The Tempest 1: The Story

The Tempest -- Part 1 -- Brave New Worlds

暴风雨——第一部分——美丽新世界

Laurie Maguire: This is Shakespeare's attempt to write a Broadway musical and a science fiction film in one. So music is the medium of Prospero's magic on this deserted island that’s full of strange noises. The play takes place in a strange world. It’s part Old-World Mediterranean, part New-World America. It's a place where characters are suspended in a state that's sometimes characterized as sleepy and hypnotic and sometimes seems drowned. So it's a wonderfully indeterminate space.

劳里·马圭尔：我们可以把这部莎剧看作百老汇音乐剧和科幻电影的结合体。在这座充斥着各种奇怪噪音的荒岛上，音乐是普洛斯彼罗魔法的媒介。戏剧在一个怪异的世界来开序幕，既透露着古老地中海的神韵，又洋溢着美洲新世界的风情。在这片土地上，故事的主角置身于一种似梦非梦、似醒非醒的状态中，有时他们甚至会产生一种溺水感。这座小岛是一方奇妙的边界领域。

Laurie Maguire: He puts everything into this play. You've got this initial threat, you've got separation, you've got voyages, and you've got salvation, reconciliation, renewal, romance. It sounds like a lot of other Shakespeare comedies and particularly like a lot of the other so-called late plays, and then it suddenly turns in a different direction. He's pushing boundaries here, and he's deliberately pushing boundaries, in order to make us think about genre, to make us think about character, to make us think about what we want from a play. It's someone who is hugely experienced in his art form and now wants just to see how far he can take it to breaking point without it breaking.

劳里·马圭尔：莎士比亚将一切元素都融入到了这部戏剧中。戏剧开始时，你看到了威胁，接着是分别和航海，然后是救赎、和解、重生和爱情。在莎士比亚其他的喜剧中也可以找到这些元素，尤其是他晚期创作的那些戏剧。但突然地，戏剧却开始朝着一个完全不同的方向发展。莎士比亚不断地推动边界线，他刻意的推动这些边界线是为了激发我们去思考戏剧流派，去思考剧中角色，以及我希望从戏剧中可以有怎样的收获。莎士比亚在艺术形式方面有着丰富的经验，他之所以这么做，是他想看看自己可以多么地接近崩溃极限点。

Laurie Maguire: Hello, I'm Laurie Maguire, I'm Professor of Shakespeare at Oxford University in England.

劳里·马圭尔：嗨，大家好，我是劳里·马圭尔，是英国牛津大学莎士比亚研究的教授。

In this episode, we’re speaking with Professor Maguire about The Tempest, which was written around 1611 and is one of the last plays Shakespeare ever wrote. This play takes place over a single day on a mysterious island ruled by a magician named Prospero. Prospero was once Duke of Milan. But his brother usurped his power and cast him out to sea with his daughter, Miranda. They washed ashore on this island and bound the other inhabitants -- Caliban and the spirit Ariel -- into servitude. One day, Prospero’s brother and his fellow conspirators sail near the island, and Prospero conjures up a tempest that wrecks their ship. Prospero -- the failed duke, the powerful magician, the protective father, the vengeful victim -- now has his enemies within his power. But what will he do next? What should he do?

本集节目，我们将和马圭尔教授一同欣赏戏剧《暴风雨》。这部剧是莎士比亚晚期的戏剧，大约写于1611年。整个故事发生在一个神秘的小岛上，时间也只持续了短短的一天。故事发生时，魔法师普洛斯彼罗统治着这个岛屿，他曾经是米兰公爵。但是他的弟弟夺走了他的爵位，把他和他的女儿米兰达流放海外。于是，他们便流落到了这座荒岛上。普洛斯彼罗用魔法征服了岛上的居民凯列班和精灵爱丽儿。一天，普洛斯彼罗的弟弟和他的同伙乘船经过海岛，普洛斯彼罗得了机会，利用魔法唤起暴风雨，掀翻了他们的船只。普洛斯彼罗曾经被弟弟夺去了爵位，如今他拥有强大的魔法，对女儿充满了保护欲，并急切渴望报复自己的仇人们。现在他的仇人们全都落在了他的手上，他将会怎么做？他应该怎么做？

Laurie Maguire: What it does is tease us with ambiguities. It proposes profound ethical challenges for today about responsibility, authority, relationships, political and personal. And it's a shapeshifting play where the ground shifts beneath our feet. It's a revenge play, it's a pastoral, and it's a comedy. It's full of illusions and constantly inviting us to question, not just what we perceive, but how we perceive it, how we evaluate it.

