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+CHAPTER I. Page 1 
+  
+Chen Shih-yin, in a vision, apprehends perception and spirituality. Chia Yue-ts'un, in the (windy and dusty) world, cherishes fond thoughts of a beautiful maiden. 
+This is the opening section; this the first chapter. Subsequent to the visions of a dream which he had, on some previous occasion, experienced, the writer personally relates, he designedly concealed the true circumstances, and borrowed the attributes of perception and spirituality to relate this story of the Record of the Stone. With this purpose, he made use of such designations as Chen Shih-yin (truth under the garb of fiction) and the like. What are, however, the events recorded in this work? Who are the dramatis personae? 
+Wearied with the drudgery experienced of late in the world, the author speaking for himself, goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Passing one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy. 
+On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There have been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to screen my own shortcomings. 
+Hence it is that the thatched shed, with bamboo mat windows, the bed of tow and the stove of brick, which are at present my share, are not sufficient to deter me from carrying out the fixed purpose of my mind. And could I, furthermore, confront the morning breeze, the evening moon, the willows by the steps and the flowers in the courtyard, methinks these would moisten to a greater degree my mortal pen with ink; but though I lack culture and erudition, what harm is there, however, in employing fiction and unrecondite language to give utterance to the merits of these characters? And were I also able to induce the inmates of the inner chamber to understand and diffuse them, could I besides break the weariness of even so much as a single moment, or could I open the eyes of my contemporaries, will it not forsooth prove a boon? 
+This consideration has led to the usage of such names as Chia Yue-ts'un and other similar appellations. 
+More than any in these pages have been employed such words as dreams and visions; but these dreams constitute the main argument of this work, and combine, furthermore, the design of giving a word of warning to my readers. 
+Reader, can you suggest whence the story begins? 
+The narration may border on the limits of incoherency and triviality, but it possesses considerable zest. But to begin. 
+The Empress Nue Wo, (the goddess of works,) in fashioning blocks of stones, for the repair of the heavens, prepared, at the Ta Huang Hills and Wu Ch'i cave, 36,501 blocks of rough stone, each twelve chang in height, and twenty-four chang square. Of these stones, the Empress Wo only used 36,500; so that one single block remained over and above, without being turned to any account. This was cast down the Ch'ing Keng peak. This stone, strange to say, after having undergone a process of refinement, attained a nature of efficiency, and could, by its innate powers, set itself into motion and was able to expand and to contract. 
+When it became aware that the whole number of blocks had been made use of to repair the heavens, that it alone had been destitute of the necessary properties and had been unfit to attain selection, it forthwith felt within itself vexation and shame, and day and night, it gave way to anguish and sorrow. 
+One day, while it lamented its lot, it suddenly caught sight, at a great distance, of a Buddhist bonze and of a Taoist priest coming towards that direction. Their appearance was uncommon, their easy manner remarkable. When they drew near this Ch'ing Keng peak, they sat on the ground to rest, and began to converse. But on noticing the block newly-polished and brilliantly clear, which had moreover contracted in dimensions, and become no larger than the pendant of a fan, they were greatly filled with admiration. The Buddhist priest picked it up, and laid it in the palm of his hand. 
+"Your appearance," he said laughingly, "may well declare you to be a supernatural object, but as you lack any inherent quality it is necessary to inscribe a few characters on you, so that every one who shall see you may at once recognise you to be a remarkable thing. And subsequently, when you will be taken into a country where honour and affluence will reign, into a family cultured in mind and of official status, in a land where flowers and trees shall flourish with luxuriance, in a town of refinement, renown and glory; when you once will have been there..." 
+The stone listened with intense delight. 
+"What characters may I ask," it consequently inquired, "will you inscribe? and what place will I be taken to? pray, pray explain to me in lucid terms." "You mustn't be inquisitive," the bonze replied, with a smile, "in days to come you'll certainly understand everything." Having concluded these words, he forthwith put the stone in his sleeve, and proceeded leisurely on his journey, in company with the Taoist priest. Whither, however, he took the stone, is not divulged. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, K'ung K'ung by name, passed, during his researches after the eternal reason and his quest after immortality, by these Ta Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly perceiving a large block of stone, on the surface of which the traces of characters giving, in a connected form, the various incidents of its fate, could be clearly deciphered, K'ung K'ung examined them from first to last. They, in fact, explained how that this block of worthless stone had originally been devoid of the properties essential for the repairs to the heavens, how it would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other bank (across the San Sara). On the surface, the record of the spot where it would fall, the place of its birth, as well as various family trifles and trivial love affairs of young ladies, verses, odes, speeches and enigmas was still complete; but the name of the dynasty and the year of the reign were obliterated, and could not be ascertained. 
+On the obverse, were also the following enigmatical verses: 
+Lacking in virtues meet the azure skies to mend, In vain the mortal world full many a year I wend, Of a former and after life these facts that be, Who will for a tradition strange record for me? 
+K'ung K'ung, the Taoist, having pondered over these lines for a while, became aware that this stone had a history of some kind. 
+"Brother stone," he forthwith said, addressing the stone, "the concerns of past days recorded on you possess, according to your own account, a considerable amount of interest, and have been for this reason inscribed, with the intent of soliciting generations to hand them down as remarkable occurrences. But in my own opinion, they lack, in the first place, any data by means of which to establish the name of the Emperor and the year of his reign; and, in the second place, these constitute no record of any excellent policy, adopted by any high worthies or high loyal statesmen, in the government of the state, or in the rule of public morals. The contents simply treat of a certain number of maidens, of exceptional character; either of their love affairs or infatuations, or of their small deserts or insignificant talents; and were I to transcribe the whole collection of them, they would, nevertheless, not be estimated as a book of any exceptional worth." 
+"Sir Priest," the stone replied with assurance, "why are you so excessively dull? The dynasties recorded in the rustic histories, which have been written from age to age, have, I am fain to think, invariably assumed, under false pretences, the mere nomenclature of the Han and T'ang dynasties. They differ from the events inscribed on my block, which do not borrow this customary practice, but, being based on my own experiences and natural feelings, present, on the contrary, a novel and unique character. Besides, in the pages of these rustic histories, either the aspersions upon sovereigns and statesmen, or the strictures upon individuals, their wives, and their daughters, or the deeds of licentiousness and violence are too numerous to be computed. Indeed, there is one more kind of loose literature, the wantonness and pollution in which work most easy havoc upon youth. 
+"As regards the works, in which the characters of scholars and beauties is delineated their allusions are again repeatedly of Wen Chuen, their theme in every page of Tzu Chien; a thousand volumes present no diversity; and a thousand characters are but a counterpart of each other. What is more, these works, throughout all their pages, cannot help bordering on extreme licence. The authors, however, had no other object in view than to give utterance to a few sentimental odes and elegant ballads of their own, and for this reason they have fictitiously invented the names and surnames of both men and women, and necessarily introduced, in addition, some low characters, who should, like a buffoon in a play, create some excitement in the plot. 
+"Still more loathsome is a kind of pedantic and profligate literature, perfectly devoid of all natural sentiment, full of self-contradictions; and, in fact, the contrast to those maidens in my work, whom I have, during half my lifetime, seen with my own eyes and heard with my own ears. And though I will not presume to estimate them as superior to the heroes and heroines in the works of former ages, yet the perusal of the motives and issues of their experiences, may likewise afford matter sufficient to banish dulness, and to break the spell of melancholy. 
+"As regards the several stanzas of doggerel verse, they may too evoke such laughter as to compel the reader to blurt out the rice, and to spurt out the wine. 
+"In these pages, the scenes depicting the anguish of separation, the bliss of reunion, and the fortunes of prosperity and of adversity are all, in every detail, true to human nature, and I have not taken upon myself to make the slightest addition, or alteration, which might lead to the perversion of the truth. 
+"My only object has been that men may, after a drinking bout, or after they wake from sleep or when in need of relaxation from the pressure of business, take up this light literature, and not only expunge the traces of antiquated books, and obtain a new kind of distraction, but that they may also lay by a long life as well as energy and strength; for it bears no point of similarity to those works, whose designs are false, whose course is immoral. Now, Sir Priest, what are your views on the subject?" 
+K'ung K'ung having pondered for a while over the words, to which he had listened intently, re-perused, throughout, this record of the stone; and finding that the general purport consisted of nought else than a treatise on love, and likewise of an accurate transcription of facts, without the least taint of profligacy injurious to the times, he thereupon copied the contents, from beginning to end, to the intent of charging the world to hand them down as a strange story. 
+Hence it was that K'ung K'ung, the Taoist, in consequence of his perception, (in his state of) abstraction, of passion, the generation, from this passion, of voluptuousness, the transmission of this voluptuousness into passion, and the apprehension, by means of passion, of its unreality, forthwith altered his name for that of "Ch'ing Tseng" (the Voluptuous Bonze), and changed the title of "the Memoir of a Stone" (Shih-t'ou-chi,) for that of "Ch'ing Tseng Lu," The Record of the Voluptuous Bonze; while K'ung Mei-chi of Tung Lu gave it the name of "Feng Yueeh Pao Chien," "The Precious Mirror of Voluptuousness." In later years, owing to the devotion by Tsao Hsueeh-ch'in in the Tao Hung study, of ten years to the perusal and revision of the work, the additions and modifications effected by him five times, the affix of an index and the division into periods and chapters, the book was again entitled "Chin Ling Shih Erh Ch'ai," "The Twelve Maidens of Chin Ling." A stanza was furthermore composed for the purpose. This then, and no other, is the origin of the Record of the Stone. The poet says appositely:-- 
+Pages full of silly litter, Tears a handful sour and bitter; All a fool the author hold, But their zest who can unfold? 
+You have now understood the causes which brought about the Record of the Stone, but as you are not, as yet, aware what characters are depicted, and what circumstances are related on the surface of the block, reader, please lend an ear to the narrative on the stone, which runs as follows:-- 
+In old days, the land in the South East lay low. In this South-East part of the world, was situated a walled town, Ku Su by name. Within the walls a locality, called the Ch'ang Men, was more than all others throughout the mortal world, the centre, which held the second, if not the first place for fashion and life. Beyond this Ch'ang Men was a street called Shih-li-chieh (Ten _Li_ street); in this street a lane, the Jen Ch'ing lane (Humanity and Purity); and in this lane stood an old temple, which on account of its diminutive dimensions, was called, by general consent, the Gourd temple. Next door to this temple lived the family of a district official, Chen by surname, Fei by name, and Shih-yin by style. His wife, nee Feng, possessed a worthy and virtuous disposition, and had a clear perception of moral propriety and good conduct. This family, though not in actual possession of excessive affluence and honours, was, nevertheless, in their district, conceded to be a clan of well-to-do standing. As this Chen Shih-yin was of a contented and unambitious frame of mind, and entertained no hankering after any official distinction, but day after day of his life took delight in gazing at flowers, planting bamboos, sipping his wine and conning poetical works, he was in fact, in the indulgence of these pursuits, as happy as a supernatural being. 
+One thing alone marred his happiness. He had lived over half a century and had, as yet, no male offspring around his knees. He had one only child, a daughter, whose infant name was Ying Lien. She was just three years of age. On a long summer day, on which the heat had been intense, Shih-yin sat leisurely in his library. Feeling his hand tired, he dropped the book he held, leant his head on a teapoy, and fell asleep. 
+Of a sudden, while in this state of unconsciousness, it seemed as if he had betaken himself on foot to some spot or other whither he could not discriminate. Unexpectedly he espied, in the opposite direction, two priests coming towards him: the one a Buddhist, the other a Taoist. As they advanced they kept up the conversation in which they were engaged. "Whither do you purpose taking the object you have brought away?" he heard the Taoist inquire. To this question the Buddhist replied with a smile: "Set your mind at ease," he said; "there's now in maturity a plot of a general character involving mundane pleasures, which will presently come to a denouement. The whole number of the votaries of voluptuousness have, as yet, not been quickened or entered the world, and I mean to avail myself of this occasion to introduce this object among their number, so as to give it a chance to go through the span of human existence." "The votaries of voluptuousness of these days will naturally have again to endure the ills of life during their course through the mortal world," the Taoist remarked; "but when, I wonder, will they spring into existence? and in what place will they descend?" 
+"The account of these circumstances," the bonze ventured to reply, "is enough to make you laugh! They amount to this: there existed in the west, on the bank of the Ling (spiritual) river, by the side of the San Sheng (thrice-born) stone, a blade of the Chiang Chu (purple pearl) grass. At about the same time it was that the block of stone was, consequent upon its rejection by the goddess of works, also left to ramble and wander to its own gratification, and to roam about at pleasure to every and any place. One day it came within the precincts of the Ching Huan (Monitory Vision) Fairy; and this Fairy, cognizant of the fact that this stone had a history, detained it, therefore, to reside at the Ch'ih Hsia (purple clouds) palace, and apportioned to it the duties of attendant on Shen Ying, a fairy of the Ch'ih Hsia palace. 
+"This stone would, however, often stroll along the banks of the Ling river, and having at the sight of the blade of spiritual grass been filled with admiration, it, day by day, moistened its roots with sweet dew. This purple pearl grass, at the outset, tarried for months and years; but being at a later period imbued with the essence and luxuriance of heaven and earth, and having incessantly received the moisture and nurture of the sweet dew, divested itself, in course of time, of the form of a grass; assuming, in lieu, a human nature, which gradually became perfected into the person of a girl. 
+"Every day she was wont to wander beyond the confines of the Li Hen (divested animosities) heavens. When hungry she fed on the Pi Ch'ing (hidden love) fruit--when thirsty she drank the Kuan ch'ou (discharged sorrows,) water. Having, however, up to this time, not shewn her gratitude for the virtue of nurture lavished upon her, the result was but natural that she should resolve in her heart upon a constant and incessant purpose to make suitable acknowledgment. 
+"I have been," she would often commune within herself, "the recipient of the gracious bounty of rain and dew, but I possess no such water as was lavished upon me to repay it! But should it ever descend into the world in the form of a human being, I will also betake myself thither, along with it; and if I can only have the means of making restitution to it, with the tears of a whole lifetime, I may be able to make adequate return." 
+"This resolution it is that will evolve the descent into the world of so many pleasure-bound spirits of retribution and the experience of fantastic destinies; and this crimson pearl blade will also be among the number. The stone still lies in its original place, and why should not you and I take it along before the tribunal of the Monitory Vision Fairy, and place on its behalf its name on record, so that it should descend into the world, in company with these spirits of passion, and bring this plot to an issue?"    
+                  
+ CHAPTER I. Page 2
+   
+曹雪芹
+CHAPTER I. Page 2 
+  
+"It is indeed ridiculous," interposed the Taoist. "Never before have I heard even the very mention of restitution by means of tears! Why should not you and I avail ourselves of this opportunity to likewise go down into the world? and if successful in effecting the salvation of a few of them, will it not be a work meritorious and virtuous?" 
+"This proposal," remarked the Buddhist, "is quite in harmony with my own views. Come along then with me to the palace of the Monitory Vision Fairy, and let us deliver up this good-for-nothing object, and have done with it! And when the company of pleasure-bound spirits of wrath descend into human existence, you and I can then enter the world. Half of them have already fallen into the dusty universe, but the whole number of them have not, as yet, come together." 
+"Such being the case," the Taoist acquiesced, "I am ready to follow you, whenever you please to go." 
+But to return to Chen Shih-yin. Having heard every one of these words distinctly, he could not refrain from forthwith stepping forward and paying homage. "My spiritual lords," he said, as he smiled, "accept my obeisance." The Buddhist and Taoist priests lost no time in responding to the compliment, and they exchanged the usual salutations. "My spiritual lords," Shih-yin continued; "I have just heard the conversation that passed between you, on causes and effects, a conversation the like of which few mortals have forsooth listened to; but your younger brother is sluggish of intellect, and cannot lucidly fathom the import! Yet could this dulness and simplicity be graciously dispelled, your younger brother may, by listening minutely, with undefiled ear and careful attention, to a certain degree be aroused to a sense of understanding; and what is more, possibly find the means of escaping the anguish of sinking down into Hades." 
+The two spirits smiled, "The conversation," they added, "refers to the primordial scheme and cannot be divulged before the proper season; but, when the time comes, mind do not forget us two, and you will readily be able to escape from the fiery furnace." 
+Shih-yin, after this reply, felt it difficult to make any further inquiries. "The primordial scheme," he however remarked smiling, "cannot, of course, be divulged; but what manner of thing, I wonder, is the good-for-nothing object you alluded to a short while back? May I not be allowed to judge for myself?" 
+"This object about which you ask," the Buddhist Bonze responded, "is intended, I may tell you, by fate to be just glanced at by you." With these words he produced it, and handed it over to Shih-yin. 
+Shih-yin received it. On scrutiny he found it, in fact, to be a beautiful gem, so lustrous and so clear that the traces of characters on the surface were distinctly visible. The characters inscribed consisted of the four "T'ung Ling Pao Yue," "Precious Gem of Spiritual Perception." On the obverse, were also several columns of minute words, which he was just in the act of looking at intently, when the Buddhist at once expostulated. 
+"We have already reached," he exclaimed, "the confines of vision." Snatching it violently out of his hands, he walked away with the Taoist, under a lofty stone portal, on the face of which appeared in large type the four characters: "T'ai Hsue Huan Ching," "The Visionary limits of the Great Void." On each side was a scroll with the lines: 
+When falsehood stands for truth, truth likewise becomes false, Where naught be made to aught, aught changes into naught. 
+Shih-yin meant also to follow them on the other side, but, as he was about to make one step forward, he suddenly heard a crash, just as if the mountains had fallen into ruins, and the earth sunk into destruction. As Shih-yin uttered a loud shout, he looked with strained eye; but all he could see was the fiery sun shining, with glowing rays, while the banana leaves drooped their heads. By that time, half of the circumstances connected with the dream he had had, had already slipped from his memory. 
+He also noticed a nurse coming towards him with Ying Lien in her arms. To Shih-yin's eyes his daughter appeared even more beautiful, such a bright gem, so precious, and so lovable. Forthwith stretching out his arms, he took her over, and, as he held her in his embrace, he coaxed her to play with him for a while; after which he brought her up to the street to see the great stir occasioned by the procession that was going past. 
+He was about to come in, when he caught sight of two priests, one a Taoist, the other a Buddhist, coming hither from the opposite direction. The Buddhist had a head covered with mange, and went barefooted. The Taoist had a limping foot, and his hair was all dishevelled. 
+Like maniacs, they jostled along, chattering and laughing as they drew near. 
+As soon as they reached Shih-yin's door, and they perceived him with Ying Lien in his arms, the Bonze began to weep aloud. 
+Turning towards Shih-yin, he said to him: "My good Sir, why need you carry in your embrace this living but luckless thing, which will involve father and mother in trouble?" 
+These words did not escape Shih-yin's ear; but persuaded that they amounted to raving talk, he paid no heed whatever to the bonze. 
+"Part with her and give her to me," the Buddhist still went on to say. 
+Shih-yin could not restrain his annoyance; and hastily pressing his daughter closer to him, he was intent upon going in, when the bonze pointed his hand at him, and burst out in a loud fit of laughter. 
+He then gave utterance to the four lines that follow: 
+You indulge your tender daughter and are laughed at as inane; Vain you face the snow, oh mirror! for it will evanescent wane, When the festival of lanterns is gone by, guard 'gainst your doom, 'Tis what time the flames will kindle, and the fire will consume. 
+Shih-yin understood distinctly the full import of what he heard; but his heart was still full of conjectures. He was about to inquire who and what they were, when he heard the Taoist remark,--"You and I cannot speed together; let us now part company, and each of us will be then able to go after his own business. After the lapse of three ages, I shall be at the Pei Mang mount, waiting for you; and we can, after our reunion, betake ourselves to the Visionary Confines of the Great Void, there to cancel the name of the stone from the records." 
+"Excellent! first rate!" exclaimed the Bonze. And at the conclusion of these words, the two men parted, each going his own way, and no trace was again seen of them. 
+"These two men," Shih-yin then pondered within his heart, "must have had many experiences, and I ought really to have made more inquiries of them; but at this juncture to indulge in regret is anyhow too late." 
+While Shih-yin gave way to these foolish reflections, he suddenly noticed the arrival of a penniless scholar, Chia by surname, Hua by name, Shih-fei by style and Yue-ts'un by nickname, who had taken up his quarters in the Gourd temple next door. This Chia Yue-ts'un was originally a denizen of Hu-Chow, and was also of literary and official parentage, but as he was born of the youngest stock, and the possessions of his paternal and maternal ancestors were completely exhausted, and his parents and relatives were dead, he remained the sole and only survivor; and, as he found his residence in his native place of no avail, he therefore entered the capital in search of that reputation, which would enable him to put the family estate on a proper standing. He had arrived at this place since the year before last, and had, what is more, lived all along in very straitened circumstances. He had made the temple his temporary quarters, and earned a living by daily occupying himself in composing documents and writing letters for customers. Thus it was that Shih-yin had been in constant relations with him. 
+As soon as Yue-ts'un perceived Shih-yin, he lost no time in saluting him. "My worthy Sir," he observed with a forced smile; "how is it you are leaning against the door and looking out? Is there perchance any news astir in the streets, or in the public places?" 
+"None whatever," replied Shih-yin, as he returned the smile. "Just a while back, my young daughter was in sobs, and I coaxed her out here to amuse her. I am just now without anything whatever to attend to, so that, dear brother Chia, you come just in the nick of time. Please walk into my mean abode, and let us endeavour, in each other's company, to while away this long summer day." 
+After he had made this remark, he bade a servant take his daughter in, while he, hand-in-hand with Yue-ts'un, walked into the library, where a young page served tea. They had hardly exchanged a few sentences, when one of the household came in, in flying haste, to announce that Mr. Yen had come to pay a visit. 
+Shih-yin at once stood up. "Pray excuse my rudeness," he remarked apologetically, "but do sit down; I shall shortly rejoin you, and enjoy the pleasure of your society." "My dear Sir," answered Yue-ts'un, as he got up, also in a conceding way, "suit your own convenience. I've often had the honour of being your guest, and what will it matter if I wait a little?" While these apologies were yet being spoken, Shih-yin had already walked out into the front parlour. During his absence, Yue-ts'un occupied himself in turning over the pages of some poetical work to dispel ennui, when suddenly he heard, outside the window, a woman's cough. Yue-ts'un hurriedly got up and looked out. He saw at a glance that it was a servant girl engaged in picking flowers. Her deportment was out of the common; her eyes so bright, her eyebrows so well defined. Though not a perfect beauty, she possessed nevertheless charms sufficient to arouse the feelings. Yue-ts'un unwittingly gazed at her with fixed eye. This waiting-maid, belonging to the Chen family, had done picking flowers, and was on the point of going in, when she of a sudden raised her eyes and became aware of the presence of some person inside the window, whose head-gear consisted of a turban in tatters, while his clothes were the worse for wear. But in spite of his poverty, he was naturally endowed with a round waist, a broad back, a fat face, a square mouth; added to this, his eyebrows were swordlike, his eyes resembled stars, his nose was straight, his cheeks square. 
+This servant girl turned away in a hurry and made her escape. 
+"This man so burly and strong," she communed within herself, "yet at the same time got up in such poor attire, must, I expect, be no one else than the man, whose name is Chia Yue-ts'un or such like, time after time referred to by my master, and to whom he has repeatedly wished to give a helping hand, but has failed to find a favourable opportunity. And as related to our family there is no connexion or friend in such straits, I feel certain it cannot be any other person than he. Strange to say, my master has further remarked that this man will, for a certainty, not always continue in such a state of destitution." 
+As she indulged in this train of thought, she could not restrain herself from turning her head round once or twice. 
+When Yue-ts'un perceived that she had looked back, he readily interpreted it as a sign that in her heart her thoughts had been of him, and he was frantic with irrepressible joy. 
+"This girl," he mused, "is, no doubt, keen-eyed and eminently shrewd, and one in this world who has seen through me." 
+The servant youth, after a short time, came into the room; and when Yue-ts'un made inquiries and found out from him that the guests in the front parlour had been detained to dinner, he could not very well wait any longer, and promptly walked away down a side passage and out of a back door. 
+When the guests had taken their leave, Shih-yin did not go back to rejoin Yue-ts'un, as he had come to know that he had already left. 
+In time the mid-autumn festivities drew near; and Shih-yin, after the family banquet was over, had a separate table laid in the library, and crossed over, in the moonlight, as far as the temple and invited Yue-ts'un to come round. 
+The fact is that Yue-ts'un, ever since the day on which he had seen the girl of the Chen family turn twice round to glance at him, flattered himself that she was friendly disposed towards him, and incessantly fostered fond thoughts of her in his heart. And on this day, which happened to be the mid-autumn feast, he could not, as he gazed at the moon, refrain from cherishing her remembrance. Hence it was that he gave vent to these pentameter verses: 
+Alas! not yet divined my lifelong wish, And anguish ceaseless comes upon anguish I came, and sad at heart, my brow I frowned; She went, and oft her head to look turned round. Facing the breeze, her shadow she doth watch, Who's meet this moonlight night with her to match? The lustrous rays if they my wish but read Would soon alight upon her beauteous head! 
+Yue-ts'un having, after this recitation, recalled again to mind how that throughout his lifetime his literary attainments had had an adverse fate and not met with an opportunity (of reaping distinction), went on to rub his brow, and as he raised his eyes to the skies, he heaved a deep sigh and once more intoned a couplet aloud: 
+The gem in the cask a high price it seeks, The pin in the case to take wing it waits. 
+As luck would have it, Shih-yin was at the moment approaching, and upon hearing the lines, he said with a smile: "My dear Yue-ts'un, really your attainments are of no ordinary capacity." 
+Yue-ts'un lost no time in smiling and replying. "It would be presumption in my part to think so," he observed. "I was simply at random humming a few verses composed by former writers, and what reason is there to laud me to such an excessive degree? To what, my dear Sir, do I owe the pleasure of your visit?" he went on to inquire. "Tonight," replied Shih-yin, "is the mid-autumn feast, generally known as the full-moon festival; and as I could not help thinking that living, as you my worthy brother are, as a mere stranger in this Buddhist temple, you could not but experience the feeling of loneliness. I have, for the express purpose, prepared a small entertainment, and will be pleased if you will come to my mean abode to have a glass of wine. But I wonder whether you will entertain favourably my modest invitation?" Yue-ts'un, after listening to the proposal, put forward no refusal of any sort; but remarked complacently: "Being the recipient of such marked attention, how can I presume to repel your generous consideration?" 
+As he gave expression to these words, he walked off there and then, in company with Shih-yin, and came over once again into the court in front of the library. In a few minutes, tea was over. 
+The cups and dishes had been laid from an early hour, and needless to say the wines were luscious; the fare sumptuous. 
+The two friends took their seats. At first they leisurely replenished their glasses, and quietly sipped their wine; but as, little by little, they entered into conversation, their good cheer grew more genial, and unawares the glasses began to fly round, and the cups to be exchanged. 
+At this very hour, in every house of the neighbourhood, sounded the fife and lute, while the inmates indulged in music and singing. Above head, the orb of the radiant moon shone with an all-pervading splendour, and with a steady lustrous light, while the two friends, as their exuberance increased, drained their cups dry so soon as they reached their lips. 
+Yue-ts'un, at this stage of the collation, was considerably under the influence of wine, and the vehemence of his high spirits was irrepressible. As he gazed at the moon, he fostered thoughts, to which he gave vent by the recital of a double couplet. 
+'Tis what time three meets five, Selene is a globe! Her pure rays fill the court, the jadelike rails enrobe! Lo! in the heavens her disk to view doth now arise, And in the earth below to gaze men lift their eyes. 
+"Excellent!" cried Shih-yin with a loud voice, after he had heard these lines; "I have repeatedly maintained that it was impossible for you to remain long inferior to any, and now the verses you have recited are a prognostic of your rapid advancement. Already it is evident that, before long, you will extend your footsteps far above the clouds! I must congratulate you! I must congratulate you! Let me, with my own hands, pour a glass of wine to pay you my compliments." 
+Yue-ts'un drained the cup. "What I am about to say," he explained as he suddenly heaved a sigh, "is not the maudlin talk of a man under the effects of wine. As far as the subjects at present set in the examinations go, I could, perchance, also have well been able to enter the list, and to send in my name as a candidate; but I have, just now, no means whatever to make provision for luggage and for travelling expenses. The distance too to Shen Ching is a long one, and I could not depend upon the sale of papers or the composition of essays to find the means of getting there." 
+Shih-yin gave him no time to conclude. "Why did you not speak about this sooner?" he interposed with haste. "I have long entertained this suspicion; but as, whenever I met you, this conversation was never broached, I did not presume to make myself officious. But if such be the state of affairs just now, I lack, I admit, literary qualification, but on the two subjects of friendly spirit and pecuniary means, I have, nevertheless, some experience. Moreover, I rejoice that next year is just the season for the triennial examinations, and you should start for the capital with all despatch; and in the tripos next spring, you will, by carrying the prize, be able to do justice to the proficiency you can boast of. As regards the travelling expenses and the other items, the provision of everything necessary for you by my own self will again not render nugatory your mean acquaintance with me." 
+Forthwith, he directed a servant lad to go and pack up at once fifty taels of pure silver and two suits of winter clothes. 
+"The nineteenth," he continued, "is a propitious day, and you should lose no time in hiring a boat and starting on your journey westwards. And when, by your eminent talents, you shall have soared high to a lofty position, and we meet again next winter, will not the occasion be extremely felicitous?" 
+Yue-ts'un accepted the money and clothes with but scanty expression of gratitude. In fact, he paid no thought whatever to the gifts, but went on, again drinking his wine, as he chattered and laughed. 
+It was only when the third watch of that day had already struck that the two friends parted company; and Shih-yin, after seeing Yue-ts'un off, retired to his room and slept, with one sleep all through, never waking until the sun was well up in the skies. 
+Remembering the occurrence of the previous night, he meant to write a couple of letters of recommendation for Yue-ts'un to take along with him to the capital, to enable him, after handing them over at the mansions of certain officials, to find some place as a temporary home. He accordingly despatched a servant to ask him to come round, but the man returned and reported that from what the bonze said, "Mr. Chia had started on his journey to the capital, at the fifth watch of that very morning, that he had also left a message with the bonze to deliver to you, Sir, to the effect that men of letters paid no heed to lucky or unlucky days, that the sole consideration with them was the nature of the matter in hand, and that he could find no time to come round in person and bid good-bye."    
+                  
+ CHAPTER I. Page 3
+   
+曹雪芹
+CHAPTER I. Page 3 
+  
+Shih-yin after hearing this message had no alternative but to banish the subject from his thoughts. 
+In comfortable circumstances, time indeed goes by with easy stride. Soon drew near also the happy festival of the 15th of the 1st moon, and Shih-yin told a servant Huo Ch'i to take Ying Lien to see the sacrificial fires and flowery lanterns. 
+About the middle of the night, Huo Ch'i was hard pressed, and he forthwith set Ying Lien down on the doorstep of a certain house. When he felt relieved, he came back to take her up, but failed to find anywhere any trace of Ying Lien. In a terrible plight, Huo Ch'i prosecuted his search throughout half the night; but even by the dawn of day, he had not discovered any clue of her whereabouts. Huo Ch'i, lacking, on the other hand, the courage to go back and face his master, promptly made his escape to his native village. 
+Shih-yin--in fact, the husband as well as the wife--seeing that their child had not come home during the whole night, readily concluded that some mishap must have befallen her. Hastily they despatched several servants to go in search of her, but one and all returned to report that there was neither vestige nor tidings of her. 
+This couple had only had this child, and this at the meridian of their life, so that her sudden disappearance plunged them in such great distress that day and night they mourned her loss to such a point as to well nigh pay no heed to their very lives. 
+A month in no time went by. Shih-yin was the first to fall ill, and his wife, Dame Feng, likewise, by dint of fretting for her daughter, was also prostrated with sickness. The doctor was, day after day, sent for, and the oracle consulted by means of divination. 
+Little did any one think that on this day, being the 15th of the 3rd moon, while the sacrificial oblations were being prepared in the Hu Lu temple, a pan with oil would have caught fire, through the want of care on the part of the bonze, and that in a short time the flames would have consumed the paper pasted on the windows. 
+Among the natives of this district bamboo fences and wooden partitions were in general use, and these too proved a source of calamity so ordained by fate (to consummate this decree). 
+With promptness (the fire) extended to two buildings, then enveloped three, then dragged four (into ruin), and then spread to five houses, until the whole street was in a blaze, resembling the flames of a volcano. Though both the military and the people at once ran to the rescue, the fire had already assumed a serious hold, so that it was impossible for them to afford any effective assistance for its suppression. 
+It blazed away straight through the night, before it was extinguished, and consumed, there is in fact no saying how many dwelling houses. Anyhow, pitiful to relate, the Chen house, situated as it was next door to the temple, was, at an early part of the evening, reduced to a heap of tiles and bricks; and nothing but the lives of that couple and several inmates of the family did not sustain any injuries. 
+Shih-yin was in despair, but all he could do was to stamp his feet and heave deep sighs. After consulting with his wife, they betook themselves to a farm of theirs, where they took up their quarters temporarily. But as it happened that water had of late years been scarce, and no crops been reaped, robbers and thieves had sprung up like bees, and though the Government troops were bent upon their capture, it was anyhow difficult to settle down quietly on the farm. He therefore had no other resource than to convert, at a loss, the whole of his property into money, and to take his wife and two servant girls and come over for shelter to the house of his father-in-law. 
+His father-in-law, Feng Su, by name, was a native of Ta Ju Chou. Although only a labourer, he was nevertheless in easy circumstances at home. When he on this occasion saw his son-in-law come to him in such distress, he forthwith felt at heart considerable displeasure. Fortunately Shih-yin had still in his possession the money derived from the unprofitable realization of his property, so that he produced and handed it to his father-in-law, commissioning him to purchase, whenever a suitable opportunity presented itself, a house and land as a provision for food and raiment against days to come. This Feng Su, however, only expended the half of the sum, and pocketed the other half, merely acquiring for him some fallow land and a dilapidated house. 
+Shih-yin being, on the other hand, a man of books and with no experience in matters connected with business and with sowing and reaping, subsisted, by hook and by crook, for about a year or two, when he became more impoverished. 
+In his presence, Feng Su would readily give vent to specious utterances, while, with others, and behind his back, he on the contrary expressed his indignation against his improvidence in his mode of living, and against his sole delight of eating and playing the lazy. 
+Shih-yin, aware of the want of harmony with his father-in-law, could not help giving way, in his own heart, to feelings of regret and pain. In addition to this, the fright and vexation which he had undergone the year before, the anguish and suffering (he had had to endure), had already worked havoc (on his constitution); and being a man advanced in years, and assailed by the joint attack of poverty and disease, he at length gradually began to display symptoms of decline. 
+Strange coincidence, as he, on this day, came leaning on his staff and with considerable strain, as far as the street for a little relaxation, he suddenly caught sight, approaching from the off side, of a Taoist priest with a crippled foot; his maniac appearance so repulsive, his shoes of straw, his dress all in tatters, muttering several sentiments to this effect: 
+All men spiritual life know to be good, But fame to disregard they ne'er succeed! From old till now the statesmen where are they? Waste lie their graves, a heap of grass, extinct. All men spiritual life know to be good, But to forget gold, silver, ill succeed! Through life they grudge their hoardings to be scant, And when plenty has come, their eyelids close. All men spiritual life hold to be good, Yet to forget wives, maids, they ne'er succeed! Who speak of grateful love while lives their lord, And dead their lord, another they pursue. All men spiritual life know to be good, But sons and grandsons to forget never succeed! From old till now of parents soft many, But filial sons and grandsons who have seen? 
+Shih-yin upon hearing these words, hastily came up to the priest, "What were you so glibly holding forth?" he inquired. "All I could hear were a lot of hao liao (excellent, finality.") 
+"You may well have heard the two words 'hao liao,'" answered the Taoist with a smile, "but can you be said to have fathomed their meaning? You should know that all things in this world are excellent, when they have attained finality; when they have attained finality, they are excellent; but when they have not attained finality, they are not excellent; if they would be excellent, they should attain finality. My song is entitled Excellent-finality (hao liao)." 
+Shih-yin was gifted with a natural perspicacity that enabled him, as soon as he heard these remarks, to grasp their spirit. 
+"Wait a while," he therefore said smilingly; "let me unravel this excellent-finality song of yours; do you mind?" 
+"Please by all means go on with the interpretation," urged the Taoist; whereupon Shih-yin proceeded in this strain: 
+Sordid rooms and vacant courts, Replete in years gone by with beds where statesmen lay; Parched grass and withered banian trees, Where once were halls for song and dance! Spiders' webs the carved pillars intertwine, The green gauze now is also pasted on the straw windows! What about the cosmetic fresh concocted or the powder just scented; Why has the hair too on each temple become white like hoarfrost! Yesterday the tumulus of yellow earth buried the bleached bones, To-night under the red silk curtain reclines the couple! Gold fills the coffers, silver fills the boxes, But in a twinkle, the beggars will all abuse you! While you deplore that the life of others is not long, You forget that you yourself are approaching death! You educate your sons with all propriety, But they may some day, 'tis hard to say become thieves; Though you choose (your fare and home) the fatted beam, You may, who can say, fall into some place of easy virtue! Through your dislike of the gauze hat as mean, You have come to be locked in a cangue; Yesterday, poor fellow, you felt cold in a tattered coat, To-day, you despise the purple embroidered dress as long! Confusion reigns far and wide! you have just sung your part, I come on the boards, Instead of yours, you recognise another as your native land; What utter perversion! In one word, it comes to this we make wedding clothes for others! (We sow for others to reap.) 
+The crazy limping Taoist clapped his hands. "Your interpretation is explicit," he remarked with a hearty laugh, "your interpretation is explicit!" 
+Shih-yin promptly said nothing more than,--"Walk on;" and seizing the stole from the Taoist's shoulder, he flung it over his own. He did not, however, return home, but leisurely walked away, in company with the eccentric priest. 
+The report of his disappearance was at once bruited abroad, and plunged the whole neighbourhood in commotion; and converted into a piece of news, it was circulated from mouth to mouth. 
+Dame Feng, Shih-yin's wife, upon hearing the tidings, had such a fit of weeping that she hung between life and death; but her only alternative was to consult with her father, and to despatch servants on all sides to institute inquiries. No news was however received of him, and she had nothing else to do but to practise resignation, and to remain dependent upon the support of her parents for her subsistence. She had fortunately still by her side, to wait upon her, two servant girls, who had been with her in days gone by; and the three of them, mistress as well as servants, occupied themselves day and night with needlework, to assist her father in his daily expenses. 
+This Feng Su had after all, in spite of his daily murmurings against his bad luck, no help but to submit to the inevitable. 
+On a certain day, the elder servant girl of the Chen family was at the door purchasing thread, and while there, she of a sudden heard in the street shouts of runners clearing the way, and every one explain that the new magistrate had come to take up his office. 
+The girl, as she peeped out from inside the door, perceived the lictors and policemen go by two by two; and when unexpectedly in a state chair, was carried past an official, in black hat and red coat, she was indeed quite taken aback. 
+"The face of this officer would seem familiar," she argued within herself; "just as if I had seen him somewhere or other ere this." 
+Shortly she entered the house, and banishing at once the occurrence from her mind, she did not give it a second thought. At night, however, while she was waiting to go to bed, she suddenly heard a sound like a rap at the door. A band of men boisterously cried out: "We are messengers, deputed by the worthy magistrate of this district, and come to summon one of you to an enquiry." 
+Feng Su, upon hearing these words, fell into such a terrible consternation that his eyes stared wide and his mouth gaped. 
+What calamity was impending is not as yet ascertained, but, reader, listen to the explanation contained in the next chapter.    

