriptors romanticize the experience of poor laborers and fail to recognize the very real burdens and anxieties that beset their lives. One reason that Henry used to pass time with the commoners in Eastcheap was to learn their language: “I can drink with any tinker in his own language,” he proclaimed in Henry IV. But if he’s mastered the skill of talking with common men, he fails here to feel with common men.

所以，亨利那些讲述普通百姓生活的话语听上去就显得很怪异、很不和谐。一方面，他使用了一些低语域的英语口语表达，如：“下贱的奴隶”“小奴才”“吃饱了”“脑袋空虚”等等。这些都是在贬损平民。另一方面，他又引用了古典神话中的意象，显得颇有学问。他想借此拔高平民的体验，但这些却又恰好是平民鲜有接触的。例如太阳神许配利翁、福玻斯，以及英雄去世后他们灵魂安息的那片乐土。这些听起来十分神圣的表达美化了穷苦百姓的人生体验，并没有能够展现出他们在真实生活中所承受的压力和负担。过去，亨利在伦敦东市街与平民百姓打交道，有一个原因就是他想要学他们的语言。在《亨利四世》中他曾这样说道：“我可以陪着无论哪一个修锅补镬的在一块儿喝酒，用他们的语言跟他们谈话了。”但实际情况却是，虽然他已经熟练掌握了平民的语言，但他却无法与他们共情。

Stephen Foley: We see a lack of understanding when he meets real resistance from Williams about the differences between a king and a common person. At the very moment when you would expect Henry to be revealing himself and his inner thoughts, we see him almost self-pitying about the responsibilities of what it means to be a king, to have to bear the scepter and the crown. To me, this is a really revealing moment where an overly sentimental, self-indulgent king reveals the shallowness of his core being, his inability to think outside of the privilege that power affords him.

史蒂芬·福利：所以，当亨利对于国王和平民之间区别的说法遭遇了来自威廉斯的反驳时，我们发现亨利其实不真正理解平民。当我们都以为亨利将会向我们展露真实的自己，说出自己内心真实想法时，他却开始自怨自艾，开始抱怨起作为国王所需要承担的繁重任务，诉说权杖和王冠所带来的巨大责任。这段台词深刻揭示出了一个过分敏感任性的国王那浅薄肤浅的内心，他的思维根本没有能力跳脱出权力所赋予他的特权范畴。

This speech comes from Act Four, just before the climactic battle between the English and the French at Agincourt. The odds against the English are dire; the French outnumber them five to one. Lord Westmoreland wishes they had more English soldiers; Henry overhears his remark and responds with these words to inspire his disheartened troops. He invokes honor, brotherhood, and historical memory, weaving all these themes together with such stirring, skillful rhetoric that even the speech’s contradictions and over-idealizations cannot undo its power.

最后这段台词同样也是选自第四幕，发生在阿金库尔战役前。阿金库尔战役是整部剧的高潮。面对法军，英军处于极大的劣势中，因为法军的人数是他们的五倍。威斯摩兰伯爵希望英军的数量可以再多一些，他的话被亨利偶然听见了，于是亨利回应了下面这段台词，以鼓舞低迷的士气。他提到了荣誉、兄弟情谊和历史记忆，他运用精湛的演讲技巧将这些主题融合在一起。虽然这段演讲中存在着一些自相矛盾的地方和部分过度理想化的内容，但不可否认，这段台词依旧极具的感召力。

c. Henry V, 4.3.23-69, “If we are marked to die … That fought with us upon Saint Crispin’s day.”

c. 亨利五世，第四幕，第三场，第23-69行，“如果我们生来就要血洒沙场，......认为自己没有资格作个男子汉。”

Text: The Norton Shakespeare, 3rd edition, ed. Stephen Greenblatt et al.