劳里·马圭尔：剧中的模棱两可逗弄着我们。它向如今的读者和观众提出了有关责任、权威、人际关系、政治和个人的深刻伦理道德问题。戏剧变幻莫测，我们脚下的场景不断变换。它既是一部讲述复仇的戏剧，同时又充满了田园牧歌式的风情，而且它还是一部喜剧。剧中满是瑰丽的幻象，戏剧不断邀请我们提出疑问，它不仅仅让我们思考自己看到了什么，还让我们思考要如何去理解、评价这些内容。

The play opens with “a tempestuous noise of thunder and lightning.” A ship at sea is wracked by a storm. On a nearby island, the young Miranda watches the storm in distress. “Poor souls, they perished,” she laments. But in fact, her father, Prospero, used his magic both to summon the tempest and to keep everyone aboard the ship safe. He did all this, he tells her, “in care of thee.” To explain his plans for her future, he now tells her the story of her past.

戏剧在“暴风雨和雷电的轰鸣”中徐徐展开。海上一艘船遭遇了猛烈的暴风雨。在附近的小岛上，一位名叫米兰达的少女悲伤地看着这一切，哀悼说：“可怜的人们，他们死了！”但事实上，虽然她的父亲普洛斯彼罗召唤了这场暴风雨，但同时他也保护了船上所有人的性命。他对米兰达说：“凡我所做的事，无非是为了你打算。”为了向女儿解释自己为她的未来做的计划，普洛斯彼罗讲起了自己的过往。

Twelve years ago, Prospero says, he was Duke of Milan, a city-state in Italy. But he let his brother, Antonio, manage all the work of government while he himself was “rapt in secret studies.” For Shakespeare’s audience, this term could have invoked both the study of magical or supernatural arts, as well as astronomy, mathematics, experiments that we might call science, and esoteric theological knowledge. While Prospero was absorbed in his books, Antonio grew ambitious. He conspired with Alonso, the King of Naples, to overthrow Prospero and seize Milan for himself. Prospero and Miranda were cast out to sea, surviving only because a kind lord named Gonzalo gave them supplies. Now, “bountiful Fortune” has brought Prospero’s old enemies into his power. On board the tempest-tossed ship were Antonio and Alonso.

普洛斯彼罗说，12年前，他曾是意大利米兰城邦的公爵。但当时，他沉迷于研究魔法，把所有的政治事务全都丢给了弟弟安东尼奥。在莎士比亚时期的戏剧观众眼中，“魔法”这个词不仅会让他们联想到法术或者超自然现象，同时也会让他们想到我们今天所说的各们科学科目，如天文学、数学、实验等，以及那些深奥的神学知识。当普洛斯彼罗沉迷于书本知识时，安东尼奥的野心日益膨胀。终于，他伙同那不勒斯王阿隆佐篡夺了普洛斯彼罗的爵位，成为了新的米兰公爵。普洛斯彼罗和米兰达则被流放到海外，那时，只有正直的老大臣贡柴罗愿意帮助他们。贡柴罗给了他们一些生活必需品，他们才得以存活下来。现在，得“上天的眷宠”，他的敌人们全都落在了他的手中。因为，那艘被暴风雨掀翻的船只上载着的人中就有安东尼奥和阿隆佐。

Ariel now enters. He (or, in some performances, she) is described as “a spirit” with magical powers. He conjured the tempest at Prospero’s bidding. After bringing the nobles safely to shore, he tells Prospero he left the sailors asleep on the ship in a harbor, “where once / Thou called’st me up at midnight to fetch dew / From the still-vexed Bermudas.” This fleeting mention of the “Bermudas” -- a group of islands in the North Atlantic Ocean-- is significant. It connects the play to global explorations that were occurring when Shakespeare was writing -- particularly one famous 1609 voyage to Jamestown, Virginia, that echoes The Tempest’s plot.

接着，爱丽儿上场。他是一位有着魔法的“精灵”。他性别不明，很多时候都以男性形象出现，但在有些表演中，他也会被演绎成一位女性。爱丽儿应普洛斯彼罗的要求召唤了这场暴风雨。当他把船上的贵族们都安全地分散在小岛上之后，爱丽儿前来向普洛斯彼罗禀报，说他已经把那艘船安全地停泊在了一个港口中，还施了魔法让船上的水手们都昏睡了过去。在爱丽儿的这段话中，他提到了“百慕大群岛”这个地方，这是位于北大西洋的一个群岛。在这里这个短语不容小视。因为它把这戏剧和当时全球范围的航海冒险联系在了一起。在莎士比亚进行戏剧创作的年代，人们也在全球范围进行探索和发现。1609年，有一次前往弗吉尼亚詹姆斯敦的航海非常有名，这次航海的故事与《暴风雨》的情节很相似。

Laurie Maguire: The ship went missing, they were shipwrecked by Bermuda. And then the voyagers on the ship finally made it to Virginia a year later. So obviously this was in the news in London at that time. And that's major, the notion that you're lost and then you're found, there is the real-life equivalent of our opening scene of The Tempest, so you can see why it is very attractive and very relevant to be thinking about the New World in relation to that.

