我在找戏剧资料的时候，赫然发现！ 这是在你大一的时候写的，或是引用的我不清楚。 ----------------------------------------------------------------------------- Agamemnon 阿加曼农 In the Agamemnon Aeschylus wished to exhibit to us the sudden downfall from the very summit of prosperity and renown to the abyss of ruin. The ruler, the hero, the commander of the collected hosts of Greece at the very instant of his success in that most glorious achievement, the destruction of Troy, for which his fame was to be re&euml;choed in time present and time to come, in the very act of crossing the threshold of the house for which he has so long been sighing, and amidst the careless preparations for a festive banquet, is murdered, as Homer expresses it, "like an ox beside his crib," murdered by his faithless wife; his throne is seized upon by her worthless paramour, his children are consigned to banishment or helpless servitude. 希腊悲剧作家埃斯库罗斯渴望展示我们的是一个已达繁荣颠峰的希腊与颇具名望的希腊将 领阿加曼农凯旋归来後的家庭悲剧.这位在希腊拥有最高统治权的英雄,因着特洛伊的毁灭 ,这个辉煌的战绩,成为家喻户晓的人物. 由皇室家族行动为开端,在草率的准备欢乐节庆 的宴会中,如同荷马在史诗中说的"like an ox beside his crib," 阿加曼农被自己不忠 诚的妻子谋杀,他的王权被毫无价值的情妇争夺,他的孩子或被放逐或被做无谓的牺牲…… In the view of giving a striking effect to so terrific a reverse of fortune, the poet was obliged in the first place to give additional splendor to the conquest of Troy. This he has done in the first half of the piece, in a peculiar fashion but certainly with great impressiveness, and in a manner that arrests the imagination. It is of consequence to Clytemnestra that she should not be surprised by her husband's return. She has, therefore, taken measures to have an unbroken line of beacon-fires from Troy to Mycen&aelig;, to announce to her the great event. The play opens with the speech of a watchman, who supplicates of the gods a deliverance from his toils, since now for ten years exposed to the cold night-dews, he has seen the alternating stars passing above him, and ever in vain been waiting for the signal; at the same time he sighs in secret over the ruin which is at work in the royal house. At this moment he sees the wished-for flame blaze up, and hastens to announce it to his lady. 鉴於如此引人注目的可怕结果,一个大逆转的命运,诗人在一开始便承续荷马史诗中赋予阿 加曼农光辉的征服特洛伊事蹟,在前半段的作品中展现独特却十分令人印象深刻的方式,同 时也捕捉了一些想像空间的模式.阿加曼农的归来,应该让身为妻子的克来天奈斯拖(与奸 夫谋杀阿加曼农,後皆为其子所杀)不感惊讶,因为她有权利利用狼烟来告知自己战胜特洛 伊的伟大事件. 这个剧本由一个巡夜者为开头,他日以继夜恳求上帝原谅他的阴谋已有十 年,然後经过漫长的等待那个狼烟的讯号,当他看到火焰燃起的那刻随即通知他那已准备好 的情妇--克来天奈斯拖伺机谋害阿加曼农的时刻来到…… A chorus of old men appears, and in its ode exhibits the war of Troy in all its fateful relations, traces it back to its origin, to all the prophecies connected with it at the time, to the sacrifice of Iphigenia, with which the Greeks were constrained to purchase their departure on the expedition. Clytemnestra explains to the chorus the reasons for her