文本选自：《诺顿莎士比亚全集》，第三版，斯蒂芬·格林布拉特等编。

HENRY V If we are marked to die, we are enough

亨利五世：如果我们生来就要血洒沙场，

To do our country loss; and if to live,

我们也为祖国惹来太大的损失，如果我们能够活着回来，

The fewer men, the greater share of honor.

那么，人数愈少，我们就越发得多更多的荣誉。

God's will, I pray thee wish not one man more.

上帝的旨意！我请求你不要盼望再加一个人，

By Jove, I am not covetous for gold,

我并不爱财，

Nor care I who doth feed upon my cost;

也不在意是什么人用掉了我的钱，

It ernes me not if men my garments wear;

说真的，别人穿着我的衣服，我并不感到厌烦——

Such outward things dwell not in my desires.

我根本不在意这一切身外之物。

But if it be a sin to covet honor

然而如果说对荣誉的渴求也是一种罪过的话，

I am the most offending soul alive.

那么，我就是世界上最罪孽深重的人了。

No, faith, my coz, wish not a man from England.

不，说真的，姑父，不要盼望会多一个来自英格兰的人。

God's peace, I would not lose so great an honor

上帝呀，我不肯白白放过如此巨大的荣誉，

As one man more methinks would share from me,

因为以我之见，多了一个人，

For the best hope I have. Oh, do not wish one more!

我的最美妙的希望便会被分享掉一份。啊，韦斯摩兰，不要盼望多来一个人吧！

Rather proclaim it, Westmorland, through my host

你最好让全军将士都知道这个话，

That he which hath no stomach to this fight,

要是谁不敢打仗的话，

Let him depart; his passport shall be made

那么，让他落伍，我们把通行证给他们，

And crowns for convoy put into his purse.

而且为他发放途中所需要的路费。

We would not die in that man’s company

我们不肯与这种人同生共死——

That fears his fellowship to die with us.

他居然不敢和我们大家一同离开人世。

This day is called the feast of Crispian.

今天是“克里斯宾节”！

He that outlives this day and comes safe home

所有过今天的这道关口，能平平安安地返回故乡的人，

Will stand a tiptoe when this day is named

每当“克里斯宾”的这个名字传入他的耳中之后，

And rouse him at the name of Crispian.

他将会为之振奋。

He that shall see this day and live old age

谁只要过了今天，以后进入暮年，

Will yearly on the vigil feast his neighbors

过一年一度的圣克里斯宾节的前夕，

And say, “Tomorrow is Saint Crispian.”

都会设宴款待他的乡亲，说：“明天，圣克里斯宾节就到了！”

Then will he strip his sleeve and show his scars

随即，他便把衣袖卷了起来，把伤疤露了出来，让别人看，

And say, “These wounds I had on Crispin’s day.”

说“在圣克里斯宾节，我得到了这些伤疤。”

Old men forget; yet all shall be forgot

老年人容易忘事，然而即便他不记得了一切，

But he'll remember, with advantages,

也会十分清楚地记得他在这一天里

What feats he did that day. Then shall our names,

所创造的英雄业绩。我们的姓名从他嘴里说出来时，

Familiar in his mouth as household words-- 

如聊天一样十分熟悉，

Harry the King, Bedford and Exeter,

英王亨利、培福、爱克塞特、

Warwick and Talbot, Salisbury and Gloucester --

华列克、泰保、萨立斯伯雷、葛罗斯特，等等这些名字，

Be in their flowing cups freshly remembered.

到那时，当他们喝酒聊天时，这些名字便会十分亲切地再次出现在他的脑海中。

This story shall the good man teach his son,

那个好老头子会详细地向他儿子讲述这个故事，

And Crispin Crispian shall ne’er go by

从今天开始，一直到世界末日来临，

From this day to the ending of the world

克里斯宾节都不会随随便便地消逝，

But we in it shall be rememberèd,

而在这个节日里采取行动的我们也永远活在人们的心中。

We few, we happy few, we band of brothers--

我们是为数不多的几个人，

For he today that sheds his blood with me

走运的为数不多的几个人，

Shall be my brother. Be he ne'er so vile,

我们是支兄弟队伍——因为，今天，他和我一同浴血奋战，他便是我的好兄弟。

不管他的地位是何等地低微，

This day shall gentle his condition.

