【解读】暴风雨3 语言特色：“都是梦中的人物”

The Tempest -- Part 3 -- “Such stuff as dreams are made on”

暴风雨——第三部分——“都是梦中的人物”

In our first two episodes on The Tempest, we discussed the distinctive qualities of the play’s setting and characters: the sense of dislocation and suspended, altered states; the parallels between apparently “dissimilar” characters, like the bad witch and the good magician, or the good master and the bad servant; and the ways we still struggle to comprehend Prospero’s character even at the play’s conclusion. Some of the most crucial and unexpected perspectives on the play’s characters are found in the following speeches. Laurie Maguire, Professor of English at the University of Oxford, guides our discussion.

在前两集节目中，我们探讨了戏剧《暴风雨》独特的场景设置和人物角色。戏剧给人一种时空悬置错乱的感觉，让人仿佛置身于异世界中。我们从成对的“相反”人物形象之间看到了相似，比如坏女巫和好巫师，好主人和坏仆人。至于普洛斯彼罗，即便我们看完了整部戏剧，依旧捉摸不透他。想要从与众不同的角度全面地了解剧中的角色，我们需要细细品味以下台词选段。今天牛津大学英语文学教授劳里·马圭尔将继续带领我们领略《暴风雨》中的精彩选段。

This first speech comes from Act Three. Caliban has pledged his service to Stephano and they have plotted to kill Prospero. Ariel overhears their plot and invisibly starts playing music. Stephano and Trinculo are frightened by the sound, wondering if it comes from “a devil,” but Caliban reassures them.

我们今天将要欣赏的第一段台词选自第一幕。凯列班提出愿意为斯丹法诺效力，于是他们共同合谋想要杀害普洛斯彼罗。爱丽儿偷听到了他们的计划，隐形着唱起了一段歌曲。爱丽儿的歌声令斯丹法诺和特林鸠罗非常惊恐，他们以为这是“恶魔”的歌谣，但凯列班安慰说要他们不要惊慌。

a. Caliban, 3.2.148-156, “Be not afeard. The isle is full of noises … I cried to dream again.”

a. 凯列班，第三幕，第二场，第148-156行，“不要怕。这岛上充满了各种声音......我简直哭了起来，希望重新做一遍这样的梦。”

CALIBAN Be not afeard. The isle is full of noises,

凯列班：不要怕。这岛上充满了各种声音，

Sounds and sweet airs that give delight and hurt not.

各种声响和悦耳的气氛旋律，使人听了愉快，不会伤害人。

Sometimes a thousand twangling instruments

有时成千的叮叮咚咚的乐器声

Will hum about mine ears, and sometimes voices

在我耳边鸣响起。有时

That, if I then had waked after long sleep,

在我酣睡醒来的时候，听见了那种歌声，

Will make me sleep again; and then, in dreaming,

又使我沉沉睡去；

The clouds methought would open, and show riches

那时在梦中便好像云端里开了门，无数珍宝

Ready to drop upon me, that when I waked

要向我倾倒下来；当我醒来之后，

I cried to dream again.

我简直哭了起来，希望重新做一遍这样的梦。

These are some particularly well known lines of Shakespeare’s work. In 2012, when London hosted the Summer Olympics, the opening ceremony was titled “Isle of Wonder,” inspired partly by The Tempest, and featured Shakespearean actor Kenneth Branagh reciting these lines for a world audience. The Olympic Bell, hung in the Stadium, was inscribed, “Be not afeard. The isle is full of noises.”

这是莎剧中的一段著名台词。2012年，伦敦举办了第30届夏季奥运会，此次奥运会开幕式的主题名为“奇幻岛屿”，灵感来源正是戏剧《暴风雨》。在开幕式上，莎剧演员肯尼斯·布拉纳向全球观众朗诵了这段台词。悬挂在场馆中的奥运钟上刻着“不要怕。这岛上充满了各种声音”的字样。

Part of what makes this speech so memorable is the beauty of its lines. The soft repeated “s” sounds of “noises,” “sounds,” “sweet airs,” “instruments,” create an internal harmony that reflects the music the lines describe. The speech also combines regular metrical rhythms with irregularities that lend variety and climactic shape to the lines. Shakespeare generally writes in iambic pentameter, following a pattern of unstressed-stressed syllables: da-DUM- da-DUM- da-DUM- da-DUM- da-DUM. “Sometimes a thousand twangling instruments.” In this play, and particularly here, Shakespeare also varies that rhythm, starting lines with an emphasis: “Sounds and sweet airs,” or ending lines with unstressed syllables like “noises”, “voices”, and “dreaming,” that give a gentler feel to the line. These variations make it all the more powerful when Shakespeare returns to his regular iambic rhythm to build up momentum at dramatic points: “that when I waked, I cried to dream again.”