joyful sacrifice. Presently enters the herald Talthybius, who relates all as an eye-witness; the spectacle of the conquered, plundered, flame-devoted city, the triumph of the host, and the glory of its commander. Reluctantly, however, as unwilling to interrupt his prayers for their posterity by evil tidings, he relates the subsequent mishaps of the Greeks, their dispersion, and the shipwreck suffered by many of them--calamities wherein the wrath of the gods had begun to reveal itself. 合唱队中一个老人出现了,在他颂歌中表达与特洛伊战争有重大关联与追溯其源头的预言 之事—Iphigenia的牺牲,以及和希腊人被迫努力取得远征的起点.克来天奈斯为她 (Iphigenia)欢愉的牺牲向合唱队解释. 不久,进来了一些目击那战胜,掠夺,充满热情的城市场景以及荣耀在身的指挥官证人的演 员使者,不愿意打断他为子孙的坏消息所做的祈祷文,随後希腊人面临的灾难,他们的分散 及遭受严酷的船难,历历揭露了上天的愤怒…… 轮到阿加曼农的出场,他坐在庆祝胜利的双轮战车上,在另一个装满战利品的战车上,随後 的是卡珊多拉(特洛伊女预言家)与他的战俘女奴. Now comes Agamemnon himself seated on a triumphal chariot. On another chariot, laden with spoils, follows Cassandra, his captive concubine, according to the laws of war in those times. Clytemnestra greets him with a hypocritical show of joy and veneration, bids her maidens spread forth the purple carpets of the costliest golden embroidery, that the foot of the conqueror may not touch the ground. Agamemnon with wise moderation refuses to accept this honor, which belongs only to the gods. At last he complies with her solicitations, and follows her into the house. The chorus begins to entertain dark forebodings. Clytemnestra returns to entice Cassandra, by friendly persuasion, to the same destruction. She remains dumb and immovable. But scarcely is the queen away when, seized by prophetic rage, she breaks out into confused indistinct wailings. Presently, she reveals her predictions to the chorus more clearly; she beholds, in spirit, all the atrocities which have been perpetrated within this house: that Thyestean banquet in which the children were served up to the father, and from which the son turned away his eye; the shades of the mangled children appear to her on the battlements of the palace. She sees also the murder which is in readiness for her lord, and though shuddering at the reek of death, she rushes like a maniac into the house to meet her inevitable destruction. Behind the scenes are heard the groans of the dying Agamemnon. [color=green]克来天奈斯拖虚伪的表现出欢愉及尊敬来迎接他,并命令女佣在前方铺上紫 色含黄金刺绣的贵重地毯,让这荣耀归来的胜利者不踩到地面.然而聪明而稳健的阿加曼农 拒绝接受这项荣耀,并将这份荣耀归於上帝;不过到最後还是遵从克来天奈斯拖的恳求并随 她进屋;此时合唱队已有一种不详的预感,然而克来天奈斯拖更进一步以柔性劝说怂恿卡珊 多拉与她合作.