今天的这个日子将会让他得到绅士的身份。

And gentlemen in England now abed

而此时此刻正在床上躺着的英格兰绅士

Shall think themselves accursed they were not here,

将来会对自己的命运抱怨不止，悔恨他为什么不去那儿，

And hold their manhoods cheap whiles any speaks

而且，从此，只要听到谁在圣克里斯宾节和同我们一同拼命杀敌的人交谈，

That fought with us upon Saint Crispin's day.

便会十分惭愧，认为自己没有资格作个男子汉。

Stephen Foley: Here we see Henry summon together his troops by suggesting how they will be remembered to have fought valiantly in this battle when those who have stayed at home will be forgotten -- the memory of those who fought with him at Agincourt will be held in the hearts and minds of the English people forever. And this heroic memory will be so great that it will ennoble everyone who fought with him and they will all be brothers eternally, and all of the soldiers who fought, commoners and nobility, will be on the same plane. What interests me is the holiday spirit and the spirit of tragic risk and potential loss and banding together as brothers in order to enter into the battlefield.

史蒂芬·福利：亨利慷慨激昂地描绘说后人将永远铭记士兵们在这场战斗中的英勇表现，而那些远离战场，安然躺在家中床上的人将会被遗忘。他说在阿金库尔与他并肩作战的人将永远活在英国人民的心中。这番演讲大大地鼓舞了士气，将士兵们牢牢地凝聚在了一起。他表示即将开始的战役将是无比光辉荣耀的，与他一同参战的将士都会因此而变得崇高尊贵，他们与亨利自此也将成为永远的手足兄弟。只要参与了这场战役，不论是平民还是贵族，都会拥有同样高贵的身份和地位。这段台词中所体现的节日精神、悲剧性的冒险精神、承担潜在损失的精神，以及如兄弟般团结一致冲上战场的精神一直是很吸引我的点。

This speech, the climactic moment of Henry’s political rhetoric in the play, deploys some of his key strategies for winning his soldiers’ hearts and uniting them together. At Harfleur, Henry rallied his men by making them feel part of a single unified band in which differences of status disappeared: “Once more unto the breach, dear friends!” he urged, promising, “there is none of you so mean and base / That hath not noble luster in your eyes.” Henry uses a similar tactic here. He tells every soldier that this day will “gentle his condition” while “gentlemen in England now abed … Shall think themselves accursed they were not here.” The repeated word gentle neatly conveys the idea of a status switch. His soldiers’ sacrifice, Henry claims, will trump their status as commoners and make them all nobles together; conversely, men at home who are aristocrats by birth will lose their status when compared with Henry’s brave and noble soldiers.

这段演讲是亨利政治演说的一个高潮，他运用了各种极具感染性的演讲技巧，赢得了手下将士的支持，把他们凝聚在了一起。在哈弗勒尔，亨利通过激发将士们的归属感，把他们团结在一起，让他们相信自己是这个团结的队伍中的一份子，让他们相信自己与他人并没有地位上的差距。在哈弗勒尔，亨利高呼：“好朋友们，继续努力，冲向缺口吧！......你们并非那种使自己受到羞辱没有骨气的人，你们的双眼里都迸发出庄严的目光。”在这里，亨利又一次运用了类似的技巧。他告诉每一位士兵：“不管他的地位是何等地低微，......而此时此刻正在床上躺着的英格兰绅士将来会对自己的命运抱怨不止，悔恨他为什么不去那儿。”亨利不断重复“地位”和“绅士”这样的词，暗示着未来平民和绅士两者地位的转变。亨利说士兵们的牺牲将大大提高他们的地位，他们将不再是平民，而会变成贵族中的一员。和这些英勇高贵的士兵相比，那些生来便享有贵族地位的、安逸地待在家中的绅士最终将失去自己的地位。