这段台词令人印象深刻，有一部分要归功于它的音韵美。台词中反复出现轻柔的sh-的音，“声音”“声响”“声律”“乐器声”这些单词相互交织融合，仿佛用字词奏出一曲优美的乐章。台词里规律的韵律又有着一些非规律的韵律，于是整段台词高潮迭出，极具变化性。莎士比亚在写作时喜欢使用五步抑扬格。在五步抑扬格中，一个音步由两个音节组成，第一个音节是轻音，后一个为重音，每一行读起来是“哒哒，哒哒，哒哒，哒哒，哒哒”的节奏。例如这句台词就应该这么朗诵：有时/成千/的叮叮/咚咚/的乐器声。然而在剧中，尤其是在这段台词中，莎士比亚又对五步抑扬格做出了些许改变。例如他会选择用重音开头：“各种声响和悦耳的气氛旋律”，或者结尾轻读：“充满了”“有时”“睡去”，这些轻读的音节让句子读起来有一种温柔和缓的感觉。得益于这些变化，当莎士比亚再次使用规律的五步抑扬格格律时，原始格律被衬托得愈发气势恢宏，不断地将故事和情绪推向高潮：当我醒来之后，我简直哭了起来，希望重新做一遍这样的梦。

The speech is also memorable because of the character who delivers it. Caliban speaks these lines to Stephano and Trinculo. Just before he met them, he was describing everything he hated about the island and its spirits -- how they “pinch” and “bite” him, prick his feet, pitch him into swamps, and “fright” him. But now, when they hear music played by one of those spirits, Caliban says, “Be not afeard.” In contrast to that grim earlier picture of an isle full of plagues and torments, he offers this vision of an isle full of “sounds and sweet airs.” And so we get a completely different picture of who Caliban can be and what his life experience can be like.

当然，这段台词如此令人难忘，也得益于它的演说者。这是凯列班对斯丹法诺和特林鸠罗说的话。在遇见他们之前，凯列班自言自语地述说这座岛屿以及岛上精灵对他作出的种种恶行。他说那些精灵“拧”他，“咬”他，刺他的脚，把他推到烂泥里，还显出各种怪相吓他。然而此刻，当精灵的歌声响起时，凯列班却说：“不要怕。”这与他之前描绘的那个充满折磨和痛苦的阴森岛屿形成了鲜明对比。这一刻，他说这座岛屿上充满了“各种声响和悦耳的气氛旋律”。不仅如此，我们对凯列班本人以及他的人生经历也产生了两种截然不同的认识。

Laurie Maguire: Caliban is giving this speech of reassurance to the drunken Stephano and Trinculo, and this is Caliban’s most lyrical speech. And it's a wonderful set piece about the music of the island. He says “the island is full of noises.” This is Caliban’s island. This is the island -- we get a glimpse of the island, from his point of view. It’s “full of noises, sounds and sweet airs.” And there's that beautiful pun on “air,” which, of course, means the air that you're breathing, it's a wonderful, fragrant kind of tropical air, but also the musical air. They “give delight and hurt not.” And he talks about what he hears when he's asleep and how he wants to stay asleep to hear these wonderful noises, and it shows “riches ready to drop upon me.” Now, I presume there that the riches he’s talking about are metaphorical riches.

劳里·马圭尔：凯列班说这段话是为了安抚醉酒的斯丹法诺和特林鸠罗。而这也是他最诗意浪漫的一段台词，生动形象地描述了岛屿上的音乐和歌声。他说：这岛上充满了各种声音和悦耳的乐曲。这是凯列班的岛屿。我们看到了凯列班眼中的小岛，一座“充满了各种声响和悦耳的气氛旋律”的小岛。“气氛旋律”（air）是一个巧妙的双关，它不仅指我们呼吸的空气，指那种美妙馥郁的热带气息，同时也指音乐的节奏旋律，“使人听了愉快，不会伤害人”。同时他还讲述了他在梦中听到的声音，他说自己想一直酣睡下去，继续听那些美妙的声音像无数珍宝向他倾倒下来。我认为他口中的“无数珍宝”是隐喻性的珍宝。

Caliban might seem just as foolish as Stephano and Trinculo for the way he worships Stephano as a “god” and offers to “kiss his foot.” But this speech shows the differences between them. After Caliban gives this speech, Stephano’s only reply is, “This will prove a brave kingdom to me, where I shall have my music for nothing.” He thinks only about getting something without having to pay for it, just as Trinculo’s first reaction to Caliban was to consider how much money he could make by displaying him back in Europe. But the “riches” Caliban longs for here go beyond money. Caliban demonstrates capacities his foolish companions do not have: capacities for perception of beauty, for wonder, and a painful sense of longing. He “cried to dream again.”