data/hlm-ch1-zh.txt

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+红楼梦
+作者：曹雪芹
+
+本文件由115小说下载网（txt.115wg.com）提供下载。本文件内容搜索整理自网络，版权归著作者所有！
+
+第1卷
+第一回 甄士隐梦幻识通灵 贾雨村风尘怀闺秀
+第一回 甄士隐梦幻识通灵 贾雨村风尘怀闺秀
+　　此开卷第一回也。作者自云：因曾历过一番梦幻之后，故将真事隐去，而借“通灵”之说，撰此<<石头记>>一书也。故曰“甄士隐”云云。但书中所记何事何人？自又云：“今风尘碌碌，一事无成，忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出于我之上。何我堂堂须眉，诚不若彼裙钗哉？实愧则有余，悔又无益之大无可如何之日也！当此，则自欲将已往所赖天恩祖德，锦衣纨э之时，饫甘餍肥之日，背父兄教育之恩，负师友规谈之德，以至今日一技无成，半生潦倒之罪，编述一集，以告天下人：我之罪固不免，然闺阁中本自历历有人，万不可因我之不肖，自护己短，一并使其泯灭也。虽今日之茅椽蓬牖，瓦灶绳床，其晨夕风露，阶柳庭花，亦未有妨我之襟怀笔墨者。虽我未学，下笔无文，又何妨用假语村言，敷演出一段故事来，亦可使闺阁昭传，复可悦世之目，破人愁闷，不亦宜乎？”故曰“贾雨村”云云。
+　　此回中凡用“梦”用“幻”等字，是提醒阅者眼目，亦是此书立意本旨。
+　　列位看官：你道此书从何而来？说起根由虽近荒唐，细按则深有趣味。待在下将此来历注明，方使阅者了然不惑。
+　　原来女娲氏炼石补天之时，于大荒山无稽崖练成高经十二丈，方经二十四丈顽石三万六千五百零一块。娲皇氏只用了三万六千五百块，只单单剩了一块未用，便弃在此山青埂峰下。谁知此石自经煅炼之后，灵性已通，因见众石俱得补天，独自己无材不堪入选，遂自怨自叹，日夜悲号惭愧。
+　　一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨格不凡，丰神迥异，说说笑笑来至峰下，坐于石边高谈快论。先是说些云山雾海神仙玄幻之事，后便说到红尘中荣华富贵。此石听了，不觉打动凡心，也想要到人间去享一享这荣华富贵，但自恨粗蠢，不得已，便口吐人言，向那僧道说道：“大师，弟子蠢物，不能见礼了。适闻二位谈那人世间荣耀繁华，心切慕之。弟子质虽粗蠢，性却稍通，况见二师仙形道体，定非凡品，必有补天济世之材，利物济人之德。如蒙发一点慈心，携带弟子得入红尘，在那富贵场中，温柔乡里受享几年，自当永佩洪恩，万劫不忘也。”二仙师听毕，齐憨笑道：“善哉，善哉！那红尘中有却有些乐事，但不能永远依恃，况又有。美中不足，好事多魔'八个字紧相连属，瞬息间则又乐极悲生，人非物换，究竟是到头一梦，万境归空，倒不如不去的好。”这石凡心已炽，那里听得进这话去，乃复苦求再四。二仙知不可强制，乃叹道：“此亦静极怂级*，无中生有之数也。既如此，我们便携你去受享受享，只是到不得意时，切莫后悔。”石道：“自然，自然。”那僧又道：“若说你性灵，却又如此质蠢，并更无奇贵之处。如此也只好踮脚而已。也罢，我如今大施佛法助你助，待劫终之日，复还本质，以了此案。你道好否？”石头听了，感谢不尽。那僧便念咒书符，大展幻术，将一块大石登时变成一块鲜明莹洁的美玉，且又缩成扇坠大小的可佩可拿。那僧托于掌上，笑道：“形体倒也是个宝物了！还只没有，实在的好处，须得再镌上数字，使人一见便知是奇物方妙。然后携你到那昌明隆盛之邦，诗礼簪缨之族，花柳繁华地，温柔富贵乡去安身乐业。”石头听了，喜不能禁，乃问：“不知赐了弟子那几件奇处，又不知携了弟子到何地方？望乞明示，使弟子不惑。”那僧笑道：“你且莫问，日后自然明白的。”说着，便袖了这石，同那道人飘然而去，竟不知投奔何方何舍。
+　　后来，又不知过了几世几劫，因有个空空道人访道求仙，忽从这大荒山无稽崖青埂峰下经过，忽见一大块石上字迹分明，编述历历。空空道人乃从头一看，原来就是无材补天，幻形入世，蒙茫茫大士，渺渺真人携入红尘，历尽离合悲欢炎凉世态的一段故事。后面又有一首偈云：
+　　无材可去补苍天，枉入红尘若许年。
+　　此系身前身后事，倩谁记去作奇传？诗后便是此石坠落之乡，投胎之处，亲自经历的一段陈迹故事。其中家庭闺阁琐事，以及闲情诗词倒还全备，或可适趣解闷，然朝代年纪，地舆邦国，却反失落无考。
+　　空空道人遂向石头说道：“石兄，你这一���故事，据你自己说有些趣味，故编写在此，意欲问世传奇。据我看来，第一件，无朝代年纪可考，第二件，并无大贤大忠理朝廷治风俗的善政，其中只不过几个异样女子，或情或痴，或小才微善，亦无班姑，蔡女之德能。我纵抄去，恐世人不爱看呢。”石头笑答道：“我师何太痴耶！若云无朝代可考，今我师竟假借汉唐等年纪添缀，又有何难？
+　　但我想，历来野史，皆蹈一辙，莫如我这不借此套者，反倒新奇别致，不过只取其事体情理罢了，又何必拘拘于朝代年纪哉！再者，市井俗人喜看理治之书者甚少，爱适趣闲文者特多。历来野史，或讪谤君相，或贬人妻女，**凶恶，不可胜数。更有一种风月笔墨，其淫秽污臭，屠毒笔墨，坏人子弟，又不可胜数。至若佳人才子等书，则又千部共出一套，且其中终不能不涉于淫滥，以致满纸潘安，子建，西子，文君，不过作者要写出自己的那两首情诗艳赋来，故假拟出男女二人名姓，又必旁出一小人其间拨乱，亦如剧中之小丑然。且鬟婢开口即者也之乎，非文即理。故逐一看去，悉皆自相矛盾，大不近情理之话，竟不如我半世亲睹亲闻的这几个女子，虽不敢说强似前代书中所有之人，但事迹原委，亦可以消愁破闷，也有几首歪诗熟话，可以喷饭供酒。至若离合悲欢，兴衰际遇，则又追踪蹑迹，不敢稍加穿凿，徒为供人之目而反失其真传者。今之人，贫者日为衣食所累，富者又怀不足之心，纵然一时稍闲，又有贪淫恋色，好货寻愁之事，那里去有工夫看那理治之书？所以我这一段故事，也不愿世人称奇道妙，也不定要世人喜悦检读，只愿他们当那醉淫饱卧之时，或避世去愁之际，把此一玩，岂不省了些寿命筋力？就比那谋虚逐妄，却也省了口舌是非之害，腿脚奔忙之苦。再者，亦令世人换新眼目，不比那些胡牵乱扯，忽离忽遇，满纸才人淑女，子建文君红娘小玉等通共熟套之旧稿。我师意为何如？“
+　　空空道人听如此说，思忖半晌，将<<石头记>>再检阅一遍，因见上面虽有些指奸责佞贬恶诛邪之语，亦非伤时骂世之旨，及至君仁臣良父慈子孝，凡伦常所关之处，皆是称功颂德，眷眷无穷，实非别书之可比。虽其中大旨谈情，亦不过实录其事，又非假拟妄称，一味淫邀艳约，私订偷盟之可比。因毫不干涉时世，方从头至尾抄录回来，问世传奇。从此空空道人因空见色，由色生情，传情入色，自色悟空，遂易名为情僧，改<<石头记>>为<<情僧录>>。东鲁孔梅溪则题曰<<风月宝鉴>>。后因曹雪芹于悼红轩中披阅十载，增删五次，纂成目录，分出章回，则题曰<<金陵十二钗>>。并题一绝云：
+　　满纸荒唐言，一把辛酸泪！
+　　都云作者痴，谁解其中味？
+　　出则既明，且看石上是何故事。按那石上书云：
+　　当日地陷东南，这东南一隅有处曰姑苏，有城曰阊门者，最是红尘中一二等富贵风流之地。
+　　这阊门外有个十里街，街内有个仁清巷，巷内有个古庙，因地方窄狭，人皆呼作葫芦庙。庙旁住着一家乡宦，姓甄，名费，字士隐。嫡妻封氏，情性贤淑，深明礼义。家中虽不甚富贵，然本地便也推他为望族了。因这甄士隐禀性恬淡，不以功名为念，每日只以观花修竹，酌酒吟诗为乐，倒是神仙一流人品。只是一件不足：如今年已半百，膝下无儿，只有一女，乳名唤作英莲，年方三岁。
+　　一日，炎夏永昼，士隐于书房闲坐，至手倦抛书，伏几少憩，不觉朦胧睡去。梦至一处，不辨是何地方。忽见那厢来了一僧一道，且行且谈。只听道人问道：“你携了这蠢物，意欲何往？”那僧笑道：“你放心，如今现有一段风流公案正该了结，这一干风流冤家，尚未投胎入世。趁此机会，就将此蠢物夹带于中，使他去经历经历。”那道人道：“原来近日风流冤孽又将造劫历世去不成？
+　　但不知落于何方何处？“那僧笑道：”此事说来好笑，竟是千古未闻的罕事。只因西方灵河岸上三生石畔，有绛珠草一株，时有赤瑕宫神瑛侍者，日以甘露灌溉，这绛珠草始得久延岁月。后来既受天地精华，复得雨露滋养，遂得脱却草胎木质，得换人形，仅修成个女体，终日游于离恨天外，饥则食蜜青果为膳，渴则饮灌愁海水为汤。只因尚未酬报灌溉之德，故其五内便郁结着一段缠绵不尽之意。恰近日这神瑛侍者凡心偶炽，乘此昌明太平朝世，意欲下凡造历幻缘，已在警幻仙子案前挂了号。警幻亦曾问及，灌溉之情未偿，趁此倒可了结的。那绛珠仙子道：。他是甘露之惠，我并无此水可还。他既��世为人，我也去下世为人，但把我一生所有的眼泪还他，也偿还得过他了。'因此一事，就勾出多少风流冤家来，陪他们去了结此案。“那道人道：”果是罕闻。实未闻有还泪之说。想来这一段故事，比历来风月事故更加琐碎细腻了。“那僧道：”历来几个风流人物，不过传其大概以及诗词篇章而已，至家庭闺阁中一饮一食，总未述记。再者，大半风月故事，不过偷香窃玉，暗约私奔而已，并不曾将儿女之真情发泄一二。想这一干人入世，其情痴色鬼，贤愚不肖者，悉与前人传述不同矣。“那道人道：”趁此何不你我也去下世度脱几个，岂不是一场功德？“那僧道：”正合吾意，你且同我到警幻仙子宫中，将蠢物交割清楚，待这一干风流孽鬼下世已完，你我再去。如今虽已有一半落尘，然犹未全集。“道人道：”既如此，便随你去来。“
+　　却说甄士隐俱听得明白，但不知所云“蠢物”系何东西。遂不禁上前施礼，笑问道：“二仙师请了。”那僧道也忙答礼相问。士隐因说道：“适闻仙师所谈因果，实人世罕闻者。但弟子愚浊，不能洞悉明白，若蒙大开痴顽，备细一闻，弟子则洗耳谛听，稍能警省，亦可免沉伦之苦。”二仙笑道：“此乃玄机不可预泄者。到那时不要忘我二人，便可跳出火坑矣。”士隐听了，不便再问。因笑道：“玄机不可预泄，但适云。蠢物'，不知为何，或可一见否？”那僧道：“若问此物，倒有一面之缘。”说着，取出递与士隐。士隐接了看时，原来是块鲜明美玉，上面字迹分明，镌着“通灵宝玉”四字，后面还有几行小字。正欲细看时，那僧便说已到幻境，便强从手中夺了去，与道人竟过一大石牌坊，上书四个大字，乃是“太虚幻境”。两边又有一幅对联，道是：
+　　假作真时真亦假，无为有处有还无。士隐意欲也跟了过去，方举步时，忽听一声霹雳，有若山崩地陷。士隐大叫一声，定睛一看，只见烈日炎炎，芭蕉冉冉，所梦之事便忘了大半。又见奶母正抱了英莲走来。士隐见女儿越发生得粉妆玉琢，乖觉可喜，便伸手接来，抱在怀内，斗他顽耍一回，又带至街前，看那过会的热闹。方欲进来时，只见从那边来了一僧一道：那僧则癞头跣脚，那道则跛足蓬头，疯疯癫癫，挥霍谈笑而至。及至到了他门前，看见士隐抱着英莲，那僧便大哭起来，又向士隐道：“施主，你把这有命无运，累及爹娘之物，抱在怀内作甚？”士隐听了，知是疯话，也不去睬他。那僧还说：“舍我罢，舍我罢！”士隐不耐烦，便抱女儿撤身要进去，那僧乃指着他大笑，口内念了四句言词道：
+　　惯养娇生笑你痴，菱花空对雪澌澌。
+　　好防佳节元宵后，便是烟消火灭时。士隐听得明白，心下犹豫，意欲问他们来历。只听道人说道：“你我不必同行，就此分手，各干营生去罢。三劫后，我在北邙山等你，会齐了同往太虚幻境销号。”那僧道：“最妙，最妙！”说毕，二人一去，再不见个踪影了。士隐心中此时自忖：这两个人必有来历，该试一问，如今悔却晚也。
+　　这士隐正痴想，忽见隔壁葫芦庙内寄居的一个穷儒-姓贾名化，表字时飞，别号雨村者走了出来。这贾雨村原系胡州人氏，也是诗书仕宦之族，因他生于末世，父母祖宗根基已尽，人口衰丧，只剩得他一身一口，在家乡无益，因进京求取功名，再整基业。自前岁来此，又淹蹇住了，暂寄庙中安身，每日卖字作文为生，故士隐常与他交接。当下雨村见了士隐，忙施礼陪笑道：“老先生倚门伫望，敢是街市上有甚新闻否？”士隐笑道：“非也。适因小女啼哭，引他出来作耍，正是无聊之甚，兄来得正妙，请入小斋一谈，彼此皆可消此永昼。”说着，便令人送女儿进去，自与雨村携手来至书房中。小童献茶。方谈得三五句话，忽家人飞报：“严老爷来拜。”士隐慌的忙起身谢罪道：“恕诳驾之罪，略坐，弟即来陪。”雨村忙起身亦让道：“老先生请便。晚生乃常造之客，稍候何妨。”说着，士隐已出前厅去了。
+　　这里雨村且翻弄书籍解闷。忽听得窗外有女子嗽声，雨村遂起身往窗外一看，原来是一个丫鬟，在那里撷花，生得仪容不俗，眉目清明，虽无十分姿色，却亦有动人之处。雨村不觉看的呆了。那甄家丫鬟撷了花，方欲走时，猛抬头见窗内有人，敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻权腮。这丫鬟忙转身回避，心下乃想：“这人生的这样雄壮，却又这样褴褛，想他定是我家主人常说的什么贾雨村了，每有意���助周济，只是没甚机会。我家并无这样贫窘亲友，想定是此人无疑了。怪道又说他必非久困之人。”如此想来，不免又回头两次。雨村见他回了头，便自为这女子心中有意于他，便狂喜不尽，自为此女子必是个巨眼英雄，风尘中之知己也。一时小童进来，雨村打听得前面留饭，不可久待，遂从夹道中自便出门去了。士隐待客既散，知雨村自便，也不去再邀。
+　　一日，早又中秋佳节。士隐家宴已毕，乃又另具一席于书房，却自己步月至庙中来邀雨村。
+　　原来雨村自那日见了甄家之婢曾回顾他两次，自为是个知己，便时刻放在心上。今又正值中秋，不免对月有怀，因而口占五言一律云：
+　　未卜三生愿，频添一段愁。
+　　闷来时敛额，行去几回头。
+　　自顾风前影，谁堪月下俦？
+　　蟾光如有意，先上玉人楼。雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联曰：
+　　玉在中求善价，钗于奁内待时飞。恰值士隐走来听见，笑道：“雨村兄真抱负不浅也！”雨村忙笑道：“不过偶吟前人之句，何敢狂诞至此。”因问：“老先生何兴至此？”士隐笑道：“今夜中秋，俗谓。团圆之节'，想尊兄旅寄僧房，不无寂寥之感，故特具小酌，邀兄到敝斋一饮，不知可纳芹意否？”雨村听了，并不推辞，便笑道：“既蒙厚爱，何敢拂此盛情。”说着，便同士隐复过这边书院中来。须臾茶毕，早已设下杯盘，那美酒佳肴自不必说。二人归坐，先是款斟漫饮，次渐谈至兴浓，不觉飞觥限起来。当时街坊上家家箫管，户户弦歌，当头一轮明月，飞彩凝辉，二人愈添豪兴，酒到杯干。雨村此时已有七八分酒意，狂兴不禁，乃对月寓怀，口号一绝云：
+　　时逢三五便团圆，满把晴光护玉栏。
+　　天上一轮才捧出，人间万姓仰头看。士隐听了，大叫：“妙哉！吾每谓兄必非久居人下者，今所吟之句，飞腾之兆已见，不日可接履于云霓之上矣。可贺，可贺！”乃亲斟一斗为贺。雨村因干过，叹道：“非晚生酒后狂言，若论时尚之学，晚生也或可去充数沽名，只是目今行囊路费一概无措，神京路远，非赖卖字撰文即能到者。”士隐不待说完，便道：“兄何不早言。愚每有此心，但每遇兄时，兄并未谈及，愚故未敢唐突。今既及此，愚虽不才，。义利'二字却还识得。且喜明岁正当大比，兄宜作速入都，春闱一战，方不负兄之所学也。其盘费余事，弟自代为处置，亦不枉兄之谬识矣！”当下即命小童进去，速封五十两白银，并两套冬衣。又云：“十九日乃黄道之期，兄可即买舟西上，待雄飞高举，明冬再晤，岂非大快之事耶！”雨村收了银衣，不过略谢一语，并不介意，仍是吃酒谈笑。那天已交了三更，二人方散。士隐送雨村去后，回房一觉，直至红日三竿方醒。因思昨夜之事，意欲再写两封荐书与雨村带至神都，使雨村投谒个仕宦之家为寄足之地。因使人过去请时，那家人去了回来说：“和尚说，贾爷今日五鼓已进京去了，也曾留下话与和尚转达老爷，说。读书人不在黄道黑道，总以事理为要，不及面辞了。'”士隐听了，也只得罢了。真是闲处光阴易过，倏忽又是元霄佳节矣。士隐命家人霍启抱了英莲去看社火花灯，半夜中，霍启因要小解，便将英莲放在一家门槛上坐着。待他小解完了来抱时，那有英莲的踪影？急得霍启直寻了半夜，至天明不见，那霍启也就不敢回来见主人，便逃往他乡去了。那士隐夫妇，见女儿一夜不归，便知有些不妥，再使几人去寻找，回来皆云连音响皆无。夫妻二人，半世只生此女，一旦失落，岂不思想，因此昼夜啼哭，几乎不曾寻死。看看的一月，士隐先就得了一病，当时封氏孺人也因思女构疾，日日请医疗治。
+　　不想这日三月十五，葫芦庙中炸供，那些和尚不加小心，致使油锅火逸，便烧着窗纸。此方人家多用竹篱木壁者，大抵也因劫数，于是接二连三，牵五挂四，将一条街烧得如火焰山一般。
+　　彼时虽有军民来救，那火已成了势，如何救得下？直烧了一夜，方渐渐的熄去，也不知烧了几家。
+　　只可怜甄家在隔壁，早已烧成一片瓦砾场了。只有他夫妇并几个家人的性命不曾伤了。急得士隐惟跌足长叹而已。只得与妻子商议，且到田庄上去安身。偏值近年水旱不收，鼠盗蜂起，无非抢田夺地，鼠窃狗偷，民不安生，因此官兵剿捕，难以安身。士隐只得将田庄都折变了，便携了妻子与两个丫鬟投他岳丈家去。
+　　他岳丈名唤封肃，本贯大如州人氏，虽是���农，家中都还殷实。今见女婿这等狼狈而来，心中便有些不乐。幸而士隐还有折变田地的银子未曾用完，拿出来托他随分就价薄置些须房地，为后日衣食之计。那封肃便半哄半赚，些须与他些薄田朽屋。士隐乃读书之人，不惯生理稼穑等事，勉强支持了一二年，越觉穷了下去。封肃每见面时，便说些现成话，且人前人后又怨他们不善过活，只一味好吃懒作等语。士隐知投人不着，心中未免悔恨，再兼上年惊唬，急忿怨痛，已有积伤，暮年之人，贫病交攻，竟渐渐的露出那下世的光景来。
+　　可巧这日拄了拐杖挣挫到街前散散心时，忽见那边来了一个跛足道人，疯癫落脱，麻屣鹑衣，口内念着几句言词，道是：
+　　世人都晓神仙好，惟有功名忘不了！
+　　古今将相在何方？荒冢一堆草没了。
+　　世人都晓神仙好，只有金银忘不了！
+　　终朝只恨聚无多，及到多时眼闭了。
+　　世人都晓神仙好，只有姣妻忘不了！
+　　君生日日说恩情，君死又随人去了。
+　　世人都晓神仙好，只有儿孙忘不了！
+　　痴心父母古来多，孝顺儿孙谁见了？士隐听了，便迎上来道：你满口说些什么？只听见些。
+　　好了好了那道人笑道：“你若果听见。好了二字，还算你明白。可知世上万般，好便是了，了便是好。若不了，便不好，若要好，须是了。我这歌儿，便名<<好了歌>>”士隐本是有宿慧的，一闻此言，心中早已彻悟。因笑道：“且住！待我将你这<<好了歌>>解注出来何如？”道人笑道：“你解，你解。”士隐乃说道：
+　　陋室空堂，当年笏满床，衰草枯杨，曾为歌舞场。蛛丝儿结满雕梁，绿纱今又糊在蓬窗上。说什么脂正浓，粉正香，如何两鬓又成霜？昨日黄土陇头送白骨，今宵红灯帐底卧鸳鸯。金满箱，银满箱，展眼乞丐人皆谤。正叹他人命不长，那知自己归来丧！训有方，保不定日后作强梁。择膏粱，谁承望流落在烟花巷！因嫌纱帽小，致使锁枷杠，昨怜破袄寒，今嫌紫蟒长：乱烘烘你方唱罢我登场，反认他乡是故乡。甚荒唐，到头来都是为他人作嫁衣裳！那疯跛道人听了，拍掌笑道：“解得切，解得切！”士隐便说一声“走罢！”将道人肩上褡裢抢了过来背着，竟不回家，同了疯道人飘飘而去。当下烘动街坊，众人当作一件新闻传说。封氏闻得此信，哭个死去活来，只得与父亲商议，遣人各处访寻，那讨音信？无奈何，少不得依靠着他父母度日。幸而身边还有两个旧日的丫鬟伏侍，主仆三人，日夜作些针线发卖，帮着父亲用度。那封肃虽然日日抱怨，也无可奈何了。
+　　这日，那甄家大丫鬟在门前买线，忽听街上喝道之声，众人都说新太爷到任。丫鬟于是隐在门内看时，只见军牢快手，一对一对的过去，俄而大轿抬着一个乌帽猩袍的官府过去。丫鬟倒发了个怔，自思这官好面善，倒象在那里见过的。于是进入房中，也就丢过不在心上。至晚间，正待歇息之时，忽听一片声打的门响，许多人乱嚷，说：“本府太爷差人来传人问话。”封肃听了，唬得目瞪口呆，不知有何祸事。