劳里·马圭尔：在那次航海中，也发生了船只的失踪，而且事故也发生在百慕大地区。然而一年后，船上的航海者竟然又都抵达了弗吉尼亚。显然，这个事件登上了伦敦当时的新闻版面。人员失踪又被找到，这简直就是《暴风雨》开场处情节的现实版本，由此我们体会到了戏剧的魅力，感受到了戏剧与美洲新世界之间的联系。

In the 16th century, when the Spanish first began colonizing what they called the “New World”--i.e. Latin America-- they often forced the native populations to serve them as laborers. Ariel and Caliban, the natives of this island, have likewise been forced to serve Prospero. Prospero has promised to free Ariel at some point; but when Ariel asks for his freedom, Prospero counters with another narrative about the past. Before Prospero arrived with Miranda, there was another exile on the island with a child. This was Sycorax, who was expelled from the North African city of Algiers for practicing sorcery. This “damned witch,” as Prospero calls her, imprisoned Ariel in a tree until Prospero freed him -- but now Ariel must serve him.

16世纪，西班牙最早开始了对拉丁美洲等“新世界”的殖民。在殖民扩展过程中，他们奴役当地居民。在这部剧中，爱丽儿和凯列班是这个小岛上的原著居民，普洛斯彼罗用魔法征服并奴役了他们。普洛斯彼罗许诺爱丽儿，将来某一天会放他自由，但每一次，当爱丽儿向他乞求自由时，普洛斯彼罗总是会讲述一段过往，而不做正面回答。普洛斯彼罗带着米兰达来到这个小岛之前，岛上原来还有一个带着孩子的流放者。她叫西考拉克斯，西考拉克斯因为实施巫术而从北非的阿尔及尔被流放到了这里。普洛斯彼罗说西考拉克斯是个“万恶的女巫”，她囚禁了爱丽儿，把他封印在一棵树里，是普洛斯彼罗解救了他。可如今爱丽儿却又不得不为普洛斯彼罗效力。

Laurie Maguire: When Ariel complains about, ‘Oh, gosh, there's still more work to be done,’ and Prospero turns right around and says, ‘If you don't do what I say, I'm going to pin you in a tree’ -- now, given that he had just liberated Ariel from a cloven pine and he now threatens to lock him up in an oak -- it puts Prospero in the unpleasant, tyrannical use of magic that Sycorax was.

劳里·马圭尔：当爱丽儿抱怨怎么“还有繁重的工作”要做时，普洛斯彼罗转过头回答道：“假如你再要叽里咕噜的话，我要劈开一株树，把你钉住在它多节的内心”。他把爱丽儿从一棵松树中解救出来，现在却又威胁说要把他封印进一棵橡树中。他这样独断专横地使用魔法时，和西考拉克斯并没有什么区别。

We then meet Sycorax’s child: Caliban. In performance, Caliban has been represented in many different ways: as a fish, a dog, an ape, a tortoise, as a devilish creature in red body paint. These representations reflect the Europeans’ words in reaction to Caliban and recreate the difference that they are determined to see between themselves and this island inhabitant.

接着，西考拉克斯的孩子凯列班登场。在戏剧表演中，凯列班的形象也是千差万别：他有时是一条鱼，有时是一只狗，有时又变成一只猿猴，或者一只乌龟，甚至有的时候他是一个浑身被涂成了红色的邪恶生物。这些形象都反映了欧洲人心中的凯列班形象，从中我们也可以看出他们希望在自己和小岛原住民之间拉开差距的决心。

But Caliban has also been portrayed as a human who looks no different from the other human characters in the play. Now, Miranda and Prospero’s words often deny Caliban any humanity. Miranda calls him a “savage” and refers to his “vile race”; Prospero calls him a “beast,” a “thing of darkness,” and a “born devil.” (Shakespeare’s English culture often represented devils as black and sometimes demonized dark-skinned foreigners.) But these terms don’t necessarily mean that Caliban isn’t human. Prospero and Miranda might represent him, as a European might have represented the indigenous peoples of the Americas, as being less than human, as “monstrous.” Later, one of the shipwrecked sailors calls Caliban a “monster”; but he also calls him an “islander” and considers exhibiting him in England, where he says people pay money to see, quote, a “dead Indian”. In the late 16th century, Europeans did bring back people from the Americas and display them for a fee. This sailor also says that Caliban is “legged” like a man; Prospero himself says that before they arrived, the island had no “human shape” except for Caliban; and when Miranda first sees one of the sailors, she says he is the “third man that e’er I saw.” The first two are, presumably, her father and Caliban.