我们似乎会觉得凯列班像斯丹法诺和特林鸠罗一样都是傻乎乎的，他把斯丹法诺奉作“神明”，请求要“吻他的脚”。但从这段台词中，我们可以看到凯列班和那两个人的不同。凯列班说完这段台词后，斯丹法诺只是简单地回应说：“这倒是一个出色的国土，可以不费钱白听音乐。”他只想着不费钱可以白拿东西，这模样简直和特林鸠罗一样。特林鸠罗第一次见到凯列班时，只想着把他带回欧洲进行展出，以此来挣钱。但凯列班所渴望的“珍宝”可不仅仅只是金钱。他展现出了那两个愚蠢同伴所不具备的品质：凯列班可以感知美，可以感知神奇，也可以感知求而不得的痛苦。他“哭了起来，希望重新做一遍这样的梦”。

Laurie Maguire: What we get here is a glimpse of Caliban, a nostalgic Caliban, a yearning Caliban, a poetic Caliban who's got an understanding of the island. Very important moment in Caliban’s character. And the vocabulary in that speech is very like the vocabulary that we’ll get again later in Prospero's “Be cheerful, sir.” We're talking about dreams, we're talking about sleep, we're talking about things coming to an end.

劳里·马圭尔：这段台词让我们认识到了不一样的凯列班，他忧伤怀旧，充满渴望，对这座岛屿有着独到的诗意的理解。这是展现凯列班人物性格的关键时刻。这段台词中所使用的词汇与接下来普洛斯彼罗的那段“高兴起来吧”的台词很相似，都在谈论梦，在谈论酣睡，在谈论事物的终结。

We noted how characters on the island move in and out of enchantments, hypnosis, and dreams. These lines are structured to give a similar sense of a strange, in-between state. When Caliban says, that he  sometimes hears “voices / That, if I then had waked after long sleep, / Will make me sleep again,” the words “waked,” “sleep,” and “sleep” are set so close together that they almost seem to overlap; Likewise, the words “When I waked / I cried to dream again” set waking and dreaming together. As soon as Caliban wakes, he sleeps; and then when he dreams, he wakes. How reliably can we tell when we are awake in the “real” world and when we are in a dream? That is the very question raised by Prospero in our next speech.

我们看到岛上一众人物被施了魔法，被催眠，慢慢地进入了梦乡，接着我们都看到他们逐渐从这些状态中走出来。凯列班的这一句句台词为我们构建了一种诡谲的状态，营造了一种似梦非梦、似醒非醒的氛围。凯列班说有时“在他酣睡醒来的时候，听见了那种歌声，又使我沉沉睡去”。“醒来”“酣睡”“睡去”这些词一个接一个，交织相叠。而“当我醒来之后，我简直哭了起来，希望重新做一遍这样的梦”这一句也是如此，在这一句中“醒来”和“做梦”在一起。凯列班刚醒来，他又酣睡了过去；当他开始做梦的时候，却又醒了过来。至于我们自己，是不是能分得清自己何时清醒于“真实的”世界中，何时又酣睡于梦里呢？这也正是普洛斯彼罗下面这段台词中向我们提出的问题。

This speech comes from Act Four. Prospero has given permission for Ferdinand and Miranda to marry. In celebration, he uses his magic to present a masque: a pageant involving music, dance, and visual spectacles, here enacted by the spirits Prospero commands. They are dancing when the stage directions indicate that “Prospero starts suddenly and speaks.” He has remembered Caliban’s plot to kill him and abruptly dismisses the spirits. Ferdinand is anxious and dismayed by Prospero’s strange passion, and Prospero then addresses him.

下面这段台词选自第四幕。普洛斯彼罗同意了腓迪南和米兰达的婚姻。在庆祝的时候，他用魔法上演了一场假面舞会。传统的假面舞会有着优美的音乐、绚丽的舞蹈和宏大震撼的场面。而这一场舞会是由普洛斯彼罗召唤的精灵们演绎的。正当精灵们跳着舞时，舞台指示示意“普洛斯彼罗突起发言”。普洛斯彼罗记起了凯列班想要刺杀自己这件事，于是他突然就中断了演出，散去了舞蹈着的精灵。对于普洛斯彼罗突然的行为，腓迪南感到十分不安，于是普洛斯彼罗对他说了下面这段话。

b. Prospero, 4.1.164-175, “Be cheerful, sir … Is rounded with a sleep.”

b. 普洛斯彼罗，第四幕，第一场，第164-175行，“高兴起来吧，我儿......我们的短暂的一生，前后都环绕在酣睡之中。”

PROSPERO Be cheerful, sir.