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@@ -0,0 +1,1000 @@
+总目录
+暴风雨莎士比亚全集·英汉双语本
+维洛那二绅士莎士比亚全集·英汉双语本
+快乐的温莎巧妇莎士比亚全集·英汉双语本
+一报还一报莎士比亚全集·英汉双语本
+错误的喜剧莎士比亚全集·英汉双语本
+无事生非莎士比亚全集·英汉双语本
+爱的徒劳莎士比亚全集·英汉双语本
+仲夏夜之梦莎士比亚全集·英汉双语本
+威尼斯商人莎士比亚全集·英汉双语本
+皆大欢喜莎士比亚全集·英汉双语本
+驯悍记莎士比亚全集·英汉双语本
+终成眷属莎士比亚全集·英汉双语本
+第十二夜莎士比亚全集·英汉双语本
+冬天的故事莎士比亚全集·英汉双语本
+特洛伊罗斯与克瑞西达莎士比亚全集·英汉双语本
+科利奥兰纳斯莎士比亚全集·英汉双语本
+泰特斯·安德洛尼克斯莎士比亚全集·英汉双语本
+罗密欧与朱丽叶莎士比亚全集·英汉双语本
+雅典的泰门莎士比亚全集·英汉双语本
+尤力乌斯·凯撒莎士比亚全集·英汉双语本
+麦克白莎士比亚全集·英汉双语本
+哈姆莱特莎士比亚全集·英汉双语本
+李尔王莎士比亚全集·英汉双语本
+奥瑟罗莎士比亚全集·英汉双语本
+安东尼与克莉奥佩特拉莎士比亚全集·英汉双语本
+辛白林莎士比亚全集·英汉双语本
+约翰王莎士比亚全集·英汉双语本
+理查二世莎士比亚全集·英汉双语本
+亨利四世上莎士比亚全集·英汉双语本
+亨利四世下莎士比亚全集·英汉双语本
+亨利五世莎士比亚全集·英汉双语本
+亨利六世上莎士比亚全集·英汉双语本
+亨利六世中莎士比亚全集·英汉双语本
+亨利六世下莎士比亚全集·英汉双语本
+理查三世莎士比亚全集·英汉双语本
+亨利八世莎士比亚全集·英汉双语本
+泰尔亲王佩力克里斯莎士比亚全集·英汉双语本
+两贵亲莎士比亚全集·英汉双语本
+莎士比亚诗集莎士比亚全集·英汉双语本
+Copyright © Foreign Language Teaching and Research Press 2016
+All rights reserved. No part of this publication may be reproduced or distributed by any means, or stored in a database or retrieval system, without the prior written permission of Foreign Language Teaching and Research Press.
+本书版权由外语教学与研究出版社独家所有。如未获得该社书面同意书中任何部分之文字及图片不得用任何方式抄袭、节录、翻印或存储利用于任何数据库及检索系统等。
+Published by Foreign Language Teaching and Research Press
+No. 19 Xisanhuan Beilu
+Beijing, China 100089
+http://www.fltrp.com
+京权图字01-2015-5979
+The Tempest
+Copyright©The Royal Shakespeare Company, 2007
+All rights reserved
+Published by arrangement with Random House, an imprint of the Random House Publishing Group, a division of Random House, Inc.
+图书在版编目CIP数据
+暴风雨英汉对照英莎士比亚Shakespeare, W.著彭镜禧译—北京外语教学与研究出版社2016.3
+莎士比亚全集·英汉双语本辜正坤等主编
+书名原文The Tempest
+ISBN 978-7-5135-7223-1
+I①暴…　II①莎…　②彭…　III①英语汉语对照读物　②多幕剧剧本英国中世纪　IV① H319.4I
+中国版本图书馆CIP数据核字2016第055784号
+出版人　　蔡剑峰
+项目负责　姚　虹　李　云
+责任编辑　文雪琴
+封面设计　奇文云海　设计顾问
+出版发行　外语教学与研究出版社
+社　　址　北京市西三环北路19号100089
+网　　址　http://www.fltrp.com
+版　　次　2016年4月第1版
+书　　号　ISBN 978-7-5135-7223-1
+凡侵权、盗版书籍线索请联系我社法律事务部
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+目　录
+出版说明
+莎士比亚诗体重译集序
+《暴风雨》导言
+暴风雨
+宁静中的暴风雨——译后记
+Introduction to The Tempest
+The Tempest
+User's Guide
+返回总目录
+·1623年历史上第一部《莎士比亚全集》——著名的第一对开本First Folio由莎士比亚的演员同僚们结集出版。
+·2007年英国皇家莎士比亚剧团Royal Shakespeare Company邀约当今世界顶级莎学专家乔纳森·贝特Jonathan Bate和埃里克·拉斯姆森Eric Rasmussen对第一对开本进行了三百多年来的首次全面修订推出了新版《莎士比亚全集》。
+·2015年外语教学与研究出版社以上述新版《莎士比亚全集》为蓝本特邀当今华语翻译界和莎学界知名学者将流传下来的莎士比亚全部作品进行全新重译遂有此集。
+出版说明
+1623年莎士比亚的演员同僚们倾注心血结集出版了历史上第一部《莎士比亚全集》——著名的第一对开本这是三百多年来许多导演和演员最为钟爱的莎士比亚文本。2007年由英国皇家莎士比亚剧团Royal Shakespeare Company推出的《莎士比亚全集》则是对第一对���本首次全面的修订。
+本套《莎士比亚全集》新汉译本正是依据当今莎学界最负声望的皇家版《莎士比亚全集》翻译而成。为了让读者在阅读译本的时候也能够了解到原版的辑注风格与成果也为了方便对照查阅出版者在版式呈现上尽量遵照原版译本的凡例说明如下
+一、文体剧文有诗体和散体之分。在英文行文中诗行的标志是未及最右行末即转行且每行的首字母大写。文字连排直至最右行末转行的则为散体。中文译文对此均遵照原版处理。
+二、舞台提示
+1角色的上场与下场。在对开本中角色的上场、下场标示比较完备原版编辑者亦尽量忠实地予以了保留。在缺漏或需作订正的地方以方括号进行标注如[and Attendants]。中文译文在处理上对应英文保留了同样的标注如[及众侍从]。
+2其他舞台提示。表示其他舞台活动、改变说活对象、旁白等的舞台提示在对开本中很少出现大多为当代编辑者所添加。皇家版编辑者试图将这类指导性的directorial提示与对开本式的Folio-style提示区分开来前者置于每页最右侧采用了另一种字体当然对这种提示类型的判断存在主观的因素。有时亦有不确定的情形出现于是编辑者给予了允许选择的提示如Aside旁白表示某行剧文既可作为旁白亦可当作对话又如某个舞台活动置于箭头↓↓之间表示它可发生在一场戏中的多个不同时刻。中文译文亦遵照原版处理。
+愿广大读者在品味译者的佳文时亦体验到辑注的精审想必会有一番意想不到的新收获。
+莎士比亚诗体重译集序
+辜正坤
+他非一代骚人实属万古千秋。
+这是英国大作家本·琼森Ben Jonson在第一部《莎士比亚全集》Mr. William Shakespeares Comedies, Histories, & Tragedies, 1623扉页上题诗中的诗行。三百多年来莎士比亚在全球逐步成为一个家喻户晓的名字似乎与这句预言在在呼应。但这并非偶然言中有许多因素可以解释莎士比亚这一巨大的文化现象产生的必然性。最关键的至少有下面几点。
+首先其作品内容具有惊人的多样性。世界上很难有第二个作家像莎士比亚这样能够驾驭如此广阔的题材。他的作品内容几乎无所不包称得上英国社会的百科全书。帝王将相、走卒凡夫、才子佳人、恶棍屠夫……一切社会阶层都展现于他的笔底。从海上到陆地从宫廷到民间从国际到国内从灵界到凡尘……笔锋所指无处不至。悲剧、喜剧、历史剧、传奇剧叙事诗、抒情诗……都成为他显示天才的文学样式。从哲理的韵味到浪漫的爱情从盘根错节的叙述到一唱三叹的诗思波涛汹涌的情怀妙夺天工的笔触凡开卷展读者无不为之拊掌称绝。即使只从莎士比亚使用过的海量英语词汇来看也令人产生仰之弥高的感觉。德国语言学家马克斯·缪勒Max Müller原以为莎士比亚使用过的词汇最多为15,000个事后证明这当然是小看了语言大师的词汇储藏量。美国教授爱德华·霍尔登Edward Holden经过一番考察后认为至少达24,000个。可是他哪里知道这依然是一种低估。有学者甚至声称用电脑检索出莎士比亚用的词汇多达43,566个当然这些数据还不是莎士比亚作品之所以产生空前影响的关键因素。
+其次但也许是更重要的原因他的作品具有极高的娱乐性。文学作品的生命力在于它能寓教于乐。莎士比亚的作品不是枯燥的说教而是能够给予读者或观众极大艺术享受的娱乐性创造物往往具有明显的煽情效果有意刺激人的欲望。这种艺术取向当然不是纯粹为了娱乐而娱乐掩藏在背后的是当时西方人强有力的人本主义精神即用以人为本的价值观来对抗欧洲上千年来以神为本的宗教价值观。重欲望、重娱乐的人本主义倾向明显对重神灵、重禁欲的神本主义产生了极大的挑战。当然莎士比亚的人本主义与中国古人所主张的人本主义有很大的区别。要而言之前者在相当大的程度上肯定了人的本能欲望或原始欲望的正当性而后者则主要强调以人的仁爱为本规范人类社会秩序的高尚的道德要求。二者都具有娱乐效果但前者具有纵欲性或开放性娱乐效果后者则具有节欲性或适度自律性娱乐效果。换句话说对于16、17世纪的西方人来说莎士比亚的作品暗中契合了试图挣脱过分禁欲的宗教教义的约束而走向个性解放的千百万西方人的娱乐追求因此它会取得巨大成功是势所必然的。
+第三时势造英雄。人类其实从来不缺善于煽情的作手或视野宏阔的巨匠缺的常常是时势和机遇。莎士比亚的时代恰恰是英国文艺复兴思潮达到鼎盛的时代。禁欲千年之久的欧洲社会如堤坝围裹的宏湖表面上浪静风平其底层却汹涌着决堤的纵欲性暗流。一旦湖堤洞开飞涛大浪呼卷而下浩浩汤汤汇作长河而莎士比亚恰好是河面上乘势而起的弄潮儿其迎合西方人情趣的精湛表演遂赢得两岸雷鸣般的喝彩声。时势不光涵盖社会发展的总趋势也牵连着别的因素。比如说文学或文化理论界、政治意识形态对莎士比亚作品理解、阐释的多样性与莎士比亚作品本身内容的多样性产生相辅相成的效果。“说不尽的莎士比亚”成了西方学术界的口头禅。西方的每一种意识形态理论尤其是文学理论要想获得有效性都势必会将阐释莎士比亚的作品作为试金石。17世纪初的人文主义18世纪的启蒙主义19世纪的浪漫主义20世纪的现实主义或批判现实主义都不同程度地、选择性地把莎士比亚作品作为阐释其理论特点的例证。也许17世纪的古典主义曾经阻遏过西方人对莎士比亚作品的过度热情但是19世纪的浪漫主义流派却把莎士比亚作品推崇到无以复加的崇高地位莎士比亚俨然成了西方文学的神灵。20世纪以来西方资本主义阵营和社会主义阵营可以说在意识形态的各个方面都互相对立势同水火可是在对待莎士比亚的问题上居然有着惊人的共识与默契。不用说社会主义阵营的立场与社会主义理论的创始者马克思Karl Marx、恩格斯Friedrich Engels个人的审美情趣息息相关。马克思一家都是莎士比亚的粉丝马克思称莎士比亚为“人类最伟大的天才之一人类文学奥林波斯山上的宙斯”他号召作家们要更加莎士比亚化。恩格斯甚至指出“单是《温莎的风流娘儿们》的第一幕就比全部德国文学包含着更多的生活气息。”不用说这些话多多少少有某种程度的文学性夸张但对莎士比亚的崇高地位来说却无疑产生了极大的推动作用。
+第四1623年版《莎士比亚全集》奠定莎士比亚崇拜传统。这个版本即眼前译本所依据的皇家版《莎士比亚全集》The RSC William Shakespeare: Complete Works, 2007的主要内容。该版本产生于莎士比亚去世的第七年。莎士比亚的舞台同仁赫明奇John Heminge和康德尔Henry Condell整理出版了第一部莎士比亚戏剧集。当时的大学者、大作家本·琼森为之题诗诗中写道“他非一代骚人实属万古千秋。”这个调子奠定了莎士比亚偶像崇拜的传统。而这个传统一旦形成后人就难以反抗。英国文学中的莎士比亚偶像崇拜传统已经形成了一种自我完善、自我调整、自我更新的机制。至少近两百年来莎士比亚的文学成就已被宣传成世界文学的顶峰。
+第五现在署名“莎士比亚”的作品很可能不只是莎士比亚一个人的成果而是凝聚了当时英国若干戏剧创作精英的团体努力。众多大作家的智慧浓缩在以“莎士比亚”为代号的作品集中其成就的伟大性自然就获得了解释。当然这最后一点只是莎士比亚研究界若干学者的研究性推测远非定论。有的莎士比亚著作爱好者害怕一旦证明莎士比亚不是署名为“莎士比亚”的著作的作者莎士比亚的著作便失去了价值这完全是杞人忧天。道理很简单人们即使证明了《红楼梦》的作者不是曹雪芹或《三国演义》的作者不是罗贯中也丝毫不影响这些作品的伟大价值。同理人们即使证明了《莎士比亚全集》不是莎士比亚一个人创作的也丝毫不会影响《莎士比亚全集》是世界文学中的伟大作品这个事实反倒会更有力地证明这个事实因为集体的智慧远胜于个人。
+皇家版《莎士比亚全集》译本翻译总思路
+横亘于前的这套新译本是依据当今莎学界最负声望的皇家版《莎士比亚全集》进行翻译的而皇家版又正是以本·琼森题过诗的1623年版《莎士比亚全集》为主要依据。
+这套译本是在考察了中国现有的各种译本后根据新的历史条件和新的翻译目的打造出来的。其总的翻译思路是本套译本主编会同外语教学与研究出版社的相关领导和责任编辑讨论的结果。总起来说皇家版《莎士比亚全集》译本在翻译思路上主要遵循了以下几条
+1版本依据。如上所述本版汉译本译文以英国皇家版《莎士比亚全集》为基本依据。但在翻译过程中译者亦酌情参阅了其他版本以增进对原作的理解。
+2翻译内容包括内页所含全部文字。例如作品介绍与评论、正文、注释等。
+3注释处理问题。对于注释的处理1翻译时如果正文译文已经将英文版某注释的基本含义较准确地表达出来了则该注释即可取消2如果正文译文只是部分地将英文版对应注释的基本含义表达出来则该注释可以视情况部分或全部保留3如果注释本身存疑可以在保留原注的情况下加入译者的新注。但是所加内容务必有理有据。
+4翻译风格问题。对于风格的处理1在整体风格上译文应该尽量逼肖���作整体风格包括以诗体译诗体以散体译散体2版式风格亦尽量保留例如页边行号数码亦应在译文中保留俾便读者索查原文3在具体的文字传输处理上通常应该注重汉译本身的文字魅力增强汉译本的可读性。不宜太白话不宜太文言文白用语宜尽量自然得体。句子不要太绕注意汉语自身表达的句法结构尤其是其逻辑表达方式。意义的异化性不等于文字形式本身的异化性因此要注意用汉语的归化性来传输、保留原作含义的异化性。朱生豪先生的译本语言流畅、可读性强但可惜不是诗体有违原作形式。当下译本是要在承传朱先生译本优点的基础上根据新时代的读者审美趣味取得新的进展。梁实秋先生等的译本在达意的准确性上比朱译有所进步也是我们应该吸纳的优点。但是梁译文采不足则须注意避其短。方平先生等的译本也把莎士比亚翻译往前推进了一步在进行大规模诗体翻译方面作出了宝贵的尝试但是离真正的诗体尚有距离。此外前此的所有译本对于莎士比亚原作的色情类用语都有程度不同的忽略本套皇家版译本则尽力在此方面还原莎士比亚的本真状态论述见后文。其他还有一些译本亦都应该受到我们的关注处理原则类推。每种译本都有自己独特的东西。我们希望美的译文是这套译本的突出特点。
+5借鉴他种汉译本问题。凡是我们曾经参考过的较好的译本都在适当的地方加以注明承认前辈译者的功绩。借鉴利用是完全必要的但是要正大光明避免暗中抄袭。
+6具体翻译策略问题特别关键下文将其单列进行陈述。
+莎士比亚作品翻译领域大转折真正的诗体译本
+莎士比亚首先是一个诗人。莎士比亚的作品基本上都以诗体写成。因此要想尽可能还原本真的莎士比亚就必须将莎士比亚作品翻译成为诗体而不是散文这在莎学界已经成为共识。但是紧接而来的问题是什么叫诗体或需要什么样的诗体
+按照我们的想法1所谓诗体首先是措辞上的诗味必须尽可能浓郁2节奏上的诗味包括分行等要予以高度重视3结合中国人的审美习惯剧文可以押韵也可以不押韵。但不押韵的剧文首先要满足前两个要求。
+本全集翻译原计划由笔者一个人来完成。但是莎士比亚的创作具有惊人的多样性其作品来源也明显具有莎士比亚时代若干其他作家与作品的痕迹因此完全由某一个译者翻译成一种风格也许难免偏颇难以和莎士比亚风格的多样性相呼应。所以集众人的力量来完成大业应该更加合理更加具有可操作性。
+具体说来新时代提出了什么要求简而言之就是用真正的诗体翻译莎士比亚的诗体剧文。这个任务是朱生豪先生无法完成的。朱先生说过他在翻译莎士比亚作品时“当然预备全部用散文译出否则将要了我的命”。1显然朱先生也考虑过用诗体来翻译莎士比亚著作的问题但是他的结论是第一靠单独一个人用诗体翻译《莎士比亚全集》是办不到的会因此累死第二他用散文翻译也是不得已的办法因为只有这样他才有可能在有生之年完成《莎士比亚全集》的翻译工作。
+将《莎士比亚全集》翻译成诗体比翻译成散文体要难得多。难到什么程度呢和朱生豪先生的翻译进度比较一下就知道了。朱先生翻译得最快的时候一天可以翻译一万字。2为什么会这么快朱先生才华过人这当然是一个因素但关键因素是他是用散文翻译的。用真正的诗体就不一样了。以笔者自己的体验今日照样用散文翻译莎士比亚剧本最快时也可达到每日一万字。这是因为今日的译者有比以前更完备的注释本和众多的前辈汉译本作参考至少在理解原著时要比朱先生当年省力得多所以翻译速度上最高达到一万字是不难的。但是翻译成诗体就是另外一回事了。这比自己写诗还要难得多。写诗是自己随意发挥译诗则必须按照别人的意思发挥等于是戴着镣铐跳舞。笔者自己写诗诗兴浓时一天数百行都可以写得出来但是翻译诗一天只能是几十行统计成字数往往还不到一千字最多只是朱生豪先生散文翻译速度的十分之一。梁实秋先生翻译《莎士比亚全集》用的也是散文但是也花了37年如果要翻译成真正的诗体那么至少得370年由此可见真正的诗体《莎士比亚全集》汉译本的诞生有多么艰难。此次笔者约稿的各位译者都是用诗体翻译并且都表示花费了大量的时间皇家版《莎士比亚全集》译本凝聚了诸位译者的多少努力也就不言而喻了。
+翻译诗体分辨不是分了行就是真正的诗
+主张将莎士比亚剧作翻译成诗体成了共识但是什么才是诗体却缺乏共识。在白话诗盛行的时代许多人只是简单地认定分了行的文字就是诗这��概念。分行只是一个初级的现代诗要求甚至不必是必然要求因为有些称为诗的文字甚至连分行形式都没有。不过在莎士比亚作品的翻译上要让译文具有诗体的特征首先是必定要分行的因为莎士比亚原作本身就有严格的分行形式。这个不用多说。但是译文按莎士比亚的方式分了行只是达到了一个初级的低标准。莎士比亚的剧文读起来像不像诗还大有讲究。
+卞之琳先生对此是颇有体会的。他的译本是分行式诗体但是他自己也并不认为他译出的莎士比亚剧本就是真正的诗体译本。他说读者阅读他的译本时“如果……不感到是诗体不妨就当散文读就用散文标准来衡量”。3这是一个诚实的译者说出的诚实话。不过卞先生很谦虚他有许多剧文其实读起来还是称得上诗体的。原因是什么原因是他注意到了笔者上文提到的两点第一诗的措辞第二诗的节奏。只不过他迫于某些客观原因并没有自始至终侧重这方面的追求而已。
+显然一些译本翻译了莎士比亚的剧文在行数上靠近莎士比亚原作措辞也还流畅。这些是不是就是理想的诗体莎士比亚译本呢笔者认为这还不够。什么是诗对于中国人来说有几千年的历史我们不能脱离这个悠久的传统来讨论这个问题。为此我们不得不重新提到一些基本概念什么是诗什么是诗歌翻译
+诗歌是语言艺术诗歌翻译也就必须是语言艺术
+讨论诗歌翻译必须从讨论诗歌开始。
+诗主情。诗言志。诚然。但诗歌首先应该是一种精妙的语言艺术。同理诗歌的翻译也就不得不首先表现为同类精妙的语言艺术。若译者的语言平庸而无光彩与原作的语言艺术程度差距太远那就最多只是原诗含义的注释性文字算不得真正的诗歌翻译。
+那么何谓诗歌的语言艺术
+无他修辞造句、音韵格律一整套规矩而已。无规矩不成方圆无限制难成大师。奥运会上所有的技能比赛无不按照特定的规矩来显示参赛者高妙的技能。德国诗人歌德Johann Wolfgang von Goethe《自然和艺术》“Natur und Kunst”一诗最末两行亦彰扬此理
+非限制难见作手
+唯规矩予人自由。4
+艺术家的“自由”得心应手之谓也。诗歌既为语言艺术自然就有一整套相应的语言艺术规则。诗人应用这套规则时一旦达到得心应手的程度那就是达到了真正成熟的境界。当然规矩并非一点都不可打破但只有能够将规矩使用到随心所欲而不逾矩的程度的人才真正有资格去创立新规矩丰富旧规矩。创新是在承传旧规则长处的基础上来进行的而不是完全推翻旧规则肆意妄为。事实证明在语言艺术上凡无视积淀千年的诗歌语言规则随心所欲地巧立名目、乱行胡来者永不可能在诗歌语言艺术上取得大的成就所以歌德认为
+若徒有放任习性
+则永难至境遨游。5
+诗歌语言艺术如此需要规则如此不可放任不羁诗歌的翻译自然也同样需要相类似的要求。这个要求就是笔者前面提出的主张若原诗是精妙的语言艺术则理论上说来译诗也应是同类精妙的语言艺术。
+但是“同类”绝非“同样”。因为由于原作和译作使用的语言载体不一样其各自产生的语言艺术规则和效果也就各有各的特点大多不可同样复制、照搬。所以译作的最高目标是尽可能在译入语的语言艺术领域达到程度大致相近的语言艺术效果。这种大致相近的艺术效果程度可叫作“最佳近似度”。它实际上也就是一种翻译标准只不过针对不同的文类最佳近似度究竟在哪些因素方面可最佳程度地并不一定是最大程度地取得近似效果不是一成不变的而是具有高度的灵活性。不同的文类甚至针对不同的受众我们都可以设定不同的最佳近似度。这点在拙著《中西诗比较鉴赏与翻译理论》清华大学出版社2010年的相关章节中有详细的厘定此不赘。
+话与诗的关系话不是诗
+古人的口语本来就是白话与现在的人说的口语是白话一个道理。
+正因为白话太俗不够文雅古人慢慢将白话进行改进使它更加规范、更加准确并且用语更加丰富多彩于是文言产生。在文言的基础上还有更文的文字现象那就是诗歌于是诗歌产生。所以就诗歌而言文言味实际上就是一种特殊的诗味。文言有浅近的文言也有佶屈聱牙的文言。中国传统诗歌绝大多数是浅近的文言但绝非口语、白话。诗中有话的因素自不待言但话的因素往往正是诗试图抑制的成分。
+文言和诗歌的产生是低俗的口语进化到高雅、准确层次的标志。文言和诗歌的进一步发展使得语言的艺术性愈益增强。最终文言和诗歌完成了艺术性语言的结晶化定型。这标志着古代文学和文学语言的伟大进步。《诗经》、楚辞、唐诗、宋词���元明戏曲以及从先秦、汉、唐、宋、元至明清的散文等都是中国语言艺术逐步登峰造极的明证。
+人们往往忘记话不是诗诗是话的升华。话据说至少有几十万年的历史而诗却只有几千年的历史。白话通过漫长的岁月才升华成了诗。因此从理论上说白话诗不是最好的诗而只是低层次的、初级的诗。当一行文字写得不像是话时它也许更像诗。“太阳落下山去了”是话硬说它是诗也只是平庸的诗人人可为。而同样含义的“白日依山尽”不像是话却是真正的诗非一般人可为只有诗人才写得出。它的语言表达方式与一般人的通用白话脱离开来了实现了与通用语的偏离deviation from the norm。这里的通用语指人们天天使用的白话。试想把唐诗宋词译成白话还有多少诗味剩下来
+谢谢古代先辈们一代又一代、不屈不挠的努力话终于进化成了诗。
+但是20世纪初一些激进的中国学者鼓荡起一场声势浩大的白话文运动。
+客观说来用白话文来书写、阅读自然科学和人文科学文献例如哲学、政治学、伦理学、经济学等等文献这都是伟大的进步。这个进步甚至可以上溯到八百多年前朱熹等大学者用白话体文章传输理学思想。对此笔者非常拥护非常赞成。
+但是约一百年前的白话诗运动却未免走向了极端事实上是一种语言艺术方面的倒退行为。已经高度进化的诗词曲形式被强行要求返祖回归到三千多年前的类似白话的状态已经高度语言艺术化了的诗被强行要求退化成话。艺术性相对较低的白话反倒成了正统艺术性较高的诗反倒成了异端。其实容许口语类白话诗和文言类诗并存这才是正确的选择。但一些激进学者故意拔高白话地位在诗歌创作领域搞成白话至上主义这就走上了极端主义道路。
+这个运动影响到诗歌翻译的结果是什么呢结果是西方所有的大诗人不论是古代的还是近代的如荷马Homer、但丁Dante、莎士比亚、歌德、雨果Victor Hugo、普希金Alexander Pushkin……都莫名其妙地似乎用同一支笔写出了20世纪初才出现的味道几乎相同的白话文汉诗
+将产生这种极端性结果的原因再回推我们会清楚地明白当年的某些学者把文学艺术简单雷同于人文社会科学误解了文学艺术尤其是诗歌艺术的特殊性质误以为诗就是话混淆了诗与话的形式因素。
+针对莎士比亚戏剧诗的翻译对策
+由上可知莎士比亚的剧文既然大多是格律诗无论有韵无韵它们都是诗都有格律性。因此在汉译中我们就有必要显示出它具有格律性而这种格律性就是诗性。
+问题在于格律性是附着在语言形式上的语言改变了附着其上的格律性也就大多会消失。换句话说格律大多不可复制或模仿这就正如用钢琴弹不出二胡的效果用古筝奏不出黑管的效果一样。但是原作的内在旋律是可以模仿的只是音色变了。原作的诗性是可以换个形式营造的这就是利用汉语本身的语言特点营造出大略类似的语言艺术审美效果。
+由于换了另外一种语言媒介原作的语音美设计大多已经不能照搬、复制甚至模拟了那么我们就只好断然舍弃掉原作的许多语音美设计而代之以译入语自身的语言艺术结构产生的语音美艺术设计。当然原作的某些语音美设计还是可以尝试模拟保留的但在通常的情况下大多数的语音美已经不可能传输或复制了。
+利用汉语本身的语音审美特点来营造莎士比亚诗歌的汉译语音审美效果是莎士比亚作品翻译的一个有效途径。机械照搬原作的语音审美模式多半会失败并且在大多数的场合下也没有必要。
+具体说来这就涉及翻译莎士比亚戏剧作品时该如何处理1节奏2韵律3措辞。笔者主张在这三个方面我们都可以适当借鉴利用中国古代词曲体的某些因素。戏剧剧文中的诗行一般都不宜多用单调的律诗和绝句体式。元明戏剧为什么没有采用前此盛行的五言或七言诗行而采用了长短错杂、众体皆备的词曲体这是一种艺术形式发展的必然。元明曲体由于要更好更灵活地满足抒情、叙事、论理等诸多需要故借用发展了词的形式但不是纯粹的词而是融入了民间语汇。词这种形式涵盖了一言、二言、三言、四言、五言、六言、七言、八言……乃至十多言的长短句式因此利于表达变化莫测的情、事、理。从这个意义上看莎士比亚剧文语言单位的参差不齐状态与中文词曲体句式的参差不齐状态正好有某种相互呼应的效果。
+也许有人说莎士比亚的剧文虽然是格律诗但并不怎么押韵因此汉诗翻译也就不必押韵。这个说法也有一定道理但是道理并不充实。
+首先我们应该明白既然莎士比亚的剧文是诗体人们读到现今的散体译文或不���韵的分行译文却难以感受到其应有的诗歌风味原因即在于其音乐性太弱。如果人们能够照搬莎士比亚素体诗所惯常用的音步效果及由此引起的措辞特点当然更好。但事实上原作的节奏效果是印欧语系语言本身的效果换了一种语言其效果就大多不能搬用了所以我们只好利用汉语本身的优势来创造新的音乐美。这种音乐美很难说是原作的音乐美但是它毕竟能够满足一点即诗体剧文应该具有诗歌应有的音乐美这个起码要求。而汉译的押韵可以强化这种音乐美。
+其次莎士比亚的剧文不押韵是由诸多因素造成的。第一属于印欧语系语言的英语在押韵方面存在先天的多音节不规则形式缺陷导致押韵词汇范围相对较窄。所以对于英国诗人来说很苦于押韵难工莎士比亚的许多押韵体诗例如十四行诗在押韵方面都不很工整。其次莎士比亚的剧文虽不押韵却在节奏方面十分考究这就弥补了音韵方面的不足。第三莎士比亚的剧文几乎绝大多数是诗行对于剧作者来说每部长达两三千行的诗行行都要押韵这是一个极大的挑战很难完成。而一旦改用素体剧作者便会轻松得多。但是以上几点对于汉语译本则不是一个问题。汉语的词汇及语音构成方式决定了它天生就是一种有利于押韵的艺术性语言。汉语存在大量同韵字押韵是一件很容易的事情。汉语的语音音调变化也比莎士比亚使用的英语的音调变化空间大一倍以上。汉语音调至少有四种加上轻重变化可达六至八种而英语的音调主要局限于轻重语调两种所以存在于印欧语系文字诗歌中的频频押韵有时会产生的单调感在汉语中会在很大程度上由于语调的多变而得到缓解。故汉语戏剧剧文在押韵方面有很大的潜在优势空间实际上元明戏剧剧文频频押韵就是证明。
+第三莎士比亚的剧文虽然很多不押韵但却具极强的节奏感。他惯用的格律多半是抑扬格五音步iambic pentameter诗行。如果我们在节奏方面难以传达原作的音美或者可以通过韵律的音美来弥补节奏美的丧失这种翻译对策谓之堤内损失堤外补亦谓失之东隅收之桑榆。我们的语言在某方面有缺陷可以通过另一方面的优点来弥补。当然笔者主张在一定程度上借鉴利用传统词曲的风味却并不主张使用宋词、元曲式的严谨格律而只是追求一种过分散文化和过分格律化之间的妥协状态。有韵但是不严格要适当注意平仄但不过多追求平仄效果及诗行的整齐与否不必有太固定的建行形式只是根据诗歌本身的内容和情绪赋予适当的节奏与韵式。在措辞上则保持与白话有一段距离但是绝非佶屈聱牙的文言而是趋近典雅、但普通读者也能读懂的语言。
+最后根据翻译标准多元互补论原理由于莎士比亚作品在内容、形式及审美效应方面具有多样性因此只用一种类乎纯诗体译法来翻译所有的莎士比亚剧文也是不完美的因为单一的做法也许无形中堵塞了其他有益的审美趣味通道。因此这套译本的译风虽然整体上强调诗化、诗味但是在营造诗味的途径和程度上不是单一的。我们允许诗体译风的灵活性和创新性。多译者译法实际上也是在探索诗体译法的诸多可能性这为我们将来进一步改进这套译本铺垫了一条较宽的道路。因此译文从严格押韵、半押韵到不押韵的各个程度译本都有涉猎。但是无论是否押韵其节奏和措辞应该总是富于诗意这个要求则是统一的。这是我们对皇家版《莎士比亚全集》译本的语言和风格要求。不能说我们能完全达到这个目标但我们是往这个方向努力的。正是这样的努力使这套译本与前此译本有很大的差异在一定的意义上来说标志着中国莎士比亚著作翻译的一次大转折。
+翻译突破还原莎士比亚作品禁忌区域
+另有一个课题是中国学者从前讨论得比较少的禁忌领域即莎士比亚著作中的性描写现象。
+许多西方学者认为莎士比亚酷爱色情字眼他的著作渗透着性描写、性暗示。只要有机会他就总会在字里行间用上与性相联系的双关语。西方人很早就搜罗莎士比亚著作的此类用语编纂了莎士比亚淫秽用语词典。这类词典还不止一种。1995年我又看到弗朗基·鲁宾斯坦Frankie Rubinstein等编纂了《莎士比亚性双关语释义词典》A Dictionary of Shakespeare's Sexual Puns and Their Significance厚达372页。
+赤裸裸的性描写或过多的淫秽用语在传统中国文学作品中是受到非议的尽管有《金瓶梅》这样被判为淫秽作品的文学现象但是中国传统的主流舆论还是抑制这类作品的。莎士比亚的作品固然不是通常意义上的淫秽作品但是它的大量实际用语确实有很强的色情味。这个极鲜明的特点恰恰���前此的所有汉译本故意掩盖或在无意中抹杀掉。莎士比亚的所有汉译者尤其是像朱生豪先生这样的译者显然不愿意中国读者看到莎士比亚的文笔有非常泼辣的大量使用性相关脏话的特点。这个特点多半都被巧妙地漏译或改译。于是出现一种怪现象莎士比亚著作中有些大段的篇章变成汉语后尽管读起来是通顺的读者对这些话语却往往感到莫名其妙。以《罗密欧与朱丽叶》第一幕第一场前面的30行台词为例这是凯普莱特家两个仆人山普孙与葛莱古里之间的淫秽对话。但是读者阅读过去的汉译本时很难看到他们是在说淫秽的脏话甚至会认为这些对话只是仆人之间的胡话没有什么意义。
+不过前此的译本对这类用语和描写的态度也并不完全一样而是依据年代距离在逐步改变。朱生豪先生的译本对这些东西删除改动得最多梁实秋先生已经有所保留但还是有节制。方平先生等的译本保留得更多一些但仍然持有相当的保留态度。此外从英语的不同版本看有的版本注释得明白有的版本故意模糊有的版本注释者自己也没有弄懂这些双关语那就更别说中国译者了。
+在这一点上我们目前使用的皇家版《莎士比亚全集》是做得最好的。
+那么我们该怎样来翻译莎士比亚的这种用语呢是迫于传统中国道德取向的习惯巧妙地回避还是尽可能忠实地传达莎士比亚的本真用意我们认为前此的译本依据各自所处时代的中国人道德价值的接受状态采用了相应的翻译对策出现了某种程度的曲译这是可以理解的是特定历史条件下的产物。但是历史在前进中国人的道德观已经有了很大的改变尤其是在性禁忌领域。说实话无论我们怎样真实地还原莎士比亚著作中的性双关描写比起当代文学作品中有时无所忌讳的淫秽描写来莎士比亚还真是有小巫见大巫的感觉。换句话说目前中国人在这方面的外来道德价值接受状态已经完全可以接受莎士比亚著作中的性双关用语了。因此我们的做法是尽可能真实还原莎士比亚性相关用语的现象。在通常的情况下如果直译不能实现这种现象的传输我们就采用注释。可以说在这方面目前这个版本是所有莎士比亚汉译本中做得最超前的。
+译法示例
+莎士比亚作品的文字具有多种风格早期的、中期的和晚期的语言风格有明显区别悲剧、喜剧、历史剧、十四行诗的语言风格也有区别。甚至同样是悲剧或喜剧莎士比亚的语言风格往往也会很不相同。比如同样是属于悲剧《罗密欧与朱丽叶》剧文中就常常有押韵的段落而大悲剧《李尔王》却很少押韵同样是喜剧《威尼斯商人》是格律素体诗而《温莎的风流娘儿们》却大多是散文体。
+与此现象相应我们的翻译当然也就有多种风格。虽然不完全一一对应但我们有意避免将莎士比亚著作翻译成千篇一律的一种文体。从这个意义上说皇家版《莎士比亚全集》汉译本在某些方面采用了全新的译法。这种全新译法不是孤立的一种译法而是力求展示多种翻译风格、多种审美尝试。多样化为我们将来精益求精提供了相对更多的选择。如果现在固定为一种单一的风格那么将来要想有新的突破就困难了。概括说来我们的多种翻译风格主要包括1有韵体诗词曲风味译法2有韵体现代文白融合译法3无韵体白话诗译法。下面依次选出若干相应风格的译例供读者和有关方面品鉴。
+一、有韵体诗词曲风味译法
+有韵体诗词曲风味译法注意使用一些传统诗词曲中诗味比较浓郁的词汇同时注意遣词不偏僻节奏比较明快音韵也比较和谐。但是它们并不是严格意义上的传统诗词曲只是带点诗词曲的风味而已。例如
+女巫甲　何时我等再相逢
+闪电雷鸣急雨中
+女巫乙　待到硝烟烽火静
+沙场成败见雌雄。
+女巫丙　残阳犹挂在西空。《麦克白》第一幕第一场
+小丑甲　当时年少爱风流
+有滋有味有甜头
+行乐哪管韶华逝
+天下柔情最销愁。《哈姆莱特》第五幕第一场
+朱丽叶　天未曙罗郎何苦别意匆忙
+鸟音啼声声亮惊骇罗郎心房。
+休听作破晓云雀歌只是夜莺唱
+石榴树间夜夜有它设歌场。
+信我罗郎端的只是夜莺轻唱。
+罗密欧　不是云雀报晓不是莺歌
+看东方无情朝阳暗洒霞光
+流云万朵镶嵌银带飘如浪。
+星斗如烛恰似残灯剩微芒
+欢乐白昼悄然驻步雾嶂群岗。
+奈何我去也则生留也必亡。
+朱丽叶　听我言天际微芒非破晓霞光
+只是金乌吐射流星当空亮
+似明炬今夜为郎朗照边邦
+何愁它曼托瓦路漫远悠长。
+且稍待正无须行色皇皇仓仓。
+罗密欧　纵身陷人手蒙斧钺加诛于刑场
+只要这勾留遂你愿我欣然承当。
+让我说那天际灰朦���黎明醒眼
+乃月神眉宇幽幽映现淡淡辉光
+那歌鸣亦非云雀之讴哪怕它
+嚣然振动于头上空冥嘹亮高亢。
+我巴不得栖身此地永不他往。
+来吧死亡倘朱丽叶愿遂此望。
+如何心肝畅谈吧趁夜色迷茫。《罗密欧与朱丽叶》第三幕第五场
+二、有韵体现代文白融合译法
+有韵体现代文白融合译法的特点是基本押韵措辞上白话与文言尽量能够水乳交融充分利用诗歌的现代节奏感俾便能够念起来朗朗上口。例如
+哈姆莱特　死还是生这才是问题根本
+莫道是苦海无涯但操戈奋进
+终赢得一片清平或默对逆运
+忍受它箭石交攻敢问
+两番选择何为上乘
+死灭睡也倘借得长眠
+可治心伤愈千万肉身苦痛痕
+则岂非美境人所追寻死睡也
+睡中或有梦魇生唉症结在此
+倘能撒手这碌碌凡尘长入死梦
+又谁知梦境何形念及此忧
+不由人踌躇难定这满腹疑情
+竟使人苟延年命忍对苦难平生。
+假如借短刀一柄即可解脱身心
+谁甘愿受人世的鞭挞与讥评
+强权者的威压傲慢者的骄横
+失恋的痛楚法律的耽延
+官吏的暴虐甚或默受小人
+对贤德者肆意拳脚加身
+谁又愿肩负这如许重担
+流汗、呻吟疲于奔命
+倘非对死后的处境心存疑云
+惧那未经发现的国土从古至今
+无孤旅归来意志的迷惘
+使我辈宁愿忍受现世的忧闷
+而不敢飞身投向未知的苦境
+前瞻后顾使我们全成懦夫
+于是本色天然的决断决行
+罩上了一层思想的惨淡余阴
+只可惜诸多待举的宏图大业
+竟因此如逝水忽然转向而行
+失掉行动的名分。《哈姆莱特》第三幕第一场
+麦克白　若做了便是了则快了便是好。
+若暗下毒手却能横超果报
+割人首级却赢得绝世功高
+则一击得手便大功告成
+千了百了那么此际此宵
+身处时间之海的沙滩、岸畔
+何管它来世风险逍遥。但这种事
+现世永远有裁判的公道
+教人杀戮之策者必受杀戮之报
+给别人下毒者自有公平正义之手
+让下毒者自食盘中毒肴。《麦克白》第一幕第七场
+损神耗精愧煞了浪子风流
+都只为纵欲眠花卧柳
+阴谋好杀赌假咒坏事做到头
+心毒手狠野蛮粗暴背信弃义不知羞。
+才尝得云雨乐转眼意趣休。
+舍命追求一到手没来由
+便厌腻个透。呀恰恰像是钓钩
+但吞香饵管教你六神无主不自由。
+求时疯狂得时也疯狂
+曾有现有还想有要玩总玩不够。
+适才是甜头转瞬成苦头。
+求欢同枕前梦破云雨后。
+唉普天下谁不知这般儿歹症候
+却避不得便往这通阴曹的天堂路儿上走十四行诗第一百二十九首
+三、无韵体白话诗译法
+无韵体白话诗译法的特点是虽然不押韵但是译文有很明显的和谐节奏措辞畅达有诗味明显不是普通的口语。例如
+贡妮芮　父亲我爱您非语言所能表达
+胜过自己的眼睛、天地、自由
+超乎世上的财富或珍宝犹如
+德貌双全、康强、荣誉的生命。
+子女献爱父亲见爱至多如此
+这种爱使言语贫乏谈吐空虚
+超过这一切的比拟——我爱您。《李尔王》第一幕第一场
+李尔　国王要跟康沃尔说话慈爱的父亲
+要跟他女儿说话命令、等候他们服侍。
+这话通禀他们了吗我的气血都飙起来了
+火爆火爆公爵去告诉那烈性公爵——
+不还是别急也许他是真不舒服。
+人病了常会疏忽健康时应尽的
+责任。身子受折磨
+逼着头脑跟它受苦
+人就不由自主了。我要忍耐
+不再顺着我过度的轻率任性
+把难受病人偶然的发作错认是
+健康人的行为。我的王权废掉算了
+为什么要他坐在这里这种行为
+使我相信公爵夫妇不来见我
+是伎俩。把我的仆人放出来。
+去跟公爵夫妇讲我要跟他们说话
+现在就要。叫他们出来听我说
+不然我要在他们房门前打起鼓来
+不让他们好睡。《李尔王》第二幕第二场
+奥瑟罗　诸位德高望重的大人
+我崇敬无比的主子
+我带走了这位元老的女儿
+这是真的真的我和她结了婚说到底
+这就是我最大的罪状再也没有什么罪名
+可以加到我头上了。我虽然
+说话粗鲁不会花言巧语
+但是七年来我用尽了双臂之力
+直到九个月前我一直
+都在战场上拼死拼活
+所以对于这个世界我只知道
+冲锋向前不敢退缩落后
+也不会用漂亮的字眼来掩饰
+不漂亮的行为。不过如果诸位愿意耐心听听
+我也可以把我没有化装掩盖的全部过程
+一五一十地摆到诸位面前接受批判
+我绝没有用过什么迷魂汤药、魔法妖术
+还有什么歪门邪道——反正我得到他的女儿
+全用不着这一套。《奥瑟罗》第一幕第三场
+注释
+1　见朱生豪大约在1936年夏致宋清如信“今天下午我试译了两页莎士比亚还算顺利不过恐怕终于不过是Poor Stuff而已。当然预备全部用散文译出否则将要了我的命。”《伉俪朱生豪宋清如诗文选》下卷中国青年出版社2013年第94页
+2　朱生豪“今天因为提起了精神却很兴奋晚上译了六千字今天一共译一万字。”同上第101页
+3　卞之琳《莎士比亚悲剧四种》方志出版社2007年第4页。
+4　In der Beschränkung zeigt sich erst der Meister, / Und das Gesetz nur kann uns Freiheit geben. 参见http://www.business-it.nl/files/7d413a5dca62fc735a072b16fbf050b1-27.php.
+5　Vergebens werden ungebundene Geister / Nach der Vollendung reiner Höhe streben. 参见http://www.cosmiq.de/qa/show/3454062/Vergebens-werden-ungebundne-Geister-Nach-der-Vollendung-reiner-Hoehe-streben-Was-ist-dieBedeutung-dieser-2-Verse-Ich-komm-nicht-drauf/t.
+《暴风雨》导言
+《暴风雨》几乎可以肯定是莎士比亚独立完成的最后一出戏。我们不知道他是否预期如此。这出戏也是印在第一对开本的第一个剧本。我们也不知道它得到如此尊贵的地位是因为对开本的编辑把它当作展示品——大师艺术的总和之作——还是为了更为平凡的理由他们手头有抄写员拉尔夫·克兰Ralph Crane的干净文本排版者要着手排版莎士比亚近乎百万字的浩大工程从这本起可以有个比较容易的开始。无论它的位置来自无心抑或刻意的安排自19世纪初期以来《暴风雨》成于莎士比亚写作生涯之终、又置于作品集之首的事实大大影响了后世对这出戏的反应。它已经被视为诠释莎士比亚的试金石。
+本剧内容集中于支配与统治的问题。在开场的暴风雨中正常的社会秩序大乱水手长命令廷臣因为知道咆哮的海浪根本不在乎“什么国王”。之后第一幕第二场中详细展开的背景故事揭露了不尊重公爵名号的阴谋家我们得知普洛斯彼罗失去了米兰的权力但补偿式地得以控制岛上的爱丽儿和凯列班。腓迪南和米兰达的同心结则指向米兰与那不勒斯未来的统治。还有更进一步的政治算计西巴斯辛与安东尼奥计划谋杀阿隆佐国王和忠厚大臣贡柴罗低贱出身的角色想要推翻普洛斯彼罗让酗酒的司膳官斯丹法诺当岛上的国王。普洛斯彼罗在爱丽儿和岛上其他精灵协助下演出了一幕幕精彩的戏——使谋反者动弹不得鸟身女妖与消失的盛筵众女神及农民的假面剧那对小情人对弈的情景——这些都有助于报复过去的罪愆恢复当前的秩序并预备和谐的来日。工作完毕之后爱丽儿获得释放心痛啊1而普洛斯彼罗也在精神上做好了死亡的准备。甚至凯列班都要“寻求恩典”。
+然而莎士比亚从来都不爱简单。普洛斯彼罗以戏法变出暴风雨把宫廷的达官贵人带到这座岛主要是为了强迫他那篡位的弟弟安东尼奥悔罪。可是到了两人面对面的高潮时刻对普洛斯彼罗的饶恕与要求安东尼奥却连一个字都没有回应。他完全没有以阿隆佐在前面几行的表现为榜样而仿效之。至于安东尼奥的共犯西巴斯辛竟然还胆敢说普洛斯彼罗魔法般的先见之明是仗着邪魔之力。普洛斯彼罗能力再大也无法预料或掌控人性。如果原本没有良心以后也无法创造出良心。
+塞缪尔·泰勒·柯尔律治Samuel Taylor Coleridge2把普洛斯彼罗描述为“简直就是风暴中的莎士比亚本人”。换句话说戏中主角在开场中变出暴风雨正如剧作家变出这部戏的整个世界。普洛斯彼罗的法术驾驭了自然力量好引领其他意大利角色加入他的放逐世界同样地莎士比亚的艺术先把舞台变成一艘大海中的船然后又变成“无人的荒岛”。“法术”乃是这出戏的关键词眼。凯列班是普洛斯彼罗的“他者”因为他代表自然状态。在达尔文主义盛行的19世纪他被重塑为人类与我们动物祖先之间过渡时期“缺失的那一环”。
+普洛斯彼罗的背景故事道出了从训练统治者的“人文素养”到比较危险的魔幻“法术”的变化过程。在莎士比亚时代魔法的思维普遍存在。人人从小都相信自然界之外另有一个世界就是灵魂与妖怪的世界。“自然”与“妖魔”乃是研究及操弄超自然现象的两大支派。魔法magic即是对隐秘事物的认知和制造奇迹的法术。某些人认为这是自然哲学的最高形式这个词源于magia在古波斯语里意思是“智慧”众人称之为“神秘哲学”。它假设有不同层级的力量从不具形体的“智性的”天使魂灵到天上恒星和行星的世界再到地球事物及其形体的变化。魔法师上达高阶力量的知识以人为方式将这些能力带下来制造出奇妙的效果。科尼利厄斯·阿格里帕Cornelius Agrippa3是《论神秘哲学》De occulta philosophia一书的作者主张必须有“仪式魔法”才能达到超越星球的天使智慧。这是最高也最危险的活动层次因为——诚如同克里斯托弗·马洛Christopher Marlowe4笔下的浮士德博士Dr. Faustus的发现—��太容易变出魔鬼而不是天使。比较普通的“自然魔法”需要“媒合”天地与星体和物质世界元素之间的奇幻链接同工。历久不衰的星象影响观念乃是这种思维模式的残留。对文艺复兴时代的智者例如在米兰从业的吉罗拉莫·卡尔达诺Girolamo Cardano5而言医学、自然哲学、数学、星象学以及解梦都是紧密相连的。
+然而自然魔法始终无法躲开它的妖魔阴影。有一个像阿格里帕或卡尔达诺这样博学的智者就有一千个乡下“智婆”从事民俗医疗和算命。后者在前现代时期常常被妖魔化为女巫要为歉收、牲畜疾病及其他病痛负责。普洛斯彼罗强调他自己的白色魔法有别于凯列班母亲西考拉克斯的黑色魔法不过在这出戏里两者十分相似。他之所以从米兰被放逐到岛上是因为专注于自己的秘密研究从而给予了安东尼奥篡夺大公国的可乘之机而西考拉克斯之所以从阿尔及尔放逐到岛上是因为被控施行巫术他带着他的幼女来而西考拉克斯来的时候肚里怀着据说是跟魔鬼搞出来的孩子。两者都能指挥海潮操控以爱丽儿为代表的精灵世界。普洛斯彼罗要放弃他的魔法时用来描述法力的词语是借自另一个女巫——奥维德Ovid的古代神话故事巨著《变形记》Metamorphoses里的美狄亚Medea。在某个层次上普洛斯彼罗表达了他跟西考拉克斯之间的亲缘关系他说凯列班“这个妖怪嘛我/承认是我的”。此处主语和动词在行尾分开表明承认之前稍有犹豫这是莎士比亚后期灵活运用抑扬格五音步手法的极端例子。
+莎士比亚喜爱制造对立再把他的黑与白淡化成复杂道德里的灰色区块。在米兰普洛斯彼罗对人文素养的内观研究使他失去权位并促成暴政。在岛上他企图以他所学来弥补过失利用正向的魔法带来悔罪、收复大公国并且打造一个王朝的婚姻。然而在第五幕开始时他醒悟到真正的人性不在于运用智慧统治而在于实践更为严谨的基督徒式的德行。对16世纪的人文主义者来说君王的德行教育就是为了政治目的而修养智慧、宽宏、节制、正直。对普洛斯彼罗而言最终真正重要的是仁慈。而这是师父从徒弟那里学到的正是爱丽儿教了普洛斯彼罗“情感”的道理而不是相反。
+爱丽儿代表火与空气、和谐与音乐、耿耿忠心。凯列班属土关乎纷争、醉酒和反叛。爱丽儿的表达工具是雅致的诗凯列班的则大多是粗鲁乃至猥亵的散文一如弄臣特林鸠罗和醉汉司膳官斯丹法诺。然而令人讶异的是剧中最美丽的诗句乃是凯列班听到爱丽儿的音乐时所说的。即便是用散文凯列班亦与自然环境有一种美妙的协调他知道岛上每一个角落、每一种生物。普洛斯彼罗说他是“魔鬼天生的魔鬼对他的本性/教化根本是白搭”然而就在下一句台词里凯列班上场时说“拜托脚步轻些免得这只瞎眼的鼹鼠听到脚步声”如此富有想象力的语言立即否定了普洛斯彼罗的断言。
+凯列班据称曾要性侵米兰达可见普洛斯彼罗想驯服这个“怪物仆”、教育他具有人性的意图是失败的。然而这失败是谁的责任问题会不会出在普洛斯彼罗想要灌输到凯列班记忆里的内容上而非后者的天性一开始凯列班欢迎普洛斯彼罗到岛上来主动与他分享岛上水果——正如蒙田Montaigne散文《论食人部族》“Of the Cannibals”里所写的“高贵的野蛮人”那样那篇文章是莎士比亚剧中引用的另一来源贡柴罗治理本岛的乌托邦式“黄金时代”理想便是采自蒙田作品的英译本。凯列班只不过表现出普洛斯彼罗印刻在他身上的那种低贱而已使凯列班“污秽”的可能是普洛斯彼罗说他是“秽物”的教导。
+凯列班了解书的重要性正如现代政变领导者首先要占据电视台他强调反叛普洛斯彼罗必须从夺取他的书籍开始。然而斯丹法诺另有其书。他对凯列班说“这东西能叫您说话”—他复制普洛斯彼罗通过语言取得控制的手法不过是以另一种模式。文本的灌输被美酒的熏陶取代所亲吻的书乃是酒瓶。如此一来莎士比亚的场景对位技法营造出对话精神质疑了普洛斯彼罗的书籍使用。若说斯丹法诺和特林鸠罗以酒精达成普洛斯彼罗以教导所达成的目的两者都说服凯列班服役并分享岛上的果实这岂不是显出教导有可能只是社会控制的工具而已普洛斯彼罗时常似对他以教学建立的权力结构较感兴趣胜过他教导的实质内容。很难看出逼腓迪南搬运木柴是为了教诲德行目的其实是要他臣服。
+来到一个没有欧洲人居住的岛屿谈论“殖民地”与一个“野人”相遇并用酒精交换生存技能在语言学习过程中确立谁是主、谁是奴担心奴仆会使主人的女儿受孕欲使野蛮人寻求基督教的“恩典”但又提议把他运到英格兰展示获利提到百慕大危险的气候以及一个“华丽新世界”在所有这些方面《暴风雨》都唤起了欧洲的殖民主义精神。莎士比亚与弗吉尼亚公司的成员有联系。该公司奉王室之命成立于1606年为次年在美洲建立詹姆斯敦殖民地起了重要作用。1610年秋有一封信寄达英格兰描述派往增援殖民地的舰队在加勒比海被暴风雨吹散搭载新总督的那艘船被吹到百慕大船员和乘客都在那里过冬。虽然那封信当时没有出版手稿却流传开来至少引发两本小册子讨论这些事件。学者们为莎士比亚究竟直接引用了其中多少材料而争论不休但暴风雨及岛屿的某些细节好像是从中取材。毋庸置疑的是总督及其团队看似奇迹般幸存同时他们在巴哈马群岛发现的富饶环境乃是本剧写作之时的公众流行话题。
+大英帝国、奴隶贩卖、东西海路运送香料带来的财富——这些是后来的事。莎士比亚的戏设定在地中海不在加勒比海。凯列班严格说来不能算是岛上的原住民。然而这出戏直觉地感知殖民时期占有与驱离的动能剧力万钧不可思议所以1950年奥克塔夫·曼诺尼Octave Mannoni6写的《殖民地化进程中的心理学》The Psychology of Colonisation主张说殖民过程的运作要经由一对精神官能症交互作用于殖民者是“普洛斯彼罗情结”于被殖民者是“凯列班情结”。就是为了回应曼诺尼弗朗茨·法农Frantz Fanon7写了《黑皮肤白面具》Black Skin, White Masks从而在很大程度上塑造了“后殖民”时代的知识领域。对20世纪后期许多以英文写作的加勒比海作家来说《暴风雨》这出戏尤其是凯列班这个人物成为他们发现自己文学声音的焦点。这出戏与其说是对帝国历史的反思毋宁说是对这段历史的预知——毕竟普洛斯彼罗是被流放的人不是冒险家。
+国王剧团经常奉命在白厅御前献演自然知道从1608年岁暮起十几岁的伊丽莎白公主Princess Elizabeth就住在王宫里。她是有文化素养的少女喜欢音乐和舞蹈参与宫中节庆活动1610年在一出名叫《忒堤斯》Tethys8的假面剧里担任舞者。假面剧由皇亲、廷臣、职业演员混搭演出场面壮观音乐精致在那些年日是宫廷最时兴的表演。与莎士比亚亦友亦敌的本·琼森Ben Jonson9和设计师伊尼戈·琼斯Inigo Jones10合作为自己打出当代首席假面剧作家的名号。1608年他引进“反假面剧”或称“前假面剧”让丑怪人物即所谓“怪胎”在优雅、和谐的假面剧演出之前狂舞一番。莎士比亚也采纳了当时的流行风尚在《暴风雨》的戏中加入了订婚的假面剧以及凯列班、斯丹法诺和特林鸠罗三人闻马尿、偷窃晾衣绳上的衣服、遭群狗追逐的反假面闹剧。我们甚至觉得普洛斯彼罗这个人物可能就是对本·琼森温和的诙谐模拟他的戏剧想象受制于古典式对时间与场景统一性的要求一如琼森他也演出宫廷假面剧一如琼森。或许正因为如此几年之后琼森在他的《巴托罗缪市集》Bartholomew Fair里戏仿《暴风雨》作为回敬。
+普洛斯彼罗的基督教语言在收场白中持续最久然而他最后请求宽容的对象不是上帝而是观众。到了最后一刻取代人文主义学术的不是基督教信仰而是戏剧的信念。因此这出戏可以解读为莎士比亚为自己戏剧艺术的辩护——从浪漫主义时期以来常常就是如此理解。不过反讽的是这出戏本身对书籍乃至于对剧场的功能十分怀疑。魔法书沉入大海而假面剧及其演员也溶入空气之中就像“无根的幻景”或一场梦。
+参考资料
+剧情十二年前在那不勒斯国王阿隆佐及其弟西巴斯辛协助下米兰公爵普洛斯彼罗被他的弟弟安东尼奥篡了位。普洛斯彼罗及其幼女米兰达被流放大海到达远方小岛。他在那里靠着魔法统治精灵爱丽儿和野人凯列班。他利用法力呼风唤雨使他的敌人遭遇船难来到岛上。阿隆佐寻找儿子腓迪南担心他已经淹死。西巴斯辛密谋杀害阿隆佐夺取他的王位。酗酒的司膳官斯丹法诺和弄臣特林鸠罗遇见凯列班听了他的劝说要杀害普洛斯彼罗好由他们来统治这座岛。腓迪南和米兰达相遇两人一见钟情。普洛斯彼罗要考验腓迪南命其做苦工腓迪南通过考验普洛斯彼罗为这对年轻情侣演了一出贺婚的假面剧。在普洛斯彼罗的计划接近高潮时他正面质问敌人并宽恕他们。普洛斯彼罗赐予爱丽儿自由准备离开岛屿返回米兰。
+主要角色列有台词行数百分比/台词段数/上场次数普洛斯彼罗30/115/5爱丽儿9/45/6凯列班8/50/5斯丹法诺7/60/4贡柴罗7/52/4西巴斯辛5/67/4安东尼奥6/57/4米兰达6/49/4腓迪南6/31/4阿隆佐5/40/4特林鸠罗4/39/4。
+语体风格诗体约占80散体约占20��
+创作年代1611年。1611年11月1日宫廷演出使用的部分素材于1610年秋季以前并未问世。
+取材来源主要剧情不知取自何处但暴风雨和岛屿的某些细节似乎来自威廉·斯特雷奇William Strachey所著《托马斯·盖茨爵士船难获救真实报导》A True Reportory of the Wreck and Redemption of Sir Thomas Gates, Knight写于1610年收入1625年出版的《珀切斯游记》[Purchas his Pilgrims]或许还有西尔韦斯特·乔丹Sylvester Jourdain的《百慕大发现记》A Discovery of the Bermudas, 1610年以及弗吉尼亚公司发行的小册子《弗吉尼亚殖民地资产真实报告》A True Declaration of the Estate of the Colony in Virginia1610年有几处提到维吉尔Virgil11的《埃涅阿斯纪》Aeneid与奥维德的《变形记》特别是在第五幕第一场模仿阿瑟·戈尔丁Arthur Golding1567年翻译奥维德第七卷内美狄亚的咒文贡柴罗在第二幕第一场关于“黄金时代”的说辞基于约翰·弗洛里奥John Florio1603年所译蒙田《论食人部族》一文两者十分接近。
+文本1623年的第一对开本是唯一早期印刷本。所据为国王剧团所雇专业誊录员拉尔夫·克兰的抄写本。总体说来是高质量的印刷本。
+乔纳森·贝特Jonathan Bate
+注释
+1　或因普洛斯彼罗舍不得爱丽儿。——译者附注
+2　柯尔律治1772—1834英国诗人、评论家。——译者附注
+3　阿格里帕1486—1535德国医生、神学家、神秘学家。——译者附注
+4　马洛1564—1593英国伊丽莎白时期剧作家、诗人。——译者附注
+5　卡尔达诺1501—1576意大利医生、数学家、占星术家。——译者附注
+6　曼诺尼1899—1989法国精神分析学家、作家。——译者附注
+7　法农1925—1961出生于法属加勒比海岛屿马提尼克岛精神分析学家、哲学家。——译者附注
+8　忒堤斯为古希腊神话中的女海神之名。——译者附注
+9　琼森1572—1637英国剧作家、诗人、评论家。——译者附注
+10　琼斯1573—1652英国画家、建筑师、设计师。——译者附注
+11　维吉尔前70—前19奥古斯都时代的古罗马诗人。——译者附注
+暴风雨
+普洛斯彼罗合法的米兰公爵
+米兰达普洛斯彼罗之女
+阿隆佐那不勒斯国王
+西巴斯辛阿隆佐之弟
+安东尼奥普洛斯彼罗之弟篡位的米兰公爵
+腓迪南那不勒斯国王之子
+贡柴罗忠诚的老枢密大臣
+阿德里安和弗兰西斯科两贵族
+特林鸠罗弄臣
+斯丹法诺酗酒的司膳官
+船长
+水手长
+众水手
+凯列班未驯化的畸形奴隶
+爱丽儿空气精灵
+场景无人的荒岛
+第一幕1
+第一场第一景
+海中一船
+雷电交加暴风雨声可闻。船长与水手长上
+船长　水手长
+水手长　在船长。有什么吩咐
+船长　好兄弟去跟水手们说动作要快不然咱会搁浅啦快赶快
+下
+众水手上
+水手长　嘿哥儿们加油加油哥儿们快点快点把中桅帆收一收。听船长的哨音。——尽管刮吧刮到你喘不过气也没关系只要船掉得过头来。
+对风暴
+阿隆佐、西巴斯辛、安东尼奥、腓迪南、贡柴罗及其他人上
+阿隆佐　好水手长留意点儿。船长在哪儿拿出男子气概来。
+水手长　各位请待在下头。
+安东尼奥　船长在哪儿啊水手长
+水手长　您没听见他吗您碍着我们的事啦。待在舱里你们这是在帮助暴风雨。
+贡柴罗　别那么说好兄弟耐心点。
+水手长　先得等大海有耐心。走开这些个大吼大叫的会理你什么国王吗去舱里闭嘴别烦我们。
+贡柴罗　好兄弟可要记得你船上载的是谁。
+水手长　没一个是我爱得超过我自个儿的。您是个大臣要是您能命令这些风雨不作声现在就平静那咱们就一根绳索都不管。施展您的权威吧。要是您办不到就感谢您活了这把年纪回舱里预备随时有什么不测——万一真有的话。——加油兄弟们——
+对众水手
+别挡了我们我说。
+对众大臣
+[阿隆佐、西巴斯辛、安东尼奥与腓迪南随水手长及众水手]下
+贡泽罗　这家伙让我非常安慰。我看他没有淹死的凶相他那张脸分明就该是被绞死的。2善良的命运之神哪千万要让他被绞死用他命中注定的绞绳作我们的定锚缆索吧因为我们自己的不管用了。他若不是注定该被绞死的我们的处境就悲惨啰。
+下
+水手长上
+水手长　放低中桅快再低再低尽量把船固定住。幕内一声呼喊混蛋叫成这样他们比这天气、比咱们发号施令还大声。
+西巴斯辛、安东尼奥与贡柴罗上
+又来啦你们来干吗的想叫我们放弃、淹死你们想要沉船哪
+西巴斯辛　我咒你喉咙长脓包你这个大吼大叫、亵渎神明、没有慈悲心肠的狗
+水手长　那你们来干。
+安东尼奥　绞死你狗东西绞死你婊子养的无耻大嗓门我们才没有你那么怕被淹死呢。
+贡柴罗　我敢担保他不会淹死就算这条船���个坚果的壳儿还小而且比流个不停的3女人漏得还凶。
+水手长　顶住风顶住风两张帆都升起来再出海升起来
+众水手浑身湿透上
+众水手　完蛋了快祷告祷告完蛋了
+水手长　什么我们都得淹死
+贡柴罗　王上和王子在祷告。咱们去助祷我们情况一样。
+西巴斯辛　我没耐性了。
+安东尼奥　我们根本是被酒鬼害了命。这个大嘴巴的无赖你淹死算了还让潮水冲刷十遍
+贡柴罗　他还是会被绞死的
+尽管每一滴海水都赌誓不会
+而且张着大口要吞他。
+水手长及众水手下
+幕内喧闹声
+[后台人声]　可怜我们吧——船裂了船裂了——别了我的妻儿——别了兄弟——船裂了船裂了船裂了
+安东尼奥　咱们跟王上一起沉了吧。
+西巴斯辛　咱们去向他道别。
+[安东尼奥与西巴斯辛]下
+贡柴罗　这时我情愿用千顷波涛去换一亩荒地长长的灌木、棕色的荆豆什么都行。愿上天的旨意成就但我情愿死在旱地。
+下
+第二场第二景
+本剧以下场景都在普洛斯彼罗的海岛的各处
+普洛斯彼罗4与米兰达5上
+米兰达　至爱的父亲您若是借了法术
+使这狂涛咆哮请平息它们。
+上天好像要倾倒恶臭的沥青
+亏得大海上升到苍穹的脸颊
+熄灭了天火6。看到他们受苦我
+一同受苦。美轮美奂的一艘船——
+上面想必载着高贵的人物——
+都撞成了碎片。啊那喊叫声打在
+我的心坎上。那些可怜人都完了。
+假如我是个有权能的神我会
+先把大海沉入地下不让它
+如此吞灭这艘美好的船还有
+船里的人。
+普洛斯彼罗　安心吧
+不必再害怕。告诉你怜悯的心肠
+并没有造成损伤。
+米兰达　啊可怜哪
+普洛斯彼罗　没事。
+我所做的没有不是为了你——
+为了你我亲爱的你我女儿——你
+不明白你的身份根本不知道
+我的来历也不知道我的高贵
+超过普洛斯彼罗一个破洞窟的主人
+不过尔尔的你的父亲。
+米兰达　我从来没有
+想过要知道得更详细。
+普洛斯彼罗　时候已到
+我该多告诉你一些。帮我
+脱下我这件魔法斗篷。这样
+放下魔法斗篷
+躺好了我的魔法。你擦擦眼睛放心。
+那船难的恐怖景象触动了
+你内心至情至性的哀矜
+但我在我法术之中早已预作
+安排不叫船上任何人——
+对甚至任何生物——有
+一根毛发受到损伤尽管你
+听到哀嚎看见船沉。坐下吧
+米兰达坐下
+因为现在你必须多了解一些。
+米兰达　您常常
+要跟我讲我的身份却欲言又止
+我想追问终是徒然因您
+最后总说“慢着时机未到。”
+普洛斯彼罗　现在时机已到
+就在此刻你要张开耳朵
+听话要专心。你可记得
+我们来到这洞窟之前的时候
+我想你不能因为你那时还
+不满三岁。
+米兰达　我当然能够大人。
+普洛斯彼罗　记得什么呢有别的房屋或人吗
+告诉我有什么东西的形象
+还保存在你的记忆里。
+米兰达　很久远了
+我记得的比较像是一场梦
+不能保证准确无误。我不是
+曾经有四五个女人照顾吗
+普洛斯彼罗　你有还更多呢米兰达。可是这
+怎么还会留在你心中在时间黑暗的
+过去和深渊中你还看到什么
+你既然记得来此以前的事
+或许也记得你是怎么来的。
+米兰达　那我倒记不得了。
+普洛斯彼罗　十二年了米兰达十二年了
+你父亲原是米兰公爵一个
+大权在握的亲王。
+米兰达　大人您不是我父亲
+普洛斯彼罗　你母亲是美德的典范而
+她说你是我的女儿你父亲
+是米兰公爵他唯一的继承人
+公主也同样出身高贵。
+米兰达　啊天哪
+是什么卑鄙算计害我们流落至此
+还是说该算幸运呢
+普洛斯彼罗　都是都是孩子。
+就如你说的我们被卑鄙算计抛弃
+但幸运地获救于此。
+米兰达　啊我的心会淌血
+要是想到我给您添的麻烦
+但现在都不记得了。您请说下去。
+普洛斯彼罗　我弟弟就是你叔父叫安东尼奥的——
+我请你听好了——做兄弟的竟然
+会这样背信——世界上除了你以外
+他是我的最爱还托付他
+管理我邦的政务那时候啊
+所有城邦中要数米兰第一
+而普洛斯彼罗是至尊公爵享有如此
+殊荣说到人文素养7
+无人能比。我既一心一意钻研
+便把政务交给弟弟
+对我邦大事愈发生疏因为全神
+贯注于玄秘研究。你那虚伪的叔父——
+你在听吗
+米兰达　大人专注极了。
+普洛斯彼罗　一旦学会了怎样答应请托
+怎样拒绝该升迁哪个该把哪个
+野心大的压一压重新任命
+我原来的僚属或改派职务
+或新设职位等到掌控了
+官员与官位使全邦人心
+都听他发号施令他就成了
+那爬藤掩蔽了我王者的躯干
+还吸吮我的精髓。——你没在听。
+米兰达　啊好大人我有。
+普洛斯彼罗　我请你听好了。
+我这般荒废俗��完全
+独处专注于修炼我的智能
+单单这样退隐研究就远非
+凡夫俗子所能理解我那虚伪的弟弟
+更起了祸心于是我的信任
+像纯良的父亲竟然生出
+相反的虚假而且程度大得
+如同我的信任——那真是无限量、
+无止境的信赖。他如此这般
+不仅掌管了我赋税的收入
+还有我权力所能要求的一切。就像
+惯说谎言的人相信自己的真实
+使自己的记忆成为罪人
+好遮掩他的谎言他竟然
+相信自己真的是公爵篡夺爵位
+以公爵之尊执行职务
+享有一切特权。于是他的野心增长——
+你在听吗
+米兰达　大人您的故事可以治好聋子。
+普洛斯彼罗　为了使他扮演的和他所替代的中间
+没有阻隔他势必要成为独尊的
+米兰公爵。我呢——可怜人——我的藏书室
+就是够大的公国日常公爵的庶务
+他认为我已无能处理。他去勾结——
+因为渴求权力——那不勒斯国王
+向他缴纳年贡向他效忠
+以自己的小王冠8臣服于他的王冠
+使从未俯首的我邦——唉可怜的米兰——
+卑躬屈膝可耻已极。
+米兰达　啊天哪
+普洛斯彼罗　你听他的契约和结果再告诉我
+这算不算是兄弟9。
+米兰达　我若认为祖母不贞洁
+便是犯罪了
+好母亲也会生出坏儿子。
+普洛斯彼罗　现在说那契约。
+那不勒斯国王一向是我的
+死对头就同意我弟弟的要求
+也就是他接受了俯首称臣
+以及为数不知多少的进贡
+作为回报应立即把我和家人
+从米兰根除并把大好的米兰
+和它所有的荣衔赐给我弟弟。于是
+招募了一支叛军在注定的
+某一天午夜安东尼奥打开了
+米兰的城门在死寂的黑暗中
+办事的人把我和哭啼的你
+匆忙逐出去。
+米兰达　哀哉可怜哪
+我记不得当时怎么哭的
+要再哀哭一次这种场合
+会拧出我的眼泪。
+普洛斯彼罗　再听我多讲一点
+然后我就把你带回我们
+眼前这件事没有它我这故事
+就不着边际了。
+米兰达　为什么他们不在
+当时灭了我们
+普洛斯彼罗　问得好丫头。我的故事
+会引发这问题。宝贝他们不敢
+我的百姓十分爱我也没敢在
+这件事情上打上血腥的记号倒是
+用好看的颜色涂抹他们丑陋的目的。
+简单说他们赶我们上了一条船
+带我们出海约有几里格在那里备有
+一个朽坏的木桶没有任何配备
+没有工具、船帆没有桅杆就连老鼠
+都本能地离开了。你我被丢进去
+向着朝我们咆哮的大海哭泣向着
+海风哀叹海风怜悯地回报以哀叹
+虽是有情却害了我们10。
+米兰达　哎呀我那时
+是您多大的累赘啊
+普洛斯彼罗　啊你是我的
+保命小天使。我向大海滴下
+咸咸泪水因重担而呻吟
+这时上天赐给你的刚毅
+使你绽放微笑这就激起了我
+坚忍的勇气无惧于
+未来的遭遇。
+米兰达　我们怎么上岸的
+普洛斯彼罗坐下
+普洛斯彼罗　靠着上天恩典。
+我们有一些食物还有些淡水是
+一位那不勒斯贵族贡柴罗——
+他那时受命负责这个计划——
+出于慈悲给我们的另外还
+有华服、织物、杂项、必需品
+后来都派上用场。同样出于好意
+他知道我爱书从我的图书室
+给了我一些卷册这些是我
+珍爱超过我的公国的。
+米兰达　但愿我能
+见到那个人。
+普洛斯彼罗　现在我要起来了11
+普洛斯彼罗起身
+你还是坐好听我们海上伤心事的结尾。
+我们来到这个岛在这里
+我当你的教师使你比别的公主
+更有长进她们把更多闲暇
+用于无意义的事老师也没那么关心。
+米兰达　愿上天报答您。现在我求您大人
+因为这事还在我心里搅扰您为何
+要兴起这海上风暴
+普洛斯彼罗　这就要知道
+由于极为奇妙的意外宽宏的命运之神——
+如今是我亲爱的夫人12——已经把我的仇家
+带到岸边。而我通过预知的能力
+发现我的命盘最高点要依靠
+一颗最吉祥的星星它的影响力
+我现在若不追求反而忽视我的运势
+就会永远衰败。到此别再问了
+你想睡了。这睡意很好
+就顺着它吧。我知道你别无选择。——
+米兰达入睡
+过来仆人来。我已经预备好了。
+过来好爱丽儿来吧。
+爱丽儿上
+爱丽儿　大王万福尊贵的主万福我是来
+满足您一切心愿的。无论是飞翔
+是游泳是跳入火坑是腾上
+卷云只要是您权威的吩咐
+爱丽儿无不全力以赴13。
+普洛斯彼罗　精灵你可曾
+执行我的命令完整地演出暴风雨
+爱丽儿　每一项都做了。
+我上了国王的船一会儿在船头
+一会儿在船腰、甲板在每间船舱
+我化成吓人的火焰时而我自行分身
+四处放火在中桅、桅杆间的横木、
+船首斜桅上我分别燃烧
+然后并成一团。天神乔武14的闪电
+恐怖雷鸣的先行者也不及我
+迅速眼睛都跟不上。火焰和霹雳
+如地狱般呼号似乎要围攻力大
+���比的海神使他胆大的波涛战栗
+没错他恐怖的三叉戟发抖。
+普洛斯彼罗　我的好精灵
+有谁镇静、安稳连这场骚乱都
+无法搅扰他的理智
+爱丽儿　没有哪一个
+不感到激动疯狂做出
+绝望时的怪异举动。除了水手人人
+都跳入白沫飞溅的海里逃离那艘
+随着我起火的船王子腓迪南
+头发倒竖——像芦苇不像头发——
+是头一个跳海的大喊“地狱都空了
+所有魔鬼都在这里。”
+普洛斯彼罗　啊我的好精灵
+但不是到了岸边了吗
+爱丽儿　很近了主人。
+普洛斯彼罗　可是爱丽儿他们可平安
+爱丽儿　毫发无损。
+他们浮水的衣服上没有任何污斑
+反而比先前更新。而且照你的吩咐
+我把他们一组组分散在岛上。
+国王的儿子我让他独自上岸
+留他在岛上一个僻静的角落
+叹着气吹凉了空气坐在那儿
+手臂像这样打着伤心的结。
+交叉双臂
+普洛斯彼罗　关于国王的大船、
+水手们说说你是如何处置的
+还有船队的其他人
+爱丽儿　安全停在港里
+国王的船。在那深深隐秘处有一回
+你要我到风暴不断的百慕大采露15
+半夜叫我起来去的地方船藏在那里。
+水手们全都安顿在甲板下
+我念了个咒加上他们遭受的劳累
+使他们睡着了。至于其他船只——
+被我打散的——又都聚拢
+如今在地中海上
+悲伤地驶回那不勒斯
+他们以为亲眼见到王船遇难
+国王驾崩。
+普洛斯彼罗　爱丽儿给你的任务
+完全做到了但还有别的工作。
+现在什么时候了
+爱丽儿　过了正午。
+普洛斯彼罗　至少两个沙漏钟16。从现在到六点
+这段时间我们必须珍惜使用。
+爱丽儿　还有别的苦工吗既然你要我工作
+容我提醒你你答应过我的事
+现在还没做到。
+普洛斯彼罗　怎么啦不开心
+你能有什么要求
+爱丽儿　我的自由。
+普洛斯彼罗　在时限未满之前别提了
+爱丽儿　我请你
+记得我对你服务良好
+不曾对你撒谎没做错事伺候你
+既无怨恨也无牢骚。你确实答应过
+减免我一整年劳役。
+普洛斯彼罗　你难道忘了
+我把你从多大的折磨中解救出来
+爱丽儿　没有。
+普洛斯彼罗　你忘了。以为很了不得
+能脚踩海底泥浆
+在锐利的北风中奔驰
+在霜冻的时候替我
+到地脉办事。
+爱丽儿　我没有大人。
+普洛斯彼罗　你撒谎邪恶的东西你难道忘了
+那可恶的巫婆西考拉克斯她又老又坏
+身体驼成了一圈你难道忘了她吗
+爱丽儿　没有大人。
+普洛斯彼罗　你忘了。她出生在哪里说告诉我。
+爱丽儿　大人在阿尔及尔。
+普洛斯彼罗　哦是这样啊我得要
+每个月重讲一遍你的过去——
+你都忘了。这个该死的巫婆西考拉克斯
+因为作恶多端搬弄巫术
+骇人听闻你知道的从
+阿尔及尔被赶出来。只因她做过的一件事
+他们没有要她的命。这不是真的吗
+爱丽儿　是的大人。
+普洛斯彼罗　这个蓝眼皮的巫婆怀着身孕被带来
+水手们把她留在这里。你我的奴才
+照你自己所说当时是她的仆人。
+而因为你是个太柔弱的精灵
+受不了她那粗蛮可恶的指挥
+拒绝了她的重大命令。
+她盛怒难消之下靠着
+比较有力的手下帮助把你
+关在一棵裂开的松树里
+你被囚禁在那树缝中痛苦了
+十二年。在那期间她死了
+留你在那里呻吟不已
+像水车叶片打到水面。当时这座岛——
+除了她在这里落下的崽子、
+巫婆所产长满斑点的小畜生——没有
+一个人类。
+爱丽儿　是的凯列班她的儿子。
+普洛斯彼罗　蠢货17我说。他那个凯列班
+我留下来使唤的家伙。你最清楚
+我见到你时你受的什么苦。你的呻吟
+叫狼子嚎哭穿透怒熊的
+胸膛。那种折磨是要用来
+对付下地狱者的连西考拉克斯
+也无法解除。是我的法术
+当我到来听见了你的痛呼打开了
+那松树放你出来。
+爱丽儿　谢谢你主人。
+普洛斯彼罗　你再嘟哝我就撕裂一棵栎树
+把你钉在它纠结的五脏里直到
+你哀嚎满十二个冬天。
+爱丽儿　请原谅主人。
+我会顺服命令
+乖乖做我精灵该做的。
+普洛斯彼罗　就这么办。两天之后
+我就放了你。
+爱丽儿　高贵的主人
+要我做什么请说要我做什么
+普洛斯彼罗　去把自己扮成海上仙女
+只有你我看得到别人的
+眼睛都不能见。去打扮好
+再回来这里。去认真办事去
+[爱丽儿]下
+醒醒心肝醒醒。你睡得很好。醒来。
+对米兰达
+米兰达　您那故事不可思议
+使我睡意浓浓。
+普洛斯彼罗　驱散它。跟我来。
+咱们去看我那奴才凯列班他从不
+好言好语回答我们。
+米兰达　这是个恶棍大人我不要看他。
+普洛斯彼罗　但情势如此
+我们少不了他。他替我们生火、
+担木柴做些对我们有利的
+差事。喂喝奴才凯列班
+你这泥块��说话啊
+凯列班　里面还有足够木柴。
+幕内
+普洛斯彼罗　出来我说还有别的事要你做。
+来你这乌龟什么时候
+爱丽儿扮成水中仙女上
+精美的幻影曼妙的爱丽儿
+耳朵凑过来。
+爱丽儿　主人一定照办。
+下
+普洛斯彼罗　你这恶毒的奴才魔鬼在你
+邪恶老娘肚子里搞出来的东西快出来
+凯列班上
+凯列班　愿我娘用乌鸦羽毛从毒泥潭
+抹上来的最毒的露水滴在
+你们两个身上愿西南风18吹上你们
+叫你们浑身长水疱
+普洛斯彼罗　为此今夜保管要叫你抽筋
+侧边疼痛叫你不能呼吸刺猬19
+会通宵达旦都在你身上
+做日常工作——你会被刺戳得
+密密麻麻像蜂巢一般每一刺
+都比做蜂巢的蜜蜂所螫还痛。
+凯列班　我得吃饭才行。
+这座岛原是我娘西考拉克斯传给我的
+你夺了去。你刚来的时候
+用手抚摸我疼爱我给我里头
+放了莓果20的水喝还教我怎么
+称呼白天和夜晚发亮的
+大光跟小光。那时候我爱你
+带你看遍岛上的风貌
+淡水泉、咸水坑、荒地和沃土。
+我该死竟那样做愿西考拉克斯一切
+蛊物——蛤蟆、甲虫、蝙蝠——都降到你们身上
+因为我当初是我自己的王
+如今成了你唯一的臣民
+你把我圈在这硬石窟里
+和整个岛隔离。
+普洛斯彼罗　你这漫天撒谎的奴才
+鞭子可以感动你慈善没用尽管你是
+脏东西我还是以仁慈的关切待你让你
+住在我自己的洞里直到你企图强暴
+我的孩子。
+凯列班　喔呵喔呵那件事做成了可就好啦
+你不让我做否则我早在这岛上
+生满凯列班了。
+米兰达　可憎的奴才
+什么好的都不肯学
+一切坏的无所不为。我是可怜你
+费心教你说话每个钟点都教你
+一样东西。野人你当时不懂
+自己讲什么只是叽里咕噜像那
+最粗暴的野兽我还教你言辞
+表达你的意思。然而由于你的恶性——
+尽管学习了——里面还是有善性
+无法共存之处。因此你被关在
+这石窟里罪有应得其实
+关进监狱里都算轻罚了。
+凯列班　你教我语言我得到的好处
+是知道怎样诅咒。愿红疮要你的命
+因为你教我你的语言。
+普洛斯彼罗　巫婆子孙滚
+把木柴给我们扛进来要快。你最好
+也打别的杂。你敢耸肩浑球
+假如我的吩咐你不做或是
+做得不情不愿我就罚你抽筋抽不停
+叫你一身骨头痛楚使你吼叫
+声音大得连野兽听了都要发抖。
+凯列班　不要求求你。——
+我必须服从他的法力太强
+旁白
+能够控制我娘的神赛得玻21
+去当他的奴仆。
+普洛斯彼罗　好了奴才快去
+凯列班下
+腓迪南上爱丽儿隐形上边弹边唱
+爱丽儿　快来这黄沙滩上唷
+歌
+手儿牵着手。
+屈个膝亲一亲
+浪涛就平静。
+曼妙舞步到处跳
+可爱的精灵啊你们要
+唱副歌。
+[众精灵　幕内唱]副歌散乱地
+听啊听汪喔
+看门狗在叫汪喔。
+爱丽儿　听啊听我听到
+趾高气扬的雄鸡叫
+高唱咯咯啼哆哆。
+腓迪南　这音乐在哪儿在天上在地下
+这会儿停了。一定是唱给
+岛上什么神明的。我坐在岸边
+还在哀哭我父王遇难
+这音乐从水上飘过来
+甜美乐音平息了怒涛
+和我的伤痛。我一路跟着——
+也许是它引领我——可是停了。
+不又开始了。
+爱丽儿　令尊躺在五处22
+歌
+骸骨已然成珊瑚
+珍珠乃是他双目。
+全身骨肉虽朽腐
+一经大海精细雕
+成为珍贵稀世宝。
+海仙敲钟常纪念
+[众精灵　幕内唱]副歌叮咚。
+爱丽儿　听啊听叮咚声连连。
+腓迪南　这小调的确在悼念淹死的家父。
+这不是凡俗事物世上也没有
+这种声音。此刻就在我头上。
+普洛斯彼罗　打开你的眼帘
+告诉我你看到那边有什么。
+米兰达　那是什么啊是个精灵吗
+天哪它在东张西望大人我真觉得
+它长得好英俊。但它是个精灵。
+普洛斯彼罗　不对丫头。它也吃也睡也有跟咱们
+一样的感觉一样的。你看的这位帅哥
+遭了船难。若不是他因为哀伤而略有
+愁容——哀伤会破坏美貌——你可以说他
+长得挺好的。他失去了伙伴
+到处找他们呢。
+米兰达　我要称他为
+仙品因为我见过的人
+从没这么高贵的。
+普洛斯彼罗　有苗头了我看
+旁白
+正中我的下怀。——精灵啊好精灵
+对爱丽儿
+因你办了这件事我两天之内就释放你。
+腓迪南　一定是了这是那些歌声
+侍候的女神请准许我的祈祷
+告诉我您是否住在这岛上
+可否给我一些好指点
+让我知道在这里该当如何。最后
+也最重要的是——啊惊为天人23的您——
+您是个少女24不是
+米兰达　没什么可惊的先生
+但确实是少女。
+腓迪南　讲我的语言天哪
+讲这语言的人里我最高贵
+如果是在讲这语言的地方。
+普洛斯彼罗　怎么说最高贵
+这要让那不勒斯国王听到你成了什么
+腓迪南　孤家寡人25像现在这样听你说起
+那不勒斯国王我很诧异。他听得见我26
+而因此我落泪。我就是那不勒斯的王
+双眼目睹我父王船难泪水
+没有停过。
+米兰达　哀哉好可怜
+腓迪南　是啊真的还有他的全部大臣米兰公爵
+和他英俊的儿子也失散了。27
+普洛斯彼罗　米兰公爵
+旁白
+和他更俊的女儿可以质疑你
+但现在不合适。他们才一见面
+就眉来眼去。——机灵的爱丽儿
+对爱丽儿
+为此我要释放你。——过来说句话少爷
+对腓迪南
+我只怕你搞错了什么28。过来说句话。
+米兰达　为什么父亲话说得这么凶这
+才是我见过的第三个男人是第一个
+使我思慕的。愿怜悯打动父亲
+跟我同样想法。
+腓迪南　啊您若是闺女
+感情也没有他属我要让你
+成为那不勒斯的王后。
+普洛斯彼罗　且慢先生还要跟你说句话呢。——
+他们俩都爱上对方了但这事进展太快
+旁白
+我得弄得困难些免得奖品赢得轻易
+变得没价值。——还有话要说。我命令你
+对腓迪南
+仔细听我说你在这里篡夺了
+不属于你的名号来到
+这岛上当奸细想要偷取
+本岛主的岛。
+腓迪南　不然。我堂堂一个男子汉。
+米兰达　不会有任何邪物存在这座神庙29
+假如邪灵有这么美好的居所
+美善事物必然会抢着进去住。
+普洛斯彼罗　跟我来。——
+对腓迪南
+你别替他讲话他是个叛贼。——过来
+对米兰达/对腓迪南
+我要锁上你的脖子和双脚
+给你喝海水你的食物是
+淡水河蚌30、枯干的根茎还有
+橡实的壳。跟过来。
+腓迪南　不
+我要反抗这种待遇除非
+我的敌人力量胜得过我。
+他拔剑但被法术所制动弹不得
+米兰达　啊亲爱的父亲
+不要给他太鲁莽的考验
+他温文有礼并不可怕31。
+普洛斯彼罗　什么哼
+你小子来教训我——把剑收起来叛贼。
+对腓迪南
+你摆摆架势却不敢打你的良心