The pronouns Henry uses also forge this sense of unity. When speaking in his most formal, official capacity as king, Henry uses the first-person plural, the royal we. But in this speech, Henry starts off talking with the singular I, as though he is not the king but is instead one more soldier like the rest: “I would not lose so great an honor.” he says. So when he starts using the plural “we” and “us,” it’s clear that he isn’t referring to himself in his elevated status as king but rather to the army as a whole, emphasizing how much he is part of this group: “We would not die in that man’s company / That fears his fellowship to die with us.” And he ends the speech with an effective repetition of that pronoun: celebrating any “that fought with us upon Saint Crispin’s day.”

在演讲中，亨利使用的人称代词也激发了将士的凝聚力。当他以最正式、最官方的国王身份讲话时，亨利使用的都是第一人称复数，即皇家的“我们”。但在这段演说最开始，亨利选择了“我”这个代词，此刻他似乎不再是一位国王，而是变成了一位普通士兵，他说：“我不肯白白放过如此巨大的荣誉。”所以当他开始使用“我们”这个指称的时候，听众也明白他并没有以国王自居，而是把自己放到了士兵的队伍中，强调自己的和其他人一样，都是军队中的一份子。“我们不肯与这种人同生共死——他居然不敢和我们大家一同离开人世。”在演说结尾处，他再次重复“我们”这个代词，慷慨激昂地赞美了“在圣克里斯宾节和同我们一同拼命杀敌”的所有人。

This final line of the speech, like the three lines before it, is in perfect iambic pentameter: “that fought with us upon Saint Crispin’s day.” The regular rhythm, pushing smoothly ahead to end on a stressed syllable, “day,” lends a sound of confidence and credibility to Henry’s words. Meanwhile, his repetition of “Crispian” -- “feast of Crispian,” “name of Crispian,” “Tomorrow is Saint Crispian” -- creates a growing sense of drama. The name of Crispian, invoked again and again, seems to grow in symbolic power with each repetition until this climactic final phrase, “upon Saint Crispin’s Day.” Ironically, the feast day of the saints wasn’t associated with the kind of epic historical importance that Henry evokes here; it represented the sort of common popular revelry we associate with the Eastcheap characters.

最后这句“在圣克里斯宾节和同我们一同拼命杀敌”，和之前的三句台词一样，都是典型的五步抑扬格结构。规律性的节奏平稳地推进，最后以一个重读音节结尾，这样的节奏和韵律使演讲听起来既自信又坚定。他不断重复“圣克里斯宾”——“圣克里斯宾节”“‘圣克里斯宾’这个名字”“明天就是圣克里斯宾节”——也在一步步地加强戏剧效果。他不断重复‘圣克里斯宾’这个名字，似乎每一次的重复都在进一步地增强这个节日的象征意义，在最后一行他大喊“在圣克里斯宾节”把演讲推向了最高潮。但讽刺的是，这个节日根本没有亨利所宣扬得那么重要，这个节日不过是伦敦东市街那些普通平民们狂欢的一个日子罢了。

Stephen Foley: The premise of the speech, it's a funny one, because it turns a trivial holiday and two silly saints into this national feast of epic celebration. Crispin and Crispinian were two Roman missionaries in Gaul who worked as shoemakers, and they became the patron saints of shoemakers. And they were associated, not with particularly saintly qualities, but with a holiday. So Shakespeare is taking an available holiday, a feast, a comic occasion, and he's transforming it into the vehicle for a heroic celebration.