普洛斯彼罗：高兴起来吧，我儿；

Our revels now are ended. These our actors,

我们的狂欢已经终止了。我们的这一些演员们，

As I foretold you, were all spirits and

我曾经告诉过你，原是一群精灵；

Are melted into air, into thin air;

他们都已消散到了空气之中，都已化成淡烟而消散了。

And like the baseless fabric of this vision,

如同这虚无缥缈的幻景一样，

The cloud-capped towers, the gorgeous palaces,

入云的阁楼、瑰伟的宫殿、

The solemn temples, the great globe itself,

庄严的庙堂，甚至地球自身，

Yea, all which it inherit, shall dissolve,

以及地球上所有的一切，都将同样消散，

And, like this insubstantial pageant faded,

就像这一场幻景，

Leave not a rack behind. We are such stuff

连一点烟云的影子都不曾留下。构成我们的料子

As dreams are made on, and our little life

也就是那梦幻的料子；我们的短暂的一生，

Is rounded with a sleep.

前后都环绕在酣睡之中。

Laurie Maguire: It's so helpful to look at this speech of Prospero’s right after the one of Caliban because they are so similar and could not be more different. So they are both speeches of reassurance to their onstage companions. And so Prospero is trying to reassure Ferdinand, who's obviously been upset by this truncated masque and its abortive end. “Be cheerful, sir.” Prospero's saying, Don't worry, “our revels now are ended,” these were just actors. “These our actors were all spirits and / Are melted into air,” and it's the comma after “air” that always gets me there.

劳里·马圭尔：把普洛斯彼罗的这段台词放在凯列班的台词之后欣赏再合适不过了，它们太像了，本质上几乎没有什么区别。普洛斯彼罗和凯列班都是为了安慰舞台上的同伴。普洛斯彼罗在安慰腓迪南，腓迪南对于舞会的突然终止十分诧异不安。普洛斯彼罗安慰着说：“高兴起来吧”，他解释到：别担心，“我们的狂欢已经终止了”，这些不过是演员们罢了。“我们的这一些演员们，原是一群精灵，他们都消散到了空气之中”，“空气之后”后面的逗号总是能让我产生这样的感觉。

Laurie Maguire: The spirits are “melted into air.” That's the end of the explanation. But then there is what in rhetorical terms is called, I think, an epexegesis, that is, an additional explanation, “into air, into thin air.” And this is the hinge. This is the point at which the speech starts to change its tone because “melted into air” is factual, “melted into thin air,” starts to be a realization of something that is not graspable, something that has gone. And then comparing the actors to the play, as things that don't last, “the baseless fabric of this vision,” and then we're piling up the clauses now, “the cloud capped towers, the gorgeous palaces, the solemn temples” -- so we've got the constructions of early modernity -- and then “the great globe itself,” which, of course, is so tempting to see as a reference to the actual theater rather than just the world. And of course, this is part of the tradition that sees Prospero and Shakespeare as analogous and Shakespeare writing his farewell to the stage.

劳里·马圭尔：精灵们“都消散到了空气之中”。普洛斯彼罗的解释到此为止。但接下来他又附了一段说明，说他们“化成淡烟而消散了”。这句话起着承上启下的作用。台词的语气在这里发生了变化，因为“消散到了空气之中”是在描述事实，而“化成淡烟而消散了”则是将某种抓不住、已消逝的东西具象化。接着他又将演员和戏剧作对比，把他们比作终会消逝的东西，是“虚无缥缈的幻景”。然后他又用了一串列举——“入云的阁楼、瑰伟的宫殿、庄严的庙堂”等早期现代建筑，紧接着他说到了“地球（globe）自身”也是会消逝的，这里的“地球”（globe）除了会让人想到我们生活的世界，也很难不让人联想到上演这出戏剧的“环球剧场”（the Globe）。“地球”和“环球剧场”的英文单词是一样的。人们习惯地会把普洛斯彼罗看作是莎士比亚的化身，认为这一段是莎士比亚在挥别舞台的告别语。

The Globe was, of course, the name of Shakespeare’s theatre. Because of these references to “the great globe” and “actors” and the sense of their disappearance, critics have often read this speech as Shakespeare’s own farewell to the theatre. The Tempest was the last play Shakespeare wrote as a solo author, and within a few years of its composition, he retired from writing for the stage.

《暴风雨》也确实是莎士比亚独立创作的最后一部戏剧，在写完这部剧后短短几年，莎士比亚告别了戏剧创作。

Laurie Maguire: “Yay, all which it inherit,” I mean, we are really now increasing, increasing, towers, palaces, temples, the globe and everything that will come after, all these constructions will dissolve. And “like this insubstantial pageant faded, Leave not a rack behind,” there will be no trace left. And for most critics, that starts to sound more than wistful, more than nostalgic, but really, well, despairing. I mean, it sounds peaceful, but the vision it offers … it's like the song beginning “Full fathom five, thy father lies” -- he's gone. “We are such stuff / As dreams are made on and our little life / Is rounded with a sleep” -- we use that euphemism for death.