data/shakespeare_en500.txt

@@ -0,0 +1,500 @@
+Copyright © Foreign Language Teaching and Research Press 2016
+All rights reserved. No part of this publication may be reproduced or distributed by any means, or stored in a database or retrieval system, without the prior written permission of Foreign Language Teaching and Research Press.
+Published by Foreign Language Teaching and Research Press
+No. 19 Xisanhuan Beilu
+http://www.fltrp.com
+The Tempest
+Copyright©The Royal Shakespeare Company, 2007
+All rights reserved
+Published by arrangement with Random House, an imprint of the Random House Publishing Group, a division of Random House, Inc.
+ISBN 978-7-5135-7223-1
+Introduction to The Tempest
+The Tempest
+User's Guide
+4 In der Beschränkung zeigt sich erst der Meister, / Und das Gesetz nur kann uns Freiheit geben. 参见http://www.business-it.nl/files/7d413a5dca62fc735a072b16fbf050b1-27.php.
+5 Vergebens werden ungebundene Geister / Nach der Vollendung reiner Höhe streben. 参见http://www.cosmiq.de/qa/show/3454062/Vergebens-werden-ungebundne-Geister-Nach-der-Vollendung-reiner-Hoehe-streben-Was-ist-dieBedeutung-dieser-2-Verse-Ich-komm-nicht-drauf/t.
+Introduction to The Tempest
+The Tempest was almost certainly Shakespeare's last solo-authored play. We do not know whether he anticipated that this would be the case. It was also the first play to be printed in the First Folio. Again, we do not know whether it was given pride of place because the editors of the Folio regarded it as a showpiece – the summation of the master's art – or for the more mundane reason that they had a clean copy in the clear hand of the scribe Ralph Crane, which would have given the compositors a relatively easy start as they set to work on the mammoth task of typesetting nearly a million words of Shakespeare. Whether it found its position by chance or design, The Tempest's place at the end of Shakespeare's career and the beginning of his collected works has profoundly shaped responses to the play ever since the early nineteenth century. It has come to be regarded as the touchstone of Shakespearean interpretation.
+The narrative is concentrated on questions of mastery and rule. During the tempest in the opening scene, the normal social order is out of joint: the boatswain commands the courtiers in the knowledge that the roaring waves care nothing for 'the name of king'. Then the back story, unfolded at length in Act 1 scene 2, tells of conspirators who do not respect the title of duke: we learn of Prospero's loss of power in Milan and the compensatory command he has gained over Ariel and Caliban on the island. The Ferdinand and Miranda love-knot is directed towards the future government of Milan and Naples. There is further politic plotting: Sebastian and Antonio's plan to murder King Alonso and good Gonzalo, the madcap scheme of the base-born characters to overthrow Prospero and make drunken butler Stephano king of the island. The theatrical coups performed by Prospero, assisted by Ariel and the other spirits of the island – the freezing of the conspirators, the harpy and the vanishing banquet, the masque of goddesses and agricultural workers, the revelation of the lovers playing at chess – all serve the purpose of requiting the sins of the past, restoring order in the present and preparing for a harmonious future. Once the work is done, Ariel is released (with a pang) and Prospero is ready to prepare his own spirit for death. Even Caliban will 'seek for grace'.
+But Shakespeare never keeps it simple. Prospero's main aim in conjuring up the storm and bringing the court to the island is to force his usurping brother Antonio into repentance. Yet when the climactic confrontation comes, Antonio does not say a word in reply to Prospero's combination of forgiveness and demand. He wholly fails to follow the good example set by Alonso a few lines before. As for Antonio's sidekick Sebastian, he has the temerity to ascribe Prospero's magical foresight to demonic influence. For all the powers at Prospero's command, there is no way of predicting or controlling human nature. A conscience cannot be created where there is none.
+Samuel Taylor Coleridge described Prospero as 'the very Shakespeare, as it were, of the tempest'. In other words, the leading character's conjuring up of the storm in the opening scene corresponds to the dramatist's conjuring up of the whole world of the play. The art of Prospero harnesses the power of nature in order to bring the other Italian characters to join him in his exile; by the same account, the art of Shakespeare transforms the platform of the stage into a ship at sea and then 'an uninhabited island'. 'Art' is the play's key word. Caliban is Prospero's 'other' because he represents the state of nature. In the Darwinian nineteenth century, he was recast as the 'missing link' between humankind and our animal ancestors.
+Prospero's back story tells of a progression from the 'liberal arts' that offered a training for governors to the more dangerous 'art' of magic. Magical thinking was universal in the age of Shakespeare. Everyone was brought up to believe that there was another realm beyond that of nature, a realm of the spirit and of spirits. 'Natural' and 'demonic' magic were the two branches of the study and manipulation of preternatural phenomena. Magic meant the knowledge of hidden things and the art of working wonders. For some, it was the highest form of natural philosophy: the word came from magia, the ancient Persian term for wisdom. The 'occult philosophy', as it was known, postulated a hierarchy of powers, with influence descending from disembodied ('intellectual') angelic spirits to the stellar and planetary world of the heavens to earthly things and their physical changes. The magician ascends to knowledge of higher powers and draws them down artificially to produce wonderful effects. Cornelius Agrippa, author of the influential De occulta philosophia, argued that 'ceremonial magic' was needed in order to reach the angelic intelligences above the stars. This was the highest and most dangerous level of activity, since it was all too easy – as Christopher Marlowe's Dr. Faustus found – to conjure up a devil instead of an angel. The more common form of 'natural magic' involved 'marrying' heaven to earth, working with the occult correspondences between the stars and the elements of the material world. The enduring conception of astrological influences is a vestige of this mode of thought. For a Renaissance mage such as Girolamo Cardano, who practised in Milan, medicine, natural philosophy, mathematics, astrology and dream interpretation were all intimately connected.
+But natural magic could never escape its demonic shadow. For every learned mage such as Agrippa or Cardano, there were a thousand village 'wise women' practising folk medicine and fortunetelling. All too often, the latter found themselves demonized as witches, blamed for crop failure, livestock disease and the other ills of life in the pre-modern era. Prospero is keen to contrast his own white magic with the black arts of Sycorax, Caliban's mother, but the play establishes strong parallels between them. He was exiled from Milan to the island because his devotion to his secret studies gave Antonio the opportunity to usurp the dukedom, whilst Sycorax was exiled from Algiers to the island because she was accused of witchcraft; he arrived with his young daughter, whilst she arrived pregnant with the child she had supposedly conceived by sleeping with the devil. Each of them can command the tides and manipulate the spirit-world that is embodied by Ariel. When Prospero comes to renounce his magic, he describes his powers in words borrowed from the incantation of another witch, Medea in Ovid's great storehouse of ancient mythological tales, the Metamorphoses. Prospero at some level registers his own kinship with Sycorax when he says of Caliban 'this thing of darkness I / Acknowledge mine'. The splitting of subject and verb across the line ending here, ensuring a moment's hesitation in the acknowledgement, is an extreme instance of the suppleness with which late Shakespeare handles his iambic pentameter verse.
+Shakespeare loved to set up oppositions, then shade his black and white into grey areas of moral complexity. In Milan, Prospero's inward-looking study of the liberal arts had led to the loss of power and the establishment of tyranny. On the island he seeks to make amends by applying what he has learned, by using active magic to bring repentance, restore his dukedom and set up a dynastic marriage. Yet at the beginning of the fifth act he sees that to be truly human is a matter not of exercising wisdom for the purposes of rule, but of practising a more strictly Christian version of virtue. For sixteenth-century humanists, education in princely virtue meant the cultivation for political ends of wisdom, magnanimity, temperance and integrity. For Prospero what finally matters is kindness. And this is something that the master learns from his pupil: it is Ariel who teaches Prospero about 'feeling', not vice versa.
+Ariel represents fire and air, concord and music, loyal service. Caliban is of the earth, associated with discord, drunkenness and rebellion. Ariel's medium of expression is delicate verse, whilst Caliban's is for the most part a robust, often ribald, prose like that of the jester Trinculo and drunken butler Stephano. But, astonishingly, it is Caliban who speaks the play's most beautiful verse when he hears the music of Ariel. Even in prose, Caliban has a wonderful attunement to the natural environment: he knows every corner, every species of the island. Prospero calls him 'A devil, a born devil, on whose nature / Nurture can never stick', yet in the very next speech Caliban enters with the line 'Pray you tread softly, that the blind mole may not hear a footfall', words of such strong imagination that Prospero's claim is instantly belied.
+Caliban's purported sexual assault on Miranda shows that Prospero failed in his attempt to tame the animal instincts of the 'man-monster' and educate him into humanity. But who bears responsibility for the failure? Could it be that the problem arises from what Prospero has imprinted on Caliban's memory, not from the latter's nature? Caliban initially welcomed Prospero to the island and offered to share its fruits, every bit in the manner of the 'noble savages' in Michel de Montaigne's essay 'Of the Cannibals', which was another source from which Shakespeare quoted in the play (Gonzalo's Utopian 'golden age' vision of how he would govern the isle is borrowed from the English translation of Montaigne). Caliban only acts basely after Prospero has printed that baseness on him; what makes Caliban 'filth' may be the lessons in which Prospero has taught him that he is 'filth'.
+Caliban understands the power of the book: as fashioners of modern coups d'état begin by seizing the television station, so he stresses that the rebellion against Prospero must begin by taking possession of his books. But Stephano has another book. 'Here is that which will give language to you', he says to Caliban, replicating Prospero's gaining of control through language – but in a different mode. Textual inculcation is replaced by intoxication: the book that is kissed is the bottle. The dialogic spirit that is fostered by Shakespeare's technique of scenic counterpoint thus calls into question Prospero's use of books. If Stephano and Trinculo achieve through their alcohol what Prospero achieves through his teaching (in each case Caliban is persuaded to serve and to share the fruits of the isle), is not that teaching exposed as potentially nothing more than a means of social control? Prospero often seems more interested in the power-structure that is established by his schoolmastering than in the substance of what he teaches. It is hard to see how making Ferdinand carry logs is intended to inculcate virtue; its purpose is to elicit submission.
+Arrival on an island uninhabited by Europeans, talk of 'plantation', an encounter with a 'savage' in which alcohol is exchanged for survival skills, a process of language learning in which it is made clear who is master and who is slave, fear that the slave will impregnate the master's daughter, the desire to make the savage seek for Christian 'grace' (though also a proposal that he should be shipped to England and exhibited for profit), references to the dangerous weather of the Bermudas and to a 'brave new world': in all these respects, The Tempest conjures up the spirit of European colonialism. Shakespeare had contacts with members of the Virginia Company, which had been established by royal charter in 1606 and was instrumental in the foundation of the Jamestown colony in America the following year. Some time in the autumn of 1610, a letter reached England describing how a fleet sent to reinforce the colony had been broken up by a storm in the Caribbean; the ship carrying the new governor had been driven to Bermuda, where the crew and passengers had wintered. Though the letter was not published at the time, it circulated in manuscript and inspired at least two pamphlets about these events. Scholars debate the extent to which Shakespeare made direct use of these materials, but certain details of the storm and the island seem to be derived from them. There is no doubt that the seemingly miraculous survival of the governor's party and the fertile environment they discovered in the Bahamas were topics of great public interest at the time of the play.
+The British Empire, the slave trade and the riches of the spice routes lay in the future. Shakespeare's play is set in the Mediterranean, not the Caribbean. Caliban cannot strictly be described as a native of the island. And yet the play intuits the dynamic of colonial possession and dispossession with such uncanny power that in 1950 a book by Octave Mannoni called The Psychology of Colonisation could argue that the process functioned by means of a pair of reciprocal neuroses: the 'Prospero complex' on the part of the colonizer and the 'Caliban complex' on that of the colonized. It was in response to Mannoni that Frantz Fanon wrote Black Skin, White Masks, a book that did much to shape the intellectual terrain of the 'post-colonial' era. For many Anglophone Caribbean writers of the late twentieth century, The Tempest, and the figure of Caliban in particular, became a focal point for discovery of their own literary voices. The play is less a reflection of imperial history – after all, Prospero is an exile, not a venturer – than an anticipation of it.
+As regular players at royal command performances in the Whitehall Palace, the King's Men knew that from the end of 1608 onwards, the teenage Princess Elizabeth was resident at court. A cultured young woman who enjoyed music and dancing, she participated in court festivals and in 1610 danced in a masque called Tethys. Masques – performed by a mixed cast of royalty, courtiers and professional actors, staged with spectacular scenery and elaborate music – were the height of fashion at court in these years. Shakespeare's friend and rival Ben Jonson, working in conjunction with the designer Inigo Jones, was carving out a role for himself as the age's leading masque-wright. In 1608 he introduced the 'antimasque' (or 'antemasque'), a convention whereby grotesque figures known as 'antics' danced boisterously prior to the graceful and harmonious masque itself. Shakespeare nods to contemporary fashion by including a betrothal masque within the action of The Tempest, together with the antimasque farce of Caliban, Stephano and Trinculo smelling of horse-piss, stealing clothes from a line and being chased away by dogs. One almost wonders whether the figure of Prospero is a gentle parody of Ben Jonson: his theatrical imagination is bound by the classical unities of time and place (as Jonson's was) and he stages a court masque (as Jonson did). Perhaps this is why a few years later, in his Bartholomew Fair, Jonson parodied The Tempest in return.
+Prospero's Christian language reaches its most sustained pitch in the epilogue, but his final request is for the indulgence not of God but of the audience. At the last moment, humanist learning is replaced not by Christian but by theatrical faith. Because of this it has been possible for the play to be read, as it so often has been since the Romantic period, as Shakespeare's defence of his own dramatic art. Ironically, though, the play itself is profoundly sceptical of the power of the book and even of the theatre. The book of art is drowned, whilst the masque and its players dissolve into vacancy like a 'baseless fabric' or a dream.
+KEY FACTS
+PLOT: Twelve years ago Prospero, the Duke of Milan, was usurped by his brother, Antonio, with the help of Alonso, King of Naples, and the King's brother Sebastian. Prospero and his baby daughter Miranda were put to sea and landed on a distant island where ever since, by the use of his magic art, he has ruled over the spirit Ariel and the savage Caliban. He uses his powers to raise a storm which shipwrecks his enemies on the island. Alonso searches for his son, Ferdinand, although fearing him to be drowned. Sebastian plots to kill Alonso and seize the crown. The drunken butler, Stephano, and the jester, Trinculo, encounter Caliban and are persuaded by him to kill Prospero so that they can rule the island. Ferdinand meets Miranda and they fall instantly in love. Prospero sets heavy tasks to test Ferdinand and, when satisfied, presents the young couple with a betrothal masque. As Prospero's plan draws to its climax, he confronts his enemies and forgives them. Prospero grants Ariel his freedom and prepares to leave the island for Milan.
+MAJOR PARTS: (with percentage of lines/number of speeches/scenes on stage) Prospero (30%/115/5), Ariel (9%/45/6), Caliban (8%/50/5), Stephano (7%/60/4), Gonzalo (7%/52/4), Sebastian (5%/67/4), Antonio (6%/57/4), Miranda (6%/49/4), Ferdinand (6%/31/4), Alonso (5%/40/4), Trinculo (4%/39/4).
+LINGUISTIC MEDIUM: 80% verse, 20% prose.
+DATE: 1611. Performed at court, 1 November 1611; uses source material not available before autumn 1610.
+SOURCES: No known source for main plot, but some details of the tempest and the island seem to derive from William Strachey, A True Reportory of the Wreck and Redemption of Sir Thomas Gates, Knight (written 1610, published in Purchas his Pilgrims, 1625) and perhaps Sylvester Jourdain, A Discovery of the Bermudas (1610) and the Virginia Company's pamphlet A True Declaration of the Estate of the Colony in Virginia (1610); several allusions to Virgil's Aeneid and Ovid's Metamorphoses (most notably the imitation in Act 5 scene 1 of Arthur Golding's 1567 translation of Medea's incantation in Ovid's 7th book); Gonzalo's 'golden age' oration in Act 2 scene 1 based closely on Michel de Montaigne's essay 'Of the Cannibals', translated by John Florio (1603).
+TEXT: First Folio of 1623 is the only early printed text. Based on a transcript by Ralph Crane, professional scribe working for the King's Men. Generally good quality of printing.
+The Tempest
+PROSPERO, the right Duke of Milan
+MIRANDA, his daughter
+ALONSO, King of Naples
+SEBASTIAN, his brother
+ANTONIO, Prospero's brother, the usurping Duke of Milan
+FERDINAND, son to the King of Naples
+GONZALO, an honest old councillor
+ADRIAN and FRANCISCO, lords
+TRINCULO, a jester
+STEPHANO, a drunken butler
+MASTER of a ship
+BOATSWAIN
+MARINERS
+CALIBAN, a savage and deformed slave
+ARIEL, an airy spirit
+The Scene: an uninhabited island
+Act 1
+Scene 11running scene 1
+A tempestuous noise of thunder and lightning heard. Enter a Shipmaster and a Boatswain2
+MASTER Boatswain!
+BOATSWAIN Here, master. What cheer3?
+MASTER Good4: speak to th'mariners. Fall to't yarely5, or we run ourselves aground! Bestir6, bestir!
+Exit
+Enter Mariners
+BOATSWAIN Heigh, my hearts7! Cheerly8, cheerly, my hearts! Yare, yare9! Take in the topsail10. Tend11 to th'master's whistle.— Blow, till thou burst thy wind, if room enough12.
+To the storm
+Enter Alonso, Sebastian, Antonio, Ferdinand, Gonzalo and others
+ALONSO Good boatswain, have13 care. Where's the master? Play the14 men.
+BOATSWAIN I pray now, keep below.
+ANTONIO Where is the master, boatswain?
+BOATSWAIN Do you not hear him? You mar15 our labour. Keep your cabins! You do assist the storm.
+GONZALO Nay, good, be patient.
+BOATSWAIN When the sea is. Hence16! What cares these roarers17 for the name of king? To cabin! Silence! Trouble us not.
+GONZALO Good, yet remember whom thou hast aboard.
+BOATSWAIN None that I more love than myself. You are a counsellor18: if you can command these elements to silence, and work the peace of the present19, we will not hand20 a rope more: use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap21.— Cheerly, good hearts!—
+To the Mariners
+Out of our way, I say.
+To the Courtiers
+Exeunt [Boatswain with Mariners, followed by Alonso, Sebastian, Antonio and Ferdinand]
+GONZALO I have great comfort from this fellow: methinks he hath no drowning mark22 upon him: his complexion is perfect gallows23. Stand fast, good Fate, to his hanging: make the rope of his destiny24 our cable25, for our own doth little advantage. If he be not born to be hanged, our case is miserable.
+Exit
+Enter Boatswain
+BOATSWAIN Down with the topmast26! Yare! Lower, lower! Bring her to try with main course27. (A cry within) A plague upon this howling! They are louder than the weather or our office28.
+Enter Sebastian, Antonio and Gonzalo
+Yet again? What do you here? Shall we give o'er29 and drown? Have you a mind to sink?
+SEBASTIAN A pox30cur31 o'your throat, you bawling, blasphemous, incharitable dog!
+BOATSWAIN Work you then.
+ANTONIO Hang, cur! Hang, you whoreson, insolent noisemaker! We are less afraid to be drowned than thou art.
+GONZALO I'll warrant him for drowning32, though the ship were no stronger than a nutshell and as leaky as an unstanched33 wench.
+BOATSWAIN Lay her ahold34, ahold! Set her two courses off to35 sea again! Lay her off!
+Enter Mariners, wet
+MARINERS All lost! To prayers, to prayers! All lost!
+BOATSWAIN What, must our mouths be cold36?
+GONZALO The king and prince at prayers: let's assist them, for our case is as theirs.
+SEBASTIAN I'm out of patience.
+ANTONIO We are merely37 cheated of our lives by drunkards. This wide-chopped38 rascal: would thou mightst lie drowning, the washing of ten tides39!
+GONZALO He'll be hanged yet40,
+Though every drop of water swear against it
+And gape at wid'st41 to glut42 him.
+[Exeunt Boatswain and Mariners]
+A confused noise within
+[VOICES OFF-STAGE] Mercy on us! — We split43, we split! — Farewell, my wife and children! — Farewell, brother! — We split, we split, we split!
+ANTONIO Let's all sink wi'th'king.
+SEBASTIAN Let's take leave of him.
+Exeunt[Antonio and Sebastian]
+GONZALO Now would I give a thousand furlong44s of sea for an acre45 of barren ground: long heath46, brown furze47, anything. The wills above be done! But I would fain48 die a dry death.
+Exit
+Scene 249running scene 2
+Enter Prospero50 and Miranda51
+MIRANDA If by your art52, my dearest father, you have
+Put the wild waters in this roar, allay53 them.
+The sky, it seems, would pour down stinking pitch54,
+But that the sea, mounting to th'welkin's55 cheek,
+Dashes the fire56 out. O, I have suffered
+With those that I saw suffer: a brave57 vessel —
+Who had, no doubt, some noble creature in her —
+Dashed all to pieces. O, the cry did knock
+Against my very heart. Poor souls, they perished.
+Had I been any god of power, I would
+Have sunk the sea within the earth, or ere58
+It should the good ship so have swallowed, and
+The fraughting souls59 within her.
+PROSPERO Be collected60:
+No more amazement61. Tell your piteous heart
+There's no harm done.
+MIRANDA O, woe the day!
+PROSPERO No harm:
+I have done nothing but in care of thee —
+Of thee, my dear one, thee, my daughter — who
+Art ignorant of what thou art: nought knowing
+Of whence I am62, nor that I am more better63
+Than Prospero, master of a full poor cell64,
+And thy no greater father65.
+MIRANDA More to know66
+Did never meddle with67 my thoughts.
+PROSPERO 'Tis time
+I should inform thee further. Lend thy hand
+And pluck my magic garment from me. So:
+Lays down his magic cloak
+Lie there, my art. Wipe thou thine eyes, have comfort.
+The direful spectacle of the wreck, which touched
+The very virtue of compassion in thee,
+I have with such provision68 in mine art
+So safely ordered that there is no soul —
+No, not so much perdition69 as an hair
+Betid70 to any creature in the vessel
+Which thou heard'st cry, which thou saw'st sink. Sit down,
+Miranda sits
+For thou must now know further.
+MIRANDA You have often
+Begun to tell me what I am, but stopped
+And left me to a bootless inquisition71,
+Concluding 'Stay: not yet.'
+PROSPERO The hour's now come,
+The very minute bids thee ope72 thine ear:
+Obey, and be attentive. Canst thou remember
+A time before we came unto this cell?
+I do not think thou canst, for then thou wast not
+Out73 three years old.
+MIRANDA Certainly, sir, I can.
+PROSPERO By what? By any other house or person?
+Of any thing the image, tell me, that
+Hath kept with thy remembrance74.
+MIRANDA 'Tis far off,
+And rather like a dream than an assurance75
+That my remembrance warrants76. Had I not
+Four or five women once that tended77 me?
+PROSPERO Thou hadst; and more, Miranda. But how is it
+That this lives in thy mind? What see'st thou else
+In the dark backward78 and abysm79 of time?
+If thou rememb'rest aught80 ere thou cam'st here,
+How thou cam'st here thou mayst.
+MIRANDA But that I do not.
+PROSPERO Twelve year since, Miranda, twelve year since,
+Thy father was the Duke of Milan and
+A prince of power.
+MIRANDA Sir, are not you my father?
+PROSPERO Thy mother was a piece81 of virtue, and
+She said thou wast my daughter; and thy father
+Was Duke of Milan, and his only heir
+And princess, no worse issued82.
+MIRANDA O the heavens!
+What foul play had we, that we came from thence?
+Or blessèd83 wast we did?
+PROSPERO Both, both, my girl.
+By foul play — as thou say'st — were we heaved thence,
+But blessedly holp84 hither.
+MIRANDA O, my heart bleeds
+To think o'th'teen85 that I have turned you to86,
+Which is from87 my remembrance. Please you, further.
+PROSPERO My brother and thy uncle, called Antonio —
+I pray thee, mark88 me — that a brother should
+Be so perfidious89 — he whom next thyself
+Of all the world I loved, and to him put
+The manage90 of my state, as at that time
+Through all the signories91 it was the first,
+And Prospero the prime92 duke, being so reputed
+In dignity, and for the liberal arts93
+Without a parallel; those being all my study,
+The government I cast upon my brother
+And to my state94 grew stranger95, being transported
+And rapt96 in secret studies. Thy false uncle —
+Dost thou attend me?
+MIRANDA Sir, most heedfully.
+PROSPERO Being once perfected97 how to grant suits98,
+How to deny them, who t'advance and who
+To trash for over-topping99, new created
+The creatures that were mine100, I say, or changed 'em101,
+Or else new formed 'em102; having both the key103
+Of officer and office, set all hearts i'th'state
+To what tune pleased his ear, that104 now he was
+The ivy which had hid my princely trunk105
+And sucked my verdure106 out on't.— Thou attend'st not.
+MIRANDA O good sir, I do.
+PROSPERO I pray thee, mark me:
+I, thus neglecting worldly ends107, all dedicated
+To closeness108 and the bettering of my mind
+With that, which but109 by being so retired110,
+O'er-prized all popular rate111, in my false brother
+Awaked an evil nature, and my trust,
+Like a good parent112, did beget of113 him
+A falsehood in its contrary114, as great
+As my trust was, which had indeed no limit,
+A confidence sans115 bound. He being thus lorded116,
+Not only with what my revenue yielded,
+But what my power might else exact117: like one
+Who having into118 truth, by telling of it119,
+Made such a sinner of his memory
+To credit his own lie120, he did believe
+He was indeed the duke, out o'th'substitution121
+And executing th'outward face122 of royalty
+With all prerogative: hence his ambition growing —
+Dost thou hear?
+MIRANDA Your tale, sir, would cure deafness.
+PROSPERO To have no screen123 between this part he played,
+And him124 he played it for, he needs will be
+Absolute Milan125. Me — poor man — my library
+Was dukedom large enough: of temporal royalties126
+He thinks me now incapable. Confederates127 —
+So dry128 he was for sway129 — wi'th'King of Naples
+To give him annual tribute130, do him homage,
+Subject his coronet to his crown131, and bend
+The dukedom yet132 unbowed — alas, poor Milan —
+To most ignoble stooping.
+MIRANDA O the heavens!
+PROSPERO Mark his condition133 and th'event134, then tell me
+If this might be a brother135.
+MIRANDA I should sin
+To think but136 nobly of my grandmother:
+Good wombs have borne bad sons.
+PROSPERO Now the condition.
+This King of Naples, being an enemy
+To me inveterate137, hearkens138 my brother's suit,
+Which was, that he139, in lieu o'th'premises
+Of homage140, and I know not how much tribute141,
+Should presently extirpate142 me and mine
+Out of the dukedom, and confer fair Milan,
+With all the honours, on my brother: whereon,
+A treacherous army levied, one midnight
+Fated to th'purpose, did Antonio open
+The gates of Milan, and i'th'dead of darkness
+The ministers143 for th'purpose hurried thence144
+Me and thy crying self.
+MIRANDA Alack, for pity!
+I, not rememb'ring how I cried out then,
+Will cry it o'er again: it is a hint145
+That wrings mine eyes to't.
+PROSPERO Hear a little further,
+And then I'll bring thee to the present business
+Which now's upon's: without the which, this story
+Were most impertinent146.
+MIRANDA Wherefore did they not
+That hour destroy us?
+PROSPERO Well demanded, wench:
+My tale provokes that question. Dear, they durst147 not,
+So dear the love my people bore me: nor set
+A mark so bloody on the business: but
+With colours fairer, painted148 their foul ends.
+In few149, they hurried us aboard a barque150,
+Bore us some leagues to sea, where they prepared
+A rotten carcass of a butt151, not rigged,
+Nor tackle, sail, nor mast: the very rats
+Instinctively have quit it. There they hoist152 us,
+To cry to th'sea that roared to us; to sigh
+To th'winds, whose pity sighing back again,
+Did us but loving wrong153.
+MIRANDA Alack, what trouble
+Was I then to you!
+PROSPERO O, a cherubin154
+Thou wast that did preserve me. Thou didst smile,
+Infusèd with a fortitude from heaven,
+When I have decked155 the sea with drops full salt156,
+Under my burden groaned, which157 raised in me
+An undergoing stomach158, to bear up
+Against what should ensue.
+MIRANDA How came we ashore?
+Prospero sits
+PROSPERO By providence divine.
+Some food we had, and some fresh water, that
+A noble Neapolitan, Gonzalo,
+Out of his charity — who being then appointed
+Master of this design159 — did give us, with
+Rich garments, linens, stuffs160 and necessaries,
+Which since have steaded much161. So, of his gentleness162,
+Knowing I loved my books, he furnished me
+From mine own library with volumes that
+I prize above my dukedom.
+MIRANDA Would163 I might
+But ever see that man.
+PROSPERO Now I arise:
+Prospero stands
+Sit still164, and hear the last of our sea-sorrow.
+Here in this island we arrived, and here
+Have I, thy schoolmaster, made thee more profit165
+Than other princes can that have more time
+For vainer166 hours, and tutors not so careful167.
+MIRANDA Heavens thank you for't. And now, I pray you, sir,
+For still 'tis beating in my mind: your reason
+For raising this sea-storm?
+PROSPERO Know thus far forth:
+By accident most strange, bountiful Fortune —
+Now my dear lady168 — hath mine enemies
+Brought to this shore: and by my prescience169
+I find my zenith170 doth depend upon
+A most auspicious star, whose influence171
+If now I court not, but omit172, my fortunes
+Will ever after droop. Here cease more questions:
+Thou art inclined to sleep. 'Tis a good dullness173,
+And give it way174: I know thou canst not choose.—
+Miranda sleeps
+Come away, servant, come. I am ready now.
+Approach, my Ariel175, come.
+Enter Ariel
+ARIEL All hail, great master! Grave176 sir, hail! I come
+To answer thy best pleasure; be't to fly,
+To swim, to dive into the fire, to ride
+On the curled clouds: to thy strong bidding task177
+Ariel and all his quality178.
+PROSPERO Hast thou, spirit,
+Performed to point179 the tempest that I bade thee?
+ARIEL To every article.
+I boarded the king's ship: now on the beak180,
+Now in the waist181, the deck, in every cabin,
+I flamed amazement182: sometime I'd divide
+And burn in many places; on the topmast,
+The yards183 and bowsprit184 would I flame distinctly,
+Then meet and join. Jove's lightning, the precursors
+O'th'dreadful thunderclaps185, more momentary
+And sight-outrunning186 were not; the fire and cracks
+Of sulphurous roaring, the most mighty Neptune187
+Seem to besiege and make his bold waves tremble,
+Yea, his dread trident188 shake.
+PROSPERO My brave spirit!
+Who was so firm, so constant, that this coil189
+Would not infect his reason?
+ARIEL Not a soul
+But felt a fever of the mad190 and played
+Some tricks of desperation191. All but mariners
+Plunged in the foaming brine and quit the vessel,
+Then all afire192 with me: the king's son, Ferdinand,
+With hair up-staring193 — then like reeds, not hair —
+Was the first man that leaped; cried 'Hell is empty
+And all the devils are here.'
+PROSPERO Why, that's my spirit!
+But was not this nigh194 shore?
+ARIEL Close by, my master.
+PROSPERO But are they, Ariel, safe?
+ARIEL Not a hair perished:
+On their sustaining195 garments not a blemish,
+But fresher than before: and, as thou bad'st me,
+In troops196 I have dispersed them 'bout the isle.
+The king's son have I landed by himself,
+Whom I left cooling of197 the air with sighs
+In an odd angle198 of the isle, and sitting,
+His arms in this sad knot199.
+Folds his arms
+PROSPERO Of the king's ship,
+The mariners, say how thou hast disposed,
+And all the rest o'th'fleet?
+ARIEL Safely in harbour
+Is the king's ship: in the deep nook where once
+Thou call'dst me up at midnight to fetch dew200
+From the still-vexed Bermudas201, there she's hid;
+The mariners all under hatches202 stowed,
+Who, with a charm203 joined to their suffered labour204,
+I have left asleep: and for the rest o'th'fleet —
+Which I dispersed — they all have met again,
+And are upon the Mediterranean float205
+Bound sadly home for Naples,
+Supposing that they saw the king's ship wrecked
+And his great person perish.
+PROSPERO Ariel, thy charge
+Exactly is performed; but there's more work:
+What is the time o'th'day?
+ARIEL Past the mid season206.
+PROSPERO At least two glasses207. The time 'twixt six and now
+Must by us both be spent most preciously208.
+ARIEL Is there more toil? Since thou dost give me pains209,
+Let me remember210 thee what thou hast promised,
+Which is not yet performed me.
+PROSPERO How now? Moody211?
+What is't thou canst demand?
+ARIEL My liberty.
+PROSPERO Before the time be out212? No more!
+ARIEL I prithee,
+Remember I have done thee worthy service,
+Told thee no lies, made thee no mistakings, served
+Without or213 grudge or grumblings: thou did promise
+To bate me214 a full year.
+PROSPERO Dost thou forget
+From what a torment I did free thee?
+ARIEL No.
+PROSPERO Thou dost: and think'st it much to tread the ooze
+Of the salt deep215,
+To run upon the sharp wind of the north,
+To do me business in the veins o'th'earth
+When it is baked with frost.
+ARIEL I do not, sir.
+PROSPERO Thou liest, malignant thing. Hast thou forgot
+The foul witch Sycorax216, who with age and envy
+Was grown into a hoop217? Hast thou forgot her?
+ARIEL No, sir.
+PROSPERO Thou hast. Where was she born? Speak: tell me.
+ARIEL Sir, in Algiers218.
+PROSPERO O, was she so? I must
+Once in a month recount what thou hast been,
+Which thou forget'st. This damned witch Sycorax,
+For mischiefs manifold, and sorceries terrible
+To enter human hearing, from Algiers,
+Thou know'st, was banished: for one thing she did
+They would not take her life219. Is not this true?
+ARIEL Ay, sir.
+PROSPERO This blue-eyed220 hag221 was hither brought with child222,
+And here was left by th'sailors. Thou, my slave,
+As thou report'st thyself, was then her servant:
+And, for223 thou wast a spirit too delicate224
+To act her earthy225 and abhorred commands,
+Refusing her grand hests226, she did confine thee
+By help of her more potent ministers227,
+And in her most unmitigable228 rage,
+Into a cloven229 pine, within which rift
+Imprisoned thou didst painfully remain
+A dozen years: within which space she died,
+And left thee there, where thou didst vent thy groans
+As fast as mill-wheels strike230. Then was this island —
+Save for the son that she did litter231 here,
+A freckled whelp232, hag-born233 — not honoured with
+A human shape.
+ARIEL Yes: Caliban234 her son.
+PROSPERO Dull thing235, I say so: he, that Caliban
+Whom now I keep in service236. Thou best know'st
+What torment I did find thee in: thy groans
+Did make wolves howl and penetrate the breasts
+Of ever-angry bears237; it was a torment
+To lay upon the damned, which Sycorax
+Could not again undo. It was mine art,
+When I arrived and heard thee, that made gape238
+The pine and let thee out.
+ARIEL I thank thee, master.
+PROSPERO If thou more murmur'st239, I will rend240 an oak
+And peg241 thee in his knotty entrails242 till
+Thou hast howled away twelve winters.
+ARIEL Pardon, master:
+I will be correspondent243 to command
+And do my spriting244 gently245.
+PROSPERO Do so: and after two days
+I will discharge246 thee.
+ARIEL That's my noble master!
+What shall I do? Say what? What shall I do?
+PROSPERO Go make thyself like a nymph o'th'sea,
+Be subject to no sight but thine and mine: invisible
+To every eyeball else. Go take this shape
+And hither come in't: go! Hence with diligence!
+Exit [Ariel]
+Awake, dear heart, awake. Thou hast slept well. Awake.
+To Miranda
+MIRANDA The strangeness of your story put
+Heaviness247 in me.
+PROSPERO Shake it off. Come on:
+We'll visit Caliban, my slave, who never
+Yields us kind answer.
+MIRANDA 'Tis a villain248, sir, I do not love to look on.
+PROSPERO But, as 'tis,
+We cannot miss249 him: he does make our fire,
+Fetch in our wood and serves in offices250
+That profit us. What, ho! Slave! Caliban!
+Thou earth251, thou! Speak!
+CALIBAN There's wood enough within.
+Within
+PROSPERO Come forth, I say! There's other business for thee:
+Come, thou tortoise! When?
+Enter Ariel like a water-nymph
+Fine apparition: my quaint252 Ariel,
+Hark in thine ear.
+ARIEL My lord, it shall be done.
+Exit
+PROSPERO Thou poisonous slave, got253 by the devil himself
+Upon thy wicked dam254: come forth!
+Enter Caliban
+CALIBAN As wicked dew as e'er my mother brushed
+With raven's feather from unwholesome fen255
+Drop on you both! A southwest256 blow on ye