史蒂芬·福利：这段演讲涉及的背景很滑稽，因为圣克里斯宾节其实只是一个微不足道的小节日，它所纪念的是两个愚蠢的圣人。可亨利却把这样一个不起眼的节日描述成了一场全国性的宏大节日。克里斯宾兄弟是高卢地区的罗马传教士。他们曾经当过修鞋的鞋匠，于是他们便成为了鞋匠的守护神。他们身上并没有什么特别的圣人品质，他们所象征的仅仅只是一个节日。莎士比亚不过是利用了这么一个可以利用的节日，一个宗教节日，一个滑稽的场合。他把这个节日变成了赞美英雄行为的载体。

Stephen Foley: Henry turns this moment of danger by projecting a future moment of peace and celebration and erasing the actual field on which he and his men stand. So the battle of Agincourt did take place on Saint Crispin's day, but the speech is a reminder of the triviality of that holiday, and for me, it's also an image of the failure of a play to bring into balance, ever truly to band together, all of the contradictions that come inevitably in the theater of war.

史蒂芬·福利：亨利在演讲中预言了未来的和平与欢庆，让听众忽略了他和手下当时的真实处境，让人们忘记了当时所面对的危险情况。阿金库尔战役确实发生在克里斯宾节。但是这段话提醒着人们，这个节日其实很微不足道。所以我觉得，它其实也是一个失败的象征，它无法在战争中不可避免的各种矛盾之间找到平衡，无法真正地将所有人团结在一起。

Henry’s speech, with its dramatic repetitions, beautifully balanced phrases, and carefully structured climaxes, can make us overlook some of those contradictions. But it cannot fully resolve or erase them. The speech is actually premised on the contradiction that Henry rouses his men to fight by invoking a scene far away from the battlefield, years after the fighting is done. He invites them to imagine returning “safe home” and then recalling this story in “old age.” He evokes the “yearly … vigil” of Saint Crispian, the memory that shall last “to the ending of the world” -- all of which removes the men’s focus from the battle that is minutes away. And he begins this evocation by saying, “He that outlives this day … Will stand o’ tiptoe when this day is named” -- temporarily ignoring the fact that some will not outlive this day. Henry describes the festive, comic occasion of a feast, when men will enjoy “flowing cups.” But it is blood that will flow today. Before any comic celebration will come tragedy, as many men will “shed [their] blood” with Henry today, and some will inevitably die.

亨利的这段演说，有着戏剧性的重复，有着和谐优美的短语，也有着结构精巧的高潮，这一切都让我们忽视了其中一些自相矛盾的地方。但是这些矛盾并没有真正消失。其实，这段演讲的前提就很矛盾：亨利口中所描绘的是景象离战场很遥远，那已经是战争结束很多年以后了。通过这样的画面，他激发了将士们的斗志。他呼吁将士们想象自己“平平安安地返回故乡”时的场景，接着他又邀请他们想象自己在“暮年”将会如何回忆这场战争。他说在克里斯宾节的“前夕”，有关这段历史的记忆永远都“不会随随便便地消逝”。这番话把所有人的注意力都从即将打响的战役上转移开来了。他说：“所有过今天这道关口的人，......每当‘克里斯宾’的这个名字传入他的耳中之后，他将会为之振奋。”但是亨利忽略了一个事实，那就是有的人也许在这一天会战死沙场，这些人是根本没有机会去回忆这段故事的。亨利说今后在这个节日的场合，人们将“喝酒聊天”，在杯中灌满美酒。但其实在即将到来这一天前，挥洒浇灌的只有鲜血。欢愉庆典前的前奏总是悲剧，因为在今天很多与亨利并肩作战的人将血洒沙场，死亡终是不可避免。

Henry’s speech diverts attention from some of those difficult truths about war, fom the “waste and desolation,” the “heady murder, spoil, and villainy” that he himself described before Harfleur. But the speech also makes some accurate prophecies: “Crispin Crispian shall ne’er go by … But we in it shall be rememberèd”; Englishmen will “stand o’ tiptoe when this day is named / And rouse [themselves] at the name of Crispian.” Thanks to the power of Henry’s rhetoric, he and his men have been remembered for centuries, albeit in fictionalized form. And this speech has proved its power to rouse later generations too. In 1942, the year after Britain emerged from the intensive German bombing campaign known as the Blitz, Shakespearean actor Laurence Olivier delivered the St. Crispin's Day speech on a radio program to help inspire the beleaguered country. Olivier was a friend of Winston Churchill, whose government asked Olivier to produce films to boost British morale -- including a full-length version of Henry V in 1944, dedicated to “To the Commandos and Airborne Troops of Great Britain.”