劳里·马圭尔：“以及地球上所有的一切，都将同样消散”，我们不断往上，飘啊飘，看到了阁楼，看到了宫殿，看到了庙宇，看到了地球本身，看到了地球上的一切，而这一切，这一切的建筑最终都将消散。“就像这一场幻景，连一点烟云的影子都不曾留下”，一切都将烟消云散。很多批评家认为台词从这里开始已经不再是简单的哀怨忧伤了，它透出了深切的绝望。这些内容听起来很平静祥和，但我们眼前却出现了这样的画面，仿佛看到了爱丽儿唱过的那首歌“五寻的水深处躺着你的父亲”——描绘死去的父亲的场景。还有描绘死亡的台词：“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。”

In The Tempest, the analogy between “sleep” and “death” is not always peaceful. The character who draws that analogy most insistently is Antonio. While Alonso and Gonzalo sleep, Antonio says to Sebastian that if the sleeping king “were that which now he’s like -- that’s dead --” then Sebastian could have Naples. And Antonio offers to “lay [the king] to bed forever” with his sword. This scene aligns sleep and death in a sinister way. Prospero’s words “our little life is rounded with a sleep” could be read in a similar disquieting vein: afterlife, death is all that awaits.

在《暴风雨》中，“酣睡”和“死亡”之间的类比总是充满了波动和起伏。安东尼奥非常喜欢运用“酣睡”和“死亡”之间的类比。当阿隆佐和贡柴罗陷入昏睡时，安东尼奥对西巴斯辛说如果酣睡中的阿隆佐国王“真像他现在这个样子，看上去就像死了一般”，西巴斯辛就可以继承王位，拥有那不勒斯了。安东尼奥提议用他的剑“叫阿隆佐永远安静”。这一幕非常邪恶地把“酣睡”和“死亡”联系在了一起。普洛斯彼罗说“我们的短暂的一生，前后都环绕在酣睡之中”。对于这一句，我们也可以用类似的方式来解读，那就是死亡是任何事物都躲不过的终点。

Laurie Maguire: For most critics, this is in excess of what the speech needs, because, you know, if we go back to the beginning, to “Be cheerful, sir,” what started off as having as its function the need to reassure Ferdinand has now become this metaphysical meditation on how there's nothing. It’s not just the masque that's gone. Everything's going to go.

劳里·马圭尔：在很多批评家看来，这些内容已经远远超出了这段台词本来的目的。这段台词的本意是为了安慰腓迪南，普洛斯彼罗一开始说的可是“高兴起来吧”，但后来它却变成了对虚无的反思。这里消散的可不仅仅只是一场舞会，而是世间的一切。

Laurie Maguire: What starts off as a speech of reassurance becomes a speech either of resignation, if you are being positive about it, or speech of nihilism that says, you know what, there's nothing. Theater’s nothing. We're nothing.

劳里·马圭尔：这段台词原本是为了安慰别人，现在却变成了一段告别，把它理解为“告别”还算是比较积极的，它甚至都可以被解读成对虚无主义的思考。一切都将消散，归于虚无。剧场将归于虚无，我们也将归于虚无。

Laurie Maguire: And you can play that as calm and philosophical or you can play it as, Wow, so -- where does that leave us? What's the point?

劳里·马圭尔：你可以沉着冷静地演绎这一段，但也可以演出惊叹的情绪，夸张地大声询问：“啊，还会给我们留下什么呢？我们做的一切又是为了什么呢？”

Of course, many characters besides Antonio describe sleeping and dreaming, in more positive ways. Enchanted both by Prospero’s magic and by the sight of Miranda, Ferdinand says, “My spirits, as in a dream, are all bound up.” Caliban says that when he woke from sleep, he “cried to dream again” -- so beautiful was the dream. If “we are such stuff / As dreams are made on,” do dreams compose our life? Is that why life “dissolves” so readily? Or do dreams await us in the sleep that follows life? Can we tell whether this life is the “real,” waking world, or merely a dream from which we will one day wake? It’s fitting that this play of unreal, in-between states should ask us this question -- and never answer it.

当然，除了安东尼奥，其他的角色也对“酣睡”和“做梦”做出过诠释，他们的解读会更加积极乐观。在普洛斯彼罗的魔法和米兰达美貌的双重作用下，着了迷的腓迪南说：“我的精神好像在梦里似的，全然被束缚住了。”从梦中醒来的凯列班说他“简直哭了起来，希望重新做一遍这样的梦”，因为那个梦太美好了。如果“构成我们的料子也就是那梦幻的料子”，那么构成我们人生的是不是就是一个又一个的梦呢？是不是因为这个原因，我们的人生才会这么快就“消散”了呢？人生结束后，是不是这些梦在酣睡中等待着我们呢？我们此刻所生活的究竟是一个“真实”、清醒的世界呢，还仅仅只是一个我们终有一天会醒来的梦呢？我们是否可以分辨清它们分辨呢？这部关于非真实中间地带的戏剧一定会问我们这个问题，但它绝对不会给我们做任何解答。

This speech comes from Act Five. Prospero has just been saying excitedly to Ariel that everything is going according to his plan: “My charms crack not, my spirits obey.” But then Ariel describes the distress of the imprisoned Italian nobles, saying, “Your charm so strongly work ’em / That if you now beheld them, your affections / Would become tender … Mine would, sir, were I human.” Prospero, moved, promises that he will treat his enemies with kindness rather than vengeance. He sends Ariel to release the nobles, and, once alone, delivers this speech.