data/shakespeare_zh500.txt

@@ -0,0 +1,500 @@
+总目录
+暴风雨莎士比亚全集·英汉双语本
+维洛那二绅士莎士比亚全集·英汉双语本
+快乐的温莎巧妇莎士比亚全集·英汉双语本
+一报还一报莎士比亚全集·英汉双语本
+错误的喜剧莎士比亚全集·英汉双语本
+无事生非莎士比亚全集·英汉双语本
+爱的徒劳莎士比亚全集·英汉双语本
+仲夏夜之梦莎士比亚全集·英汉双语本
+威尼斯商人莎士比亚全集·英汉双语本
+皆大欢喜莎士比亚全集·英汉双语本
+驯悍记莎士比亚全集·英汉双语本
+终成眷属莎士比亚全集·英汉双语本
+第十二夜莎士比亚全集·英汉双语本
+冬天的故事莎士比亚全集·英汉双语本
+特洛伊罗斯与克瑞西达莎士比亚全集·英汉双语本
+科利奥兰纳斯莎士比亚全集·英汉双语本
+泰特斯·安德洛尼克斯莎士比亚全集·英汉双语本
+罗密欧与朱丽叶莎士比亚全集·英汉双语本
+雅典的泰门莎士比亚全集·英汉双语本
+尤力乌斯·凯撒莎士比亚全集·英汉双语本
+麦克白莎士比亚全集·英汉双语本
+哈姆莱特莎士比亚全集·英汉双语本
+李尔王莎士比亚全集·英汉双语本
+奥瑟罗莎士比亚全集·英汉双语本
+安东尼与克莉奥佩特拉莎士比亚全集·英汉双语本
+辛白林莎士比亚全集·英汉双语本
+约翰王莎士比亚全集·英汉双语本
+理查二世莎士比亚全集·英汉双语本
+亨利四世上莎士比亚全集·英汉双语本
+亨利四世下莎士比亚全集·英汉双语本
+亨利五世莎士比亚全集·英汉双语本
+亨利六世上莎士比亚全集·英汉双语本
+亨利六世中莎士比亚全集·英汉双语本
+亨利六世下莎士比亚全集·英汉双语本
+理查三世莎士比亚全集·英汉双语本
+亨利八世莎士比亚全集·英汉双语本
+泰尔亲王佩力克里斯莎士比亚全集·英汉双语本
+两贵亲莎士比亚全集·英汉双语本
+莎士比亚诗集莎士比亚全集·英汉双语本
+本书版权由外语教学与研究出版社独家所有。如未获得该社书面同意书中任何部分之文字及图片不得用任何方式抄袭、节录、翻印或存储利用于任何数据库及检索系统等。
+Beijing, China 100089
+京权图字01-2015-5979
+图书在版编目CIP数据
+暴风雨英汉对照英莎士比亚Shakespeare, W.著彭镜禧译—北京外语教学与研究出版社2016.3
+莎士比亚全集·英汉双语本辜正坤等主编
+书名原文The Tempest
+I①暴… II①莎… ②彭… III①英语汉语对照读物 ②多幕剧剧本英国中世纪 IV① H319.4I
+中国版本图书馆CIP数据核字2016第055784号
+出版人  蔡剑峰
+项目负责 姚 虹 李 云
+责任编辑 文雪琴
+封面设计 奇文云海 设计顾问
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+社  址 北京市西三环北路19号100089
+网  址 http://www.fltrp.com
+版  次 2016年4月第1版
+书  号 ISBN 978-7-5135-7223-1
+凡侵权、盗版书籍线索请联系我社法律事务部
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+目 录
+出版说明
+莎士比亚诗体重译集序
+《暴风雨》导言
+暴风雨
+宁静中的暴风雨——译后记
+返回总目录
+·1623年历史上第一部《莎士比亚全集》——著名的第一对开本First Folio由莎士比亚的演员同僚们结集出版。
+·2007年英国皇家莎士比亚剧团Royal Shakespeare Company邀约当今世界顶级莎学专家乔纳森·贝特Jonathan Bate和埃里克·拉斯姆森Eric Rasmussen对第一对开本进行了三百多年来的首次全面修订推出了新版《莎士比亚全集》。
+·2015年外语教学与研究出版社以上述新版《莎士比亚全集》为蓝本特邀当今华语翻译界和莎学界知名学者将流传下来的莎士比亚全部作品进行全新重译遂有此集。
+出版说明
+1623年莎士比亚的演员同僚们倾注心血结集出版了历史上第一部《莎士比亚全集》——著名的第一对开本这是三百多年来许多导演和演员最为钟爱的莎士比亚文本。2007年由英国皇家莎士比亚剧团Royal Shakespeare Company推出的《莎士比亚全集》则是对第一对开本首次全面的修订。
+本套《莎士比亚全集》新汉译本正是依据当今莎学界最负声望的皇家版《莎士比亚全集》翻译而成。为了让读者在阅读译本的时候也能够了解到原版的辑注风格与成果也为了方便对照查阅出版者在版式呈现上尽量遵照原版译本的凡例说明如下
+一、文体剧文有诗体和散体之分。在英文行文中诗行的标志是未及最右行末即转行且每行的首字母大写。文字连排直至最右行末转行的则为散体。中文译文对此均遵照原版处理。
+二、舞台提示
+1角色的上场与下场。在对开本中角色的上场、下场标示比较完备原版编辑者亦尽量忠实地予以了保留。在缺漏或需作订正的地方以方括号进行标注如[and Attendants]。中文译文在处理上对应英文保留了同样的标注如[及众侍从]。
+2其他舞台提示。表示其他舞台活动、改变说活对象、旁白等的舞台提示在对开本中很少出现大多为当代编辑者所添加。皇家版编辑者试图将这类指导性的directorial提示与对开本式的Folio-style提示区分开来前者置于每页最右侧采用了另一种字体当然对这种提示类型的判断存在主观的因素。有时亦有不确定的情形出现于是编辑者给予了允许选择的提示如Aside旁白表示某行剧文既可作为旁白亦可当作对话又如某个舞台活动置于箭头↓↓之间表示它可发生在一场戏中的多个不同时刻。中文译文亦遵照原版处理。
+愿广大读者在品味译者的佳文时亦体验到辑注的精审想必会有一番意想不到的新收获。
+莎士比亚诗体重译集序
+辜正坤
+他非一代骚人实属万古千秋。
+这是英国大作家本·琼森Ben Jonson在第一部《莎士比亚全集》Mr. William Shakespeares Comedies, Histories, & Tragedies, 1623扉页上题诗中的诗行。三百多年来莎士比亚在全球逐步成为一个家喻户晓的名字似乎与这句预言在在呼应。但这并非偶然言中有许多因素可以解释莎士比亚这一巨大的文化现象产生的必然性。最关键的至少有下面几点。
+首先其作品内容具有惊人的多样性。世界上很难有第二个作家像莎士比亚这样能够驾驭如此广阔的题材。他的作品内容几乎无所不包称得上英国社会的百科全书。帝王将相、走卒凡夫、才子佳人、恶棍屠夫……一切社会阶层都展现于他的笔底。从海上到陆地从宫廷到民间从国际到国内从灵界到凡尘……笔锋所指无处不至。悲剧、喜剧、历史剧、传奇剧叙事诗、抒情诗……都成为他显示天才的文学样式。从哲理的韵味到浪漫的爱情从盘根错节的叙述到一唱三叹的诗思波涛汹涌的情怀妙夺天工的笔触凡开卷展读者无不为之拊掌称绝。即使只从莎士比亚使用过的海量英语词汇来看也令人产生仰之弥高的感觉。德国语言学家马克斯·缪勒Max Müller原以为莎士比亚使用过的词汇最多为15,000个事后证明这当然是小看了语言大师的词汇储藏量。美国教授爱德华·霍尔登Edward Holden经过一番考察后认为至少达24,000个。可是他哪里知道这依然是一种低估。有学者甚至声称用电脑检索出莎士比亚用的词汇多达43,566个当然这些数据还不是莎士比亚作品之所以产生空前影响的关键因素。
+其次但也许是更重要的原因他的作品具有极高的娱乐性。文学作品的生命力在于它能寓教于乐。莎士比亚的作品不是枯燥的说教而是能够给予读者或观众极大艺术享受的娱乐性创造物往往具有明显的煽情效果有意刺激人的欲望。这种艺术取向当然不是纯粹为了娱乐而娱乐掩藏在背后的是当时西方人强有力的人本主义精神即用以人为本的价值观来对抗欧洲上千年来以神为本的宗教价值观。重欲望、重娱乐的人本主义倾向明显对重神灵、重禁欲的神本主义产生了极大的挑战。当然莎士比亚的人本主义与中国古人所主张的人本主义有很大的区别。要而言之前者在相当大的程度上肯定了人的本能欲望或原始欲望的正当性而后者则主要强调以人的仁爱为本规范人类社会秩序的高尚的道德要求。二者都具有娱乐效果但前者具有纵欲性或开放性娱乐效果后者则具有节欲性或适度自律性娱乐效果。换句话说对于16、17世纪的西方人来说莎士比亚的作品暗中契合了试图挣脱过分禁欲的宗教教义的约束而走向个性解放的千百万西方人的娱乐追求因此它会取得巨大成功是势所必然的。
+第三时势造英雄。人类其实从来不缺善于煽情的作手或视野宏阔的巨匠缺的常常是时势和机遇。莎士比亚的时代恰恰是英国文艺复兴思潮达到鼎盛的时代。禁欲千年之久的欧洲社会如堤坝围裹的宏湖表面上浪静风平其底层却汹涌着决堤的纵欲性暗流。一旦湖堤洞开飞涛大浪呼卷而下浩浩汤汤汇作长河而莎士比亚恰好是河面上乘势而起的弄潮儿其迎合西方人情趣的精湛表演遂赢得两岸雷鸣般的喝彩声。时势不光涵盖社会发展的总趋势也牵连着别的因素。比如说文学或文化理论界、政治意识形态对莎士比亚作品理解、阐释的多样性与莎士比亚作品本身内容的多样性产生相辅相成的效果。“说不尽的莎士比亚”成了西方学术界的口头禅。西方的每一种意识形态理论尤其是文学理论要想获得有效性都势必会将阐释莎士比亚的作品作为试金石。17世纪初的人文主义18世纪的启蒙主义19世纪的浪漫主义20世纪的现实主义或批判现实主义都不同程度地、选择性地把莎士比亚作品作为阐释其理论特点的例证。也许17世纪的古典主义曾经阻遏过西方人对莎士比亚作品的过度热情但是19世纪的浪漫主义流派却把莎士比亚作品推崇到无以复加的崇高地位莎士比亚俨然成了西方文学的神灵。20世纪以来西方资本主义阵营和社会主义阵营可以说在意识形态的各个方面都互相对立势同水火可是在对待莎士比亚的问题上居然有着惊人的共识与默契。不用说社会主义阵营的立场与社会主义理论的创始者马克思Karl Marx、恩格斯Friedrich Engels个人的审美情趣息息相关。马克思一家都是莎士比亚的粉丝马克思称莎士比亚为“人类最伟大的天才之一人类文学奥林波斯山上的宙斯”他号召作家们要更加莎士比亚化。恩格斯甚至指出“单是《温莎的风流娘儿们》的第一幕就比全部德国文学包含着更多的生活气息。”不用说这些话多多少少有某种程度的文学性夸张但对莎士比亚的崇高地位来说却无疑产生了极大的推动作用。
+第四1623年版《莎士比亚全集》奠定莎士比亚崇拜传统。这个版本即眼前译本所依据的皇家版《莎士比亚全集》The RSC William Shakespeare: Complete Works, 2007的主要内容。该版本产生于莎士比亚去世的第七年。莎士比亚的舞台同仁赫明奇John Heminge和康德尔Henry Condell整理出版了第一部莎士比亚戏剧集。当时的大学者、大作家本·琼森为之题诗诗中写道“他非一代骚人实属万古千秋。”这个调子奠定了莎士比亚偶像崇拜的传统。而这个传统一旦形成后人就难以反抗。英国文学中的莎士比亚偶像崇拜传统已经形成了一种自我完善、自我调整、自我更新的机制。至少近两百年来莎士比亚的文学成就已被宣传成世界文学的顶峰。
+第五现在署名“莎士比亚”的作品很可能不只是莎士比亚一个人的成果而是凝聚了当时英国若干戏剧创作精英的团体努力。众多大作家的智慧浓缩在以“莎士比亚”为代号的作品集中其成就的伟大性自然就获得了解释。当然这最后一点只是莎士比亚研究界若干学者的研究性推测远非定论。有的莎士比亚著作爱好者害怕一旦证明莎士比亚不是署名为“莎士比亚”的著作的作者莎士比亚的著作便失去了价值这完全是杞人忧天。道理很简单人们即使证明了《红楼梦》的作者不是曹雪芹或《三国演义》的作者不是罗贯中也丝毫不影响这些作品的伟大价值。同理人们即使证明了《莎士比亚全集》不是莎士比亚一个人创作的也丝毫不会影响《莎士比亚全集》是世界文学中的伟大作品这个事实反倒会更有力地证明这个事实因为集体的智慧远胜于个人。
+皇家版《莎士比亚全集》译本翻译总思路
+横亘于前的这套新译本是依据当今莎学界最负声望的皇家版《莎士比亚全集》进行翻译的而皇家版又正是以本·琼森题过诗的1623年版《莎士比亚全集》为主要依据。
+这套译本是在考察了中国现有的各种译本后根据新的历史条件和新的翻译目的打造出来的。其总的翻译思路是本套译本主编会同外语教学与研究出版社的相关领导和责任编辑讨论的结果。总起来说皇家版《莎士比亚全集》译本在翻译思路上主要遵循了以下几条
+1版本依据。如上所述本版汉译本译文以英国皇家版《莎士比亚全集》为基本依据。但在翻译过程中译者亦酌情参阅了其他版本以增进对原作的理解。
+2翻译内容包括内页所含全部文字。例如作品介绍与评论、正文、注释等。
+3注释处理问题。对于注释的处理1翻译时如果正文译文已经将英文版某注释的基本含义较准确地表达出来了则该注释即可取消2如果正文译文只是部分地将英文版对应注释的基本含义表达出来则该注释可以视情况部分或全部保留3如果注释本身存疑可以在保留原注的情况下加入译者的新注。但是所加内容务必有理有据。
+4翻译风格问题。对于风格的处理1在整体风格上译文应该尽量逼肖原作整体风格包括以诗体译诗体以散体译散体2版式风格亦尽量保留例如页边行号数码亦应在译文中保留俾便读者索查原文3在具体的文字传输处理上通常应该注重汉译本身的文字魅力增强汉译本的可读性。不宜太白话不宜太文言文白用语宜尽量自然得体。句子不要太绕注意汉语自身表达的句法结构尤其是其逻辑表达方式。意义的异化性不等于文字形式本身的异化性因此要注意用汉语的归化性来传输、保留原作含义的异化性。朱生豪先生的译本语言流畅、可读性强但可惜不是诗体有违原作形式。当下译本是要在承传朱先生译本优点的基础上根据新时代的读者审美趣味取得新的���展。梁实秋先生等的译本在达意的准确性上比朱译有所进步也是我们应该吸纳的优点。但是梁译文采不足则须注意避其短。方平先生等的译本也把莎士比亚翻译往前推进了一步在进行大规模诗体翻译方面作出了宝贵的尝试但是离真正的诗体尚有距离。此外前此的所有译本对于莎士比亚原作的色情类用语都有程度不同的忽略本套皇家版译本则尽力在此方面还原莎士比亚的本真状态论述见后文。其他还有一些译本亦都应该受到我们的关注处理原则类推。每种译本都有自己独特的东西。我们希望美的译文是这套译本的突出特点。
+5借鉴他种汉译本问题。凡是我们曾经参考过的较好的译本都在适当的地方加以注明承认前辈译者的功绩。借鉴利用是完全必要的但是要正大光明避免暗中抄袭。
+6具体翻译策略问题特别关键下文将其单列进行陈述。
+莎士比亚作品翻译领域大转折真正的诗体译本
+莎士比亚首先是一个诗人。莎士比亚的作品基本上都以诗体写成。因此要想尽可能还原本真的莎士比亚就必须将莎士比亚作品翻译成为诗体而不是散文这在莎学界已经成为共识。但是紧接而来的问题是什么叫诗体或需要什么样的诗体
+按照我们的想法1所谓诗体首先是措辞上的诗味必须尽可能浓郁2节奏上的诗味包括分行等要予以高度重视3结合中国人的审美习惯剧文可以押韵也可以不押韵。但不押韵的剧文首先要满足前两个要求。
+本全集翻译原计划由笔者一个人来完成。但是莎士比亚的创作具有惊人的多样性其作品来源也明显具有莎士比亚时代若干其他作家与作品的痕迹因此完全由某一个译者翻译成一种风格也许难免偏颇难以和莎士比亚风格的多样性相呼应。所以集众人的力量来完成大业应该更加合理更加具有可操作性。
+具体说来新时代提出了什么要求简而言之就是用真正的诗体翻译莎士比亚的诗体剧文。这个任务是朱生豪先生无法完成的。朱先生说过他在翻译莎士比亚作品时“当然预备全部用散文译出否则将要了我的命”。1显然朱先生也考虑过用诗体来翻译莎士比亚著作的问题但是他的结论是第一靠单独一个人用诗体翻译《莎士比亚全集》是办不到的会因此累死第二他用散文翻译也是不得已的办法因为只有这样他才有可能在有生之年完成《莎士比亚全集》的翻译工作。
+将《莎士比亚全集》翻译成诗体比翻译成散文体要难得多。难到什么程度呢和朱生豪先生的翻译进度比较一下就知道了。朱先生翻译得最快的时候一天可以翻译一万字。2为什么会这么快朱先生才华过人这当然是一个因素但关键因素是他是用散文翻译的。用真正的诗体就不一样了。以笔者自己的体验今日照样用散文翻译莎士比亚剧本最快时也可达到每日一万字。这是因为今日的译者有比以前更完备的注释本和众多的前辈汉译本作参考至少在理解原著时要比朱先生当年省力得多所以翻译速度上最高达到一万字是不难的。但是翻译成诗体就是另外一回事了。这比自己写诗还要难得多。写诗是自己随意发挥译诗则必须按照别人的意思发挥等于是戴着镣铐跳舞。笔者自己写诗诗兴浓时一天数百行都可以写得出来但是翻译诗一天只能是几十行统计成字数往往还不到一千字最多只是朱生豪先生散文翻译速度的十分之一。梁实秋先生翻译《莎士比亚全集》用的也是散文但是也花了37年如果要翻译成真正的诗体那么至少得370年由此可见真正的诗体《莎士比亚全集》汉译本的诞生有多么艰难。此次笔者约稿的各位译者都是用诗体翻译并且都表示花费了大量的时间皇家版《莎士比亚全集》译本凝聚了诸位译者的多少努力也就不言而喻了。
+翻译诗体分辨不是分了行就是真正的诗
+主张将莎士比亚剧作翻译成诗体成了共识但是什么才是诗体却缺乏共识。在白话诗盛行的时代许多人只是简单地认定分了行的文字就是诗这个概念。分行只是一个初级的现代诗要求甚至不必是必然要求因为有些称为诗的文字甚至连分行形式都没有。不过在莎士比亚作品的翻译上要让译文具有诗体的特征首先是必定要分行的因为莎士比亚原作本身就有严格的分行形式。这个不用多说。但是译文按莎士比亚的方式分了行只是达到了一个初级的低标准。莎士比亚的剧文读起来像不像诗还大有讲究。
+卞之琳先生对此是颇有体会的。他的译本是分行式诗体但是他自己也并不认为他译出的莎士比亚剧本就是真正的诗体译本。他说读者阅读他的译本时“如果……不感到是诗体不妨就当散文读就用散文标准来衡量”。3这是一���诚实的译者说出的诚实话。不过卞先生很谦虚他有许多剧文其实读起来还是称得上诗体的。原因是什么原因是他注意到了笔者上文提到的两点第一诗的措辞第二诗的节奏。只不过他迫于某些客观原因并没有自始至终侧重这方面的追求而已。
+显然一些译本翻译了莎士比亚的剧文在行数上靠近莎士比亚原作措辞也还流畅。这些是不是就是理想的诗体莎士比亚译本呢笔者认为这还不够。什么是诗对于中国人来说有几千年的历史我们不能脱离这个悠久的传统来讨论这个问题。为此我们不得不重新提到一些基本概念什么是诗什么是诗歌翻译
+诗歌是语言艺术诗歌翻译也就必须是语言艺术
+讨论诗歌翻译必须从讨论诗歌开始。
+诗主情。诗言志。诚然。但诗歌首先应该是一种精妙的语言艺术。同理诗歌的翻译也就不得不首先表现为同类精妙的语言艺术。若译者的语言平庸而无光彩与原作的语言艺术程度差距太远那就最多只是原诗含义的注释性文字算不得真正的诗歌翻译。
+那么何谓诗歌的语言艺术
+无他修辞造句、音韵格律一整套规矩而已。无规矩不成方圆无限制难成大师。奥运会上所有的技能比赛无不按照特定的规矩来显示参赛者高妙的技能。德国诗人歌德Johann Wolfgang von Goethe《自然和艺术》“Natur und Kunst”一诗最末两行亦彰扬此理
+非限制难见作手
+唯规矩予人自由。4
+艺术家的“自由”得心应手之谓也。诗歌既为语言艺术自然就有一整套相应的语言艺术规则。诗人应用这套规则时一旦达到得心应手的程度那就是达到了真正成熟的境界。当然规矩并非一点都不可打破但只有能够将规矩使用到随心所欲而不逾矩的程度的人才真正有资格去创立新规矩丰富旧规矩。创新是在承传旧规则长处的基础上来进行的而不是完全推翻旧规则肆意妄为。事实证明在语言艺术上凡无视积淀千年的诗歌语言规则随心所欲地巧立名目、乱行胡来者永不可能在诗歌语言艺术上取得大的成就所以歌德认为
+若徒有放任习性
+则永难至境遨游。5
+诗歌语言艺术如此需要规则如此不可放任不羁诗歌的翻译自然也同样需要相类似的要求。这个要求就是笔者前面提出的主张若原诗是精妙的语言艺术则理论上说来译诗也应是同类精妙的语言艺术。
+但是“同类”绝非“同样”。因为由于原作和译作使用的语言载体不一样其各自产生的语言艺术规则和效果也就各有各的特点大多不可同样复制、照搬。所以译作的最高目标是尽可能在译入语的语言艺术领域达到程度大致相近的语言艺术效果。这种大致相近的艺术效果程度可叫作“最佳近似度”。它实际上也就是一种翻译标准只不过针对不同的文类最佳近似度究竟在哪些因素方面可最佳程度地并不一定是最大程度地取得近似效果不是一成不变的而是具有高度的灵活性。不同的文类甚至针对不同的受众我们都可以设定不同的最佳近似度。这点在拙著《中西诗比较鉴赏与翻译理论》清华大学出版社2010年的相关章节中有详细的厘定此不赘。
+话与诗的关系话不是诗
+古人的口语本来就是白话与现在的人说的口语是白话一个道理。
+正因为白话太俗不够文雅古人慢慢将白话进行改进使它更加规范、更加准确并且用语更加丰富多彩于是文言产生。在文言的基础上还有更文的文字现象那就是诗歌于是诗歌产生。所以就诗歌而言文言味实际上就是一种特殊的诗味。文言有浅近的文言也有佶屈聱牙的文言。中国传统诗歌绝大多数是浅近的文言但绝非口语、白话。诗中有话的因素自不待言但话的因素往往正是诗试图抑制的成分。
+文言和诗歌的产生是低俗的口语进化到高雅、准确层次的标志。文言和诗歌的进一步发展使得语言的艺术性愈益增强。最终文言和诗歌完成了艺术性语言的结晶化定型。这标志着古代文学和文学语言的伟大进步。《诗经》、楚辞、唐诗、宋词、元明戏曲以及从先秦、汉、唐、宋、元至明清的散文等都是中国语言艺术逐步登峰造极的明证。
+人们往往忘记话不是诗诗是话的升华。话据说至少有几十万年的历史而诗却只有几千年的历史。白话通过漫长的岁月才升华成了诗。因此从理论上说白话诗不是最好的诗而只是低层次的、初级的诗。当一行文字写得不像是话时它也许更像诗。“太阳落下山去了”是话硬说它是诗也只是平庸的诗人人可为。而同样含义的“白日依山尽”不像是话却是真正的诗非一般人可为只有诗人才写得出。它的语言表达方式与一般人的通用白话脱离开来了实现了与通用语的偏离deviation from the norm。这里的通用语指人们天天使用的白话。试想把唐诗宋词译成白话还有多少诗味剩下来
+谢谢古代先辈们一代又一代、不屈不挠的努力话终于进化成了诗。
+但是20世纪初一些激进的中国学者鼓荡起一场声势浩大的白话文运动。
+客观说来用白话文来书写、阅读自然科学和人文科学文献例如哲学、政治学、伦理学、经济学等等文献这都是伟大的进步。这个进步甚至可以上溯到八百多年前朱熹等大学者用白话体文章传输理学思想。对此笔者非常拥护非常赞成。
+但是约一百年前的白话诗运动却未免走向了极端事实上是一种语言艺术方面的倒退行为。已经高度进化的诗词曲形式被强行要求返祖回归到三千多年前的类似白话的状态已经高度语言艺术化了的诗被强行要求退化成话。艺术性相对较低的白话反倒成了正统艺术性较高的诗反倒成了异端。其实容许口语类白话诗和文言类诗并存这才是正确的选择。但一些激进学者故意拔高白话地位在诗歌创作领域搞成白话至上主义这就走上了极端主义道路。
+这个运动影响到诗歌翻译的结果是什么呢结果是西方所有的大诗人不论是古代的还是近代的如荷马Homer、但丁Dante、莎士比亚、歌德、雨果Victor Hugo、普希金Alexander Pushkin……都莫名其妙地似乎用同一支笔写出了20世纪初才出现的味道几乎相同的白话文汉诗
+将产生这种极端性结果的原因再回推我们会清楚地明白当年的某些学者把文学艺术简单雷同于人文社会科学误解了文学艺术尤其是诗歌艺术的特殊性质误以为诗就是话混淆了诗与话的形式因素。
+针对莎士比亚戏剧诗的翻译对策
+由上可知莎士比亚的剧文既然大多是格律诗无论有韵无韵它们都是诗都有格律性。因此在汉译中我们就有必要显示出它具有格律性而这种格律性就是诗性。
+问题在于格律性是附着在语言形式上的语言改变了附着其上的格律性也就大多会消失。换句话说格律大多不可复制或模仿这就正如用钢琴弹不出二胡的效果用古筝奏不出黑管的效果一样。但是原作的内在旋律是可以模仿的只是音色变了。原作的诗性是可以换个形式营造的这就是利用汉语本身的语言特点营造出大略类似的语言艺术审美效果。
+由于换了另外一种语言媒介原作的语音美设计大多已经不能照搬、复制甚至模拟了那么我们就只好断然舍弃掉原作的许多语音美设计而代之以译入语自身的语言艺术结构产生的语音美艺术设计。当然原作的某些语音美设计还是可以尝试模拟保留的但在通常的情况下大多数的语音美已经不可能传输或复制了。
+利用汉语本身的语音审美特点来营造莎士比亚诗歌的汉译语音审美效果是莎士比亚作品翻译的一个有效途径。机械照搬原作的语音审美模式多半会失败并且在大多数的场合下也没有必要。
+具体说来这就涉及翻译莎士比亚戏剧作品时该如何处理1节奏2韵律3措辞。笔者主张在这三个方面我们都可以适当借鉴利用中国古代词曲体的某些因素。戏剧剧文中的诗行一般都不宜多用单调的律诗和绝句体式。元明戏剧为什么没有采用前此盛行的五言或七言诗行而采用了长短错杂、众体皆备的词曲体这是一种艺术形式发展的必然。元明曲体由于要更好更灵活地满足抒情、叙事、论理等诸多需要故借用发展了词的形式但不是纯粹的词而是融入了民间语汇。词这种形式涵盖了一言、二言、三言、四言、五言、六言、七言、八言……乃至十多言的长短句式因此利于表达变化莫测的情、事、理。从这个意义上看莎士比亚剧文语言单位的参差不齐状态与中文词曲体句式的参差不齐状态正好有某种相互呼应的效果。
+也许有人说莎士比亚的剧文虽然是格律诗但并不怎么押韵因此汉诗翻译也就不必押韵。这个说法也有一定道理但是道理并不充实。
+首先我们应该明白既然莎士比亚的剧文是诗体人们读到现今的散体译文或不押韵的分行译文却难以感受到其应有的诗歌风味原因即在于其音乐性太弱。如果人们能够照搬莎士比亚素体诗所惯常用的音步效果及由此引起的措辞特点当然更好。但事实上原作的节奏效果是印欧语系语言本身的效果换了一种语言其效果就大多不能搬用了所以我们只好利用汉语本身的优势来创造新的音乐美。这种音乐美很难说是原作的音乐美但是它毕竟能够满足一点即诗体剧文应该具有诗歌应有的音乐美这个起码要求。而汉译的押韵可以强化这种音乐美。
+其次莎士比亚的剧文不押韵是由诸多因素造成的。第一属于印欧语系语言的英语在押韵方面存在先天的多音节不规则形���缺陷导致押韵词汇范围相对较窄。所以对于英国诗人来说很苦于押韵难工莎士比亚的许多押韵体诗例如十四行诗在押韵方面都不很工整。其次莎士比亚的剧文虽不押韵却在节奏方面十分考究这就弥补了音韵方面的不足。第三莎士比亚的剧文几乎绝大多数是诗行对于剧作者来说每部长达两三千行的诗行行都要押韵这是一个极大的挑战很难完成。而一旦改用素体剧作者便会轻松得多。但是以上几点对于汉语译本则不是一个问题。汉语的词汇及语音构成方式决定了它天生就是一种有利于押韵的艺术性语言。汉语存在大量同韵字押韵是一件很容易的事情。汉语的语音音调变化也比莎士比亚使用的英语的音调变化空间大一倍以上。汉语音调至少有四种加上轻重变化可达六至八种而英语的音调主要局限于轻重语调两种所以存在于印欧语系文字诗歌中的频频押韵有时会产生的单调感在汉语中会在很大程度上由于语调的多变而得到缓解。故汉语戏剧剧文在押韵方面有很大的潜在优势空间实际上元明戏剧剧文频频押韵就是证明。
+第三莎士比亚的剧文虽然很多不押韵但却具极强的节奏感。他惯用的格律多半是抑扬格五音步iambic pentameter诗行。如果我们在节奏方面难以传达原作的音美或者可以通过韵律的音美来弥补节奏美的丧失这种翻译对策谓之堤内损失堤外补亦谓失之东隅收之桑榆。我们的语言在某方面有缺陷可以通过另一方面的优点来弥补。当然笔者主张在一定程度上借鉴利用传统词曲的风味却并不主张使用宋词、元曲式的严谨格律而只是追求一种过分散文化和过分格律化之间的妥协状态。有韵但是不严格要适当注意平仄但不过多追求平仄效果及诗行的整齐与否不必有太固定的建行形式只是根据诗歌本身的内容和情绪赋予适当的节奏与韵式。在措辞上则保持与白话有一段距离但是绝非佶屈聱牙的文言而是趋近典雅、但普通读者也能读懂的语言。
+最后根据翻译标准多元互补论原理由于莎士比亚作品在内容、形式及审美效应方面具有多样性因此只用一种类乎纯诗体译法来翻译所有的莎士比亚剧文也是不完美的因为单一的做法也许无形中堵塞了其他有益的审美趣味通道。因此这套译本的译风虽然整体上强调诗化、诗味但是在营造诗味的途径和程度上不是单一的。我们允许诗体译风的灵活性和创新性。多译者译法实际上也是在探索诗体译法的诸多可能性这为我们将来进一步改进这套译本铺垫了一条较宽的道路。因此译文从严格押韵、半押韵到不押韵的各个程度译本都有涉猎。但是无论是否押韵其节奏和措辞应该总是富于诗意这个要求则是统一的。这是我们对皇家版《莎士比亚全集》译本的语言和风格要求。不能说我们能完全达到这个目标但我们是往这个方向努力的。正是这样的努力使这套译本与前此译本有很大的差异在一定的意义上来说标志着中国莎士比亚著作翻译的一次大转折。
+翻译突破还原莎士比亚作品禁忌区域
+另有一个课题是中国学者从前讨论得比较少的禁忌领域即莎士比亚著作中的性描写现象。
+许多西方学者认为莎士比亚酷爱色情字眼他的著作渗透着性描写、性暗示。只要有机会他就总会在字里行间用上与性相联系的双关语。西方人很早就搜罗莎士比亚著作的此类用语编纂了莎士比亚淫秽用语词典。这类词典还不止一种。1995年我又看到弗朗基·鲁宾斯坦Frankie Rubinstein等编纂了《莎士比亚性双关语释义词典》A Dictionary of Shakespeare's Sexual Puns and Their Significance厚达372页。
+赤裸裸的性描写或过多的淫秽用语在传统中国文学作品中是受到非议的尽管有《金瓶梅》这样被判为淫秽作品的文学现象但是中国传统的主流舆论还是抑制这类作品的。莎士比亚的作品固然不是通常意义上的淫秽作品但是它的大量实际用语确实有很强的色情味。这个极鲜明的特点恰恰被前此的所有汉译本故意掩盖或在无意中抹杀掉。莎士比亚的所有汉译者尤其是像朱生豪先生这样的译者显然不愿意中国读者看到莎士比亚的文笔有非常泼辣的大量使用性相关脏话的特点。这个特点多半都被巧妙地漏译或改译。于是出现一种怪现象莎士比亚著作中有些大段的篇章变成汉语后尽管读起来是通顺的读者对这些话语却往往感到莫名其妙。以《罗密欧与朱丽叶》第一幕第一场前面的30行台词为例这是凯普莱特家两个仆人山普孙与葛莱古里之间的淫秽对话。但是读者阅读过去的汉译本时很难看到他们是在说淫秽的脏话甚至会认为这些对话只是仆人之间的胡话没有什么���义。
+不过前此的译本对这类用语和描写的态度也并不完全一样而是依据年代距离在逐步改变。朱生豪先生的译本对这些东西删除改动得最多梁实秋先生已经有所保留但还是有节制。方平先生等的译本保留得更多一些但仍然持有相当的保留态度。此外从英语的不同版本看有的版本注释得明白有的版本故意模糊有的版本注释者自己也没有弄懂这些双关语那就更别说中国译者了。
+在这一点上我们目前使用的皇家版《莎士比亚全集》是做得最好的。
+那么我们该怎样来翻译莎士比亚的这种用语呢是迫于传统中国道德取向的习惯巧妙地回避还是尽可能忠实地传达莎士比亚的本真用意我们认为前此的译本依据各自所处时代的中国人道德价值的接受状态采用了相应的翻译对策出现了某种程度的曲译这是可以理解的是特定历史条件下的产物。但是历史在前进中国人的道德观已经有了很大的改变尤其是在性禁忌领域。说实话无论我们怎样真实地还原莎士比亚著作中的性双关描写比起当代文学作品中有时无所忌讳的淫秽描写来莎士比亚还真是有小巫见大巫的感觉。换句话说目前中国人在这方面的外来道德价值接受状态已经完全可以接受莎士比亚著作中的性双关用语了。因此我们的做法是尽可能真实还原莎士比亚性相关用语的现象。在通常的情况下如果直译不能实现这种现象的传输我们就采用注释。可以说在这方面目前这个版本是所有莎士比亚汉译本中做得最超前的。
+译法示例
+莎士比亚作品的文字具有多种风格早期的、中期的和晚期的语言风格有明显区别悲剧、喜剧、历史剧、十四行诗的语言风格也有区别。甚至同样是悲剧或喜剧莎士比亚的语言风格往往也会很不相同。比如同样是属于悲剧《罗密欧与朱丽叶》剧文中就常常有押韵的段落而大悲剧《李尔王》却很少押韵同样是喜剧《威尼斯商人》是格律素体诗而《温莎的风流娘儿们》却大多是散文体。
+与此现象相应我们的翻译当然也就有多种风格。虽然不完全一一对应但我们有意避免将莎士比亚著作翻译成千篇一律的一种文体。从这个意义上说皇家版《莎士比亚全集》汉译本在某些方面采用了全新的译法。这种全新译法不是孤立的一种译法而是力求展示多种翻译风格、多种审美尝试。多样化为我们将来精益求精提供了相对更多的选择。如果现在固定为一种单一的风格那么将来要想有新的突破就困难了。概括说来我们的多种翻译风格主要包括1有韵体诗词曲风味译法2有韵体现代文白融合译法3无韵体白话诗译法。下面依次选出若干相应风格的译例供读者和有关方面品鉴。
+一、有韵体诗词曲风味译法
+有韵体诗词曲风味译法注意使用一些传统诗词曲中诗味比较浓郁的词汇同时注意遣词不偏僻节奏比较明快音韵也比较和谐。但是它们并不是严格意义上的传统诗词曲只是带点诗词曲的风味而已。例如
+女巫甲 何时我等再相逢
+闪电雷鸣急雨中
+女巫乙 待到硝烟烽火静
+沙场成败见雌雄。
+女巫丙 残阳犹挂在西空。《麦克白》第一幕第一场
+小丑甲 当时年少爱风流
+有滋有味有甜头
+行乐哪管韶华逝
+天下柔情最销愁。《哈姆莱特》第五幕第一场
+朱丽叶 天未曙罗郎何苦别意匆忙
+鸟音啼声声亮惊骇罗郎心房。
+休听作破晓云雀歌只是夜莺唱
+石榴树间夜夜有它设歌场。
+信我罗郎端的只是夜莺轻唱。
+罗密欧 不是云雀报晓不是莺歌
+看东方无情朝阳暗洒霞光
+流云万朵镶嵌银带飘如浪。
+星斗如烛恰似残灯剩微芒
+欢乐白昼悄然驻步雾嶂群岗。
+奈何我去也则生留也必亡。
+朱丽叶 听我言天际微芒非破晓霞光
+只是金乌吐射流星当空亮
+似明炬今夜为郎朗照边邦
+何愁它曼托瓦路漫远悠长。
+且稍待正无须行色皇皇仓仓。
+罗密欧 纵身陷人手蒙斧钺加诛于刑场
+只要这勾留遂你愿我欣然承当。
+让我说那天际灰朦非黎明醒眼
+乃月神眉宇幽幽映现淡淡辉光
+那歌鸣亦非云雀之讴哪怕它
+嚣然振动于头上空冥嘹亮高亢。
+我巴不得栖身此地永不他往。
+来吧死亡倘朱丽叶愿遂此望。
+如何心肝畅谈吧趁夜色迷茫。《罗密欧与朱丽叶》第三幕第五场
+二、有韵体现代文白融合译法
+有韵体现代文白融合译法的特点是基本押韵措辞上白话与文言尽量能够水乳交融充分利用诗歌的现代节奏感俾便能够念起来朗朗上口。例如
+哈姆莱特 死还是生这才是问题根本
+莫道是苦海无涯但操戈奋进
+终赢得一片清平或默对逆运
+忍受它箭石交攻敢问
+两番选择何为上乘
+死灭睡也倘借得长眠
+可治心伤愈千万肉身苦痛痕
+���岂非美境人所追寻死睡也
+睡中或有梦魇生唉症结在此
+倘能撒手这碌碌凡尘长入死梦
+又谁知梦境何形念及此忧
+不由人踌躇难定这满腹疑情
+竟使人苟延年命忍对苦难平生。
+假如借短刀一柄即可解脱身心
+谁甘愿受人世的鞭挞与讥评
+强权者的威压傲慢者的骄横
+失恋的痛楚法律的耽延
+官吏的暴虐甚或默受小人
+对贤德者肆意拳脚加身
+谁又愿肩负这如许重担
+流汗、呻吟疲于奔命
+倘非对死后的处境心存疑云
+惧那未经发现的国土从古至今
+无孤旅归来意志的迷惘
+使我辈宁愿忍受现世的忧闷
+而不敢飞身投向未知的苦境
+前瞻后顾使我们全成懦夫
+于是本色天然的决断决行
+罩上了一层思想的惨淡余阴
+只可惜诸多待举的宏图大业
+竟因此如逝水忽然转向而行
+失掉行动的名分。《哈姆莱特》第三幕第一场
+麦克白 若做了便是了则快了便是好。
+若暗下毒手却能横超果报
+割人首级却赢得绝世功高
+则一击得手便大功告成
+千了百了那么此际此宵
+身处时间之海的沙滩、岸畔
+何管它来世风险逍遥。但这种事
+现世永远有裁判的公道
+教人杀戮之策者必受杀戮之报
+给别人下毒者自有公平正义之手
+让下毒者自食盘中毒肴。《麦克白》第一幕第七场
+损神耗精愧煞了浪子风流
+都只为纵欲眠花卧柳
+阴谋好杀赌假咒坏事做到头
+心毒手狠野蛮粗暴背信弃义不知羞。
+才尝得云雨乐转眼意趣休。
+舍命追求一到手没来由
+便厌腻个透。呀恰恰像是钓钩
+但吞香饵管教你六神无主不自由。
+求时疯狂得时也疯狂
+曾有现有还想有要玩总玩不够。
+适才是甜头转瞬成苦头。
+求欢同枕前梦破云雨后。
+唉普天下谁不知这般儿歹症候
+却避不得便往这通阴曹的天堂路儿上走十四行诗第一百二十九首
+三、无韵体白话诗译法
+无韵体白话诗译法的特点是虽然不押韵但是译文有很明显的和谐节奏措辞畅达有诗味明显不是普通的口语。例如
+贡妮芮 父亲我爱您非语言所能表达
+胜过自己的眼睛、天地、自由
+超乎世上的财富或珍宝犹如
+德貌双全、康强、荣誉的生命。
+子女献爱父亲见爱至多如此
+这种爱使言语贫乏谈吐空虚
+超过这一切的比拟——我爱您。《李尔王》第一幕第一场
+李尔 国王要跟康沃尔说话慈爱的父亲
+要跟他女儿说话命令、等候他们服侍。
+这话通禀他们了吗我的气血都飙起来了
+火爆火爆公爵去告诉那烈性公爵——
+不还是别急也许他是真不舒服。
+人病了常会疏忽健康时应尽的
+责任。身子受折磨
+逼着头脑跟它受苦
+人就不由自主了。我要忍耐
+不再顺着我过度的轻率任性
+把难受病人偶然的发作错认是
+健康人的行为。我的王权废掉算了
+为什么要他坐在这里这种行为
+使我相信公爵夫妇不来见我
+是伎俩。把我的仆人放出来。
+去跟公爵夫妇讲我要跟他们说话
+现在就要。叫他们出来听我说
+不然我要在他们房门前打起鼓来
+不让他们好睡。《李尔王》第二幕第二场
+奥瑟罗 诸位德高望重的大人
+我崇敬无比的主子
+我带走了这位元老的女儿
+这是真的真的我和她结了婚说到底
+这就是我最大的罪状再也没有什么罪名
+可以加到我头上了。我虽然
+说话粗鲁不会花言巧语
+但是七年来我用尽了双臂之力
+直到九个月前我一直
+都在战场上拼死拼活
+所以对于这个世界我只知道
+冲锋向前不敢退缩落后
+也不会用漂亮的字眼来掩饰
+不漂亮的行为。不过如果诸位愿意耐心听听
+我也可以把我没有化装掩盖的全部过程
+一五一十地摆到诸位面前接受批判
+我绝没有用过什么迷魂汤药、魔法妖术
+还有什么歪门邪道——反正我得到他的女儿
+全用不着这一套。《奥瑟罗》第一幕第三场
+注释
+1 见朱生豪大约在1936年夏致宋清如信“今天下午我试译了两页莎士比亚还算顺利不过恐怕终于不过是Poor Stuff而已。当然预备全部用散文译出否则将要了我的命。”《伉俪朱生豪宋清如诗文选》下卷中国青年出版社2013年第94页
+2 朱生豪“今天因为提起了精神却很兴奋晚上译了六千字今天一共译一万字。”同上第101页
+3 卞之琳《莎士比亚悲剧四种》方志出版社2007年第4页。
+《暴风雨》导言
+《暴风雨》几乎可以肯定是莎士比亚独立完成的最后一出戏。我们不知道他是否预期如此。这出戏也是印在第一对开本的第一个剧本。我们也不知道它得到如此尊贵的地位是因为对开本的编辑把它当作展示品——大师艺术的总和之作——还是为了更为平凡的理由他们手头有抄写员拉尔夫·克兰Ralph Crane的干净文本排版者要着手排版莎士比亚近乎百万字的浩大工程从这本起可以有个比较容易的开始。无论它的位置来自无心抑或刻意的安排自19世纪初期以来《暴风雨》成于莎士比亚写作生涯之终、又置于作品集之首的事实大大影响了后世对这出戏的反应。它已经被视为诠释莎士比亚的试金石。
+本剧内容集中于支配与统治的问题。在开场的暴风雨中正常的社会秩序大乱水手长命令廷臣因为知道咆哮的海浪根本不在乎“什么国王”。之后第一幕第二场中详细展开的背景故事揭露了不尊重公爵名号的阴谋家我们得知普洛斯彼罗失去了米兰的权力但补偿式地得以控制岛上的爱丽儿和凯列班。腓迪南和米兰达的同心结则指向米兰与那不勒斯未来的统治。还有更进一步的政治算计西巴斯辛与安东尼奥计划谋杀阿隆佐国王和忠厚大臣贡柴罗低贱出身的角色想要推翻普洛斯彼罗让酗酒的司膳官斯丹法诺当岛上的国王。普洛斯彼罗在爱丽儿和岛上其他精灵协助下演出了一幕幕精彩的戏——使谋反者动弹不得鸟身女妖与消失的盛筵众女神及农民的假面剧那对小情人对弈的情景——这些都有助于报复过去的罪愆恢复当前的秩序并预备和谐的来日。工作完毕之后爱丽儿获得释放心痛啊1而普洛斯彼罗也在精神上做好了死亡的准备。甚至凯列班都要“寻求恩典”。
+然而莎士比亚从来都不爱简单。普洛斯彼罗以戏法变出暴风雨把宫廷的达官贵人带到这座岛主要是为了强迫他那篡位的弟弟安东尼奥悔罪。可是到了两人面对面的高潮时刻对普洛斯彼罗的饶恕与要求安东尼奥却连一个字都没有回应。他完全没有以阿隆佐在前面几行的表现为榜样而仿效之。至于安东尼奥的共犯西巴斯辛竟然还胆敢说普洛斯彼罗魔法般的先见之明是仗着邪魔之力。普洛斯彼罗能力再大也无法预料或掌控人性。如果原本没有良心以后也无法创造出良心。
+塞缪尔·泰勒·柯尔律治Samuel Taylor Coleridge2把普洛斯彼罗描述为“简直就是风暴中的莎士比亚本人”。换句话说戏中主角在开场中变出暴风雨正如剧作家变出这部戏的整个世界。普洛斯彼罗的法术驾驭了自然力量好引领其他意大利角色加入他的放逐世界同样地莎士比亚的艺术先把舞台变成一艘大海中的船然后又变成“无人的荒岛”。“法术”乃是这出戏的关键词眼。凯列班是普洛斯彼罗的“他者”因为他代表自然状态。在达尔文主义盛行的19世纪他被重塑为人类与我们动物祖先之间过渡时期“缺失的那一环”。
+普洛斯彼罗的背景故事道出了从训练统治者的“人文素养”到比较危险的魔幻“法术”的变化过程。在莎士比亚时代魔法的思维普遍存在。人人从小都相信自然界之外另有一个世界就是灵魂与妖怪的世界。“自然”与“妖魔”乃是研究及操弄超自然现象的两大支派。魔法magic即是对隐秘事物的认知和制造奇迹的法术。某些人认为这是自然哲学的最高形式这个词源于magia在古波斯语里意思是“智慧”众人称之为“神秘哲学”。它假设有不同层级的力量从不具形体的“智性的”天使魂灵到天上恒星和行星的世界再到地球事物及其形体的变化。魔法师上达高阶力量的知识以人为方式将这些能力带下来制造出奇妙的效果。科尼利厄斯·阿格里帕Cornelius Agrippa3是《论神秘哲学》De occulta philosophia一书的作者主张必须有“仪式魔法”才能达到超越星球的天使智慧。这是最高也最危险的活动层次因为——诚如同克里斯托弗·马洛Christopher Marlowe4笔下的浮士德博士Dr. Faustus的发现——太容易变出魔鬼而不是天使。比较普通的“自然魔法”需要“媒合”天地与星体和物质世界元素之间的奇幻链接同工。历久不衰的星象影响观念乃是这种思维模式的残留。对文艺复兴时代的智者例如在米兰从业的吉罗拉莫·卡尔达诺Girolamo Cardano5而言医学、自然哲学、数学、星象学以及解梦都是紧密相连的。
+然而自然魔法始终无法躲开它的妖魔阴影。有一个像阿格里帕或卡尔达诺这样博学的智者就有一千个乡下“智婆”从事民俗医疗和算命。后者在前现代时期常常被妖魔化为女巫要为歉收、牲畜疾病及其他病痛负责。普洛斯彼罗强调他自己的白色魔法有别于凯列班母亲西考拉克斯的黑色魔法不过在这出戏里两者十分相似。他之所以从米兰被放逐到岛上是因为专注于自己的秘密研究从而给予了安东尼奥篡夺大公国的可乘之机而西考拉克斯之所以从阿尔及尔放逐到岛上是因为被控施行巫术他带着他的幼女来而西考拉克斯来的时候肚里怀着据说是跟魔鬼搞出来的孩子。两者都能指挥海潮操控以爱丽儿为代表的精灵世界。普洛斯彼罗��放弃他的魔法时用来描述法力的词语是借自另一个女巫——奥维德Ovid的古代神话故事巨著《变形记》Metamorphoses里的美狄亚Medea。在某个层次上普洛斯彼罗表达了他跟西考拉克斯之间的亲缘关系他说凯列班“这个妖怪嘛我/承认是我的”。此处主语和动词在行尾分开表明承认之前稍有犹豫这是莎士比亚后期灵活运用抑扬格五音步手法的极端例子。
+莎士比亚喜爱制造对立再把他的黑与白淡化成复杂道德里的灰色区块。在米兰普洛斯彼罗对人文素养的内观研究使他失去权位并促成暴政。在岛上他企图以他所学来弥补过失利用正向的魔法带来悔罪、收复大公国并且打造一个王朝的婚姻。然而在第五幕开始时他醒悟到真正的人性不在于运用智慧统治而在于实践更为严谨的基督徒式的德行。对16世纪的人文主义者来说君王的德行教育就是为了政治目的而修养智慧、宽宏、节制、正直。对普洛斯彼罗而言最终真正重要的是仁慈。而这是师父从徒弟那里学到的正是爱丽儿教了普洛斯彼罗“情感”的道理而不是相反。
+爱丽儿代表火与空气、和谐与音乐、耿耿忠心。凯列班属土关乎纷争、醉酒和反叛。爱丽儿的表达工具是雅致的诗凯列班的则大多是粗鲁乃至猥亵的散文一如弄臣特林鸠罗和醉汉司膳官斯丹法诺。然而令人讶异的是剧中最美丽的诗句乃是凯列班听到爱丽儿的音乐时所说的。即便是用散文凯列班亦与自然环境有一种美妙的协调他知道岛上每一个角落、每一种生物。普洛斯彼罗说他是“魔鬼天生的魔鬼对他的本性/教化根本是白搭”然而就在下一句台词里凯列班上场时说“拜托脚步轻些免得这只瞎眼的鼹鼠听到脚步声”如此富有想象力的语言立即否定了普洛斯彼罗的断言。
+凯列班据称曾要性侵米兰达可见普洛斯彼罗想驯服这个“怪物仆”、教育他具有人性的意图是失败的。然而这失败是谁的责任问题会不会出在普洛斯彼罗想要灌输到凯列班记忆里的内容上而非后者的天性一开始凯列班欢迎普洛斯彼罗到岛上来主动与他分享岛上水果——正如蒙田Montaigne散文《论食人部族》“Of the Cannibals”里所写的“高贵的野蛮人”那样那篇文章是莎士比亚剧中引用的另一来源贡柴罗治理本岛的乌托邦式“黄金时代”理想便是采自蒙田作品的英译本。凯列班只不过表现出普洛斯彼罗印刻在他身上的那种低贱而已使凯列班“污秽”的可能是普洛斯彼罗说他是“秽物”的教导。
+凯列班了解书的重要性正如现代政变领导者首先要占据电视台他强调反叛普洛斯彼罗必须从夺取他的书籍开始。然而斯丹法诺另有其书。他对凯列班说“这东西能叫您说话”—他复制普洛斯彼罗通过语言取得控制的手法不过是以另一种模式。文本的灌输被美酒的熏陶取代所亲吻的书乃是酒瓶。如此一来莎士比亚的场景对位技法营造出对话精神质疑了普洛斯彼罗的书籍使用。若说斯丹法诺和特林鸠罗以酒精达成普洛斯彼罗以教导所达成的目的两者都说服凯列班服役并分享岛上的果实这岂不是显出教导有可能只是社会控制的工具而已普洛斯彼罗时常似对他以教学建立的权力结构较感兴趣胜过他教导的实质内容。很难看出逼腓迪南搬运木柴是为了教诲德行目的其实是要他臣服。
+来到一个没有欧洲人居住的岛屿谈论“殖民地”与一个“野人”相遇并用酒精交换生存技能在语言学习过程中确立谁是主、谁是奴担心奴仆会使主人的女儿受孕欲使野蛮人寻求基督教的“恩典”但又提议把他运到英格兰展示获利提到百慕大危险的气候以及一个“华丽新世界”在所有这些方面《暴风雨》都唤起了欧洲的殖民主义精神。莎士比亚与弗吉尼亚公司的成员有联系。该公司奉王室之命成立于1606年为次年在美洲建立詹姆斯敦殖民地起了重要作用。1610年秋有一封信寄达英格兰描述派往增援殖民地的舰队在加勒比海被暴风雨吹散搭载新总督的那艘船被吹到百慕大船员和乘客都在那里过冬。虽然那封信当时没有出版手稿却流传开来至少引发两本小册子讨论这些事件。学者们为莎士比亚究竟直接引用了其中多少材料而争论不休但暴风雨及岛屿的某些细节好像是从中取材。毋庸置疑的是总督及其团队看似奇迹般幸存同时他们在巴哈马群岛发现的富饶环境乃是本剧写作之时的公众流行话题。
+大英帝国、奴隶贩卖、东西海路运送香料带来的财富——这些是后来的事。莎士比亚的戏设定在地中海不在加勒比海。凯列班严格说来不能算是岛上的原住民。然而这出戏直觉地感知殖民时期占有与驱离的动能剧力��钧不可思议所以1950年奥克塔夫·曼诺尼Octave Mannoni6写的《殖民地化进程中的心理学》The Psychology of Colonisation主张说殖民过程的运作要经由一对精神官能症交互作用于殖民者是“普洛斯彼罗情结”于被殖民者是“凯列班情结”。就是为了回应曼诺尼弗朗茨·法农Frantz Fanon7写了《黑皮肤白面具》Black Skin, White Masks从而在很大程度上塑造了“后殖民”时代的知识领域。对20世纪后期许多以英文写作的加勒比海作家来说《暴风雨》这出戏尤其是凯列班这个人物成为他们发现自己文学声音的焦点。这出戏与其说是对帝国历史的反思毋宁说是对这段历史的预知——毕竟普洛斯彼罗是被流放的人不是冒险家。
+国王剧团经常奉命在白厅御前献演自然知道从1608年岁暮起十几岁的伊丽莎白公主Princess Elizabeth就住在王宫里。她是有文化素养的少女喜欢音乐和舞蹈参与宫中节庆活动1610年在一出名叫《忒堤斯》Tethys8的假面剧里担任舞者。假面剧由皇亲、廷臣、职业演员混搭演出场面壮观音乐精致在那些年日是宫廷最时兴的表演。与莎士比亚亦友亦敌的本·琼森Ben Jonson9和设计师伊尼戈·琼斯Inigo Jones10合作为自己打出当代首席假面剧作家的名号。1608年他引进“反假面剧”或称“前假面剧”让丑怪人物即所谓“怪胎”在优雅、和谐的假面剧演出之前狂舞一番。莎士比亚也采纳了当时的流行风尚在《暴风雨》的戏中加入了订婚的假面剧以及凯列班、斯丹法诺和特林鸠罗三人闻马尿、偷窃晾衣绳上的衣服、遭群狗追逐的反假面闹剧。我们甚至觉得普洛斯彼罗这个人物可能就是对本·琼森温和的诙谐模拟他的戏剧想象受制于古典式对时间与场景统一性的要求一如琼森他也演出宫廷假面剧一如琼森。或许正因为如此几年之后琼森在他的《巴托罗缪市集》Bartholomew Fair里戏仿《暴风雨》作为回敬。
+普洛斯彼罗的基督教语言在收场白中持续最久然而他最后请求宽容的对象不是上帝而是观众。到了最后一刻取代人文主义学术的不是基督教信仰而是戏剧的信念。因此这出戏可以解读为莎士比亚为自己戏剧艺术的辩护——从浪漫主义时期以来常常就是如此理解。不过反讽的是这出戏本身对书籍乃至于对剧场的功能十分怀疑。魔法书沉入大海而假面剧及其演员也溶入空气之中就像“无根的幻景”或一场梦。
+参考资料
+剧情十二年前在那不勒斯国王阿隆佐及其弟西巴斯辛协助下米兰公爵普洛斯彼罗被他的弟弟安东尼奥篡了位。普洛斯彼罗及其幼女米兰达被流放大海到达远方小岛。他在那里靠着魔法统治精灵爱丽儿和野人凯列班。他利用法力呼风唤雨使他的敌人遭遇船难来到岛上。阿隆佐寻找儿子腓迪南担心他已经淹死。西巴斯辛密谋杀害阿隆佐夺取他的王位。酗酒的司膳官斯丹法诺和弄臣特林鸠罗遇见凯列班听了他的劝说要杀害普洛斯彼罗好由他们来统治这座岛。腓迪南和米兰达相遇两人一见钟情。普洛斯彼罗要考验腓迪南命其做苦工腓迪南通过考验普洛斯彼罗为这对年轻情侣演了一出贺婚的假面剧。在普洛斯彼罗的计划接近高潮时他正面质问敌人并宽恕他们。普洛斯彼罗赐予爱丽儿自由准备离开岛屿返回米兰。
+主要角色列有台词行数百分比/台词段数/上场次数普洛斯彼罗30/115/5爱丽儿9/45/6凯列班8/50/5斯丹法诺7/60/4贡柴罗7/52/4西巴斯辛5/67/4安东尼奥6/57/4米兰达6/49/4腓迪南6/31/4阿隆佐5/40/4特林鸠罗4/39/4。
+语体风格诗体约占80散体约占20。
+创作年代1611年。1611年11月1日宫廷演出使用的部分素材于1610年秋季以前并未问世。
+取材来源主要剧情不知取自何处但暴风雨和岛屿的某些细节似乎来自威廉·斯特雷奇William Strachey所著《托马斯·盖茨爵士船难获救真实报导》A True Reportory of the Wreck and Redemption of Sir Thomas Gates, Knight写于1610年收入1625年出版的《珀切斯游记》[Purchas his Pilgrims]或许还有西尔韦斯特·乔丹Sylvester Jourdain的《百慕大发现记》A Discovery of the Bermudas, 1610年以及弗吉尼亚公司发行的小册子《弗吉尼亚殖民地资产真实报告》A True Declaration of the Estate of the Colony in Virginia1610年有几处提到维吉尔Virgil11的《埃涅阿斯纪》Aeneid与奥维德的《变形记》特别是在第五幕第一场模仿阿瑟·戈尔丁Arthur Golding1567年翻译奥维德第七卷内美狄亚的咒文贡柴罗在第二幕第一场关于“黄金时代”的说辞基于约翰·弗洛里奥John Florio1603年所译蒙田《论食人部族》一文两者十分接近。
+文本1623年的第一对开本是唯一早期印刷本。所据为国王剧团所雇专业誊录员拉尔夫·克兰的抄写本。总体说来��高质量的印刷本。
+乔纳森·贝特Jonathan Bate
+注释
+1 或因普洛斯彼罗舍不得爱丽儿。——译者附注
+2 柯尔律治1772—1834英国诗人、评论家。——译者附注
+3 阿格里帕1486—1535德国医生、神学家、神秘学家。——译者附注
+4 马洛1564—1593英国伊丽莎白时期剧作家、诗人。——译者附注
+5 卡尔达诺1501—1576意大利医生、数学家、占星术家。——译者附注
+6 曼诺尼1899—1989法国精神分析学家、作家。——译者附注
+7 法农1925—1961出生于法属加勒比海岛屿马提尼克岛精神分析学家、哲学家。——译者附注
+8 忒堤斯为古希腊神话中的女海神之名。——译者附注
+9 琼森1572—1637英国剧作家、诗人、评论家。——译者附注
+10 琼斯1573—1652英国画家、建筑师、设计师。——译者附注
+11 维吉尔前70—前19奥古斯都时代的古罗马诗人。——译者附注
+暴风雨
+普洛斯彼罗合法的米兰公爵
+米兰达普洛斯彼罗之女
+阿隆佐那不勒斯国王
+西巴斯辛阿隆佐之弟
+安东尼奥普洛斯彼罗之弟篡位的米兰公爵
+腓迪南那不勒斯国王之子
+贡柴罗忠诚的老枢密大臣
+阿德里安和弗兰西斯科两贵族
+特林鸠罗弄臣
+斯丹法诺酗酒的司膳官
+船长
+水手长
+众水手
+凯列班未驯化的畸形奴隶
+爱丽儿空气精灵
+场景无人的荒岛
+第一幕1
+第一场第一景
+海中一船
+雷电交加暴风雨声可闻。船长与水手长上
+船长 水手长
+水手长 在船长。有什么吩咐
+船长 好兄弟去跟水手们说动作要快不然咱会搁浅啦快赶快
+下
+众水手上
+水手长 嘿哥儿们加油加油哥儿们快点快点把中桅帆收一收。听船长的哨音。——尽管刮吧刮到你喘不过气也没关系只要船掉得过头来。
+对风暴
+阿隆佐、西巴斯辛、安东尼奥、腓迪南、贡柴罗及其他人上
+阿隆佐 好水手长留意点儿。船长在哪儿拿出男子气概来。
+水手长 各位请待在下头。
+安东尼奥 船长在哪儿啊水手长
+水手长 您没听见他吗您碍着我们的事啦。待在舱里你们这是在帮助暴风雨。
+贡柴罗 别那么说好兄弟耐心点。
+水手长 先得等大海有耐心。走开这些个大吼大叫的会理你什么国王吗去舱里闭嘴别烦我们。
+贡柴罗 好兄弟可要记得你船上载的是谁。
+水手长 没一个是我爱得超过我自个儿的。您是个大臣要是您能命令这些风雨不作声现在就平静那咱们就一根绳索都不管。施展您的权威吧。要是您办不到就感谢您活了这把年纪回舱里预备随时有什么不测——万一真有的话。——加油兄弟们——
+对众水手
+别挡了我们我说。
+对众大臣
+[阿隆佐、西巴斯辛、安东尼奥与腓迪南随水手长及众水手]下
+贡泽罗 这家伙让我非常安慰。我看他没有淹死的凶相他那张脸分明就该是被绞死的。2善良的命运之神哪千万要让他被绞死用他命中注定的绞绳作我们的定锚缆索吧因为我们自己的不管用了。他若不是注定该被绞死的我们的处境就悲惨啰。
+下
+水手长上
+水手长 放低中桅快再低再低尽量把船固定住。幕内一声呼喊混蛋叫成这样他们比这天气、比咱们发号施令还大声。
+西巴斯辛、安东尼奥与贡柴罗上
+又来啦你们来干吗的想叫我们放弃、淹死你们想要沉船哪
+西巴斯辛 我咒你喉咙长脓包你这个大吼大叫、亵渎神明、没有慈悲心肠的狗
+水手长 那你们来干。
+安东尼奥 绞死你狗东西绞死你婊子养的无耻大嗓门我们才没有你那么怕被淹死呢。
+贡柴罗 我敢担保他不会淹死就算这条船比个坚果的壳儿还小而且比流个不停的3女人漏得还凶。
+水手长 顶住风顶住风两张帆都升起来再出海升起来
+众水手浑身湿透上
+众水手 完蛋了快祷告祷告完蛋了
+水手长 什么我们都得淹死
+贡柴罗 王上和王子在祷告。咱们去助祷我们情况一样。
+西巴斯辛 我没耐性了。
+安东尼奥 我们根本是被酒鬼害了命。这个大嘴巴的无赖你淹死算了还让潮水冲刷十遍
+贡柴罗 他还是会被绞死的
+尽管每一滴海水都赌誓不会
+而且张着大口要吞他。
+水手长及众水手下
+幕内喧闹声
+[后台人声] 可怜我们吧——船裂了船裂了——别了我的妻儿——别了兄弟——船裂了船裂了船裂了
+安东尼奥 咱们跟王上一起沉了吧。
+西巴斯辛 咱们去向他道别。
+[安东尼奥与西巴斯辛]下
+贡柴罗 这时我情愿用千顷波涛去换一亩荒地长长的灌木、棕色的荆豆什么都行。愿上天的旨意成就但我情愿死在旱地。
+下
+第二场第二景
+本剧以下场景都在普洛斯彼罗的海岛的各处
+普洛斯彼罗4与米兰达5上
+米兰达 至爱的父亲您若是借了法术
+使这狂涛咆哮请平息它们。
+上天好像要倾倒恶臭的沥青
+亏得大海上升到苍��的脸颊
+熄灭了天火6。看到他们受苦我
+一同受苦。美轮美奂的一艘船——
+上面想必载着高贵的人物——
+都撞成了碎片。啊那喊叫声打在
+我的心坎上。那些可怜人都完了。
+假如我是个有权能的神我会
+先把大海沉入地下不让它
+如此吞灭这艘美好的船还有
+船里的人。
+普洛斯彼罗 安心吧
+不必再害怕。告诉你怜悯的心肠
+并没有造成损伤。
+米兰达 啊可怜哪
+普洛斯彼罗 没事。
+我所做的没有不是为了你——
+为了你我亲爱的你我女儿——你
+不明白你的身份根本不知道
+我的来历也不知道我的高贵
+超过普洛斯彼罗一个破洞窟的主人
+不过尔尔的你的父亲。
+米兰达 我从来没有
+想过要知道得更详细。
+普洛斯彼罗 时候已到
+我该多告诉你一些。帮我
+脱下我这件魔法斗篷。这样
+放下魔法斗篷
+躺好了我的魔法。你擦擦眼睛放心。
+那船难的恐怖景象触动了
+你内心至情至性的哀矜
+但我在我法术之中早已预作
+安排不叫船上任何人——
+对甚至任何生物——有
+一根毛发受到损伤尽管你
+听到哀嚎看见船沉。坐下吧
+米兰达坐下
+因为现在你必须多了解一些。
+米兰达 您常常
+要跟我讲我的身份却欲言又止
+我想追问终是徒然因您
+最后总说“慢着时机未到。”
+普洛斯彼罗 现在时机已到
+就在此刻你要张开耳朵
+听话要专心。你可记得
+我们来到这洞窟之前的时候
+我想你不能因为你那时还
+不满三岁。
+米兰达 我当然能够大人。
+普洛斯彼罗 记得什么呢有别的房屋或人吗
+告诉我有什么东西的形象
+还保存在你的记忆里。
+米兰达 很久远了
+我记得的比较像是一场梦
+不能保证准确无误。我不是
+曾经有四五个女人照顾吗
+普洛斯彼罗 你有还更多呢米兰达。可是这
+怎么还会留在你心中在时间黑暗的
+过去和深渊中你还看到什么
+你既然记得来此以前的事
+或许也记得你是怎么来的。
+米兰达 那我倒记不得了。
+普洛斯彼罗 十二年了米兰达十二年了
+你父亲原是米兰公爵一个
+大权在握的亲王。
+米兰达 大人您不是我父亲
+普洛斯彼罗 你母亲是美德的典范而
+她说你是我的女儿你父亲
+是米兰公爵他唯一的继承人
+公主也同样出身高贵。
+米兰达 啊天哪
+是什么卑鄙算计害我们流落至此
+还是说该算幸运呢
+普洛斯彼罗 都是都是孩子。
+就如你说的我们被卑鄙算计抛弃
+但幸运地获救于此。
+米兰达 啊我的心会淌血
+要是想到我给您添的麻烦
+但现在都不记得了。您请说下去。
+普洛斯彼罗 我弟弟就是你叔父叫安东尼奥的——
+我请你听好了——做兄弟的竟然
+会这样背信——世界上除了你以外
+他是我的最爱还托付他
+管理我邦的政务那时候啊
+所有城邦中要数米兰第一
+而普洛斯彼罗是至尊公爵享有如此
+殊荣说到人文素养7
+无人能比。我既一心一意钻研
+便把政务交给弟弟
+对我邦大事愈发生疏因为全神
+贯注于玄秘研究。你那虚伪的叔父——
+你在听吗