不过莎士比亚却是按照人类的样子来刻画凯列班的。他与剧中其他人类角色在外貌上并无二致。米兰达和普洛斯彼罗经常否认凯列班身上的一切人性。米兰达叫他“野鬼”，说他是“下流胚”。普洛斯彼罗则喊他是“野兽”，是黑皮肤的“坏东西”，是“天生的下劣”。在莎士比亚的年代，英语文学中的恶魔经常是黑皮肤，在当时的一些作品中，恶魔就是被妖魔化的黑皮肤外国人。但米兰达和普洛斯彼罗的这些形容并不能说明凯列班不是人类。作为欧洲人，普洛斯彼罗和米兰达也许是会觉得美洲土著人不像“人类”，而是“像野兽一样”。在后续的一场戏中，船上的一名水手见到凯列班时也说他是“怪物”，同时也说他是“岛上的土人”，甚至考虑把凯列班带回英国进行展出，因为他听说在英国，人们愿意花钱去看一个“死了的印第安红种人”。16世纪晚期，确实有欧洲人把美洲土著人带回欧洲进行展览，并向参观者收取参观费。不过，这个水手也说凯列班“像人一样生着腿”；普洛斯彼罗本人也曾说在他和女儿到来之前，这座岛上除了凯列班“就没有一个人类”；同样，当米兰达第一次见到遇难船只上的一名水手时，她说这名水手是她“一生中所见到的第三个人”，显然米兰达一生中见到的另外两个人类正是她的父亲和凯列班。

Caliban’s name and history also link him to the Americas. The word “Caliban” seems to rearrange the letters of “cannibal,” a term sometimes used to describe native peoples in South America. Caliban speaks of a god named “Setebos,” the name of a South American deity. The fact that Caliban’s mother, Sycorax, comes from Algiers links Caliban and the play to Africa; and when Prospero calls Caliban a “poisonous slave,” this term might have called to mind contemporary European practices of capturing and enslaving Africans.

凯列班的名字和他的生平故事也会让人们联想到美洲。“凯列班”（Caliban）的英文就像是“食人族”（cannibal）英文单词的字母重组。人们有时会用“食人族”这个词来形容南美洲土著人。凯列班曾提到过一个名叫塞提柏斯的神，他是南美洲的一个神明。凯列班的母亲西考拉克斯来自阿尔及尔，这个地名使得凯列班和这部剧与非洲有了联系。当普洛斯彼罗喊凯列班是“恶毒的奴才”时，也会让人联想到现代欧洲人抓捕和奴役非洲人的行为。

Caliban seems to regard Prospero as a colonizer. He says, “This island’s mine by Sycorax, my mother, / Which thou tak’st from me.” But there was once a gentle, parental relationship between Prospero and Caliban, which Caliban describes in moving terms: “When thou cam’st first, Thou strok’st me and made much of me, wouldst give me Water with berries in ’t, and teach me how To name the bigger light and how the less.” Prospero insists he treated Caliban kindly until Caliban tried to rape Miranda: “I have used thee...with humane care ... till thou didst seek to violate / The honor of my child.” Caliban responds, “Would ’t had been done! Thou didst prevent me. I had peopled else / This isle with Calibans.” This event appears to be a painful memory for Miranda, who responds, “Abhorrèd slave, / Which any print of goodness wilt not take!” Once she “pitied” him and taught him as her student. Now there is only animosity between them. As Caliban says, “You taught me language, and my profit on ’t / Is I know how to curse.”

在凯列班心中，普洛斯彼罗似乎是一个殖民者。他说：“这岛是我老娘西考拉克斯传给我而被你夺了去的。”其实，普洛斯彼罗和凯列班之间的关系也曾一度很温暖融洽，凯列班也动容地对普洛斯彼罗说：“你刚来的时候，抚拍我，待我好，给我有浆果的水喝，教给我白天亮着的大的光叫什么名字，晚上亮着的小的光叫什么名字。”普洛斯彼罗也坚称他一直待凯列班很好，但他没想到凯列班竟然强暴米兰达，他说：“我也曾用好心对待你，......谁叫你胆敢想要破坏我孩子的贞操！”凯列班回答说：“要是那时上了手才真好！你倘然不曾妨碍我的事，我早已使这岛上住满大大小小的凯列班了。”这件事对米兰达来说显然是一段可怕的回忆，她呵斥凯列班：“可恶的贱奴，不学一点好，坏的事情样样都来得！”米兰达也曾“怜悯”他，把他当做学生来教导。但如今他们之间的只剩仇恨和敌意。凯列班说：“你教我讲话，我从这上面得到的益处只是知道怎样骂人。”

Nearby, Alonso’s son, Ferdinand, has been washed ashore. He hears Ariel sing a haunting song: “Full fathom five thy father lies / Of his bones are coral made; / Those are pearls that were his eyes: Nothing of him that doth fade / But doth suffer a sea change / Into something rich and strange.” The music leads Ferdinand inland, where he sees Miranda. Prospero notes that they fall in love “at the first sight”--just as he’d hoped.