最后这段台词选自第五幕。普洛斯彼罗兴致勃勃地对爱丽儿说一切都在照着他的计划顺利进行，“我的魔法毫无差失；我的精灵俯首听命”。但爱丽儿却对他讲述了那些被囚禁的意大利贵族们的悲惨境况，他说：“你在他们身上所施的法术的力量是这么大，要是你现在看见了他们，你的心也一定会软下来......如果我是人类，主人，我会觉得不忍的。”听完这番话，普洛斯彼罗大为触动，他答应仁慈地对待他的仇敌，不再寻求报复，并派遣爱丽儿去释放那些仇敌。当舞台上只剩下他一个人的时候，他说了下面这段台词。

c. Prospero, 5.1.42-67, “You elves of hills … I’ll drown my book.”

c. 普洛斯彼罗，第五幕，第一场，第42-67行，“你们山河林沼的小妖们......把我的书投向深不可测的海心。”

PROSPERO You elves of hills, brooks, standing lakes, and groves,

普洛斯彼罗：你们山河林沼的小妖们；

And you that on the sands with printless foot

踏沙无痕、

Do chase the ebbing Neptune, and do fly him

追逐着退潮时的海神

When he comes back; you demi-puppets that

而等他一转身便又倏然逃去的精灵们；在月下的草地上

By moonshine do the green sour ringlets make,

留下了环舞的圈迹，

Whereof the ewe not bites; and you whose pastime

使羊群不敢走近的小神仙们；以及在半夜中

Is to make midnight mushrumps, that rejoice

以制造菌蕈为乐事，

To hear the solemn curfew; by whose aid,

一听见肃穆的晚钟便雀跃起来的你们：你们不过是些

Weak masters though you be, I have bedimmed

弱小的精灵，但我借着你们的帮助，

The noontide sun, called forth the mutinous winds,

才能遮暗了中天的太阳，唤起作乱的狂风，

And ’twixt the green sea and the azured vault

在青天碧海之间

Set roaring war; to the dread rattling thunder

激起浩荡的战争：我把火

Have I given fire, and rifted Jove’s stout oak

给与震雷，用乔武大神的霹雳

With his own bolt; the strong-based promontory

劈碎了他自己那株粗干的橡树；我使稳固的海岬

Have I made shake, and by the spurs plucked up

震动，连根拔起

The pine and cedar; graves at my command

松树和杉柏；听着我的命令，坟墓中

Have waked their sleepers, oped, and let ’em forth

那些长眠者也被惊醒，打开了墓门出来，

By my so potent art. But this rough magic

这一切都因着我无边的法力。但现在我要把这种狂暴的魔术

I here abjure, and when I have required

捐弃，把它埋在幽深的地底，仅仅再要求

Some heavenly music, which even now I do,

一些微妙的天乐，化导他们的心性，

To work mine end upon their senses that

使我能得到我所希望的结果；

This airy charm is for, I’ll break my staff,

以后我便将折断我的魔杖，

Bury it certain fathoms in the earth,

把它埋在幽深的地底，

And deeper than did ever plummet sound

向深不可测的海心，

I’ll drown my book.

投入我的书！

Laurie Maguire: So here is Prospero talking about his magic. It’s his most detailed description of what his abilities have been. And it's a long time before we find out that what he's doing is abjuring that magic. “But this rough magic I here abjure” -- it's a long time before we get to that pivotal “But.”

劳里·马圭尔：普洛斯彼罗这里探讨的是他的法术。他详细地讲述了那些法术的力量。我们听着他那大段大段的描述，到后面才意识到他打算放弃自己的法术。他说：“但现在我要把这种狂暴的魔术捐弃。”而在这个关键性的“但”字之前，他说了很长一段话。

Laurie Maguire: And he gives a very odd, heterogeneous description of fanciful and kind of improbable things that magic does: “you that on the sands with printless foot / Do chase the ebbing Neptune,” there are others who actually make mushrooms grow. They “rejoice to hear the solemn curfew” because the curfew bell rang at nine o'clock. So you were supposed to be inside by then. So, these magic creatures can be out and about at midnight.