data/test-dual.txt

@@ -0,0 +1,205 @@
+
+国际
+中
+双语
+英
+2021年，我们在现场：本年度最受欢迎的14篇通讯
+In 2021, We Were There: The Year’s 14 Most Popular Dispatches
+BRYANT ROUSSEAU
+2021年12月31日
+
+HANNAH REYES MORALES FOR THE NEW YORK TIMES
+As the world reopened cautiously in 2021, our correspondents seized the chance to venture out in search of stories that would astonish, delight, provoke and enlighten. We went from the heights of a Himalayan ski slope to the ocean depths off the Philippines where amiable giants dive, and from a rugged island where a whistling language is still used to an Italian atelier where robots carve the sculptures.
+随着2021年世界谨慎地重新开放，我们的记者抓住机会，探索了那些充满惊奇、愉悦、刺激和启迪的故事。我们从喜马拉雅滑雪场的高处来到潜伏着温和巨兽的菲律宾海底；从一个仍以口哨为语言的崎岖岛屿出发，来到一个由机器人完成雕刻的意大利工作室。
+If the pandemic often kept our reporters confined to urban settings in 2020, this year afforded them the chance to explore deep into the countryside. We observed a (bogus) diamond rush in rural South Africa and accompanied Indigenous hunters in Taiwan. We trekked to Canada’s beaver dams, swam in a contested stream in northern Israel and returned home to a Tuscan village sliding back in time.
+如果说2020年的疫情让记者困在城市环境中，今年他们则得到了深入探索乡村地区的机会。我们在南非农村看到了一场（虚假的）钻石热，并与台湾的原住民猎手同行。我们徒步至加拿大的河狸坝，在以色列北部一条存在争端的河流中畅游，并回到了让时光倒流的托斯卡纳村庄。
+Many dispatches arrived from places difficult to access even in the best of times, from ancient ruins in Syria now housing the desperate and displaced to an island off New Guinea full of war relics and human remains. We also made it to Babylon, Suriname, Kaliningrad, Saudi Arabia, Albania and “Trump Lake” in Kosovo.
+许多外派报道发自即使在最好的时代也难以到达的地方，从如今住着绝望和无家可归者的叙利亚古老废墟，到新几内亚附近一个满是战争遗迹和人类遗骸的岛上。我们还去到了巴比伦、苏里南、加里宁格勒、沙特阿拉伯、阿尔巴尼亚以及科索沃的“特朗普湖”。
+Cities demanded attention, too: We put Cairo’s glorious and glitchy elevators (and its Tahrir Square) in the spotlight, along with the giant murals transforming São Paulo into an open-air art gallery. Our stories stretched from an empty Louvre to Rio’s dive bars to Hong Kong’s newly crowded nature spots. Kolkata merited two dispatches: on its fairy tale trams and its cafes, where it’s all about the conversation.
+城市也需要我们的关注：我们聚焦了开罗华丽又故障不断的电梯（以及那里的解放广场），还有将圣保罗变成露天艺术画廊的巨幅壁画。我们的故事从空荡荡的卢浮宫延伸到里约热内卢的廉价酒吧，再到香港近来人满为患的自然景点。加尔各答值得两篇报道：关于其童话般的有轨电车，还有咖啡馆，那是一切交谈发生的地方。
+While travel was a little easier, the coronavirus still gripped the globe. Our dispatches revealed how the world was adapting, from England, where people were moving onto canalboats, to a shuttered Paris, where France’s bureaucracy was in overdrive. We shared our experiences at a quarantine camp in Australia and at a mostly empty Taj Mahal. In Mexico, we spent time with the country’s suffering piñata makers and at its unexpectedly upbeat vaccination centers.
+虽然旅行变得容易一些了，但新冠病毒的阴影依然笼罩全球。我们的报道揭示了世界如何适应这种情况，从人们移居运河船上的英格兰，到封锁的巴黎，那里的法国官僚机构已不堪重负。我们分享了身处澳大利亚的隔离点和几乎空无一人的泰姬陵是何种体验。在墨西哥，我们花时间走访了这个国家苦难深重的皮纳塔制作者和乐观到出乎意料的疫苗接种中心。
+The year’s biggest news stories also led to memorable and moving dispatches, from the hometown of Haiti’s slain president to a border region in Turkey re-energized by Syrian refugees. In Afghanistan, our reporters were there to witness the fighting on the front lines and the final withdrawal of U.S. troops.
+从被杀害的海地总统的故乡，到因叙利亚难民而恢复活力的土耳其边境，这一年的重大新闻催生了难忘而感人的报道。在阿富汗，我们的记者见证了前线的战斗和美军的最后撤离。
+Here are the 14 dispatches most popular with readers in 2021:
+以下就是2021年最受读者欢迎的14篇文章：
+4月，东德里为新冠病人设立的火葬场。
+4月，东德里为新冠病人设立的火葬场。 ATUL LOKE FOR THE NEW YORK TIMES
+‘This Is a Catastrophe.’ In India, Illness Is Everywhere.
+“这是谋杀。”在印度，疾病无处不在。
+As India in April suffered the world’s worst coronavirus crisis, our correspondent described the fear of living amid a disease spreading at such scale and speed: “Crematories are so full of bodies, it’s as if a war just happened. Fires burn around the clock. Many places are holding mass cremations, dozens at a time, and at night, in certain areas of New Delhi, the sky glows.”
+4月，印度遭遇了世界上最严重的新冠危机，我们的记者描述了生活在一种以如此规模和速度传播的疾病中的恐惧：“火葬场堆满了尸体，就好像刚发生过一场战争。大火不分昼夜地燃烧着。许多地方进行一次几十具尸体的集体火化。到了夜晚，在新德里的某些地方，火光冲天。”
+— By Jeffrey Gettleman, photographs by Atul Loke
+——撰文：Jeffrey Gettleman，摄影：Atul Loke
+在阿富汗拉格曼省的塔利班“红队”成员。他们所穿的运动鞋成为了暴力的代名词。
+在阿富汗拉格曼省的塔利班“红队”成员。他们所穿的运动鞋成为了暴力的代名词。 JIM HUYLEBROEK FOR THE NEW YORK TIMES
+In Afghanistan, Follow the White High-Tops and You’ll Find the Taliban
+在阿富汗，跟随白色高帮运动鞋就能找到塔利班
+For many Afghans, unassuming white high-top sneakers with green-and-yellow trim evoke only one emotion: fear. That’s because they’re beloved by Taliban fighters as a status symbol, and the shoes have become synonymous with violence.
+对许多阿富汗人来说，带有黄绿装饰色的白色高帮运动鞋只会唤起一种情绪：恐惧。这是因为，作为身份的象征，这种鞋子受到了塔利班武装分子的喜爱，成为了暴力的代名词。
+— By Thomas Gibbons-Neff and Fahim Abed; photographs by Jim Huylebroek
+——撰文：Thomas Gibbons-Neff和Fahim Abed，摄影：Jim Huylebroek
+9月，巴黎里沃利街与塞瓦斯托波尔大道交汇处的晚高峰。
+9月，巴黎里沃利街与塞瓦斯托波尔大道交汇处的晚高峰。 DMITRY KOSTYUKOV FOR THE NEW YORK TIMES
+As Bikers Throng the Streets, ‘It’s Like Paris Is in Anarchy’
+骑行者挤满大街，“巴黎仿佛进入无序状态”
+An ecologically minded experiment to make Paris a cycling capital has led to a million people now pedaling daily — and to rising tensions with pedestrians. “It’s chaos!” exclaimed Sarah Famery, a 20-year resident of the Marais neighborhood, shaking a fist at a swarm of bikes. “It’s becoming risky just to cross the street!”
+为了让巴黎成为骑行之都，一场具有生态意识的实验导致每天上百万人骑车上街——加剧了骑行者与行人的紧张关系。“全乱套了！”在玛莱区住了20年的莎拉·法默里叫嚷道，并冲着一堆自行车挥舞拳头。“连过马路都变得危险了！”
+— By Liz Alderman; photographs by Dmitry Kostyukov
+——撰文：Liz Alderman，摄影：Dmitry Kostyukov
+意大利蒙法尔科内港，一些前往威尼斯的游船停靠在了这里。
+意大利蒙法尔科内港，一些前往威尼斯的游船停靠在了这里。 GIULIA MARCHI FOR THE NEW YORK TIMES
+Looking for St. Mark’s Square? You May Find Yourself in a Shipyard Instead.
+寻找圣马可广场？你也许会发现自己到了一家造船厂
+On the weekend that Venice’s ban on cruise ships took effect, some tourists were surprised to be docked hours away from the city’s famous sights. “It’s not exactly as charming as Venice,” said the honeymooning Vittoria Comparone, as she looked out from her ships’ cabin — not over St. Mark’s Square, but at towering cranes.
+在威尼斯游船禁令生效后的周末，一些游客停靠在了距离著名景点还有几小时行程的地方，这让他们惊讶无比。“这可不像威尼斯那样迷人，”正在度蜜月的维多利亚·康帕龙说，她从船舱里向外看——看到的并不是圣马可广场，而是高耸的起重机吊臂。
+— By Jason Horowitz; photographs by Giulia Marchi
+——撰文：Jason Horowitz，摄影：Giulia Marchi
+21岁的克里斯蒂娜·伯宁抱着她的奶牛艾莉，身边是她的姊妹席琳和米歇尔。
+21岁的克里斯蒂娜·伯宁抱着她的奶牛艾莉，身边是她的姊妹席琳和米歇尔。 LENA MUCHA FOR THE NEW YORK TIMES
+On This German Farm, Cows Are in Charge. Or at Least Coequals.
+在这家德国农场，奶牛当家。或者至少跟当家平起平坐
+The cows don’t have to produce milk. The pigs sleep late. Their only purpose is to live peacefully — and provoke questions about how we eat. “We need to think about how we can live differently, and we need to leave animals in peace,” said Karin Mück who helps run an ex-dairy farm in Germany turned into an animal retirement home.
+奶牛不需要产奶。猪睡懒觉。它们存在的唯一目的就是过自己的安静日子——并引发关于人类饮食方式的疑问。“我们需要思考如何以不同的方式生活，我们需要��动物一片清净的空间，”卡琳·穆克说，她在德国帮忙经营着一家由奶牛农场改造而成的动物养老院。
+— By Melissa Eddy; photographs by Lena Mucha
+——撰文：Melissa Eddy；摄影：Lena Mucha
+在被塔利班占领前不久，阿富汗喀布尔市中心的一名果汁小贩。
+在被塔利班占领前不久，阿富汗喀布尔市中心的一名果汁小贩。 MUJIB MASHAL/THE NEW YORK TIMES
+A Journey Through Kabul on the Day of the Fall
+告别曾经的喀布尔，告别一个希望的时代
+A Times correspondent who grew up in the Afghan capital returned just before the Taliban’s victory, taking in the end of one era and the fearful start of another: “In the hours before the Taliban walked into Kabul, and the two-decade quest to build a democratic Afghanistan tumbled into fear and uncertainty, I left my parents’ home to take a bus around the city. This was not a reporting outing. It was personal.”
+一位在阿富汗首都长大的时报记者在塔利班获胜前回到喀布尔，感受了一个时代的结束和另一个时代充满恐惧的开始：“在塔利班进入喀布尔、让20年来建设民主阿富汗的征途陷入恐惧和不安之前的几个小时，我走出父母家门，乘公交在这座城市兜圈。这不是外出报道。这是为了我自己。”
+— By Mujib Mashal; photographs by Mr. Mashal and Jim Huylebroek
+——撰文：Mujib Mashal；照片：Mashal Mashal和Jim Huylebroek
+海啸发生一个月后的气仙废墟，一户人家后院里脏兮兮的夹克衫。
+海啸发生一个月后的气仙废墟，一户人家后院里脏兮兮的夹克衫。 HIROKO MASUIKE/THE NEW YORK TIMES
+A 1,000-Year-Old Japanese Village, Erased
+具有千年历史的日本村庄消亡
+The earthquake and tsunami of March 11, 2011, wiped away the ancient Japanese village of Kesen. In the past decade, a small group of survivors has valiantly tried to rebuild the community, but a grim reality has set in: This emptiness will likely last forever.
+2011年3月11日的地震和海啸摧毁了日本古老的村庄气仙。过去10年里，一小群勇敢的幸存者试图重建社区，但一个严峻的现实出现了：这种空空荡荡可能会永远持续下去。
+— Photographs by Hiroko Masuike; written by Russell Goldman
+——照片：Hiroko Masuike；撰文：Russell Goldman
+游客在俄罗斯西伯利亚贝加尔湖的干净冰面上拍照。
+游客在俄罗斯西伯利亚贝加尔湖的干净冰面上拍照。
+For Russians in a Pandemic, Lake Baikal Is the Place to See and Be Seen
+没了外国游客，贝加尔湖迎来“俄罗斯季”
+With borders closed because of the pandemic, crowds of Russian tourists have traded tropical beaches for Lake Baikal’s icicle-draped shores. What’s the appeal, especially when the temperature is subzero? “The assault on the senses is otherworldly,” writes our correspondent. “The silence around you is interrupted every few seconds by the cracking underneath — groans, bangs and weird, techno-music twangs. Look down, and the imperfections of the glass-clear ice emerge as pale, shimmering curtains.”
+边境因疫情而关闭，大批俄罗斯游客将旅游目的地从热带海滩换成贝加尔湖冰柱覆盖的湖岸。是什么吸引着他们，尤其是当温度低于零度时？“感官会受到异乎寻常的冲击，”我们的记者写道。“每隔几秒钟，你周围的沉静就会被下面的裂缝打断——低吟声、砰砰声和怪异的类似电子乐拨弦的声音。往下看，玻璃般透明冰面的瑕疵像是闪闪发光的浅色窗帘。”
+— By Anton Troianovski; photographs by Sergey Ponomarev
+——撰文：Anton Troianovski；照片：Sergey Ponomarev
+以色列海法，一头野猪过马路。以色列于2019年禁止射杀这种动物。
+以色列海法，一头野猪过马路。以色列于2019年禁止射杀这种动物。 DAN BALILTY FOR THE NEW YORK TIMES
+Where Boars Hog the Streets
+野猪占领街道
+Groups of boars have become an unavoidable presence in Haifa, Israel, charming some while scaring others. “It became like an everyday thing,” said a chef who lets his dog play with the boars that putter around city parks. Bumping into one is “like seeing a squirrel.”
+在以色列海法，成群结队的野猪已经成为不可避免的存在，一些人觉得有趣而另一些人感到害怕。“这已经变得像一种生活常态，”一位厨师说，他让他的狗和在城市公园游走的野猪玩耍。碰上一头野猪“就像看到一只松鼠”般平常。
+— By Patrick Kingsley; photographs by Dan Balilty
+——撰文：Patrick Kingsley；照片：Dan Balilty
+乔·加拉格尔在爱尔兰奥法利郡的普洛为一名男子进行“偏方治疗”。
+乔·加拉格尔在爱尔兰奥法利郡的普洛为一名男子进行“偏方治疗”。 PAULO NUNES DOS SANTOS FOR THE NEW YORK TIMES
+Secret Charms and 7th Sons: ‘The Cure’ Is Alive and Well in Ireland
+神秘咒语和第七个儿子：在爱尔兰，“偏方”大行��道
+Belief in the benefits of the cure, a type of folk medicine that interweaves home remedies with superstition, religion and a sprinkle of magic is still a way of life in pockets of Ireland. “That we don’t believe in miracles doesn’t mean we don’t hope for them,” a professor of Irish folklore said.
+一种民间医学将家庭药剂与迷信、宗教和魔法交织在一起，在爱尔兰一些地区，对这种偏方的笃信仍然是一种生活方式。“我们不相信奇迹，并不意味着我们不希望有奇迹，”爱尔兰民俗学教授说。
+— By Megan Specia; photographs by Paulo Nunes dos Santos
+——撰文：Megan Specia；照片：Paulo Nunes dos Santos
+黄昏时刻，一组研究人员捕捉从考冲帕兰洞穴飞出的蝙蝠。
+黄昏时刻，一组研究人员捕捉从考冲帕兰洞穴飞出的蝙蝠。 ADAM DEAN FOR THE NEW YORK TIMES
+Thai Caves Attract Millions of Bats (and Now Scientists Too)
+泰国洞穴吸引了数百万只蝙蝠（现在也引来了科学家）
+A cave complex at a temple in Thailand has long drawn tourists, pilgrims and guano collectors. Now, scientists have arrived, looking for links to the coronavirus. “I’m worried that one day bats will only be a legend here,” said a monk at a nearby temple. “If we lose our bats, we lose what makes us special.”
+泰国一座寺庙的洞穴群长期以来一直吸引着游客、朝圣者和鸟粪收集者。现在，科学家们来到这里寻找与新冠病毒相关的线索。“我担心有一天我们只剩下蝙蝠的传说，”附近寺庙的一位僧人说。“如果我们失去了蝙蝠，我们就会失去让我们与众不同的东西。”
+— By Hannah Beech; photographs by Adam Dean
+——撰文：Hannah Beech；照片：Adam Dean
+艺术家艾琳·加西亚-伊内斯和旅店老板耶稣·哈托与他们的驴子奥斯卡一起在圣地亚哥朝圣之路上。
+艺术家艾琳·加西亚-伊内斯和旅店老板耶稣·哈托与他们的驴子奥斯卡一起在圣地亚哥朝圣之路上。 SAMUEL ARANDA FOR THE NEW YORK TIMES
+On Spain’s Camino de Santiago, Even Óscar the Donkey Is a Pilgrim
+在西班牙圣地亚哥朝圣之路上，就连驴子奥斯卡也是一位朝圣者
+An artist and an innkeeper have enlisted the help of a burro in their effort to rescue the traditions of Spain’s ancient pilgrimage route from mass tourism (and selfies). “Losing these traditions, it’s like what if we lost the pyramids?” said one of the pilgrims. “We put a lot of value on monuments, but less on the small things.”
+一位艺术家和一位旅店老板希望通过驴子的帮助，将西班牙古老的朝圣路线传统从大众旅游（和自拍）中解救出来。“失去这些传统，就好像说，如果我们失去了金字塔怎么办？”一位朝圣者说。“我们非常重视纪念碑，但不够重视这些小事。”
+— By Nicholas Casey; photographs by Samuel Aranda
+——撰文：Nicholas Casey；照片：Samuel Aranda
+在卢旺达基加利的一家牛奶吧。
+在卢旺达基加利的一家牛奶吧。 JACQUES NKINZINGABO FOR THE NEW YORK TIMES
+At Rwanda’s Favorite Bars, Forget the Beer: Milk Is What’s on Tap
+在卢旺达最受欢迎的酒吧，不点啤酒：来杯牛奶
+Milk is a favorite drink in Rwanda, and milk bars serve it up in abundance, fresh or fermented, hot or cold. “When you drink milk, you always have your head straight and your ideas right,” a patron said.
+牛奶是卢旺达最受欢迎的饮品，牛奶吧供应大量新鲜或发酵、热或冷的牛奶。“当你喝牛奶时，你总是头脑清醒，想得明白，”一位顾客说。
+— By Abdi Latif Dahir; photographs by Jacques Nkinzingabo
+——撰文：Abdi Latif Dahir；照片：Jacques Nkinzingabo
+78岁的全宋子、77岁的洪锡顺和85岁的罗正顺。她们乘坐的出租车只需要花非常少的钱。
+78岁的全宋子、77岁的洪锡顺和85岁的罗正顺。她们乘坐的出租车只需要花非常少的钱。 JEAN CHUNG FOR THE NEW YORK TIMES
+‘It’s a Godsend’: 9-Cent Taxi Rides in Rural South Korea
+“天上掉下来的好事”：改变韩国农村的“百元出租车”
+One county’s plan to help older, carless citizens stuck in remote villages proved wildly popular and has been copied across South Korea, revolutionizing public transportation in the countryside. “I probably know more about these old folks than anyone else because I drive them two or three times a week,” said one of the a 100-won (9 cent) taxi drivers.
+在韩国的偏远村庄，无车老人难以出行，一个郡政府为此提供的帮助计划广受欢迎，并复制到韩国各地，彻底改变了农村的公共交通。“我可能比别人更了解这些老人，因为我每星期都要载他们两三次，”一位百元出租车司机说。
+— By Sang-Hun Choe; photographs by Jean Chung
+——撰文：Sang-Hun Choe；照片：Jean Chung
+翻译：纽约时报中文网
+
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data/test_en.txt

@@ -0,0 +1,69 @@
+Wuthering Heights
+
+
+--------------------------------------------------------------------------------
+
+Chapter 2
+
+ Chinese
+
+
+Yesterday afternoon set in misty and cold. I had half a mind to spend it by my study fire, instead of wading through heath and mud to Wuthering Heights. On coming up from dinner, however (N.B. I dine between twelve and one o'clock; the housekeeper, a matronly lady, taken as a fixture along with the house, could not, or would not, comprehend my request that I might be served at five), on mounting the stairs with this lazy intention, and stepping into the room, I saw a servant girl on her knees surrounded by brushes and coal-scuttles, and raising an infernal dust as she extinguished the flames with heaps of cinders. This spectacle drove me back immediately; I took my hat, and, after a four-miles' walk, arrived at Heathcliff's garden gate just in time to escape the first feathery flakes of a snow shower.
+
+On that bleak hill top the earth was hard with a black frost, and the air made me shiver through every limb. Being unable to remove the chain, I jumped over, and, running up the flagged causeway bordered with straggling gooseberry bushes, knocked vainly for admittance, till my knuckles tingled and the dogs howled.
+
+`Wretched inmates!' I ejaculated mentally, `you deserve perpetual isolation from your species for your churlish inhospitality. At least, I would not keep my doors barred in the day time. I don't care--I will get in!' So resolved, I grasped the latch and shook it vehemently. Vinegar-faced Joseph projected his head from a round window of the barn.
+
+`Whet are ye for?' he shouted. `T' maister's dahn i' t' fowld. Go rahnd by th' end ut' laith, if yah went tuh spake tull him.'
+
+`Is there nobody inside to open the door?' I hallooed, responsively.
+
+`They's nobbut t' missis; and shoo'll nut oppen't an ye mak yer flaysome dins till neeght.'
+
+`Why? Cannot you tell her who I am, eh, Joseph?'
+
+`Nor-ne me! Aw'll hae noa hend wi't,' muttered the head, vanishing.
+
+The snow began to drive thickly. I seized the handle to essay another trial; when a young man without coat, and shouldering a pitchfork, appeared in the yard behind. He hailed me to follow him, and, after marching through a wash-house, and a paved area containing a coal shed, pump, and pigeon cot, we at length arrived in the huge, warm, cheerful apartment, where I was formerly received. It glowed delightfully in the radiance of an immense fire, compounded of coal, peat, and wood; and near the table, laid for a plentiful evening meal, I was pleased to observe the `missis', an individual whose existence I had never previously suspected. I bowed and waited, thinking she would bid me take a seat. She looked at me, leaning back in her chair, and remained motionless and mute.
+
+`Rough weather!' I remarked. `I'm afraid, Mrs Heathcliff, the door must bear the consequence of your servants' leisure attendance: I had hard work to make them hear me.'
+
+She never opened her mouth. I stared--she stared also: at any rate, she kept her eyes on me in a cool, regardless manner, exceedingly embarrassing and disagreeable.
+
+`Sit down,' said the young man gruffly. `He'll be in soon.'
+
+I obeyed; and hemmed, and called the villain Juno, who deigned, at this second interview, to move the extreme tip of her tail, in token of owning my acquaintance.
+
+`A beautiful animal!' I commenced again. `Do you intend parting with the little ones, madam?'
+
+`They are not mine,' said the amiable hostess, more repellingly than Heathcliff himself could have replied.
+
+`Ah, your favourites are among these?' I continued, turning to an obscure cushion full of something like cats.
+
+`A strange choice of favourites!' she observed scornfully.
+
+Unluckily, it was a heap of dead rabbits. I hemmed once more, and drew closer to the hearth, repeating my comment on the wildness of the evening.
+
+`You should not have come out,' she said, rising and reaching from the chimney-piece two of the painted canisters.
+
+Her position before was sheltered from the light; now, I had a distinct view of her whole figure and countenance. She was slender, and apparently scarcely past girlhood: an admirable form, and the most exquisite little face that I have ever had the pleasure of beholding; small features, very fair; flaxen ringlets, or rather golden, hanging loose on her delicate neck; and eyes, had they been agreeable in expression, they would have been irresistible: fortunately for my susceptible heart, the only sentiment they evinced hovered between scorn, and a kind of desperation, singularly unnatural to be detected there. The canisters were almost out of her reach; I made a motion to aid her; she turned upon me as a miser might turn if anyone attempted to assist him in counting his gold.
+
+`I don't want your help,' she snapped; `I can get them for myself.'
+
+`I beg your pardon!' I hastened to reply.
+
+`Were you asked to tea?' she demanded, tying an apron over her neat black frock, and standing with a spoonful of the leaf poised over the pot.
+
+`I shall be glad to have a cup,' I answered.
+
+`Were you asked?' she repeated.
+
+`No,' I said, half smiling. `You are the proper person to ask me.'
+　
+
+
+Contents PreviousChapter
+ NextChapter
+
+
+Homepage

data/test_zh.txt

@@ -0,0 +1,74 @@
+呼啸山庄
+
+--------------------------------------------------------------------------------
+
+第二章
+
+ 英文
+
+
+昨天下午又冷又有雾。我想就在书房炉边消磨一下午，不想踩着杂草污泥到呼啸山庄了。
+
+但是，吃过午饭（注意——我在十二点与一点钟之间吃午饭，而可以当作这所房子的附属物的管家婆，一位慈祥的太太却不能，或者并不愿理解我请求在五点钟开饭的用意），在我怀着这个懒惰的想法上了楼，迈进屋子的时候，看见一个女仆跪在地上，身边是扫帚和煤斗。她正在用一堆堆煤渣封火，搞起一片弥漫的灰尘。这景象立刻把我赶回头了。我拿了帽子，走了四里路，到达了希刺克厉夫的花园口口，刚好躲过了一场今年初降的鹅毛大雪。
+
+在那荒凉的山顶上，土地由于结了一层黑冰而冻得坚硬，冷空气使我四肢发抖。我弄不开门链，就跳进去，顺着两边种着蔓延的醋栗树丛的石路跑去。我白白地敲了半天门，一直敲到我的手指骨都痛了，狗也狂吠起来。
+
+“倒霉的人家！”我心里直叫，“只为你这样无礼待客，就该一辈子跟人群隔离。我至少还不会在白天把门闩住。我才不管呢——我要进去！”如此决定了。我就抓住门闩，使劲摇它。苦脸的约瑟夫从谷仓的一个圆窗里探出头来。
+
+“你干吗？”他大叫。“主人在牛栏里，你要是找他说话，就从这条路口绕过去。”
+
+“屋里没人开门吗？”我也叫起来。
+
+“除了太太没有别人。你就是闹腾到夜里，她也不会开。”
+
+“为什么？你就不能告诉她我是谁吗，呃，约瑟夫？”
+
+“别找我！我才不管这些闲事呢，”这个脑袋咕噜着，又不见了。
+
+雪开始下大了。我握住门柄又试一回。这时一个没穿外衣的年轻人，扛着一根草耙，在后面院子里出现了。他招呼我跟着他走，穿过了一个洗衣房和一片铺平的地，那儿有煤棚、抽水机和鸽笼，我们终于到了我上次被接待过的那间温暖的、热闹的大屋子。煤、炭和木材混合在一起燃起的熊熊炉火，使这屋子放着光彩。在准备摆上丰盛晚餐的桌旁，我很高兴地看到了那位“太太”，以前我从未料想到会有这么一个人存在的。我鞠躬等候，以为她会叫我坐下。她望望我，往她的椅背一靠，不动，也不出声。
+
+“天气真坏！”我说，“希刺克厉夫太太，恐怕大门因为您的仆人偷懒而大吃苦头，我费了好大劲才使他们听见我敲门！”
+
+她死不开口。我瞪眼——她也瞪眼。反正她总是以一种冷冷的、漠不关心的神气盯住我，使人十分窘，而且不愉快。
+
+“坐下吧，”那年轻人粗声粗气地说，“他就要来了。”
+
+我服从了；轻轻咳了一下，叫唤那恶狗朱诺。临到第二次会面，它总算赏脸，摇起尾巴尖，表示认我是熟人了。
+
+“好漂亮的狗！”我又开始说话。“您是不是打算不要这些小的呢，夫人？”
+
+“那些不是我的，”这可爱可亲的女主人说，比希刺克厉夫本人所能回答的腔调还要更冷淡些。
+
+“啊，您所心爱的是在这一堆里啦！”我转身指着一个看不清楚的靠垫上那一堆像猫似的东西，接着说下去。
+
+“谁会爱这些东西那才怪呢！”她轻蔑地说。
+
+倒霉，原来那是堆死兔子。我又轻咳一声，向火炉凑近些，又把今晚天气不好的话评论一通。
+
+“你本来就不该出来。”她说，站起来去拿壁炉台上的两个彩色茶叶罐。
+
+她原先坐在光线被遮住的地方，现在我把她的全身和面貌都看得清清楚楚。她苗条，显然还没有过青春期。挺好看的体态，还有一张我生平从未有幸见过的绝妙的小脸蛋。五官纤丽，非常漂亮。淡黄色的卷发，或者不如说是金黄色的，松松地垂在她那细嫩的颈上。至于眼睛，要是眼神能显得和悦些，就要使人无法抗拒了。对我这容易动情的心说来倒是常事，因为它们所表现的只是在轻蔑与近似绝望之间的一种情绪，而在那张脸上看见那样的眼神是特别不自然的。
+
+她简直够不到茶叶罐。我动了一动，想帮她一下。她猛地扭转身向我，像守财奴看见别人打算帮他数他的金子一样。
+
+“我不要你帮忙，”她怒气冲冲地说，“我自己拿得到。”
+
+“对不起！”我连忙回答。
+
+“是请你来吃茶的吗？”她问，把一条围裙系在她那干净的黑衣服上，就这样站着，拿一匙茶叶正要往茶壶里倒。
+
+“我很想喝杯茶。”我回答。
+
+“是请你来的吗？”她又问。
+
+“没有，”我说，勉强笑一笑。“您正好请我喝茶。”
+
+　
+
+
+目录
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+
+
+返回首页