就在他们附近，阿隆佐的儿子腓迪南被冲到了岸上。他听着爱丽儿悠扬的歌声：“五寻的水深处躺着你的父亲，他的骨骼已经化成珊瑚；他的眼睛是耀眼的明珠；他消失的全身没有一处不曾受到海水神奇的变幻，化成瑰宝，富丽而珍怪。”这歌声引着腓迪南往小岛中心走去，很快他遇见了米兰达。普洛斯彼罗注意到腓迪南和米兰达“才第一次见面便已在眉目传情了”。一切的发展都如他所愿。

Alonso has also been washed ashore, with his brother, Sebastian; Prospero’s brother, Antonio; and Gonzalo, Prospero’s friend. Alonso is despondent at the loss of both his children. The tempest struck as they were sailing back from North Africa, where Alonso’s daughter Claribel married the King of Tunis. Alonso fears he will never see his faraway daughter again -- or the son he presumes drowned. Gonzalo attempts to distract the King by speculating about what he would do if he were the king of this deserted island. His description closely echoes an essay by Shakespeare’s contemporary, Michel de Montaigne.

另一边，阿隆佐和他的弟弟西巴斯辛也被冲上了岸，和他们一起的还有普洛斯彼罗的弟弟安东尼奥，以及普洛斯彼罗的好友贡柴罗。阿隆佐为同时失去了两个孩子而悲痛万分。在从北非返程的途中，他们遭遇了这场暴风雨。在北非，阿隆佐刚刚将女儿克拉莉贝尔嫁给了突尼斯王。阿隆佐觉得自己是再也没有机会见到远嫁的女儿了，而自己的儿子也在这次的海难中不幸遇难。贡柴罗试图转移他的悲惨，于是便说起了如果自己当上了这座荒岛的国王将会做些什么。贡柴罗的这段畅想让人们联想到了莎士比亚同时期的哲学家米歇尔·德·蒙田的一篇随笔。

Laurie Maguire: Montaigne, the French philosopher, wrote a very famous essay on the cannibals. And Shakespeare was certainly rereading Montaigne at the time he was writing The Tempest. And Montaigne is describing the cannibals, the savages of Brazil and says, ‘You know, “savage” isn’t a clear-cut thing. They seem pretty civilized in terms that we would understand.’

劳里·马圭尔：蒙田是法国著名哲学家，他曾经写过一篇有关食人族的随笔。显然，莎士比亚在创作《暴风雨》时，一定也重读了蒙田的文章。蒙田笔下的食人族是巴西的一群野蛮人，他这样写道：“所谓‘野蛮’并没有明确的定义。按照我们的理解，他们可能还是相当文明开化的。”

Montaigne’s essay considers how self-styled “civilized” Europeans can actually be more “savage” than native Brazilians. Sebastian and Antonio bear out his point. Ariel lulls everyone else asleep. Antonio suggests that if Alonso were dead, Sebastian would become king of Naples: just as Antonio deposed his brother Prospero, he’ll help Sebastian depose hisbrother Alonso. But when they draw their swords to kill Alonso, Ariel wakes Gonzalo and thwarts their plot.

蒙田在随笔中写道那些自诩“文明”的欧洲人实际上比巴西土著人还要“野蛮”。西巴斯辛和安东尼奥就是很好的证明。爱丽儿用歌声将其他人催眠，当时醒着的只有西巴斯辛和安东尼奥，于是安东尼奥便暗示西巴斯辛，如果阿隆佐死了，他就可以当上那不勒斯王，可以像自己当初夺走普洛斯彼罗的爵位一样夺走阿隆佐的王位。安东尼奥表示自己愿意帮助西巴斯辛篡夺王位。但就在他们拔出宝剑准备刺死阿隆佐时，爱丽儿唤醒了贡柴罗，贡柴罗阻挠了他们的计划。

Meanwhile, Caliban meets Stephano and Trinculo, Alonso’s butler and clownish servant. Caliban thinks Stephano is a god of some sort -- especially after Stephano gives him liquor to drink. Stephano and Trinculo gloat that they will be kings of the island. Caliban curses Prospero and promises to serve Stephano: “I will kiss thy foot. I prithee, be my god.” They exit with Caliban chanting, “Freedom, high-day! High-day, freedom!”

在小岛的另一处，凯列班遇到了阿隆佐的膳夫和小丑——斯丹法诺和特林鸠罗。凯列班以为斯丹法诺是一位天神，尤其是在斯丹法诺给了他一些烈酒喝之后。斯丹法诺和特林鸠罗幸灾乐祸地表示他们将成为荒岛的王。凯列班一边咒骂着普洛斯彼罗，一边向斯丹法诺发誓说愿意做他的仆人，“我要吻你的脚。请您做我的神明吧！”在他们退场时，凯列班开心地唱着：“自由，哈哈！哈哈，自由！”

Just as Caliban is throwing off Prospero’s service, Ferdinand is entering it. Prospero tests his devotion to Miranda by making him do heavy labor hauling logs. But “sweet thoughts” of Miranda, says Ferdinand, “make [his] labors pleasures.” While Prospero looks on unseen, Ferdinand pledges to Miranda, “I … Do love, prize, honor you,” and she promises to be his wife.