但亨利的演讲把人们的注意力从战争的可怕真相上转移，使他们暂时忘记了他曾在攻打哈弗勒尔所提到的那“摧毁、废墟”和“邪恶、杀气、歹毒”。不过，这段台词中有些预言确实变成了现实，亨利说：“从今天开始，一直到世界末日来临，克里斯宾节都不会随随便便地消逝，......在这个节日里采取行动的我们也永远活在人们的心中”；“每当‘克里斯宾’的这个名字传入他的耳中之后”，英国人将会“将会为之振奋”。亨利这极具感染力的演讲技能，使得数百年来，他和他的将士一直存活于人们的记忆中，虽然是以一种戏剧化的夸张形式而存在。这段台词确实激发鼓舞了一代又一代的英国人。在1942年，那是德国发起的“伦敦大轰炸”结束后第一年，莎士比亚戏剧演员劳伦斯·奥利维尔在广播上演绎了这段克里斯宾节演讲，借此鼓舞饱受战火蹂躏的国土上的人民。奥利维尔是当时英国首相温斯顿·丘吉尔的朋友。丘吉尔政府邀请奥利维尔演出了一系列电影以鼓舞英国人民的士气，其中就有了1944年那部完整版本的《亨利五世》，电影“献给大不列颠突击队和空降步兵队”。

Stephen Foley: Olivier's version of the play begins with this beautiful panorama of London. It's based on the maps of the time, and it shows the Thames full of ships and the houses on both banks of the Thames, the Houses of Parliament. And then the camera slowly focuses in on the playhouses on the south bank of the Thames. And this panorama was actually created from a model of London. And the irony here is that the south side of London in 1945 was heavily bombed, and the area around the Globe was really a shell. Olivier creates this celebration of England and of the Globe and of the history that the Globe is producing because he is looking for a compensatory moment of heroic achievement in a time when England was threatened. This film was produced before the Norman invasion. So Olivier's film is less questioning of Henry as a hero, and it is more full of the glorification of war.

史蒂芬·福利：奥利维尔版《亨利五世》的片头展现了美丽的伦敦全景。影片根据当时的地图进行布景，泰晤士河上有着往来的船只，两岸全是房屋，议会大厦也伫立在泰晤士河畔。接着，镜头慢慢拉向泰晤士河岸南面的剧院。实际上，这段画面是利用伦敦的模型而拍摄的。因为很讽刺的是，在1945年伦敦的南面遭受了严重的空袭，环球剧场周围是一个巨大的弹坑。奥利维尔的创作歌颂了英国、歌颂了环球剧场、歌颂了环球剧场中正在上演的那段历史。在这段历史中，英国同样面对着深重的民族危机，但英雄的英国人将国家从危机中拯救了出来。奥利维尔希望这样的英雄事迹可以唤起民众的爱国心。奥利维尔的这部电影拍摄于诺曼入侵之前，所以它并没有质疑亨利的英雄身份，而是在竭力歌颂战争的光辉荣耀。

Olivier later said, “I don’t think we could have won the war without [Henry’s words] … somewhere in our soldiers’ hearts.” Churchill’s affirmation that “Never in the field of human conflict was so much owed by so many to so few” echoes Henry’s famous line from this speech, “We few, we happy few, we band of brothers.” During World War Two, this play about how history is made and used, was itself used to try and direct the course of history.