data/xiyouji-ch1-de.txt

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+Wu Ch’êng-ên
+
+Monkeys Pilgerfahrt
+
+Hugendubel
+
+
+
+
+
+Nach der englischen Übersetzung von Arthur Waley übertragen von Georgette Boner und Maria Nils.
+
+1980 © der deutschen Ausgabe Heinrich Hugendubel Verlag, München, Titel der Originalausgabe MONKEY © George Allen & Unwin Ltd. London
+
+Alle Rechte vorbehalten
+
+Umschlaggestaltung: Dieter Bonhorst, mit einer Illustration von Maja Weber
+
+Druck und Bindung: May & Co., Darmstadt
+
+ISBN 3 88034 9
+
+Printed in Germany
+
+
+
+* * *
+
+
+
+Die Rechtschreibung und Interpunktion der Originalausgabe sind unverändert. Offensichtliche Fehler wurden stillschweigend korrigiert.
+
+
+
+
+
+Inhalt
+
+
+Vorwort zur englischen Ausgabe von Arthur Waley
+
+1. Kapitel: Die Geburt des magischen Affen Monkey
+
+2. Kapitel: Monkey’s Lehrjahre beim Patriarchen
+
+3. Kapitel: Die Waffen des Drachenkönigs; Monkey streicht seinen Namen aus der Liste Yamas, des Königs der Toten und erregt den Zorn des Jade-Kaisers
+
+4. Kapitel: Monkey erhält den Posten eines Pferdeknechts im Himmel und kehrt wegen dieser Beleidigung schnellstens auf die Erde zurück
+
+5. Kapitel: ›Der Große Weise Himmelsebenbürtige‹
+
+6. Kapitel: Der Zauberer Erh-lang und Lao-tsu nehmen Monkey gefangen
+
+7. Kapitel: Monkey verliert eine Wette gegen Buddha
+
+8. Kapitel: Ein Bote für die Heiligen Schriften
+
+9. Kapitel: Die Gesetze des Karma
+
+10. Kapitel: Ein gebrochenes Versprechen
+
+11. Kapitel: Der Kaiser vor dem Totengericht
+
+12. Kapitel: Tripitaka erhält den Auftrag, die Heiligen Schriften aus Indien zu holen
+
+13. Kapitel: Der Tod von Tripitakas Reisegefährten
+
+14. Kapitel: Tripitaka hebt den Bann von Monkey auf und macht ihn zu seinem Reisegefährten
+
+15. Kapitel: Monkeys Kampf mit dem verwunschenen Drachen
+
+16. Kapitel: Monkey vertreibt einen ›Unhold‹
+
+17. Kapitel: Der ›Unhold‹ Pigsy beschließt, Tripitaka und Monkey zu begleiten
+
+18. Kapitel: ›Das Ungeheuer vom Strom‹ schließt sich der Pilgerfahrt an
+
+19. Kapitel: Der Geist des toten Königs bittet Monkey um seine Hilfe
+
+20. Kapitel: Die durch bösen Zauber verwunschene Stadt Kräh-Hahn
+
+21. Kapitel: Lao-tsu’s Elexier erweckt den toten König wieder zum Leben; der falsche Zauberer wird in seine ursprüngliche Gestalt, einen Löwen, zurückverwandelt
+
+22. Kapitel: 500 Buddhisten werden von Monkey aus der Sklaverei befreit
+
+23. Kapitel: Monkey verulkt Taoisten, die einen Gottesdienst feiern
+
+24. Kapitel: Eine Wette mit tödlichem Ausgang
+
+25. Kapitel: Menschenopfer
+
+26. Kapitel: Der Flußkönig stellt Tripitaka eine Falle
+
+27. Kapitel: Göttliche Intervention und Rettung Tripitakas
+
+28. Kapitel: Tripitaka erhält die Heiligen Schriften
+
+29. Kapitel: Die Heimreise
+
+30. Kapitel: Willkommensfest in Ch’ang-an
+
+Arthur Waley zur deutschen Ausgabe
+
+
+
+
+
+Vorwort zur englischen Ausgabe von Arthur Waley
+
+
+Die vorliegende Erzählung wurde von Wu Ch’êng-ên aus Huai-an in Kiangsu niedergeschrieben. Seine genauen Daten sind nicht bekannt. Doch scheint er zwischen 1505 und 1580 n. Chr. gelebt und sich als Dichter eines gewissen Ruhmes erfreut zu haben. Einige seiner eher unbedeutenden Verse sind in einer Anthologie der Ming-Dichtung überliefert.
+
+Tripitaka, dessen Pilgerfahrt nach Indien das Thema der Erzählung bildet, ist eine wirkliche Person, in der Geschichte besser bekannt als Hsüan Tsang. Er lebte im siebten Jahrhundert n. Chr. Über seine Reise gibt es eingehende zeitgenössische Berichte. Bereits im zehnten Jahrhundert, und vermutlich schon früher, war Tripitakas Pilgerfahrt Gegenstand eines ganzen Zyklus phantastischer Legenden. Seit dem dreizehnten Jahrhundert sind diese Legenden ständig auf der chinesischen Bühne dargestellt worden. Wu Ch’êng-ên standen daher für seine lange Märchenerzählung eine Menge Bausteine zur Verfügung. Das ursprüngliche Buch ist von unendlichem Umfang und wird gewöhnlich in gekürzten Fassungen gelesen. Bei diesen Bearbeitungen blieb die ursprüngliche Anzahl der einzelnen Episoden bestehen; ihre Länge jedoch wurde, besonders durch Streichen von Dialogen, erheblich gekürzt. — Ich habe meist das entgegengesetzte Prinzip angewandt, indem ich zahlreiche Episoden ausließ, die beibehaltenen jedoch nahezu ungekürzt übersetzte, mit Ausnahme der meisten eingestreuten, für eine Übertragung ins Englische ungeeigneten Verse.
+
+Monkey ist ein wahrhaft einzigartiges Werk in seiner Verbindung von Schönheit mit Ungereimtheit, von Tiefe mit Unsinn. Folklore, Allegorie, Religion, Geschichte, antibürokratische Satire und reine Poesie — dies sind die außerordentlich verschiedenen Elemente, aus denen das Buch sich zusammenfügt. Die Bürokraten der Erzählung sind Heilige im Himmel, und man könnte auf die Vermutung kommen, daß die Satire sich noch eher gegen die Religion als gegen die Bürokratie wandte. Dem ist aber nicht so. Es ist nämlich eine in China geläufige Anschauung, daß die Hierarchie im Himmel ein Spiegelbild der Regierungsform auf Erden sei. Hier wie so oft lassen die Chinesen die Katze aus dem Sack, wo andere Völker uns Rätsel aufgeben. Es ist häufig als Theorie geltend gemacht worden, daß eines Volkes Götter die Spiegelung seiner irdischen Regenten darstellen. In den meisten Fällen bleibt die Ableitung im Dunkeln. Im Volksglauben der Chinesen jedoch gibt es keinerlei Doppelsinn. Der Himmel ist einfach das gesamte bürokratische System, leibhaftig ins Empyreum versetzt.
+
+Was die Allegorie anbelangt, so versinnbildlicht Tripitaka unverkennbar den ängstlich und beflissen durch die Schwierigkeiten des Lebens tappenden Menschen, während Monkey die ewige Unruhe des Genies personifiziert. Pigsy wiederum symbolisiert offensichtlich die physischen Begierden, primitive Kraft und eine Art schwerfälliger Geduld. Sandy ist rätselhafter. Die Kommentatoren sagen, er stelle ch’êng dar, was gewöhnlich mit ›Redlichkeit‹ übersetzt wird, allein noch eher etwas im Sinne von ›Integrität des Herzens‹ bedeutet. Er kam nicht als nachträglicher Einfall in die Erzählung, erscheint er doch bereits in einigen der frühesten Fassungen der Legende. Aber es muß zugegeben werden, daß sein Bild, obgleich für die Erzählung in unerklärlicher Weise nötig, dennoch in den Umrissen seltsam undeutlich und farblos bleibt.
+
+Auszüge des vorliegenden Buches sind erschienen in Giles’ History of Chinese Literature und in Timothy Richard’s Mission to Heaven, zu einer Zeit, als nur die gekürzten Fassungen bekannt waren. Eine zugängliche, doch recht ungenaue Beschreibung des Werkes gibt Helen Hayes in A Buddhist Pilgrim’s Progress (Wisdom of the East Series). Ferner existiert eine recht freie japanische Paraphrase von verschiedenen Händen, mit einer 1806 datierten Einleitung des bekannten Novellisten Bakin und Illustrationen, deren einige von Hokusai stammen. Einer der Übersetzer, Hokusais Schüler Gakutei, gesteht, daß er keine Kenntnis von der Chinesischen Umgangssprache hatte, als er die Arbeit unternahm.
+
+Der meiner Übersetzung zugrundeliegende Text erschien 1921 in der Oriental Press, Shanghai, mit einer ausführlichen und gelehrten Einleitung von Dr. Hu Shih, derzeitigem chinesischen Botschafter in Washington.
+
+
+
+
+
+ERSTES KAPITEL
+
+
+Die Geburt des magischen Affen Monkey
+
+Es war ein Fels, den hatten seit der Erschaffung der Welt die reinen Essenzen des Himmels, die feinen Düfte der Erde, die Kraft der Sonne und die Anmut des Mondlichts solange umspielt und umwirkt, bis er magisch geschwängert eines Tages auseinanderbarst und ein steinernes Ei von der Größe eines Spielballs gebar. Vom Winde befruchtet entwickelte es sich zu einem Affen aus Stein, vollkommen an Leib und Gliedern. Alsbald lernte dieser Affe klettern und laufen; doch das erste, was er tat, war, sich nach allen vier Himmelsrichtungen zu verneigen. Dabei schoß ein stahlhelles Licht aus seinen Affenaugen, das bis zum Palast des Polarsterns leuchtete. Ob diesem Lichtstrahl erstaunte der Jade-Kaiser, der im Wolkenpalast der Goldenen Pforten, in der Schatzkammer der Heiligen Nebel, umgeben von seinen Ministern thronte. Als er das seltsame Licht aufblitzen sah, befahl er Tausend-Meilen-Auge und In-Alle-Winde-Ohr die Pforte des Südlichen Himmels aufzutun und hinauszuspähen. Auf sein Geheiß begaben sich diese beiden Hauptleute zur Pforte und spähten so scharf und horchten so gut, daß sie bald darauf berichten konnten: »Dieses stahlhelle Licht kommt von den Grenzen des kleinen Landes Ao-lai, das im Osten des Heiligen Erdteils liegt, vom Berge der Blumen und Früchte. Auf diesem Berge ist ein Zauberfelsen, der ein Ei gebar. Das Ei verwandelte sich in einen Affen aus Stein, und als er sich nach den vier Himmelsrichtungen verneigte, schoß ein stahlhelles Licht aus seinen Augen, dessen Strahl bis zum Palast des Polarsterns blitzte. Aber jetzt ist der Affe am Trinken und das Licht am Verdämmern.«
+
+Der Jade-Kaiser geruhte einen gnädigen Standpunkt einzunehmen: »Die Geschöpfe in der Welt dort unten«, sagte er, »wurden aus den Essenzen des Himmels und der Erde gebildet, und nichts, was dort geschieht, sollte uns wundern.« Der Affe ging, rannte, hüpfte und sprang über die Hügel, stillte seinen Hunger an Gras und Sträuchern, löschte seinen Durst in Bächen und Quellen, pflückte Bergblumen und hielt Ausschau nach Früchten. Wolf, Panther und Tiger waren seine Gefährten, das Reh und das Zibet seine Freunde, Gibbons und Paviane seine Verwandten. Nachts ruhte er unter Felsenklippen, tagsüber streifte er umher zwischen Gipfeln und Schluchten. An einem heißen Morgen badeten er und die andern Affen, nachdem sie im Schatten einiger Föhren gespielt hatten, in einem Bergbach. Seht, wie die Wasser hüpfen und purzeln wie rollende Melonen!
+
+Ein alter Spruch lautet: ›Vögel haben ihre Vogelsprache, Tiere ihre Tiersprache.‹ Die Affen sagten: »Keiner von uns weiß, woher dieser Bach kommt. Wäre es nicht lustig, da wir heute nichts besonderes vorhaben, bis zu seiner Quelle hinaufzugehen?« Unter Freudenjauchzern eilte die ganze Schar, die Söhne mitschleifend, die Töchter auf den Schultern tragend, nach den älteren und jüngeren Geschwistern rufend, den Bach entlang und kletterte die steilen Hänge hinauf bis zur Quelle. Nun standen sie vor dem Vorhang eines großen Wasserfalls.
+
+Alle Affen patschten in die Hände und riefen: »Feines Wasser, feines Wasser! Und sich vorzustellen, daß es in einer Höhle tief unter dem Fuße des Berges anfängt und den ganzen weiten Weg bis ins Große Meer fließt! Wer von uns wäre kühn genug, durch diesen Vorhang zu springen und bis dorthin vorzudringen, wo das Wasser herkommt! Wenn er unversehrt zu uns zurückkehrt, soll er unser König sein!« Dreimal erscholl dieser Ruf. Da sprang plötzlich der Steinerne Affe aus der Schar und rief mit lauter Stimme: »Ich wage es, ich wage es!« Und seht! Er kneift die Augen zusammen, duckt sich und springt mit einem Satz mitten durch den Wasserfall. Als er die Augen öffnete, erblickte er um sich herum trockene Erde. Vor ihm dehnte sich leuchtend und glitzernd eine große Brücke. Er besah sie genau, sie war aus blankem Eisen. Das Wasser kam aus einem Loch im Felsen und füllte den Raum unter dem Brückenbogen aus. Monkey, der Steinerne Affe, kletterte auf die Brücke. Um sich schauend bemerkte er etwas, das einem Hause glich. Da gab es steinerne Sitze und Ruhelager, Tische mit steinernen Schüsseln und Bechern. Er hüpfte zurück auf den Brückenbogen und entdeckte auf der Klippe in großen eckigen Buchstaben die Inschrift: »Diese Höhle des Wasservorhangs im gesegneten Lande des Berges der Blumen und Früchte führt zum Himmel.« Monkey war außer sich vor Freude. Er eilte zurück, duckte sich abermals, schloß die Augen und sprang durch den Wasservorhang.
+
+»So ein Glück«, rief er, »so ein Glück!« »Wie sieht es auf der andern Seite aus?« fragten die Affen sich um ihn drängend. »Ist das Wasser sehr tief?« »Da ist gar kein Wasser«, sagte der Steinerne Affe. »Eine eiserne Brücke ist da, und daneben ein vom Himmel geschenkter Erdenwinkel. Dort sollten wir leben.« »Wie kommst du auf den Gedanken, man könnte dort leben?« fragten die Affen. »Das Wasser«, erklärte der Steinerne Affe, »fließt aus einem Loch im Felsen und füllt den Raum unter der Brücke. Neben ihr gibt es Blumen und Bäume und ein Haus; darinnen sind Tische, Becher, Schüsseln, Ruhelager, Stühle, alles aus Stein. Wir könnten uns dort wirklich recht gemütlich einrichten. Es ist Platz genug für Hunderte und Tausende der Unsrigen, Junge und Alte. Kommt, laßt uns alle dorthin übersiedeln; wir werden bei jedem Wetter herrlich geborgen sein.« »Geh du voran und zeig uns den Weg!« riefen die Affen begeistert. Wiederum schloß Monkey seine Augen und war mit einem Satze drüben. »Vorwärts, kommt alle!« schrie er zurück. Die Kühneren sprangen sogleich; die Zaghafteren streckten die Köpfe vor und zogen sie wieder zurück, kratzten sich in den Ohren, rieben sich die Wangen, und mit einem Mal sprang die ganze Schar unter lautem Aufkreischen nach vorne. Bald darauf bemächtigten sie sich der Schüsseln, rissen die Becher an sich, drängten um den Herd und rauften um die Betten, schleppten Gegenstände herum oder schoben sie hin und her; kurz sie benahmen sich, wie es von der mutwilligen Affen-Natur nicht anders zu erwarten ist; keinen Augenblick gönnten sie sich Ruhe, bis sie zuletzt völlig erschöpft waren. Da setzte Monkey sich auf einen erhöhten Sitz und sagte: »Meine Herren! ›Mit jemandem, dessen Wort man nicht trauen kann, ist nichts anzufangen!‹* Ihr verspracht, wer immer von uns es fertig brächte, unversehrt durch den Wasserfall und zurück zu kommen, sollte euer König sein. Ich bin nicht nur gekommen, gegangen und wiedergekommen, sondern habe euch überdies einen behaglichen Schlafplatz entdeckt und euch in die beneidenswerte Lage versetzt, Hausbesitzer zu sein. Warum verneigt ihr euch nicht vor mir als eurem König?«
+
+* Analekten des Confucius, II, 22.
+
+Also an ihr Versprechen erinnert, preßten die Affen die Handflächen zusammen, fielen auf die Knie, nach Alter und Würde in einer Linie ausgerichtet, und riefen, sich beflissen verneigend: »Großer König, auf tausend Jahre!« Danach legte der Steinerne Affe seinen ursprünglichen Namen ab und nannte sich als König ›Schöner König Monkey‹. Er machte verschiedene Affen, Gibbons und Paviane zu seinen Ministern und Beamten. Tagsüber schweiften sie alle auf dem Berg der Blumen und Früchte umher; nachts schliefen sie in der Höhle des Wasservorhangs. Sie lebten in vollkommener Eintracht und Harmonie, ohne sich unter die Vögel oder Tiere zu mischen, in Unabhängigkeit und Glückseligkeit.
+
+Einige hundert Jahre lang hatte der Affenkönig dieses unbeschwerte Dasein genossen, als ihn während eines Festes, an dem alle Affen teilnahmen, jäh tiefe Traurigkeit befiel und er in Tränen ausbrach. Da reihten sich seine Untertanen vor ihm auf, verneigten sich und sprachen: »Was betrübt Eure Majestät so sehr?« »Augenblicklich«, antwortete der König, »habe ich keinen Grund, unglücklich zu sein. Aber mir ahnt Böses für die Zukunft, und das bekümmert mich.« »Eure Majestät ist sehr schwer zu befriedigen«, sagten die Affen lachend. »Tagtäglich begehen wir fröhliche Feste auf Zauberbergen, in gesegneten Erdenwinkeln, in uralten Grotten und auf heiligen Inseln. Wir sind weder dem Einhorn noch dem Phoenix untertan, noch beugen wir uns den Geboten eines Menschenkönigs. Ist nicht solche Freiheit ein unermeßlicher Segen? Was mag in Eurer Majestät diese trüben Ahnungen erregen?« »Es stimmt«, antwortete Monkey, »daß ich heute an kein Gesetz eines Menschenkönigs gebunden bin, noch Tier oder Vogel zu fürchten habe. Aber die Zeit wird kommen, da ich alt und schwach werde. Yama, der König des Todes, liegt heimlich auf der Lauer, mich zu verderben. Gibt es kein Mittel, das mir erlaubte, statt auf Erden wiedergeboren zu werden, unter den himmlischen Wesen ewig zu leben?«
+
+Als die Affen das vernahmen, bedeckten sie ihr Gesicht mit den Händen und weinten, denn jeder gedachte seines eigenen Todes. Doch seht! Aus der Schar hüpft ein ganz gewöhnlicher Affenwicht und ruft mit lauter Stimme: »Ist es dies, was Eure Majestät betrübt, so bedeutet es, daß Euer Herz sich der Religion geöffnet hat. Unter allen Geschöpfen gibt es drei Arten, die Yama, dem König des Todes, nicht untertan sind.« »Und weißt du auch, welche?« fragte Monkey. »Buddhas, Unsterbliche und Weise«, antwortete er. »Diese Drei stehen jenseits des sich drehenden Rades, jenseits von Geburt und Zerstörung. Sie sind ewig, wie Himmel und Erde, Hügel und Fluß.« »Wo findet man sie?« fragte Monkey. »Hier auf der Erde«, sagte der Affe, »in uralten Höhlen, zwischen verzauberten Hügeln.«
+
+Der König war entzückt über diese Nachricht. »Morgen werde ich euch Lebewohl sagen, den Berg hinuntergehen, wie eine Wolke an die Grenzen des Meeres wandern, weit weg ans Ende der Welt, bis ich diese drei Arten von Unsterblichen gefunden habe. Von ihnen will ich lernen, ewige Jugend zu bewahren und dem Verhängnis des Todes zu entrinnen.« Dieser Entschluß war es, der ihn dazu führte, aus dem Netze der Reinkarnation zu springen und endlich sich in den Großen Weisen Monkey, den Himmelsebenbürtigen, zu wandeln. Das Affen-Volk klatschte in die Hände und rief laut: »Herrlich! Herrlich! Morgen werden wir die Hügel nach Früchten und Beeren absuchen und ein großes Abschiedsmahl zu Ehren unseres Königs veranstalten.«
+
+Am nächsten Tage gingen sie pflichtgemäß und sammelten Pfirsiche und seltene Früchte, Bergkräuter, Gelbsamen, Wurzelknollen, Orchideen, seltsame Pflanzen und Blumen aller Arten, schmückten Steintische und Bänke und stellten wundersame Speisen und Getränke auf. Sie setzten ihren König an den Ehrenplatz, sich selber nach Alter und Rang. Blumen und Früchte brachten sie ihm zum Geschenk, und der Ehrenbecher wanderte von Hand zu Hand. Den ganzen Tag über tranken sie. Am nächsten Morgen in der Frühe erhob sich der König und sagte: »Kinder, schneidet Föhrenholz und baut mir ein Floß; sucht ein großes Bambusrohr als Ruderstange und macht mir ein paar Früchte und dergleichen zurecht. Ich möchte aufbrechen.«
+
+Ganz allein bestieg er das Floß, stieß kräftig ab und fuhr weiter und weiter, geradeswegs ins Meer hinaus, bis er, von günstigen Winden getrieben, an die Gestade der Südlichen Welt gelangte. Das Schicksal war ihm hold; vom Augenblick an, da er das Floß betreten hatte, wehte tagelang ein heftiger Südost und trug ihn bis zum nordwestlichen Ufer an den Grenzen der Südlichen Welt. Er prüfte das Wasser mit seiner Stange und stellte fest, daß es seicht war; da verließ er das Floß und kletterte an die Küste. Am Strande waren Leute, die fischten, wilde Gänse schossen, Austern schöpften, Salz trockneten. Er lief auf sie zu und begann vor lauter Übermut absonderliche Possen zu treiben. Vor Schreck ließen sie ihre Körbe und Netze fallen und rannten davon, als gälte es ihr Leben. Einen von ihnen, der an seinem Platz blieb, packte Monkey, riß ihm die Kleider vom Leibe und schlüpfte selber hinein. Also ausstaffiert stolzierte er durch Städte und Dörfer, auf Märkten und in Basaren umher und ahmte Sitten und Sprache der Leute nach. Sein Herz aber lechzte einzig danach, die Unsterblichen zu finden und von ihnen das Geheimnis ewiger Jugend zu erfahren. Doch er sah die Kinder der Welt alle von der Sucht nach Gewinn oder Ruhm ergriffen; kein Einziger war unter ihnen, der sich um das Ende, das ihm beschieden sein sollte, gekümmert hätte. So suchte Monkey nach dem Wege zur Unsterblichkeit, doch fand er ihn nicht.
+
+Während acht oder neun Jahren zog er von Stadt zu Stadt, von Ort zu Ort, bis er eines Tages an den Westlichen Ozean gelangte. Es schien ihm gewiß, daß es jenseits dieses Ozeans Unsterbliche gäbe, und so machte er sich ein Floß wie das früher benutzte. Er trieb hinaus über den Westlichen Ozean, bis er zum Westlichen Erdteil kam, wo er landete. Und als er sich eine Weile umgesehen hatte, bemerkte er einen sehr hohen und schönen Berg mit dichtbewaldetem Fuße. Er fürchtete sich nicht vor Wölfen, Tigern oder Panthern und stieg hinauf bis zum Gipfel. Um sich blickend vernahm er mit einem Male aus der Tiefe der Wälder eine Menschenstimme. Gespannt horchte er.
+
+Jemand sang ein Lied, und er konnte die Worte unterscheiden:
+
+Pläne nicht plan’ ich,
+
+Ränke nicht schmied’ ich;
+
+Eins sind mir Schande und Ruhm.
+
+Langsam verlängert
+
+Einfaches Leben Mir meine Tage.
+
+Die mir begegnen auf meinem Wege,
+
+Ein wie der andre, Unsterbliche sind es,
+
+Die von erhabenen Sitzen gelassen
+
+Schriften des Gelben Hofes erklären.
+
+
+
+Als Monkey diese Worte hörte, wurde er sehr froh. »Es muß also irgendwo hier herum Unsterbliche geben«, überlegte er. Er sprang tief in den Wald hinein und gewahrte, vorsichtig umherspähend, daß der Sänger ein Holzfäller war, der Reisig sammelte. »Ehrwürdiger Unsterblicher«, sagte Monkey vortretend: »Euer Jünger erhebt seine Hände.« Der Holzfäller war so erstaunt, daß er seine Axt fallen ließ. »Ihr irrt Euch«, antwortete er, sich umwendend und den Gruß erwidernd. »Ich bin nur ein elender, hungriger Holzfäller. Wie kommt Ihr darauf, mich ›Unsterblicher‹ anzureden?« »Wenn Ihr kein Unsterblicher seid«, sagte Monkey, »warum habt Ihr geredet, als wäret Ihr einer?« »Was hab’ ich denn geredet?« fragte der Holzfäller, »das so klang, als wäre ich ein Unsterblicher?« »Wie ich an den Waldrand kam«, erklärte Monkey, »hörte ich Euch singen:
+
+Die mir begegnen auf meinem Wege,
+
+Ein wie der andre, Unsterbliche sind es,
+
+Die von erhabenen Sitzen gelassen
+
+Schriften des Gelben Hofes erklären.
+
+
+
+Das sind geheime taoistische Texte. Was könntet Ihr anderes sein als ein Unsterblicher?« »Ich will Euch nicht täuschen«, entgegnete der Holzfäller. »Dies Lied hat mich in der Tat ein Unsterblicher gelehrt, der nicht weit von meiner Hütte wohnt. Er sah, daß ich hart für meinen Lebensunterhalt arbeiten und viel Mühsal ertragen muß; so riet er mir, wenn etwas mich bedrücke, die Worte dieses Liedes vor mich herzusagen. Es würde mich trösten und mir in meinen Schwierigkeiten helfen. Eben jetzt habe ich mich aufgeregt und darum das Lied gesungen. Ich hatte keine Ahnung, daß Ihr mir zuhörtet.«
+
+»Wenn der Unsterbliche hier in der Nähe wohnt«, sagte Monkey, »wie kommt es, daß du nicht sein Schüler geworden bist? Hättest du nicht von ihm lernen können, niemals alt zu werden?« »Ich habe ein hartes Leben«, antwortete der Holzfäller. »Mit acht oder neun Jahren verlor ich meinen Vater. Ich habe weder Brüder noch Schwestern und muß ganz allein meine verwitwete Mutter unterstützen. Da gab es nichts als schwere Arbeit von früh bis spät. Nun ist meine Mutter alt, und ich getraue mich nicht, sie allein zu lassen. Der Garten ist verwildert, und wir haben weder genug zu essen noch anzuziehen. Das äußerste, was ich leisten kann, ist zwei Bündel Brennholz schneiden, sie zu Markte tragen und mit den paar Münzen, die ich dafür erhalte, einige Handvoll Reis kaufen, den ich selber zubereite und meiner greisen Mutter vorsetze. Ich habe keine Zeit hinzugehen und Magie zu lernen.« »Aus deiner Erzählung«, sagte Monkey, »ersehe ich, daß du ein guter und pflichtgetreuer Sohn bist. Deine Frömmigkeit wird gewiß belohnt werden. Alles, worum ich dich bitte, ist, mir zu zeigen, wo der Unsterbliche wohnt, denn es drängt mich ihn aufzusuchen.«
+
+»Er wohnt ganz in der Nähe«, sagte der Holzfäller. »Dieser Berg wird der Berg der Heiligen Terrasse genannt, und oben ist die Höhle des Schiefen Mondes und der Drei Sterne. In dieser Höhle lebt ein Unsterblicher, der Patriarch Subodhi. Seinerzeit hatte er unzählige Schüler; gegenwärtig genießen etwa dreißig bis vierzig seinen Unterricht. Du mußt auf diesem Pfad acht oder neun Meilen in südlicher Richtung gehen, dann kommst du zu seiner Wohnung.« »Verehrter Bruder«, bat Monkey, den Holzfäller am Arm packend, »komm mit! Und wenn der Besuch mir von Nutzen ist, will ich nicht vergessen, daß du mir den Weg gezeigt hast.« »Manche Leute sind doch wirklich schwer von Begriff«, knurrte der Holzfäller. »Habe ich dir nicht eben erzählt, weshalb ich nicht fortkann? Was würde aus meiner Arbeit, wenn ich mit dir ginge? Wer würde meiner alten Mutter das Essen geben? Nein, ich muß weiter mein Holz schneiden, und du mußt deinen Weg allein finden.«
+
+So blieb Monkey nichts anderes übrig als Lebewohl zu sagen. Er verließ den Wald, fand den Pfad, ging etwa sieben oder acht Meilen hügelaufwärts und stieß wahrhaftig auf eine Höhlenwohnung. Die Türe war jedoch verschlossen. Ringsum herrschte Stille; nichts verriet die Gegenwart eines Lebewesens. Den Kopf wendend, erblickte er auf der Spitze des Felsens eine steinerne, etwa dreißig Fuß hohe und acht Fuß breite Tafel mit der in riesigen Buchstaben prangenden Inschrift: ›Höhle des Schiefen Mondes und der Drei Sterne auf dem Berge der Heiligen Terrasse‹. »Die Leute hierzulande«, sagte Monkey, »sind in der Tat sehr zuverlässig. Es gibt also wirklich solch einen Berg und solch eine Höhle!« Er sah sich eine Weile um, getraute sich aber nicht an die Türe zu klopfen. Statt dessen hüpfte er auf eine Föhre und fing an Föhrensamen zu essen und zwischen den Zweigen herumzuspielen. Nach einiger Zeit hörte er jemanden rufen. Die Tür der Höhle ging auf, und ein wunderschöner Elfenjüngling trat heraus, von Erscheinung gänzlich anders als die gewöhnlichen Knaben, die Monkey bisher gesehen hatte. Er rief: »Wer untersteht sich, die Ruhe hier draußen zu stören?« Monkey hüpfte von seinem Baume, trat näher, verneigte sich und sagte: »Schöner Elfenknabe, ich bin ein Schüler, der gekommen ist Unsterblichkeit zu erlernen. Nicht im Traume möchte ich gestört haben.« »Du ein Schüler!« lachte der Knabe. »Freilich«, beteuerte Monkey. »Mein Meister unterrichtet eben«, sagte der Knabe. »Aber ehe er die Aufgabe stellte, hieß er mich an die Türe gehen und nachsehen, ob noch jemand am Unterricht teilzunehmen wünsche. Ich nehme an, er meinte dich.« »Selbstverständlich meinte er mich«, bestätigte Monkey. »So folge mir denn«, sagte der Knabe. Monkey machte sich schön zurecht und betrat, dem Jüngling folgend, die Höhle. Weite Räume taten sich vor ihnen auf. Sie gingen von Gemach zu Gemach, durch luftige Hallen, unzählige Gänge und Zellen, bis sie zu einer Plattform aus grünem Jadestein kamen, auf welcher der Patriarch Subodhi im Kreise von dreißig geringeren Unsterblichen thronte. Monkey fiel vor ihm nieder, schlug seinen Kopf dreimal auf den Boden und flüsterte: »Meister, Meister! Empfangt als Lehrer den ehrerbietigen Gruß Eures Schülers!« »Von wannen kommst du?« fragte der Patriarch. »Nenne mir deine Heimat und deinen Namen; danach erweise mir nochmals die Ehrerbietung.« »Ich komme aus der Höhle des Wasservorhanges«, antwortete Monkey, »auf dem Berge der Blumen und Früchte im Lande Ao-lai.« »Fort mit dir!« schrie der Patriarch. »Ich kenne die Leute dort; es sind Gauner und Schwindler. Es taugt nicht, daß einer von ihnen sich anmaßt, Erleuchtung zu erstreben.« Mehrmals heftig sich verneigend beteuerte Monkey: »Das ist kein Schwindel. Ich sage Euch nichts als die reine Wahrheit.« »Wenn du vorgibst die Wahrheit zu sprechen«, entgegnete der Patriarch, »wie wagst du zu behaupten, daß du von Ao-lai kommst? Zwischen dort und hier liegen zwei Ozeane und der gesamte Südliche Erdteil. Wie bist du hierher gekommen?« »Ich trieb über die Ozeane und durchwanderte die Länder mehr als zehn Jahre«, sagte Monkey, »bis ich endlich hier war.« »Nun gut«, meinte der Patriarch, »wenn du es gemütlich genommen hast, wäre es nicht ganz ausgeschlossen. Doch sage mir, aus welcher Familie stammst du? Wie nennt sie sich?« »Ich bin aus keiner Familie«, erwiderte Monkey, »habe weder Vater noch Mutter.« »Was du nicht sagst!« brummte der Patriarch, »bist du vielleicht auf einem Baume gewachsen?« »Das nicht gerade«, erklärte Monkey. »Ich komme aus einem Stein. Es gab einen verzauberten Felsen auf dem Berg der Blumen und Früchte. Als seine Zeit erfüllt war, barst er, und ich war da.«
+
+»Wir müssen dir einen Schulnamen geben«, sagte der Patriarch. »Wir haben zwölf Worte, die wir in diesen Namen verwenden, je nach dem Grad des Schülers. Du kommst in den zehnten Grad.« »Welches sind die zwölf Worte?« fragte Monkey. »Sie heißen: Weit, Groß, Weise, Klug, Wahr, Ausgeglichen, Natur, Ozean, Lebhaft, Gewahr, Vollkommen und Erleuchtet. Da du zum zehnten Grad gehörst, muß dein Name das Wort Gewahr enthalten. Wie wäre: Der Leere Gewahr?« »Herrlich«, lachte Monkey. »Von nun an heiße ich Der Leere Gewahr.«
+
+So wurde dies sein Name in der Religion.
+
+Und wenn Ihr nicht wißt, ob er, ausgerüstet mit diesem Namen, am Ende Erleuchtung erlangte oder nicht, so hört, was Euch im nächsten Kapitel erzählt wird.
+
+

data/xiyouji-ch1-zh.txt

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+《西游记》
+TXT小说天堂  https://www.xstt5.com，最有文艺气息的文学网站，提供经典的文学名著、武侠小说、言情小说、人文社科类书籍在线阅读，所有TXT电子书手机免费下载阅读，我们提供给您的小说不求最多，但求最经典最完整
+
+
+
+《》目录 第一回　灵根育孕源流出　心性修持大道生
+
+    诗曰：
+
+    混沌未分天地乱，茫茫渺渺无人见。
+
+    自从盘古破鸿蒙，开辟从兹清浊辨。
+
+    覆载群生仰至仁，发明万物皆成善。
+
+    欲知造化会元功，须看西游释厄传。
+
+    盖闻天地之数，有十二万九千六百岁为一元。将一元分为十二会，乃子、丑、寅、卯、辰、巳、午、未、申、酉、戌、亥之十二支也。每会该一万八百岁。且就一日而论：子时得阳气，而丑则鸡鸣；寅不通光，而卯则日出；辰时食后，而巳则挨排；日午天中，而未则西蹉；申时晡而日落酉；戌黄昏而人定亥。譬于大数，若到戌会之终，则天地昏蒙而万物否矣。再去五千四百岁，交亥会之初，则当黑暗，而两间人物俱无矣，故曰混沌。又五千四百岁，亥会将终，贞下起元，近子之会，而复逐渐开明。邵康节曰：“冬至子之半，天心无改移。一阳初动处，万物未生时。”到此，天始有根。再五千四百岁，正当子会，轻清上腾，有日，有月，有星，有辰。日、月、星、辰，谓之四象。故曰，天开于子。又经五千四百岁，子会将终，近丑之会，而逐渐坚实。易曰：“大哉乾元！至哉坤元！万物资生，乃顺承天。”至此，地始凝结。再五千四百岁，正当丑会，重浊下凝，有水，有火，有山，有石，有土。水、火、山、石、土谓之五形。故曰，地辟于丑。又经五千四百岁，丑会终而寅会之初，发生万物。历曰：“天气下降，地气上升；天地交合，群物皆生。”至此，天清地爽，阴阳交合。再五千四百岁，正当寅会，生人，生兽，生禽，正谓天地人，三才定位。故曰，人生于寅。
+
+    感盘古开辟，三皇治世，五帝定伦，世界之间，遂分为四大部洲：曰东胜神洲，曰西牛贺洲，曰南赡部洲，曰北俱芦洲。这部书单表东胜神洲。海外有一国土，名曰傲来国。国近大海，海中有一座山，唤为花果山。此山乃十洲之祖脉，三岛之来龙，自开清浊而立，鸿蒙判后而成。真个好山！有词赋为证。赋曰：
+
+    势镇汪洋，威宁瑶海。势镇汪洋，潮涌银山鱼入穴；威宁瑶海，波翻雪浪蜃离渊。木火方隅高积上，东海之处耸崇巅。丹崖怪石，削壁奇峰。丹崖上，彩凤双鸣；削壁前，麒麟独卧。峰头时听锦鸡鸣，石窟每观龙出入。林中有寿鹿仙狐，树上有灵禽玄鹤。瑶草奇花不谢，青松翠柏长春。仙桃常结果，修竹每留云。一条涧壑藤萝密，四面原堤草色新。正是百川会处擎天柱，万劫无移大地根。那座山，正当顶上，有一块仙石。其石有三丈六尺五寸高，有二丈四尺围圆。三丈六尺五寸高，按周天三百六十五度；二丈四尺围圆，按政历二十四气。上有九窍八孔，按九宫八卦。四面更无树木遮阴，左右倒有芝兰相衬。盖自开辟以来，每受天真地秀，日精月华，感之既久，遂有灵通之意。内育仙胞，一日迸裂，产一石卵，似圆球样大。因见风，化作一个石猴，五官俱备，四肢皆全。便就学爬学走，拜了四方。目运两道金光，射冲斗府。惊动高天上圣大慈仁者玉皇大天尊玄穹高上帝，驾座金阙云宫灵霄宝店，聚集仙卿，见有金光焰焰，即命千里眼、顺风耳开南天门观看。二将果奉旨出门外，看的真，听的明。须臾回报道：“臣奉旨观听金光之处，乃东胜神洲海东傲来小国之界，有一座花果山，山上有一仙石，石产一卵，见风化一石猴，在那里拜四方，眼运金光，射冲斗府。如今服饵水食，金光将潜息矣。”玉帝垂赐恩慈曰：“下方之物，乃天地精华所生，不足为异。”
+
+    那猴在山中，却会行走跳跃，食草木，饮涧泉，采山花，觅树果；与狼虫为伴，虎豹为群，獐鹿为友，猕猿为亲；夜宿石崖之下，朝游峰洞之中。真是“山中无甲子，寒尽不知年。”一朝天气炎热，与群猴避暑，都在松阴之下顽耍。你看他一个个：
+
+    跳树攀枝，采花觅果；抛弹子，邷么儿；跑沙窝，砌宝塔；赶蜻蜓，扑八蜡；参老天，拜菩萨；扯葛藤，编草帓；捉虱子，咬又掐；理毛衣，剔指甲；挨的挨，擦的擦；推的推，压的压；扯的扯，拉的拉，青松林下任他顽，绿水涧边随洗濯。一群猴子耍了一会，却去那山涧中洗澡。见那股涧水奔流，真个似滚瓜涌溅。古云：“禽有禽言，兽有���语。”众猴都道：“这股水不知是那里的水。我们今日赶闲无事，顺涧边往上溜头寻看源流，耍子去耶！”喊一声，都拖男挈女，呼弟呼兄，一齐跑来，顺涧爬山，直至源流之处，乃是一股瀑布飞泉。但见那：
+
+    一派白虹起，千寻雪浪飞；海风吹不断，江月照还依。
+
+    冷气分青嶂，馀流润翠微；潺湲名瀑布，真似挂帘帷。
+
+    众猴拍手称扬道：“好水！好水！原来此处远通山脚之下，直接大海之波。”又道：“那一个有本事的，钻进去寻个源头出来，不伤身体者，我等即拜他为王。”连呼了三声，忽见丛杂中跳出一名石猴，应声高叫道：“我进去！我进去！”好猴！也是他：
+
+    今日芳名显，时来大运通；有缘居此地，王遣入仙宫。
+
+    你看他瞑目蹲身，将身一纵，径跳入瀑布泉中，忽睁睛抬头观看，那里边却无水无波，明明朗朗的一架桥梁。他住了身，定了神，仔细再看，原来是座铁板桥。桥下之水，冲贯于石窍之间，倒挂流出去，遮闭了桥门。却又欠身上桥头，再走再看，却似有人家住处一般，真个好所在。但见那：
+
+    翠藓堆蓝，白云浮玉，光摇片片烟霞。虚窗静室，滑凳板生花。乳窟龙珠倚挂，萦回满地奇葩。锅灶傍崖存火迹，樽罍靠案见肴渣。石座石床真可爱，石盆石碗更堪夸。又见那一竿两竿修竹，三点五点梅花。
+
+    几树青松常带雨，浑然相个人家。
+
+    看罢多时，跳过桥中间，左右观看，只见正当中有一石碣。碣上有一行楷书大字，镌着“花果山福地，水帘洞洞天。”石猴喜不自胜，急抽身往外便走，复瞑目蹲身，跳出水外，打了两个呵呵道：“大造化！大造化！”众猴把他围住，问道：“里面怎么样？水有多深？”石猴道：“没水！没水！原来是一座铁板桥。桥那边是一座天造地设的家当。”众猴道：“怎见得是个家当？”石猴笑道：“这股水乃是桥下冲贯石桥，倒挂下来遮闭门户的。桥边有花有树，乃是一座石房。房内有石窝、石灶、石碗、石盆、石床、石凳。中间一块石碣上，镌着‘花果山福地，水帘洞洞天。’真个是我们安身之处。里面且是宽阔，容得千百口老小。我们都进去住也，省得受老天之气。这里边：
+
+    刮风有处躲，下雨好存身。霜雪全无惧，雷声永不闻。
+
+    烟霞常照耀，祥瑞每蒸熏。松竹年年秀，奇花日日新。”
+
+    众猴听得，个个欢喜，都道：“你还先走，带我们进去，进去！”石猴却又瞑目蹲身，往里一跳，叫道：“都随我进来！进来！”那些猴有胆大的，都跳进去了；胆小的，一个个伸头缩颈，抓耳挠腮，大声叫喊，缠一会，也都进去了。跳过桥头，一个个抢盆夺碗，占灶争床，搬过来，移过去，正是猴性顽劣，再无一个宁时，只搬得力倦神疲方止。石猿端坐上面道：“列位呵，‘人而无信，不知其可。’你们才说有本事进得来，出得去，不伤身体者，就拜他为王。我如今进来又出去，出去又进来，寻了这一个洞天与列位安眠稳睡，各享成家之福，何不拜我为王？”众猴听说，即拱伏无违。一个个序齿排班，朝上礼拜，都称“千岁大王”。自此，石猴高登王位，将“石”字儿隐了，遂称美猴王。有诗为证。诗曰：
+
+    三阳交泰产群生，仙石胞含日月精。
+
+    借卵化猴完大道，假他名姓配丹成。
+
+    内观不识因无相，外合明知作有形。
+
+    历代人人皆属此，称王称圣任纵横。美猴王领一群猿猴、猕猴、马猴等，分派了君臣佐使，朝游花果山，暮宿水帘洞，合契同情，不入飞鸟之丛，不从走兽之类，独自为王，不胜欢乐。是以：
+
+    春采百花为饮食，夏寻诸果作生涯。
+
+    秋收芋栗延时节，冬觅黄精度岁华。
+
+    美猴王享乐天真，何期有三五百载。一日，与群猴喜宴之间，忽然忧恼，堕下泪来。众猴慌忙罗拜道：“大王何为烦恼？”猴王道：“我虽在欢喜之时，却有一点儿远虑，故此烦恼。”众猴又笑道：“大王好不知足！我等日日欢会，在仙山福地，古洞神州，不伏麒麟辖，不伏凤凰管，又不伏人间王位所拘束，自由自在，乃无量之福，为何远虑而忧也？”猴王道：“今日虽不归人王法律，不惧禽兽威服，将来年老血衰，暗中有阎王老子管着，一旦身亡，可不枉生世界之中，不得久住天人之内？”众猴闻此言，一个个掩面悲啼，俱以无常为虑。
+
+    只见那班部中，忽跳出一个通背猿猴，厉声高叫道：“大王若是这般远虑，真所谓道心开发也！如今五虫之内，惟有三等名色，不伏阎王老子所管。”猴王道：“你知那三等���？”猿猴道：“乃是佛与仙与神圣三者，躲过轮回，不生不灭，与天地山川齐寿。”猴王道：“此三者居于何所？”猿猴道：“他只在阎浮世界之中，古洞仙山之内。”猴王闻之，满心欢喜，道：“我明日就辞汝等下山，云游海角，远涉天涯，务必访此三者，学一个不老长生，常躲过阎君之难。”噫！这句话，顿教跳出轮回网，致使齐天大圣成。众猴鼓掌称扬，都道：“善哉！善哉！我等明日越岭登山，广寻些果品，大设筵宴送大王也。”
+
+    次日，众猴果去采仙桃，摘异果，刨山药，□【左“属”右“立刀”】黄精，芝兰香蕙，瑶草奇花，般般件件，整整齐齐，摆开石凳石桌，排列仙酒仙肴。但见那：
+
+    金丸珠弹，红绽黄肥。金丸珠弹腊樱桃，色真甘美；红绽黄肥熟梅子，味果香酸。鲜龙眼，肉甜皮薄；火荔枝，核小囊红。林檎碧实连枝献，枇杷缃苞带叶擎。兔头梨子鸡心枣，消渴除烦更解酲。香桃烂杏，美甘甘似玉液琼浆；脆李杨梅，酸荫荫如脂酸膏酪。红囊黑子熟西瓜，四瓣黄皮大柿子。石榴裂破，丹砂粒现火晶珠；芋栗剖开，坚硬肉团金玛瑙。胡桃银杏可传茶，椰子葡萄能做酒。榛松榧柰满盘盛，橘蔗柑橙盈案摆。熟煨山药，烂煮黄精，捣碎茯苓并薏苡，石锅微火漫炊羹。人间纵有珍馐味，怎比山猴乐更宁？群猴尊美猴王上坐，各依齿肩排于下边，一个个轮流上前，奉酒，奉花，奉果，痛饮了一日。次日，美猴王早起，教：“小的们，替我折些枯松，编作筏子，取个竹竿作篙，收拾些果品之类，我将去也。”果独自登筏，尽力撑开，飘飘荡荡，径向大海波中，趁天风，来渡南赡部洲地界。这一去，正是那：
+
+    天产仙猴道行隆，离山驾筏趁天风。
+
+    飘洋过海寻仙道，立志潜心建大功。
+
+    有分有缘休俗愿，无忧无虑会元龙。
+
+    料应必遇知音者，说破源流万法通。也是他运至时来，自登木筏之后，连日东南风紧，将他送到西北岸前，乃是南赡部洲地界。持篙试水，偶得浅水，弃了筏子，跳上岸来，只见海边有人捕鱼、打雁、挖蛤、淘盐。他走近前，弄个把戏，妆个□【上左“齿”右“可”，下“女”】虎，吓得那些人丢筐弃网，四散奔跑。将那跑不动的拿住一个，剥了他衣裳，也学人穿在身上，摇摇摆摆，穿州过府，在市尘中，学人礼，学人话。朝餐夜宿，一心里访问佛仙神圣之道，觅个长生不老之方。见世人都是为名为利之徒，更无一个为身命者。正是那：
+
+    争名夺利几时休？早起迟眠不自由！
+
+    骑着驴骡思骏马，官居宰相望王侯。
+
+    只愁衣食耽劳碌，何怕阎君就取勾？
+
+    继子荫孙图富贵，更无一个肯回头！
+
+    猴王参访仙道，无缘得遇。在于南赡部洲，串长城，游小县，不觉八九年馀。忽行至西洋大海，他想着海外必有神仙。独自个依前作筏，又飘过西海，直至西牛贺洲地界。登岸偏访多时，忽见一座高山秀丽，林麓幽深。他也不怕狼虫，不惧虎豹，登山顶上观看。果是好山：
+
+    千峰开戟，万仞开屏。日映岚光轻锁翠，雨收黛色冷含青。枯藤缠老树，古渡界幽程。奇花瑞草，修竹乔松。修竹乔松，万载常青欺福地；奇花瑞草，四时不谢赛蓬瀛。幽鸟啼声近，源泉响溜清。重重谷壑芝兰绕，处处巉崖苔藓生。起伏峦头龙脉好，必有高人隐姓名。
+
+    正观看间，忽闻得林深之处，有人言语，急忙趋步，穿入林中，侧耳而听，原来是歌唱之声。歌曰：
+
+    “观棋柯烂，伐木丁丁，云边谷口徐行，卖薪沽酒，狂笑自陶情。苍迳秋高，对月枕松根，一觉天明。认旧林，登崖过岭，持斧断枯藤。
+
+    收来成一担，行歌市上，易米三升。更无些子争竞，时价平平，不会机谋巧算，没荣辱，恬淡延生。相逢处，非仙即道，静坐讲黄庭。”美猴王听得此言，满心欢喜道：“神仙原来藏在这里！”急忙跳入里面，仔细再看，乃是一个樵子，在那里举斧砍柴。但看他打扮非常：
+
+    头上戴箬笠，乃是新笋初脱之箨。身上穿布衣，乃是木绵捻就之纱。腰间系环绦，乃是老蚕口吐之丝。足下踏草履，乃是枯莎搓就之爽。手执衠钢斧，担挽火麻绳。扳松劈枯树，争似此樵能！
+
+    猴王近前叫道：“老神仙！弟子起手。”那樵汉慌忙丢了斧，转身答礼道：“不当人！不当人！我拙汉衣食不全，怎敢当‘神仙’二字？”猴王道：“你不是神仙，如何说出神仙的话来？”樵夫道：“我说甚么神仙话？”猴王道：“我才来至林边，只听的你说：‘相逢处非仙即道，静坐讲黄庭。’黄��乃道德真言，非神仙而何？”樵夫笑道：“实不瞒你说，这个词名做满庭芳，乃一神仙教我的。那神仙与我舍下相邻。他见我家事劳苦，日常烦恼，教我遇烦恼时，即把这词儿念念。一则散心，二则解困。我才有些不足处思虑，故此念念。不期被你听了。”猴王道：“你家既与神仙相邻，何不从他修行？学得个不老之方？却不是好？”樵夫道：“我一生命苦，自幼蒙父母养育至八九岁，才知人事，不幸父丧，母亲居孀。再无兄弟姊妹，只我一人，没奈何，早晚侍奉。如今母老，一发不敢抛离。却又田园荒芜，衣食不足，只得斫两束柴薪，挑向市尘之间，货几文钱，籴几升米，自炊自造，安排些茶饭，供养老母，所以不能修行。”
+
+    猴王道：“据你说起来，乃是一个行孝的君子，向后必有好处。但望你指与我那神仙住处，却好拜访去也。”樵夫道：“不远，不远。此山叫做灵台方寸山。山中有座斜月三星洞。那洞中有一个神仙，称名须菩提祖师。那祖师出去的徒弟，也不计其数，见今还有三四十人从他修行。你顺那条小路儿，向南行七八里远近，即是他家了。”猴王用手扯住樵夫道：“老兄，你便同我去去。若还得了好处，决不忘你指引之恩。”樵夫道：“你这汉子，甚不通变。我方才这般与你说了，你还不省？假若我与你去了，却不误了我的生意？老母何人奉养？我要斫柴，你自去，自去。”
+
+    猴王听说，只得相辞。出深林，找上路径，过一山坡，约有七八里远，果然望见一座洞府。挺身观看，真好去处！但见：
+
+    烟霞散彩，日月摇光。千株老柏，万节修篁。千株老柏，带雨半空青冉冉；万节修篁，含烟一壑色苍苍。门外奇花布锦，桥边瑶草喷香。石崖突兀青苔润，悬壁高张翠藓长。时闻仙鹤唳，每见凤凰翔。仙鹤唳时，声振九皋霄汉远；凤凰翔起，翎毛五色彩云光。玄猿白鹿随隐见，金狮玉象任行藏。细观灵福地，真个赛天堂！又见那洞门紧闭，静悄悄杳无人迹。忽回头，见崖头立一石牌，约有三丈馀高、八尺馀阔，上有一行十个大字，乃是“灵台方寸山，斜月三星洞”。美猴王十分欢喜道：“此间人果是朴实。果有此山此洞。”看勾多时，不敢敲门。且去跳上松枝梢头，摘松子吃了顽耍。
+
+    少顷间，只听得呀的一声，洞门开处，里面走出一个仙童，真个丰姿英伟，像貌清奇，比寻常俗子不同。但见他：
+
+    髽髻双丝绾，宽袍两袖风。貌和身自别，心与相俱空。
+
+    物外长年客，山中永寿童。一尘全不染，甲子任翻腾。
+
+    那童子出得门来，高叫道：“甚么人在此搔扰？”猴王扑的跳下树来，上前躬身道：“仙童，我是个访道学仙之弟子，更不敢在此搔扰。”仙童笑道：“你是个访道的么？”猴王道：“是。”童子道：“我家师父，正才下榻，登坛讲道。还未说出原由，就教我出来开门。说：‘外面有个修行的来了，可去接待接待。’想必就是你了？”猴王笑道：“是我，是我。”童子道：“你跟我进来。”
+
+    这猴王整衣端肃，随童子径入洞天深处观看：一层层深阁琼楼，一进进珠宫贝阙，说不尽那静室幽居，直至瑶台之下。见那菩提祖师端坐在台上，两边有三十个小仙侍立台下。果然是：
+
+    大觉金仙没垢姿，西方妙相祖菩提；
+
+    不生不灭三三行，全气全神万万慈。
+
+    空寂自然随变化，真如本性任为之；
+
+    与天同寿庄严体，历劫明心大法师。
+
+    美猴王一见，倒身下拜，磕头不计其数，口中只道：“师父！师父！我弟子志心朝礼！志心朝礼！”祖师道：“你是那方人氏？且说个乡贯姓名明白，再拜。”猴王道：“弟子东胜神洲傲来国花果山水帘洞人氏。”祖师喝令：“赶出去！他本是个撒诈捣虚之徒，那里修甚么道果！”猴王慌忙磕头不住道：“弟子是老实之言，决无虚诈。”祖师道：“你既老实，怎么说东胜神洲？那去处到我这里，隔两重大海，一座南赡部洲，如何就得到此？”猴王叩头道：“弟子飘洋过海，登界游方，有十数个年头，方才访到此处。”
+
+    祖师道：“既是逐渐行来的也罢。你姓甚么？”猴王又道：“我无性。人若骂我，我也不恼；若打我，我也不嗔，只是陪个礼儿就罢了。一生无性。”祖师道：“不是这个性。你父母原来姓甚么？”猴王道：“我也无父母。”祖师道：“既无父母，想是树上生的？”猴王道：“我虽不是树生，却是石里长的。我只记得花果山上有一块仙石，其年石破，我便生也。”祖师闻言，暗喜道：“这等说，却是天地生成的。你起来走走我看。”猴王纵身跳起，拐呀拐的走了两遍。祖师笑道：“你身躯虽是鄙陋，却像个食松果的猢狲。我与你就身上取个姓氏，意思教你姓‘猢’。猢字去了个兽傍，乃是古月。古者，老也；月者，阴也。老阴不能化育，教你姓‘狲’倒好。狲字去了兽傍，乃是个子系。子者，儿男也；系者，婴细也。正合婴儿之本论。教你姓‘孙’罢。”猴王听说，满心欢喜，朝上叩头道：“好！好！好！今日方知姓也。万望师父慈悲！既然有姓，再乞赐个名字，却好呼唤。”祖师道：“我门中有十二个字，分派起名到你乃第十辈之小徒矣。”猴王道：“那十二个字？”祖师道：“乃广、大、智、慧、真、如、性、海、颖、悟、圆、觉十二字。排到你，正当‘悟’字。与你起个法名叫做‘孙悟空’好么？”猴王笑道：“好！好！好！自今就叫做孙悟空也！”正是：鸿蒙初辟原无姓，打破顽空须悟空。
+
+    毕竟不之向后修些甚么道果，且听下回分解。
+
+