劳里·马圭尔：他的描述诡异又古怪，描述的都是魔法变幻出的光怪陆离，甚至有点儿荒谬的画面。在他的口中，精灵们“踏沙无痕、追逐着退潮时的海神”，在半夜中以制造菌蕈为乐事，当他们“一听见肃穆的晚钟便雀跃起来”，而肃穆的晚钟在九点敲响。那时你们应该已经回到了家中，于是这些魔法精灵们趁着夜色出洞，四处游荡。

Laurie Maguire: So he's invoking all these aides that he's had. With their help, he has “dimmed the noontide sun.” So he's caused eclipses. He's called forth the mutinous winds. And we've seen that at the beginning, “’twixt the green sea and the azured vault / Set roaring war.” So he's made the seas reach the heavens, which is a pretty good description of a tempest. And he's cloven, “rifted Jove’s stout oak.” And then we get the spooky moment, which is I can actually raise the dead. And that's the first moment where you start to think, Hang on, what kind of magic is this? You know, causing a tempest has obviously been very helpful in this play. Why do you want to raise the dead? Is that what magic should be used for?

劳里·马圭尔：普洛斯彼罗利用这些小帮手们，借着他们的帮助他“才能遮暗了中天的太阳”，才能制造日食，才能召唤呼啸的狂风。在戏剧一开始，我们早已领略了他那无边的法力，“在青天碧海之间激起浩荡的战争”。他把大海翻腾，推向天际，暴风雨降临时就是这番模样。他“劈碎了那株粗干的橡树”。接着我们听到了一段惊悚的描述，普洛斯彼罗说他还可以唤醒死者亡灵。直到此刻，我们第一次停下来思索：“等等，这到底是什么法术呀？”确实，召唤暴风雨的能力在剧中显然很有用。但为什么还要唤醒死者呀？这是你的法术该发挥的作用吗？

Laurie Maguire: Now, the audience, a large part of the audience, one imagines, would recognize with their humanist education that he is aligning himself here with classical antiquity’s most famous example of black magic.

劳里·马圭尔：此刻，观众们，至少是大部分接受过人文主义教育的观众们开始意识到这一刻的普洛斯彼罗所操控的是古典时期作品中那典型的黑魔法。

In fact, Shakespeare actually quotes a famous piece of classical literature in this speech. An important schooltext in the Renaissance was the Latin poet Ovid’s Metamorphoses, which was translated into English in 1567 by Arthur Golding. In Book 7, we find the figure of Medea, a witch, who reveals her power to “call up dead men from their graves.” and calls to “Ye Ayres and windes: ye Elves of hilles, of Brookes, of Woods alone / Of standing Lakes” -- words echoed in Prospero’s opening lines.

实际上，在这段台词中，莎士比亚引用了一部古典作品的片段。文艺复兴时期，有一本极为重要的学校课本——拉丁诗人奥维德的《变形记》。1567年，亚瑟·戈尔丁将这部作品翻译成了英文。在《变形记》第七卷中，女巫美狄亚展现了她“从坟墓中召唤死者”的能力。她高喊着“和风与烈风；高山、溪流和池沼，你们这些林中的众神，黑夜的神祇”，这和普洛斯彼罗在台词开头的那几句非常相似。

Laurie Maguire: He is quoting Medea. Medea is a witch, and Prospero's “Elves of hills, brooks, standing lakes and groves” is pretty much a direct translation of Medea's lines. So the play is flirting with Prospero as Medea, the only difference being that Prospero is actually renouncing his magic, whereas Medea is not.

劳里·马圭尔：普洛斯彼罗引用的就是美狄亚的话。美狄亚是一位女巫，普洛斯彼罗手下那些“山林河沼的小妖们”呼应的是美狄亚的这句话。戏剧将普洛斯彼罗与美狄亚联系在了一起，他们之间唯一的不同就是普洛斯彼罗是真的打算放弃自己所有的法术，而美狄亚没有。

Shakespeare also draws parallels between his play and a more contemporary work: Doctor Faustus, by one of the greatest early Elizabethan playwrights, Christopher Marlowe. This play depicts an ambitious scholar who pledges his soul to the devil in exchange for magical earthly powers -- powers not unlike Prospero’s. The play’s famous line “Was this the face that launched a thousand ships?” refers to Helen of Troy, whom Faustus has called up from the grave.

同时，我们在莎士比亚的《暴风雨》中还可以看到与他时代更为接近的另一部作品的影子——《浮士德的悲剧》。《浮士德的悲剧》是伊丽莎白时期早期最伟大的剧作家之一克里斯托弗·马洛的作品。故事的主人公是一位野心勃勃的学者，他把自己的灵魂抵押给魔鬼，以换取无边的法力，他的这些法力与普洛斯彼罗的并没有什么差别。《浮士德的悲剧》中有这么一句著名的台词：“这就是那张使无数船舶沉没......的脸蛋吗？”这里所描述的是特洛伊的海伦，浮士德用魔法把她从墓中召唤了回来。

Laurie Maguire: There's a lot been written about the influence of Marlowe’s Doctor Faustus on this play -- raise the dead, that's what Faustus wanted to do. Prospero, of course, is the Italian form of Faustus, you know, ‘happy,’ ‘lucky.’ But we’ve seen, and maybe this is Shakespeare's attempt to write a Faustus play, where Faustus starts with the legitimate humanist scholarly ambitions of just bettering himself, and then it leads him just over that threshold. It's an entirely laudable ambition to want to know more, and the circumstances that then tip you over the edge when that then becomes wanting to know too much, or wanting to know the wrong kinds of things, or going down the wrong kind of path. Has Prospero gone too far? Why is he giving up his magic?