奥利维尔之后表示：“我认为，要不是我们的士兵心中牢记着亨利的话语，我们根本不可能取得胜利。”丘吉尔也曾说：“在人类战争史上，从来也没有一次像这样，以如此少的兵力，取得如此大的成功，保护如此多的众生。”这番话呼应了亨利演讲中的所说的“我们是为数不多的几个人”这句话。在二战期间，这部讲述历史是如何被创造、被利用的戏剧也被用来引领历史的发展轨迹。

But we should note, too, that Shakespeare does not let the speech’s inspired certainty go wholly unquestioned. Henry speaks movingly of how each veteran will “strip his sleeve and show his scars / And say, ‘These wounds I had on Crispin’s day.’” But near the end of the play, we witness the braggart Pistol being beaten by the Welsh captain Fluellen and saying, “patches will I get unto these cudgeled scars, / And swear I got them in the Gallia wars.” He will claim the scars he received as a punishment for his insubordination are really a token of his bravery on that fabled St. Crispin’s Day. Even Henry himself admits for a moment that the soldier’s war-stories may not be entirely truthful: “he’ll remember, with advantages, / What feats he did that day.”

但值得注意的是，莎士比亚在肯定演讲可以鼓舞人心的同时，也让人们保留一定的怀疑。亨利动情地讲述说每一位经历过这场战役的士兵，都可以“把衣袖卷了起来，把伤疤露了出来，让别人看，说‘在圣克里斯宾节，我得到了这些伤疤’。”但在戏剧结尾，我们看到爱吹牛的毕斯托尔被威尔士上尉弗鲁爱林用木棍狠揍，当他挨完揍之后，毕斯托尔说：“我要拿布条裹好这些棒伤，以便立下誓言，告诉人们，这一切是我在法兰西的战场上受的伤！”毕斯托尔因为不服从命令而受到惩罚，留下了这些伤疤。但他却宣称要把这些伤疤说成是自己在那传奇般的克里斯宾节因为英勇的表现的得到的“勋章”。即便亨利本人也承认，士兵们口中的战争故事也许也并不是完全可信，他说士兵们会挑选自己有利的内容，讲述“他在这一天里所创造的英雄业绩”。

Stephen Foley: The most explicit calls to the process of memorialization in history are in the St. Crispin speech, which is an appeal to how we who fought together this day will be remembered. Memory, and this play is a form of memory, is the only way in which history is sustained. 

史蒂芬·福利：历史上，对记忆过程最明确的呼吁就出现在克里斯宾节的这段演讲中。亨利讲述了在这一天与他并肩作战的人将如何被后人牢记。记忆，是历史延续的唯一途径，而戏剧则是记忆的一种形式。

Henry creates his own vision of a future history to inspire his men, and it is undoubtedly effective. It’s also subject to some inaccuracy, exaggeration, and distortion. In the play’s opening lines, the Chorus acknowledged how impossible it is to offer an entirely accurate recreation of the past and urged the audience to “Piece out our imperfections with your thoughts.” Here Henry invites his soldiers, and his listeners, to do the same: to frame and remember this occasion in the most idealized possible way. And his invitation is so beautifully and skillfully framed that, perhaps in spite of ourselves, we can hardly refuse.

亨利述说着了自己眼中的未来，以此激励将士们的爱国热血。毫无疑问，这是很有效的。但同时，这段话中有不确切的地方，有夸张的地方，也有歪曲的地方。在戏剧开场，歌队承认想要完全精准地再现过去、再现历史是不可能的，所以呼吁观众“尽情地想象，以补偿我们的不足”。而在这段演讲中，亨利也呼吁手下的士兵像观众们一样展开想象，以最理想的方式去想象、去记忆这段故事。他的邀请悦耳动听且构思精巧，也许换做是我们自己，面对这样一番诚恳真挚的邀请也无法说出任何拒绝的话来。