凯列班摆脱了普洛斯彼罗的奴役，腓迪南却接任了他的工作。普洛斯彼罗想要测试他对米兰达的爱有多深有多真，于是命令他去搬运沉甸甸的木头。虽然这份差事很辛苦，但腓迪南说，只要一想到米兰达，这些“甜蜜的念头”就让他“觉得劳苦反而是一种愉快”，普洛斯彼罗则躲在一旁悄悄观察。接着，腓迪南向米兰达发誓说：“我爱你，珍重你，崇拜你！”听到这番表白后，米兰达也许诺腓迪南说愿意做他的妻子。

Echoing the violent plots of Antonio and Sebastian, a drunken Caliban and Stephano plot to kill Prospero. But in the same scene, Ariel’s music prompts Caliban to deliver one of the play’s most lyrical speeches about the “sounds and sweet airs” of the island. The Tempest is distinctive among Shakespeare’s plays for its many songs and visual spectacles, suggesting it was written for the indoor theatre Blackfriars, where artificial lighting would help create the play’s magic. In 1611, the play was also performed before King James at the royal palace of Whitehall.

呼应着前面安东尼奥和西巴斯辛的邪恶阴谋，喝得醉醺醺的凯列班和斯丹法诺也在谋划如何杀死普洛斯彼罗。在这场戏中，听着爱丽儿的歌声，凯列班却说出了全剧最优美动听的一段台词，述说着小岛上“各种声音和悦耳的音乐”。《暴风雨》和莎士比亚其他的戏剧不同，它运用了大量音乐歌曲，有着肉眼可见的华丽场景。这一切都在提醒我们这部剧是为室内黑衣修士剧院创作的。在黑衣修士剧院，人造灯光可以为戏剧营造出魔幻氛围。1611年，国王剧团在怀特霍尔宫为国王詹姆士一世演出了戏剧《暴风雨》。

Laurie Maguire: The structure of the play is very much conditioned by the potential for indoor theater performance. When this was played in indoor theaters, there would have been the five or ten minute break to change the candles after each act. And each act ends with a kind of show-stopping moment of magic.

劳里·马圭尔：这部剧的结构安排得益于室内剧院演出的潜力。在室内剧院演出时，每一幕结束时往往会有五到十分钟的中场休息，在休息期间工作人员会为下一幕更换蜡烛。每一幕都以一个令人惊叹的魔法收尾。

Act Three ends with some terrifying magic. Prospero’s spirits lure Alonso, Antonio, and Sebastian with a magical banquet. When they approach, Ariel descends as a Harpy -- a mythical monster with the head of a woman and the wings and claws of a bird, often sent by the gods to punish transgressors. Ariel declares they will be punished with “ling’ring perdition” for what they did to Prospero: “You are three men of sin … most unfit to live. I have made you mad.” The apparition sends them into distracted, guilty fits. Prospero congratulates Ariel. Everything is going according to his plan: “My high charms work, / And these mine enemies ... now are in my power.”

第三幕就是在一场骇人的法术中结束的。普洛斯彼罗的精灵们用魔法变出了一桌丰盛的筵席，引诱着阿隆佐、安东尼奥和西巴斯辛。当他们走近时，爱丽儿化身成了哈耳庇厄。哈耳庇厄是神话传说中的怪物，长着女人的头、鸟的翅膀和利爪。众神经常派她去惩罚违法者。爱丽儿宣称由于他们对普洛斯彼罗所犯下的罪行，他们三人将遭受“无穷的痛苦”，他说：“你们是三个有罪的人。......你们是不配居住在人类中间的。你们已经发狂了。”眼前这番离奇诡异的景象让这三个人陷入迷乱和内疚之中。普洛斯彼罗大大地夸奖了爱丽儿所作的这些。一切全都依照普洛斯彼罗的计划发展，普洛斯彼罗开心地说：“我的神通已经显出力量，我这些仇人们已经惊惶得不能动弹；他们已经在我的权力之下了。”

Prospero releases Ferdinand from servitude: he has proved his love for Miranda is sincere, and Prospero agrees to their marriage. Ariel enters. Like Ferdinand, he has been hoping for release from service; he also seems to wonder what his service has won him. Prospero commands him to summon spirits to perform a masque -- a formal pageant involving music, dance, and great visual spectacles, often performed at court. Ariel asks with strange poignancy, “Do you love me, master? No?” “Dearly, my delicate Ariel,” says Prospero, and the masque of the spirits begins.