劳里·马圭尔：有很多的论述都讨论了马洛的《浮士德的悲剧》对《暴风雨》的影响，比如召唤死者这个情节，“召唤死者”是浮士德一直在追求的。显然，普洛斯彼罗是意大利版的浮士德，他“欢乐”又“幸运”。也许莎士比亚在尝试创作一部浮士德式的戏剧，一开始浮士德的人文主义学术野心正义且合理，他只是想让自己变得更好，但渐渐地他突破了这条界线。“想知道得更多”是一个值得称赞的抱负，但如果这个抱负膨胀成“想知道得过多”、“想知道那些不合适的内容”，或者“走上了错误的道路”时，你就会跌向麻烦的深渊。普洛斯彼罗有没有越界呢？他为什么要抛弃自己全部的法术？

Laurie Maguire: “But this rough magic I here abjure”: I'd love to see this “rough magic” is just referring to the last bit, you know, raising the dead. But it's clear that he's talking about getting rid of the whole, his magic staff, his magic cloak, his magic books, and he's going back to being a normal human being. “I'll break my staff.” So he's going to snap his magician’s stick, and he's going to bury it very deep in the earth, and then, deeper than ever any measuring instrument reached, he's going to “drown [his] book.” Very interesting, he's drowning his book. Faustus burns his book. Prospero drowns his book.

劳里·马圭尔：“但现在我要把这种狂暴的魔术捐弃”，我认为这“狂暴的魔术”指的就是最后的那个法术，那可以唤醒死者的法术。显然他计划抛弃所有的法术，他的魔杖、他的魔法斗篷、他的魔法书籍等等，他准备回归一个普通人的生活。“我便将折断我的魔杖”。他要折断自己的魔杖，把它深埋进泥土中，他还要把自己的书籍丢弃进深不可测的海心。很有趣吧，他要把他的书丢进海里。浮士德烧毁了他的书，而普洛斯彼罗则是把书丢进水中。

The reason Prospero decides to give up all his magic may have to do with the context of this speech. It occurs immediately after he has changed his mind about pursuing vengeance and decided to pardon his enemies instead. Maybe he recognizes that it is more difficult to show kindness and forbearance to others if he possesses absolute power over them. When he had total control over Ariel and Caliban, their slightest resistance would often provoke wrath and cruel threats against them. When he thinks Ariel is “moody,” he threatens to “rend an oak / And peg [him] in [its] knotty entrails.” In this speech, he mentions his power to “rift[ed] Jove’s stout oak” -- and gives up that power. His magic seems to tempt him towards anger and force. And so perhaps he wants to remove that temptation.

普洛斯彼罗决定放弃所有的法术，原因也许与这段台词的背景有关。他在说这段台词之前，刚刚改变主意，决定不再复仇，而是饶恕自己的仇敌。也许他意识到，当自己拥有远超仇敌的绝对力量时，是很难对他们表现宽恕和仁慈的。他对爱丽儿和凯列班有着绝对的控制力，他们些微的反抗从就会激起他的狂怒和残暴。当他觉得爱丽儿“叽里咕噜”啰嗦烦人时，便威胁说“要劈开一株橡树，把他钉住在它多节的内心”。而在这里，他也提到了自己有可以“劈碎那株粗干的橡树”的力量，但在这里他表示要抛弃这样的力量。他的法术似乎诱使他变得暴怒蛮横。他大概也想远离这样的诱惑。

In the epilogue, Prospero reminds us of what he has done in this speech: that he has given up his magic. He confesses that he lacks “spirits to enforce” his demands. He can only try to persuade the audience to grant his requests for mercy through the language of prayer. Language is one power he retains in this speech, even as he gives up all the rest.

在收场白中，普洛斯彼罗再次提醒着我们这段台词中的内容——他已经捐弃了所有的法术。他承认已经没有精灵再为他奔走效劳了。他只能用语言试着乞求观众的赦免。他抛弃了其他一切的法术，唯独留下了语言。

Laurie Maguire: It's an incantatory speech that, even as it's giving up magic, it is sounding magical. But maybe the real good magic is poetic language.

劳里·马圭尔：这是一段咒语式的演说，讲述的是放弃魔法，但听起来却又充满了魔力。也许，诗意的语言才是真正最具魔力的善意魔法。