只见卡珊沉默一动也不动,只见皇后争夺那群神愤怒的预言,终於她爆发了 情绪,虚弱的恸哭;一会儿她向合唱队清楚地揭露她的预言,她用灵魂注视着克来天奈斯拖 所有的暴行:在宴会上将儿子驱逐出去放逐在碉堡上的城垛,贵族为谋杀案的准备一切就绪 ,室内充斥着死亡的臭气……她发狂的冲进屋内看到这一切无可避免的毁灭,同时听到幕後 垂死的阿加曼农不断的呻吟声…… The palace is thrown open; Clytemnestra stands beside the corpse of her king and husband, like an insolent criminal who not only acknowledges the deed but glories in it, and would justify it as a righteous act of requital for Agamemnon's sacrifice of Iphigenia to his own ambition. Her jealousy of Cassandra and guilty union with the worthless &AElig;gisthus, who does not make his appearance till the end of the piece, are scarcely touched upon as motives, and remain quite in the background. This was necessary to preserve the dignity of the subject. But in other respects also Clytemnestra was not to be depicted as a frail, seduced woman, but with the traits of that heroic age which is so rich in bloody catastrophes, in which all passions were so impetuous, and men, both in good and evil, exceeded the common standard of later ages. What is more revolting, what proves a deeper degeneracy of human nature than the conception of horrible crimes in the bosom of cowardly effeminacy? If the poet be called upon to depict such crimes, he must by no means seek to palliate them, or to mitigate our detestation of them. The bringing the sacrifice of Iphigenia so close to us has also the advantage of obviating too much bitterness of indignation at the fall of Agamemnon. He is, at the best, not guiltless; former crime recoils on his own head. Moreover, according to the religious notions of the Greeks, an ancient curse weighed heavily on his house; &AElig;gisthus, the author of his overthrow, is a son of that very Thyestes on whom his father Atreus had taken so unnatural a revenge, and this fateful connection was vividly brought before our minds by the choral odes, but especially by the prophecies of Cassandra. <总结>最早有关剧场的确实资料，以及世界上最早的伟大剧本，都来自希腊。有几世纪之 久，希腊戏剧只在祭祀戴欧尼索斯(Dionysus)的节庆中演出。希腊神话里中他是宙斯 (Zeus)与少女西蜜丽(Semele)之子，被杀後首遭肢解，继而复活，成为酒与丰腴之神。因 此他象徵了生命的循环，像新生、茁长、衰坏、死亡与再生；或者涉及季节的更替如春去 夏来，秋尽冬至。作为酒与丰腴之神，他亦代表着世上许多非理念的力量。在早期的戴欧 尼索斯礼拜中，酗酒纵慾被视为是宗教冲动的一部分，而加以接受。虽然这种恶风陋习已 经逐渐昇华，但是礼拜中求取丰腴的基本目的仍然保存未变。自公元前534年左右起,悲剧 成为雅典的春季迎神赛会的组成部分。相传累斯博斯岛的阿里翁是演唱这种乐舞的第一人 , 品达罗斯的老师拉索斯据说曾在雅典表演这种乐舞。另一位诗人泰斯庇斯首次用一个演 员同合唱队对话,後来埃斯库罗斯又加上第二个演员,这样才真正发展成为戏剧。在埃斯库 罗斯的悲剧中歌队占中心地位。按照当时赛会规定,每一个参加悲剧竞赛的诗人要演出三 部悲剧和一部“羊人剧”,後者是用扮成半人半羊的歌队演出的插科打诨戏。埃斯库罗斯 的三部曲,一般故事都是连贯的,他不重视戏剧结构和人物描写,主要是表现个人行为与天 神意志之间的矛盾冲突。他的语言丰富华丽, 有时过份夸张,以致晦涩难懂。希腊戏剧的 第一个确切纪录见之於公元前534年，这一年「城市的戴神节」组织改变，在各项活动中 加入了悲剧演出竞赛，因此戏剧在此以前肯定已经存在。这时期中唯一可考的戏剧家就是 塞士比斯(Thespis)，也就是第一次悲剧竞赛的冠军得主，他也是第一个为世人所知的演 员，所以以後演员们就常被叫做塞士比斯之徒(Thespians)。塞士比斯的戏剧比较简单， 它只有一个演员和一个歌队。这倒并不是说剧里只有一个人物，而是说，所有的角色都由 同一个演员扮演。这一个演员用面具来改变他的身份，而当他离开了舞台去换装为另一个 人物时，歌队便以歌唱和舞蹈来弥补这段空档，所以歌队便成为早期戏剧中的主要元素。 敌对人物间面对面的冲突，後世固然视为戏剧的必要条件，然在那种只有一个演员的情形 下，当然是不可能的事。埃斯库罗斯是第一个加入第二个演员的古希腊剧作家，这个重要 发展令戏剧冲突的可能性得以展开，而演员重要性的加强亦同时削弱了歌队的重要性。另 外，他的剧作里关注着人与神的关系，着重所谓真理观念的问题，他认为人类在痛苦中学 习，最终将会找寻到一种新的宇宙秩序，就是宇宙间的真理，人间恩仇终由国家法律审理 等。这在人类观念史发展具有革命性意义。而埃斯库罗斯本人亦被尊为「悲剧之父」。 --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 140.112.240.44