接着，普洛斯彼罗免除了对腓迪南的奴役，因为腓迪南已经证明了他对米兰达的爱是真挚诚恳的，普洛斯彼罗也允诺了他们的婚事。正在这时，爱丽儿上场。他希望可以和腓迪南一样重获自由，同时他也有点儿疑惑自己究竟哪儿比不上腓迪南。但普洛斯彼罗却命令爱丽儿去召唤其他精灵来举办一场假面舞会。宫廷中经常举办假面舞会，在舞会上，音乐悦耳动听，舞蹈绚丽夺目，整个场面宏大且震撼。听完这个吩咐后，爱丽儿问了普洛斯彼罗一个尖锐的问题，他问：“主人，你爱我不爱？”普洛斯彼罗回答说：“我很爱你，我的伶俐的爱丽儿！”接着，假面舞会开始。

Laurie Maguire: Court masques were very elaborate. They had massive budgets, and they used descending machinery, flying characters in and out and disappearing them. And it's important to remember that sleight-of-hand was also used, not in upper-class court spectacles, but in the fairground illusionists. We've got this lovely interpenetration of high culture and low culture in this play.

劳里·马圭尔：宫廷假面舞会是非常盛大隆重的。于是，剧团花费大量钱财，使用升降机械，让演员们飞进飞出，然后再飞离舞台。但值得注意的是，剧团在为皇家和上流社会表演时并不会使用这些技法，这些只有在他们给平民们的演出中才看得到。这部剧将阳春白雪和下里巴人完美地融合在了一起。

Spirits appear as mythological gods to bless the couple’s marriage. Suddenly Prospero remembers what Ariel told him earlier, that Caliban and his new masters are preparing to kill him. He calls the masque to an abrupt halt and delivers a poetic but troubling speech that ends, “We are such stuff / As dreams are made on, and our little life / Is rounded with a sleep.”

精灵们扮成传说中的神明，给新婚夫妇带去美好祝愿。突然，普洛斯彼罗想起爱丽儿先前曾对他说，凯列班和他的两个新主人正在谋划杀害他。于是他立刻叫停了这场假面舞会，说了一段充满诗意却又令人深感不安的话，他说：“构成我们的料子也就是那梦幻的料子；我们的短暂的一生，前后都环绕在酣睡之中。”

Prospero sends Ariel to torment the conspirators and declares, “At this hour / Lies at my mercy all mine enemies.” He doesn’t actually seem to intend any mercy. But then Ariel describes how Alonso and his men are nearly mad with confusion and grief. Prospero’s charm afflicts them so greatly that Ariel says, “if you now beheld them, your affections / Would become tender.” “Dost thou think so, spirit?” Prospero asks. Ariel replies, “Mine would, sir, were I human.” And Prospero -- perhaps to the audience’s surprise, perhaps to his own -- replies, “And mine shall.”

说完，普洛斯彼罗派爱丽儿去狠狠惩罚这些密谋者，他说：“此刻我的一切仇人们都在我的手掌之中了。”普洛斯彼罗并不打算宽恕他的仇人。但爱丽儿向他讲述了阿隆佐和他的同伙因为混沌和悲伤都快要疯了。爱丽儿说普洛斯彼罗的法术深深地折磨着那些人，他说：“要是你现在看见了他们，你的心也一定会软下来。”普洛斯彼罗反问：“你这样想吗，精灵？”爱丽儿回答道：“如果我是人类，主人，我会觉得不忍的。”普洛斯彼罗接下来的回答令观众十分惊讶，他说：“我的心也将会觉得不忍。”也许连他本人都没有想到自己会这么说。

Laurie Maguire: You feel at that moment, when he decides to go for forgiveness, that is an ad hoc decision, isn't it? You feel that there has to be a long pause between Ariel saying “Mine would, sir, were I human,” and Prospero's response when he just recalibrates everything. I always feel when I see it that moment takes him by surprise, or that that decision is made at that moment.

劳里·马圭尔：你一定觉得他决定原谅这些人，一定是因为当时的形势所需。在爱丽儿说完“如果我是人类，主人，我会觉得不忍的”这句话之后，有一段很长时间的停顿，似乎普洛斯彼罗只是在重复爱丽儿的话。每次当我看到这一幕时，我都觉得当时的情形令他措手不及，或者说这个决定是他临时作出的。

Prospero declares, “The rarer action is / In virtue than in vengeance...Go release them, Ariel. / My charms I’ll break, their senses I’ll restore.” These are not the only charms he’ll break. He calls the spirits who have served him and given him power -- including the power to call the dead out of their graves -- and says, “this rough magic / I here abjure.” He will give up his powers.

普洛斯彼罗说：“道德的行动较之仇恨的行动是珍稀可贵得多的。......去把他们释放了吧，爱丽儿。我要给他们解去我的魔法，唤醒他们的知觉，让他们仍旧恢复本来的面目。”他不仅解除了这些人身上的魔法，同时他还找来了那些曾经为自己效力的精灵，放弃了自己所有的法力，包括那种可以召唤墓中死者的法力，他说：“现在我要捐弃这些狂暴的魔术。”他抛弃了所有的魔术。

Prospero now reveals himself to Gonzalo, Alonso, Sebastian, and Antonio. Prospero tells his brother Antonio, “I do forgive / Thy rankest fault.” But Antonio doesn’t reply -- he never actually asks for forgiveness or offers apology. Alonso does ask for pardon and restores Prospero’s dukedom. Prospero, in turn, restores Alonso’s son. He reveals Ferdinand and Miranda, and Miranda exclaims, “O wonder! How many goodly creatures are there here! / How beauteous mankind is! O, brave new world / That has such people in ’t!” Seeing his father is not drowned, Ferdinand rejoices: “Though the seas threaten, they are merciful.” Alonso, too, is joyful.

之后，普洛斯彼罗便出现在贡柴罗、阿隆佐、西巴斯辛和安东尼奥面前。普洛斯彼罗对弟弟安东尼奥说：“我饶恕了你的最卑劣的罪恶。”但安东尼奥一句话也没有回应，因为他并没有乞求普洛斯彼罗的饶恕，也并不打算向他道歉。阿隆佐请求普洛斯彼罗的原谅，并答应奉还他的公国。作为回报，普洛斯彼罗把阿隆佐的儿子也还给了他。他把他们带到了腓迪南和米兰达跟前，米兰达感叹说：“神奇啊！这里有多少好看的人！人类是多么美丽！啊，新奇的世界，有这么多出色的人物！”腓迪南见到生还的父亲时，雀跃地说：“海水虽然似乎那样凶暴，然而却是仁慈的。”阿隆佐同样也很欢乐欣慰。

Ariel brings in Caliban, Stephano, and Trinculo. After revealing their murderous plot, Prospero hands Stephano and Trinculo over to Alonso; but of Caliban, he says, “This thing of darkness I / Acknowledge mine.” He hints that he will pardon Caliban, and Caliban says, “I’ll be wise hereafter / And seek for grace.” Prospero then keeps his promise to Ariel: “Be free, and fare thou well.” Ariel will escape to the elements, and Prospero will return to Milan where, he says, “Every third thought shall be my grave.” Finally, Prospero delivers the epilogue to the audience.

接着爱丽儿把凯列班、斯丹法诺和特林鸠罗带了上来。普洛斯彼罗揭露了他们的谋杀阴谋，并把斯丹法诺和特林鸠罗交给了阿隆佐。但对于凯列班，普洛斯彼罗表示：“这个坏东西我必须承认是属于我的。”他暗示会宽恕凯列班，凯列班回应说：“从此以后我要聪明一些，学学讨好的法子。”普洛斯彼罗也遵守承诺，把自由还给了爱丽儿，他说：“以后你便可以自由地回到空中，从此我们永别了！”爱丽儿飞向空中，而普洛斯彼罗也将回到米兰，他说：“我要回到米兰，在那儿等待着瞑目长眠的一天。”戏剧最后，普洛斯彼罗向观众们说了一段收场白。

Laurie Maguire: We've got this very unusual epilogue where he's saying he is now the confined one, someone who has done all the confining throughout the play. Prospero talks about how trapped he is and the power we have to release him by praying -- ‘Your hands can release me.’

劳里·马圭尔：这段收场白很特别，普洛斯彼罗说此刻他被禁锢了，他说自己在整部剧中一直被束缚幽锢。他说被禁锢，但观众拥有将他释放的魔力，因此他祈求我们“鼓掌相助”。

Prospero ends the play by pardoning others. But in the epilogue, he seems to ask the audience to pardon him: “release me from my bands / with the help of your good hands...And my ending is despair, / Unless I be relieved by prayer, / Which pierces so that it assaults / Mercy itself, and frees all faults. / As you from crimes would pardoned be, / Let your indulgence set me free.” In the next episodes, we’ll explore why Prospero might need pardon -- and why he gave up his magic.

在戏剧结尾，普洛斯彼罗宽恕了自己的仇人。但在这段收场白中，他似乎在乞求观众宽恕他，他说：“求你们解脱了我灵魂上的系锁，赖着你们善意殷勤的鼓掌相助；......我的结局将要变成不幸的绝望，除非依托着万能的祈祷的力量，它能把慈悲的神明的中心刺彻，赦免了可怜的下民的一切过失。你们有罪过希望别人不再追究，愿你们也格外宽大，给我以自由。”下集节目我们将探讨普洛斯彼罗为什么要乞求宽恕，以及他为什么会抛弃自己所有的法术。