data/问题2测试文件.txt

@@ -0,0 +1,10 @@
+薄瓜瓜在薄熙来案开庭前夕再次发表声明
+Bo Guagua’s Statement
+
+Following is the statement that Bo Guagua released to The New York Times on Monday in English. Mr. Bo’s father, Bo Xilai, a former Chinese Communist Party official, is scheduled to go on trial on Thursday on charges of taking bribes, corruption and abuse of power.
+下面是薄瓜瓜在周一《纽约时报》上发表的英文声明。他的父亲、前中国共产党官员薄熙来定于周四出庭受审，面临的指控是受贿、腐败和滥用职权。
+It has been eighteen months since I have been denied contact with either my father or my mother. I can only surmise the conditions of their clandestine detention and the adversity they each endure in solitude. I hope that in my father’s upcoming trial, he is granted the opportunity to answer his critics and defend himself without constraints of any kind. However, if my wellbeing has been bartered for my father’s acquiescence or my mother’s further cooperation, then the verdict will clearly carry no moral weight. 
+自从他们切断我与父亲和母亲的联系以来，已经18个月了。我只能猜测他们所受秘密拘禁的条件，以及他们各自忍受的孤独逆境。我希望，在我父亲即将面对的审判中，他能得到机会来回应对他的批评并为自己辩护，不会受到任何形式的约束。然而，如果我父亲的默然顺从或我母亲的进一步合作已经成为我获得平安的条件，判决显然不会具有任何道德分量。
+My mother, who is now silenced and defenseless, cannot respond to the opportunistic detractors that attack her reputation with impunity. She has already overcome unimaginable tribulation after the sudden collapse of her physical health in 2006 and subsequent seclusion. Although it is of little comfort to my anxiety about her state of health, I know that she will continue to absorb all that she is accused of with dignity and quiet magnanimity.
+我母亲已被禁言，孤立无援，无法回应投机的诽谤者对她声誉的肆意攻击。2006年，她的健康状况突然恶化，随后深居简出，自那以后，她已经克服了常人难以想象的艰难。我知道她会一如既往，以尊严和沉着气度化解她遭到的一切指控，虽然这并不能丝毫减少我对她健康状况的担忧。
+翻译：林蒙克

data/问题3测试文件.txt

@@ -0,0 +1,123 @@
+马英九接受《纽约时报》专访实录
+Transcript of New York Times Interview With President Ma Ying-jeou of Taiwan
+
+Following is a transcript, provided by the Taiwanese government, of an interview with President Ma Ying-jeou conducted by The New York Times in Taipei on Friday. Mr. Ma mainly spoke in Chinese, but briefly answered a question in English.
+《纽约时报》周五在台北对马英九总统做了采访，马英九主要用中文作答，期间穿插了一些英语，以下是台湾总统府提供的采访实录：
+Read the full story here.
+阅读文章。
+Q. The first question we wanted to ask is, since we have APEC coming up in a week and a half, what has Beijing lost and what has Taiwan lost by your not meeting with Xi Jinping in Beijing?
+问：请问您认为无法在这次的APEC促成“马习会”，北京有什么损失？对台湾有什么影响？
+A: We have always believed that APEC was the most appropriate place for the leaders of the two sides of the Taiwan Strait to meet, as APEC has already settled questions of venue, title, and capacity. Especially in Taiwan, there is great public support, but the mainland has greater misgivings. They fear it may give the outside world the misimpression that there are two Chinas. Yet on many occasions I have stressed that the Republic of China government will not promote a policy of “two Chinas,” “one China, one Taiwan,” or “Taiwan independence.” Our Constitution does not admit of such a thing. The mainland side is a bit overly concerned, so it is a pity that a meeting at APEC cannot take place.
+答：我们一直认为APEC是两岸领导人会晤最恰当的地方，不论是场合、头衔、身分，都已经有非常具体的规划，尤其是在台湾，民众的支持度都很高，可是大陆的顾虑比较多，担心会给外界“两个中国”的印象。不过，我们在很多场合都一再说，中华民国政府不会去推动“两个中国”、“一中一台”或“台湾独立”的政策，这是我们宪法所不容许的，他们顾虑多了一点，所以没有办法在APEC见面，确实是很可惜的事情。
+Q. You’ve voiced support for democracy in Hong Kong. Has Beijing’s reaction to the protests in Hong Kong changed your thinking about cross-strait relations, and are you risking cross-strait ties by voicing support for democracy in Hong Kong?
+问：您曾表态支持香港民主化，北京有什么反应呢？两岸关系是否会因此萌生风险？
+A: I think our support for Hong Kong’s democracy will not be at the expense of cross-strait relations. Since I took office, as concerns cross-strait ties, we have signed 21 agreements and laid down a basic foundation. We have proceeded upon this foundation — namely the 1992 consensus of “one China, respective interpretations.” That will not be affected. As a matter of fact, every June 4, I release a statement concerning the Tiananmen incident. This time it’s a different venue, but the basic concept is the same.
+答：我们支持香港的民主不会以牺牲两岸关系做为代价，从我上任后，两岸到目前为止已经签署21项协议，双方建立了一个基础架构，也就是在“九二共识、一中各表”的基础上往前迈进，不会受到这个（事件）影响。事实上，我每年6月4日时都会发表感言纪念六四事件，这次换了一个场合，但基本理念是一致的。
+Another key point is that we believe that if mainland China can practice democracy in Hong Kong or if mainland China itself can become more democratic, then we can shorten the psychological distance between people from the two sides of the Taiwan Strait. This would be a great step toward creating closer cross-strait ties over the long term.
+还有一点很重要的是，我们认为大陆如果能在香港实施民主，或者大陆本身能够更民主化，对于拉近两岸人民心理的距离有非常大的帮助，所以从长远来看，这也是让两岸关系更为紧密的重要一步。
+Q. Xi Jinping seemed to be voicing more support for the “one country, two systems” approach even for Taiwan earlier this week as opposed to the 1992 consensus. Have events in Hong Kong, in your view, made China potentially more eager for a more controlling role in long-term bilateral relations with Taiwan?
+问：习近平支持一国两制，并且希望台湾能接受，但这与您先前提过的“九二共识”有所冲突，这次北京对香港的处理方式，是否让您对两​​岸关系的长远发展有不同的看法？
+A: In fact, the mainland’s introduction of the “one country, two systems” policy was back in about 1982, before the 1992 consensus. Beijing introduced the “one country, two systems” model, and when they did so, we told them that Taiwan could not possibly accept it. Public opinion polls have consistently shown that most people oppose it. But many people in Taiwan support the “one China, respective interpretations” formulation, when “China” means “the Republic of China.” For a long period, especially during the eight years preceding my taking office, cross-strait relations were very unstable. Why was this? Because the administration at the time did not accept the 1992 consensus. When I took office, in my inaugural address, I clearly stated our support for the 1992 consensus of “one China, respective interpretations,” as a result of which the two sides quickly resumed negotiations that led to the signing of 21 agreements. So the 1992 consensus remains a key foundation undergirding cross-strait relations. The mainland has not abandoned it. The mainland came out with its “one country, two systems” formula earlier.
+答：实际上，大陆提出“一国两制”政策是在1982年左右，“九二共识”是在1992年。他们主张“一国两制”，我们在该主张提出时就告诉他们，台湾没办法接受，而且历次民意调查都显示，反对的人占绝大多数。另外一点，如果“一中各表”的“一中”是“中华民国”的话，在台湾支持的人很多。看看过去这么长一段时间，尤其是我们上任前8年，两岸关系处于一个非常不稳定的状态。为什么呢？因为当时的政府不愿意接受“九二共识”原则。等到我上任后，在就职演说里即清楚表明，我们支持“九二共识、一中各表”，两岸很快就恢复协商，也才有后来签署21项协议的成果。因此，“九二共识”到目前为止还是两岸关系当中非常关键的基础，大陆也没有放弃，他们提出“一国两制”的时间更早。
+Q. Changing subjects to trade. There are two competing visions now for trade in the Pacific. There’s Beijing’s Ftaap — the Free Trade Agreement of the Asia Pacific — and then there’s also the Trans-Pacific Partnership that Washington is suggesting. Which do you think fits Taiwan’s economy better? Which has more appeal for you?
+问：目前亚太地区有两个在谈的贸易机制，北京主导的“亚太自由贸易区”（FTAAP），以及美国倡议的《跨太平洋伙伴协定》（TPP），您认为何者对台湾经贸较为有利？哪一个较具吸引力？
+A: Both, we want both (T.P.P. and R.C.E.P.). Both are important to us. The T.P.P. (Trans-Pacific Partnership) includes 12 countries, with whom we enjoy annual two-way trade of $200 billion, or about 35 percent of our total foreign trade. The R.C.E.P. (Regional Comprehensive Economic Partnership), meanwhile, consists of 16 countries, with whom our foreign trade amounts to $325 billion, or 57 percent of our foreign trade. These two groups share seven members. Together, these groups account for 70 percent of our foreign trade, so their importance to us is self-evident.
+答：我们（TPP和RCEP）两个都要，因为两个对我们都重要，TPP有12个国家，与台湾的贸易额一年大概是2千亿美元，占我对外贸易的35%左右；RCEP有16个国家，与台湾的贸易额一年有3,250亿美元，占我对外贸易的57%。这两个团体有7个国家重复，所以合起来算，占我国对外贸易额的7成左右，重要性不言而喻。
+It must be understood that Taiwan is quite behind the rest of Asia in terms of signing free trade agreements (F.T.A.s) and joining in regional economic integration.
+在整个亚洲签署自由贸易协定或者参与区域经济整合上，我国的成绩是非常落后的。
+Ascertaining whether a country is making sufficient efforts on these fronts involves looking at what percent of its exports is covered by F.T.A.s. For Singapore, it exceeds 70 percent, meaning that over 70 percent of Singapore’s exports are covered by F.T.A.s, so they are subject to lower-tariff, or even zero-tariff treatment. Sometimes these exports are also free from other, nontariff barriers. But for Taiwan, the figure is 10 percent, or just under 10 percent. As a result, we do not enjoy equal treatment vis-à-vis our competitors, meaning that our products’ market share in other countries will gradually shrink. This is a matter of life and death for us, because 70 percent of our G.D.P. growth is dependent on foreign trade.
+要观察一个国家在这方面的努力是否足够，通常是用出口产品被自由贸易协定涵盖的量来比较，例如新加坡已经超过70%，也就是说，该国出口的货品有70%都涵盖在自由贸易协定之下，（这些货品）可能是零关税或是比较低的关税，有时候也没有所谓的非关税障碍。台湾到目前为止只有差不多10%，还差一点到10%，后果就是我们在对外竞争上没办法享受比较平等的待遇，在出口国的市场占有率就会逐渐萎缩，对我们来讲，这是生死攸关的事，因为我国GDP的成长有70%要靠对外贸易。
+Q. Do you have any regrets that Taiwan did not make a bigger effort, then, to be included in the first round of T.P.P.?
+问：您是否遗憾台湾无法加入TPP的第一轮谈判呢？
+A: We did our best, but we will not be participating in the first round. Yet the first round has not yet finished, because of the U.S. midterm elections. Multilateral talks will resume next year.
+答：我们已经尽了最大的努力，但是在第一回合，并没有机会让台湾参与，事实上，因为美国期中选举的因素，TPP目前也尚未完成，预期如果要恢复多边的谈判，时间点应该是在明年。
+When nations sign free trade agreements, it is primarily for economic reasons. There are, of course, political implications. For the Republic of China, political interference is greater [than that affecting other countries]. We do not enjoy diplomatic ties with our main trading partners. When we want to trade with them, it’s fine, but when we seek an F.T.A., they hesitate for fear that mainland China will oppose it. This is one reason few countries were, in the past, willing to sign F.T.A.s with us.
+国家与国家签​​订自由贸易协定，主要仍是经济的考量，当然也不是没有政治的意涵。对中华民国而言，政治的干扰确实较大，因为我们与主要贸易伙伴都没有邦交关系。当我们要跟他们做生意时，他们都会赞成，但是如果要与他们签订自由贸易协定，他们往往会犹豫，因为担心中国大陆会反对，这也是为什么过去与台湾签署自由贸易协定的国家并不多的原因。
+After I took office, we signed the Cross-Straits Economic Cooperation Framework Agreement (E.C.F.A.) with our largest trading partner, mainland China. Since then, we have signed an investment agreement with Japan, an economic cooperation agreement with New Zealand and an economic partnership agreement with Singapore. We hope to sign similar agreements with our main trading partners in Asia and Europe by simultaneously contacting many countries and negotiating accords with them one by one.
+在我上任之后，与第一大贸易伙伴中国大陆签署《两岸经济合作架构协议》（ECFA），其后就有机会与日本签署投资协议、与纽西兰签署经济合作协定，及与新加坡签署经济伙伴协定，将来还希望以“多方接触、逐一洽签”的方式，与亚太、甚至于欧洲的主要贸易伙伴进行类似协议的洽签。
+We realize that this will not be easy, because there will always be politically motivated interference.
+当然我们也知道此路途非常困难，永远都会有政治因素从中干扰。
+Q. I’d like to ask about the fishing agreement with Japan surrounding Diaoyu Islands and the waters there. Has that eased tensions, and was that agreement something you discussed with Beijing beforehand?
+问：请问签署《台日渔业协议》之前，台湾是否曾与中国大陆进行咨商呢？
+A: Last April 10, we signed the Taiwan-Japan fisheries agreement following about five months of negotiations. But prior to this, we had been in talks for 17 years. So it was in the 17th round of talks that we signed this agreement. Five rounds were held under President Lee Teng-hui, and 10 under President Chen Shui-bian. After I took office, we held the 16th round, but discovered that this manner of negotiating got us nowhere — it was meaningless and a waste of time. So we changed our approaches.
+答：去年4月10日，我国与日本签署《台日渔业协议》，历经约五个月的谈判期间，但是在更早之前，我们与日本谈了17年，双方是在第17次的谈判上签署该协议，在李前总统登辉任内谈了5次，在陈前总统水扁任内谈了10次，而我上任后是第16次，但是发现类此谈判没有结果、也没有意义，纯属浪费时间，所以我们就改为其他的方式。
+Coincidentally, the situation concerning the Diaoyutai Islands changed about this time. The result of Japan’s nationalization of the islands aroused opposition among the people of both Taiwan and mainland China. At this time, I proposed the East China Sea Peace Initiative, concerned that should increased tensions lead to regional conflict, this would be extremely detrimental to the engine of global economic growth. It would not only affect Asian nations. I proposed the initiative on August 5, 2012. Japan responded in November, stating that they were willing to talk with us about this issue, and within five months, we had an agreement. In the year before we signed, we had 17 clashes over fishing rights, sometimes leading to standoffs between our nations’ respective coast guards. Since the agreement’s signing, there has been but one, for which there was no standoff and which was resolved quickly. So that’s the political implication.
+此时钓鱼台的情势产生变化，因日本将之国有化的结果，激起了海峡两岸人民的反对，所以我提出《东海和平倡议》。因为我们担心紧张情势的升高会带来区域的冲突，将对这个全球经济发展的引擎非常不利，受害的不仅是亚洲国家而已，我是在2012年8月5日提出，而日本方面在11月时即回应愿意与我们商谈此一议题，并在5个月内完成签署该协议。在签署该协议的前一年，双��有17件争议案件，甚至引发双方海巡机关的对峙，但是在签署后降为1件，且没有对峙的情形，争议快速获得解决，此为政治面的意涵。
+Economically, both sides have enjoyed larger catches, especially of high-quality fish like bluefin tuna. This has been beneficial to the fishermen of both sides. So we have achieved both peace and prosperity. We have set sovereignty questions aside, not allowing these to hinder resource development and relevant negotiations.
+而在经济面上，双方的渔货量均有增加，尤其是高品质的渔种，例如黑鲔鱼，对双方的渔民均有助益。一方面取得和平，又增加了繁荣。至于主权问题就搁置了，不要让主权问题影响到我们对资源的开发及谈判。
+Q. Do you see any possibility in reaching a similar arrangement with mainland China?
+问：台湾是否考虑与中国大陆签署渔业协议？
+A: Fishery issues with mainland China have been raised since I took office, since fishermen from mainland China often come to fish in Taiwan’s waters. Sometimes we escort them back for punishment, and sometimes we fine them. Fines in one year can reach $30 million in New Taiwan currency (approximately $1 million in U.S. currency), so the amount is great. However, the mainland has been reluctant to discuss a fisheries agreement with us because they are worried that if they hold such talks with us, it would involve setting boundary lines and that might lead to misunderstandings by outsiders, such as that the two parties were two countries. So there has not been much progress on this issue so far. But in terms of carrying out protection of fishermen or cracking down on illegal fishing, Taiwan has consistently been very active and we are continuing to do so right up to the present. Thus, we have not yet conducted negotiations on a fisheries agreement with mainland China.
+答：我与大陆间的渔业问题，在我上任后曾经提出，因为大陆的渔民经常到台湾的海域捕鱼，我们有时候将他们带回处罚，有时科以罚金，一年罚金甚至可达到3千万新台币，金额蛮多的。但是大陆一直很犹豫，不愿意与我们谈渔业协议，因为他们担心一谈渔业协议就会涉及划界的议题，而谈及划界就易衍生外界的误会，好像双方是两国国家，因此到目前为止，这方面没有很大的进展，但在执行护渔或取缔非法捕鱼上，台湾一直非常积极，到目前为止，都还在执行中，所以我们目前并没有与大陆谈渔业协议。
+However, the thinking in the East China Sea Peace Initiative, which I proposed, is that the three parties — mainland China, Japan, and Taiwan — could split up to conduct three sets of parallel bilateral dialogues: Japan-mainland China, mainland China-Taiwan and Taiwan-Japan, to carry out negotiations on various issues involving marine issues. These could include fisheries development, oil and natural gas exploration and sea rescue cooperation. We have worked with mainland China on sea rescue for years. In addition, there could be other nonconventional security issues, such as marine science research and marine environmental protection. So there is great potential for cooperation.
+我所提出《东海和平倡议》的构想有三方面，亦即日本、中国大陆与台湾，可分成三组：日本及大陆、大陆及台湾、台湾及日本，进行各种海洋议题的协商，包括渔业、油气的开发及海上救援等方面。而在海上救援方面，我与大陆已合作多年。另外，尚可包括海洋科学研究、海洋环境保护等其他非传统的安全议题，合作的空间是很大的。
+At present, Japan and mainland China, as well as Taiwan and Japan, have concluded separate fisheries agreements. In addition, we have carried out sea rescue exercises with mainland China for many years. All these developments are positive. Perhaps we can step by step build three bilateral mechanisms; then, if conditions are appropriate, it could perhaps become one trilateral mechanism.
+目前日本与大陆、台湾与日本都有渔业协议，而我们与大陆有海上灾害防救演习，并已进行多年，这些都很正面，如此逐步地在这个区域建立三个双边的机制，然后条件合适时，也许变成一个三边的机制。
+Q. Do you expect in the near future to deal with the Philippines on judicial cooperation in the Bashi Strait? And can that be the beginning of a broader cooperation with the Philippines on maritime issues?
+问：有关台湾与菲律宾的渔业争议，请问您是否希望透过司法途径处理，例如在巴士海峡划界，以进一步解决与菲律宾的争议呢？
+A: We began discussing that issue with the Philippines last year. In fact, talks are nearing completion. In other words, the two sides shall sign an agreement. However, ahead of the signing, we have reached three points of consensus and are implementing them. The first is that neither party may use force. The second is that before any law enforcement action, the two sides must notify each other. Third, if any personnel are arrested or vessels detained, they shall be released as soon as possible. These three points of consensus are already being carried out by both the Philippines and Taiwan. So, what remains is to sign an agreement pertaining to law enforcement. Signing a fisheries agreement would be very difficult, as it involves constitutional considerations on the Philippine side, so this is still under study.
+答：实际上我们从去年就开始与菲律宾谈这个问题，目前已接近成熟阶段，换言之，双方应会签署一个协议，不过在签署此协议之前，双方已达成三项共识并已开始执行，即：一、双方都不可以使用武力；二、双方在执法前须相互通​​报；三、如有逮捕人员或扣押船只，应尽快释放。这三项共识，菲方及我方都已开始执行，剩下的就是签一个执法的协议。至于渔业协议则非常不容易，因为涉及菲国宪法等，所以目前还在研究中。
+Both parties reached consensus on these points last year, although we have yet to sign an agreement; nevertheless, only one point of contention remains. The closest distance between the Philippines and Taiwan is less than 200 nautical miles. If both sides were to demarcate their respective E.E.Z.s (exclusive economic zone), there would be an overlap of over 100 nautical miles. Under such conditions, this sort of a law enforcement agreement will help reduce causes of dispute. However, looking at the long term, attaining a fisheries agreement will require much more time and effort.
+去年双方达成共识后，虽然到今年还未签署协议，但受争议的案件只剩下一件。因为菲律宾最靠近台湾的领土之处，距台湾不到200海里，所以如果双方都划出自己的专属经济区一定会重叠，而且重叠会超过100海哩，在这种情况下，执法协议将有助于减少争端。但长远来看，若要达成渔业协议，恐怕还需要更长时间与更多努力。
+In 1898, the United States fought a war with Spain over the Philippines. After the U.S. won, the Treaty of Peace Between the United States and Spain ceded sovereignty over the Philippines to the U.S. However, since there are more than 7,000 Philippine islands, it was difficult to clearly demarcate the area. So they just used latitude and longitude to roughly demarcate this area. However, after the Philippines gained independence in 1946, it regarded all of the area within the latitude and longitude coordinates as its offshore waters. Some of the islands within this area are more than 100 nautical miles from the boundary lines. Under such conditions, it is easy for our fishing vessels to inadvertently enter what the Philippines sees as its territorial waters. Since this is stipulated by the constitution of the Philippines, it is difficult for them to deal with this issue. Before these issues are resolved, it will be difficult to sign a fisheries agreement.
+1898年，美国与西班牙为菲律宾发生战争，美国战胜后，（双方）签署《美西和约》，西班牙将菲律宾割让给美国，但在划界时，因菲律宾有七千多个岛屿，无法很清楚地划出来，所以用经纬度来划范围。但菲律宾于1946年独立后，就将此经纬度内的区域都视为是他们的领海，其中有的经纬度距岛屿还超过100海里，在这种情况下，我方渔船很容易进入他们的领海，因为这是菲国宪法的规定，使得他们在处理上也很麻烦，在这些问题解决之前，双方要签订渔业协议确实有其困难。菲律宾也常抱怨我国渔民越界捕鱼，进入他们的领海或专属经济区，所以在达成共识后，我们也一再告诫渔民，如果合法作业，我们一定保障，但如果进入菲律宾领海，就​​不可能保障他们，因为我们的护渔政策是“护渔不护短”。
+The Philippines often complains that our fishermen transgress their borders to fish, entering their territorial waters or E.E.Z. So, after we reached consensus, we have repeatedly told our fishermen that if they operate legally, we will protect them. However, if they enter the territorial waters of the Philippines, we cannot do so. Thus, our policy for the protection of fishermen is to “protect fishing, not wrongdoing.”
+问：台湾与菲律宾达成执法共识、与日本签署渔业协议来降低区域紧张趋势，台湾是否想要在南海扮演更重要的角色呢？例如进一步与菲律宾、马拉西亚及越南讨论类似协议？
+Q. Given that the consensus with the Philippines and the agreement with Japan seem to be reducing tensions in those directions, do you want Taiwan to play a greater role in the South China Sea, particularly with regard to the Philippines’ claims, but also even Malaysia and Vietnam, and particularly given that the Republic of China and the People’s Republic of China have the same historical antecedents for their respective claims?
+答：我们参��区域和平的努力都遭遇同样的困难，一方面台湾与这些国家没有正式的外交关系，双方的接触都会引起中共的关切。第二，中共并不希望我们在南海的国际场合出现，这也使得我们要扮演一个积极的角色会出现困难，但实际上中华民国是一个爱好和平的国家，至少到目前为止，南海最大的岛屿还是由我们驻守，中华民国在1947年就宣布了南海诸岛的位置图，我们的主张也非常清楚，所以还是会争取参与南海在这方面的讨论，希望能扮演区域和平促进者的角色，因为最起码各国都应支持自由航行与飞越，以及以和平方式解决争端。我们认为《东海和平倡议》适用的区域虽然是在东海，但一些基本原则是可以适用于南海的。我所说的这些观念，在《东海和平倡议》中最重要的，就是将主权与资源开发问题区隔开来。
+A: Our efforts to take part in regional peace initiatives have all encountered the same difficulty. On the one hand, Taiwan does not have formal diplomatic relations with these countries, so contact between the two sides elicits concerns from mainland China. Second, Beijing hopes we will not be involved in international situations such as South China Sea controversies. This has led us to encounter difficulties in playing an active role. However, in fact, the Republic of China is a peace-loving nation, and up to the present, we have troops stationed on the largest island in the South China Sea. In 1947, the Republic of China published a map of its territories in the South China Sea, so our claim is very clear. Therefore, we continue to seek participation in discussions involving the South China Sea, in hope of acting as a facilitator of peace, since, at the least, all countries should be able to support freedom of navigation, freedom of overflight and the use of peaceful means to resolve disputes. We feel that although the East China Peace Initiative applies to the East China Sea area, many of its basic principles also can be applied to the South China Sea. The most important of these concepts in the East China Sea Peace Initiative that I’ve mentioned is that sovereignty and resource development issues can be decoupled.
+在海洋法上有一个很基本的原则，就是“陆地支配海洋”。因此海域的主张都是从陆地开始，不过尽管在逻辑上是如此，但在争端的解决上，并不是不能先解决资源开发的问题，如果我们回头想想，“主权不能分割，但资源可以分享”。实际上在世界许多地区，也都有类似的发展，包括欧洲的北海，在1960、1970年代本来也有海域的争执，但当他们知道再争下去也不会有结果后改为合作，共同开发资源，使得国际石油市场出现重要品牌——“布兰特原油”。
+There is a basic principle in the Law of the Sea, that land dominates the sea. Thus marine claims begin with land; however, even if it is logically this way, when resolving disputes, it is not impossible to first resolve resource development issues. If we think back to the past, sovereignty is indivisible, but resources can be shared. In fact, in many areas of the world there is already a similar kind of development, including Europe’s North Sea, which in the 1960s and 1970s was an area of dispute, but once they realized that continuing to dispute would never produce results, they changed to cooperation. Joint development of resources resulted in the emergence of an important brand on the international oil market, Brent Crude.
+在东海，实际上我们也是循着这样的逻辑。与日本签署渔业协议，并没有放弃我们对主权的主张，我们认为钓鱼台是中华民国的领土、台湾的属岛，这样的立场从来没有改变。但我们在《台日渔业协议》第四条做了一个规定，就是双方在这个协议之下所采取的行动或措施，不影响我们在海洋法上的权益。用这种方式将此问题暂时搁置下来，如此一来问题就变小了，而不是变大，这样解决之后，将来如果还有机会，我们还是可以探讨有关主权的问题，否则也可以探讨其他资源的开发，像刚才提到的油气或其他新发现的资源。南海问题如果能从这个角度切入，也许可以找到一些解决问题的方案。
+In the East China Sea, we are in fact following this kind of logic. When we signed the fisheries agreement with Japan, we did not abandon our sovereignty claim. We regard the Diaoyutais as territory of the Republic of China, and offshore islands appertaining to Taiwan. This stance has never changed. However, in the fourth article of the Taiwan-Japan fisheries agreement, it says that the actions or measures adopted by both parties under this agreement do not affect our rights and interests under the Law of the Sea. By using this approach to shelve our disputes temporarily, the problem became smaller, not larger. Following this sort of resolution, in the future, if there is the opportunity, we can still explore issues pertaining to sovereignty; otherwise, we can explore other issues of resource development, such as oil and gas, or other newly discovered resources that I just mentioned. If the South China Sea issues can be approached from this angle, perhaps solutions can be found to some of them.
+问：台湾已经表达希望能够自制潜舰（潜水艇），是否还是依赖美国提供技术呢？
+Q. Taiwan has expressed interest in developing its own submarines. How important is that to Taiwan? And if you go ahead with developing your own submarines, would you rely on technology from the U.S. and do you expect to get that?
+答：事实上，我们在2001年之前就向美国提出采购柴电潜舰的清单，美方也在当年同意了，但是因为美国从1950年代以后已经不再发展柴电潜舰，建造的都是核电（潜舰），美国已经没办法提供类似成品，但是要找到其他国家（采购）也不是很容易，所以时间耽误了很久。我们现有的四艘潜舰已经过于老旧，例如1970年代引进的茄比级潜舰，已经将近70岁了，非常需要替换。我们会走“潜舰国造”的路线，当然必须要引进外来技术才有可能（发展）。
+A: As a matter of fact, before 2001, we presented a procurement list for diesel-powered submarines to the U.S. In the same year, the U.S. approved our proposal, but because it had stopped developing diesel-powered submarines in the 1950s and now manufactures only nuclear-powered ones, it was unable to supply us with the items we wanted. It has also been difficult to purchase them from other countries. This has led to a long delay. The four submarines we have are old and outdated; for example, the Guppy-class submarines we purchased in the 1970s have been in service for almost 70 years. These need to be replaced. We will continue with our indigenous submarine program; of course, we will need to rely on technologies from other countries.
+问：是否已经对美国提出正式要求呢？
+Q. Where does that stand? I understand that you have formal requests to the United States. Have you received any reply on obtaining submarine technology that would allow you to build subs in your own shipyards?
+答：我们现在还在跟美国讨论这个问题。我们自己的造舰技术，包括炮艇、巡防舰乃至于4千到5千吨的船舰我们都可以造，但是潜舰需要的技术不一样，我们会继续跟美方讨论在技术上要如何合作。
+A: We are still discussing this issue with the United States. With our current shipbuilding technology, we can build gunships, frigates and even 4,000- to 5,000-ton vessels. But the technology needed for building submarines is different. We will continue to discuss how we could engage the U.S. in technological cooperation.
+问：目前台湾已经向美国正式提出技术支援的请求吗？
+Q. Is there a formal recent request you made? I have heard different versions on this, a formal recent request for submarine technology that you would build into vessels that would actually be assembled in Taiwanese shipyards. Or was it not an actual recent formal request for a specific technology that would allow you to do this at all?
+答：我想提出正式要求应该是最后一步，应该是在确认技术可以移转的情况下才会提出来，这主要是一个形式，最重要的是能够找到关键的潜舰制造技术，这方面我们也会继续努力，一旦有成果就会提出，但是美方在2001年已经同意。
+A: Making a formal request should be the last step. It should be made only after we have confirmed that the technology can be transferred. That would mainly be a formality. The most important thing is whether we can obtain the key submarine technology. We will continue to work on this, and once we succeed, we will make a request. However, the U.S. already gave its approval in 2001.
+问：美国与欧盟的企业如果在中国大陆违反《反垄断法》，通常会受到处分，但相较之下对台湾企业似乎比较宽松？
+Q. Taiwanese companies have conspicuously not been punished in recent months as China has confronted multinationals from the United States, Europe and Japan, accusing them of offenses like breaking antimonopoly laws. Is this because Taiwan has an understanding with China that they are not going after your companies, that you are somehow exempt from the economic nationalism because they see you as part of China? Why is it that Taiwanese companies seem to have this exemption from the current crackdown on foreign companies, more broadly, in China?
+答：台湾跟中国大陆都是世界贸易组织的成员，享有一样的权利义务，我们没有因为距离大陆比较近，或者因为语言一样，就享受到特殊优待，就我所知是没有。
+A: Taiwan and mainland China are both members of the World Trade Organization. We enjoy the same rights and obligations. We do not receive special privileges because we are closer geographically or speak the same language. We don’t as far as I know.
+您刚刚提到有关反垄断的法律，是不是因为台商的规模没有这么大，所以违反这些法律的机会不大，这我并不是很清楚。
+You just mentioned antimonopoly laws. Could it be because Taiwan’s businesses are not so large and therefore are less likely to violate these laws? I am not sure about that.
+问：您有考量以任何方式因应美国猪肉进口的议题吗？
+Q. Do you foresee a way to address the pork issue with the United States such that you can get a bilateral investment agreement done with the United States before you leave office?
+答：我们实际上已经跟美方恢复了TIFA协商，这是双方在1994年签订的一个协议。关于猪肉问题，因为两年前国内讨论开放美国牛肉时，美国在台协会明白地告诉我们，牛肉跟猪肉可以分开处理，所以我们当初对国人说明时，第一个原则就是“牛猪分离”。因为牛肉在台湾被食用的机会远远低于猪肉，台湾猪肉消费量很大，尤其是吃猪的内脏，倘有任何莱克多巴胺，留在内脏的残留量会比较高，我们对这方面会比较忧虑，因此到目前为止并没有同意猪肉含有莱克多巴胺。
+A: We have resumed negotiations with the United States under the Trade and Investment Framework Agreement signed in 1994. Regarding the pork issue, when we were discussing opening up the market to U.S. beef two years ago, the American Institute in Taiwan told us clearly that beef and pork imports could be discussed separately. When we first communicated this to our people, the first principle we observed was that the importation of beef and pork would be considered separate issues. Taiwan consumes a far lower amount of beef than pork. Our pork consumption is very high, especially of offal. The use of ractopamine results in higher residual levels in internal organs. We are more concerned about this. This is why we have not agreed to allow pork imports containing ractopamine.
+至于牛肉，在与美方多次协调后，MRL（谨注，全称为Maximum Residue Limit，指肉品残留莱克多巴胺的容许量）在10个pbb以内，我们允许进口，现在这个问题已解决。美方两年前曾经告诉我们牛肉猪肉可以分开，我们也用这个原则处理，因此这个问题双方还需要好好谈一谈。
+With regards to beef, after many rounds of negotiations with the U.S., we now permit the import of beef with a maximum residue limit of 10 pbb. This problem has now been resolved. The U.S. said two years ago that beef and pork imports could be discussed separately, and we have proceeded accordingly. Therefore, the two sides will need to conduct further discussions on this issue.
+第二，美国猪肉对中华民国所占的出口比例非常小，我们现在实际上开放美国猪肉进口，唯一差别是对于含有莱克多巴胺的肉类不允许进口。而美国出口的猪肉，无论是到俄罗斯、欧盟或中国大陆，都没有含莱克多巴胺。台湾进口美国猪肉量非常少，远远低于俄罗斯、欧盟或中国大陆，看不出来为什么不能让我们进口的猪肉没有莱克多巴胺？我们觉得这不是一个很大的议题，不应该因为这个议题，而阻挡在其他许多议题上的协商，尤其是两国有关双边投资协定的协商，如果是这样，就非常可惜，因为（猪肉进口）的量占得非常少。现在我们听到的口号是No Pork, No Talk，我觉得这不是一个很有智慧的说法。
+Second, pork accounts for a very small proportion of U.S. exports to the R.O.C. We have opened our market to U.S. pork. The only restriction is that pork containing ractopamine is not allowed. U.S. pork exports, whether to Russia, the European Union, or mainland China, do not contain ractopamine. Taiwan imports a very small volume of U.S. pork, far less than Russia, the E.U., or mainland China. We see no reason why pork exported to Taiwan cannot be ractopamine-free. We do not think that this is a big issue. It should not impede our negotiations with the U.S. on a number of other issues, especially a bilateral investment agreement. Otherwise it would be a shame because U.S. exports very little pork to Taiwan. I do not think that the slogan we now hear — no pork, no talks — is very wise.
+问：中国大陆已经超​​越美国成为台湾第一大贸易伙伴，您是否会担心因为经济过度依赖中国，使台湾失去政治与安全的弹性？
+Q. Do you have any concern that Taiwan’s ever-growing economic ties to the mainland, and now that mainland China has passed the United States as the biggest trading partner of Taiwan, mean that Taiwan is losing its political and security flexibility, that it is becoming too dependent on China economically?
+答：最近一段时间确实有人在讨论台湾对中国大陆的经济是否过度依赖，首先，我们要检讨什么是“依赖”，什么是“过度依赖”。例如2000年时台湾对大陆（包括香港）的出口占整体出口的24%，��2008年我执政前，台湾对大陆的出口已成长为40%，大家都认为2008年到现在，台湾对大陆的出口还会持续增加，但是刚好相反，从去年到今年9月，台湾对大陆出口约占39%，相较2008年时，不但没有增加，反而减少。其中重要的原因之一是我们分散了出口市场，例如我们与东协的贸易占整体出口的（比例），从12%成长到15%，现在已经达到19%，可说是一直都是往上成长的趋势。
+A: Some people have indeed been discussing recently whether Taiwan is too dependent on the mainland Chinese economy. We must first examine what dependence and over-dependence mean. For example, in 2000, mainland China (including Hong Kong) accounted for 24 percent of Taiwan’s total exports. Before I took office in 2008, our exports to the mainland had risen to a 40-percent share. People thought that this figure would continue to increase. But the reverse has happened. From last year to September of this year, 39 percent of Taiwan’s exports were shipped to mainland China. The figure did not increase but instead decreased. An important reason is that we have diversified our export markets. For example, our exports to the Association of Southeast Asian Nations grew from a 12-percent to 15-percent share, and have now reached 19 percent. This shows a consistently upward trend.
+实际上，中国大陆周边的23个国家当中，有17个都以它做为第一大贸易伙伴，双边的贸易额都非常高，因为大陆现在是全球第二大经济体及第一大出口国。我们可以看美国与加拿大及墨西哥的关系，他们有“北美自由贸易区”，墨西哥与加拿大对美国的出口占（整体）出口（量）的75%，美国出口到加拿大及墨西哥则各占两国进口（量）的50%，因此双边整体贸易的依存度是65%，远高于两岸间的贸易。有人会说美国与加拿大及墨西哥的关系与两岸关系不同，政治关系确实不一样，不过在经济的领域上，双方距离相近、同文同种，关系非常密切，贸易量多是无可避免的。我们与中国大陆的贸易量如果只占整体的10%，与美国的贸易量却占50%，这在经济（的领域）上（几乎）是不可能发生的。但是以前曾经发生过，我记得我刚从美国回来的时候，大约是1981至1988年，我们对美国的出口占整体出口的一半，超过五成，后来我们与大陆及其他国家（的贸易）慢慢平衡起来，所以这是会变化的，以目前的程度来看，尚未到过度依赖的地步。我们对大陆的贸易量确实一直在增加，但比例反而降低，以目前的情况而言，值得注意但不必过度紧张。
+Mainland China is the largest trading partner of 17 of its 23 neighboring countries. Their bilateral trade values are extremely high because mainland China is the world’s second largest economy and largest exporter. We can take a look at U.S. relations with Canada and Mexico. The three countries have formed a North American free trade area. About 75 percent of Mexican and Canadian exports are destined for the U.S., while the U.S. supplies about 50 percent of their respective total imports. Therefore, their bilateral trade dependence is 65 percent, which is far higher than that in cross-strait trade. Some people might say that U.S. relations with Canada and Mexico are different from cross-strait ties. Their political relations are certainly different. Economically, however, the countries are located in close proximity, share similar cultures and ethnic backgrounds, as well as close relations. That they would have a large trade volume is inevitable. If mainland China were to account for only 10 percent of our total trade and the U.S., 50 percent, it would be [almost] impossible economically. However, this happened before. I remember when I had just returned from the U.S., around 1981 to 1988, half or more than half of Taiwan’s exports were destined for the U.S. Our trade with mainland China and other countries gradually became more balanced. Things change. Judging from the present situation, we have not yet become over-dependent on mainland China. Our trade with the mainland has indeed continued to increase, but its share of total trade has decreased. The present situation warrants our attention but does not call for excessive anxiety.
+问：您支持香港的民主化，今年初台湾曾发生学运，许多人指出两者有些相同与相异之处，主要都是受到中国大陆的影响，你也曾批评过台湾的抗议学生，请问您觉得两者有什么异同之处呢？
+Q. Going back to your support for democracy in Hong Kong, Taiwan had protests earlier this year. Many people pointed out similarities between the two. While the details are different, the fundamental issue concerns the influence of China. But you were also critical of the protests here. Do you see any contradiction in your standpoint, or do you see any similarities or differences between the two protest movements?
+答：您刚问说我对台湾学运与香港学运的看法是否矛盾，完全没有，因为我支持民主、反对暴力。台湾与香港的学运有两个地方相同，也有两个地方不同，相同之处在于双方都是以学生为主，而且学生都有极高的热诚，但是双方的目的不一样，在香港是争取普选，换句话说是争取民主，在台湾是反对政府的大陆政策，所以是反对一项公共政策，因为香港要争取的民主，台湾都已经有了。第二个不同在于政府当局的反应不同，我们是一个民主国家，所以对民众提出的诉求都会研究并且回应，例如学生在第一天提出的诉求是希望服贸协议必须逐条审查、逐条表决，实际上服贸协议还在立法院，并没有通过，而两天后国民党团就说这本来就是两党的协议，没有问题，我们可以接受。
+A: You asked whether there is any contradiction in my standpoint on the Hong Kong and Taiwan protests — there is absolutely no contradiction, as I support democracy, but oppose violence. With regard to the student movements in Hong Kong and Taiwan, there are two similarities and two differences. As for similarities, the two movements were both dominated by students, who demonstrated great enthusiasm. However, the goals of the two movements are different. In Hong Kong, the aim is universal suffrage, in other words, demanding democracy. In Taiwan, the movement opposed our mainland China policy, objecting to a public policy. Democracy, which people in Hong Kong are pursuing, already exists in Taiwan. The second difference is the reaction of the authorities. We are a democratic nation, and concerns raised by the public will be examined and responded to. For example, on the first day of the protests here, students demanded that the Cross-Strait Trade in Services Agreement be reviewed and voted on article by article. In fact, the agreement at that time was still before the Legislative Yuan and had not yet been passed. Two days later, the Kuomintang (KMT) party caucus said that it would accept this demand, as this was already the consensus of the two major parties.
+学生看到他们提出的第一个诉求被接受以后，又提出第二个诉求，要求制订《两岸协议监督条例》。实际上在他们提出（诉求）的一个月前，立法院国民党团就已经与行政院达成四阶段监督程序。行政院在4月3日，学运尚未结束前，就已经通过监督条例草案，并送到立法院，但迄今已经过了6个多月，都还没处理。
+After seeing that their first demand had been accepted, they made a second. They called for the establishment of an oversight act for agreements between Taiwan and mainland China. A month prior to this, the KMT party caucus in the Legislative Yuan had reached consensus with the Executive Yuan on creating a four-stage oversight mechanism. On April 3, before the protest movement ended, the Executive Yuan approved a draft of such an act and sent it to the Legislative Yuan. Today, more than six months later, the draft still has not gotten through the legislature.
+另外一方面，学生要求与政府对话。行政院江院长在3月22日从行政院走到立法院，走进群众当中要跟抗议群众对话，但是学生说“你先要同意将服贸协议退回，我们才对话”。就我记忆所及，这是中华民国第一次（有）最高行政首长走到群众当中讨论他们的诉求，这是非常不容易的，但他居然被拒绝了，只好走回行政院去。学生要求与官员对话，官员来了却被拒绝。
+Meanwhile, the students called for dialogue with the government. On March 22, Premier Jiang walked from the Executive Yuan to the Legislative Yuan, and went among the crowd gathered there for a discussion. But the students said that the trade in services agreement should first be withdrawn before they would engage in dialogue. As far as I know, this was the first time that the highest-ranking official of the executive branch of the R.O.C. government went into a group of protesters to discuss their demands — it was really quite something. However, he was rejected, and walked back to the Executive Yuan. Even though the students requested dialogue with government officials, when a government official came to talk with them, he was turned away.
+后来我在第二天召开记者会说明政府立场，而后在3月25日，我提出愿意与学生在总统府就他们的诉求交换意见，而且全程公开，电视台可以全程转播。后来我一共提出7次提议，他们提出许多反对理由不跟我见面，包括如果要见面，我不可以在立法院要求国民党团执行党纪，他们甚至建议不在总统府，应该在凯达格兰大道的路中间开会。我不晓得其他国家情形如何，但是一国总统提出7次欢迎学生与总统对话的提议，都被拒绝，我想我们已经做到“有回应的政府（responsive government）”地步了。
+The next day, I held a press conference explaining the government’s position. On March 25, I came out and said that I was willing to exchange views with students at the office of the president. Such a meeting would be public and could have been broadcast on television. In total, I issued an invitation for dialogue seven times, but each time, the students put forward reasons for not wanting to meet with me. For example, if we were to meet, they said, I could not request that the KMT party caucus in the Legislative Yuan exercise party discipline. They also said that a meeting should not be held in the office of the president, but on Kaitakelan Boulevard. I wonder how things are in other countries, but I, as president, extended seven invitations to speak with students, and though these were all rejected, I believe we did our part as a responsive government.
+实际上我们也做到他们绝大部分的要求，除了退回服贸协议、重新协商这一项以外，这（一项）我们做不到，在国际上也不能这样。（如果）我们这样做，会被国际社会认为是一个不可靠的贸易伙伴，会影响到未来我们跟其他国家签订类似协议。所以我刚刚讲到两点：一个是目标不同，一个是政府处理态度不同，学生基本上反对我们的大陆政策，但实际上我们的大陆政策受到绝大多数民众赞成。他们（抗议民众）觉得服贸协议是“黑箱”（black box），实际上服贸协议在进入立法院（审查）之前，过程是中华民国行宪以来最透明的一个法案。
+In fact, we met most of their demands, except for withdrawing the trade in services agreement and renegotiating it. We could not have agreed to that demand. Doing so would be unacceptable in the international arena. If we had done so, the international community would regard us as an unreliable trade partner, which would then affect our ability to sign similar agreements with other countries. So I have mentioned two differences, which are the goals of the protests as well as the responses of the respective governments. The students fundamentally disagree with our mainland China policy. In fact, our mainland China policy has had the support of a large majority of our people. They [the protesters] believe that the trade in services agreement is a black box accord, but in fact, before being sent to the Legislative Yuan for deliberation, it was handled with the highest degree of transparency since constitutional rule was instituted in the R.O.C.
+在去年6月21日双方签订（服贸协议）之前，经济部已经与46种服务业、264位代表进行110场咨商，并都留有纪录。送到立法院前，三次向立法院委员会做正式报告，送到立法院之后，经济部另外举办了140多场大规模座谈，有7千9百多人参加。今年三月份（服贸协议）进入委员会审查之前，又办了20场公听会。中华民国立法院成立以来，没有任何一个议案用这么长时间进行这么多讨论，但还被认为是黑箱作业，现在已经进入立法院，又办了这么多场公听会，怎么还会不透明呢？关键是，他们（在野党）似乎不希望（立法院）审查这个法案，他们想要阻挡。
+Before the agreement was signed by the two sides on June 21 of last year, the Ministry of Economic Affairs (M.O.E.A.) held 110 rounds of consultations with 264 representatives from 46 service-economy sectors. For each of these there is a record. In addition, before the agreement was sent to the Legislative Yuan, three formal reports were made to relevant committees of the Legislative Yuan. After it was sent to the Legislative Yuan, the M.O.E.A. held more than 140 large-scale seminars, which were attended by more than 7,900 people. In March of this year, before the legislative review had started, 20 public hearings were held. Since the R.O.C. Legislative Yuan was established, no bill has been afforded this much time or deliberation. Nevertheless, it still is regarded as a black box process. With the agreement having already entered the Legislative Yuan, and with so many public hearings having been organized, how can it still be regarded as not transparent? The key point is that they [the opposition] do not want this bill to be reviewed [by the Legislative Yuan]. They want to block it from moving forward.
+在西方民主国家，反对党要阻挡一个议案，通常会采取的方式为Filibuster（冗长发言），从事Filibuster的议员要有不间断持续讲十几个小时的能力，否则无法达成阻挡一个议案的目的，我看到的实例中最长达23个小时。但是在我们的国会中，只要反对党用暴力方式占领主席台，会就开不下去了。从这一届以来，已经有90多次纪录，他们的目的就是不希望我们与中国大陆签服贸协议，这对台湾发展非常不利，因为与我们签署贸易协定的国家很少，对我国竞争很不利，加上中国大陆的服务业基本上没有台湾发达，若可以过去，对台湾服务业的发展是很好的机会。
+In Western democracies, if the opposition wants to block a bill from moving forward, a filibuster is often the tactic used. A lawmaker proposing such a filibuster must speak uninterrupted for more than 10 hours to achieve his goal. I think the longest I have heard of was more than 23 hours. In our legislature, the opposition can simply use violence to occupy the speaker’s podium and stop proceedings. In the current session of the legislature, we have already witnessed more than 90 such instances. They do not want us to sign the trade in services agreement with mainland China. However, this will greatly harm Taiwan’s development. The number of countries that have signed free trade agreements with us is limited, hurting our competitiveness. In addition, the service sector in mainland China is not as developed as ours, and entering the mainland China market would present great opportunities for Taiwan’s service industry.
+我国经济学家估计，我国对大陆服务业出口会因为这个（服贸）协议增加37%，大陆到台湾只增加9%，这个协议基本上对台湾要比对大陆更为有利。这也是为什么我们认为服贸协议还是必须通过的原因。今年因为要选举，立法院会期比较短，但是我们希望朝野两党要体认到，台湾目前面对的国际挑战，无论哪一个党执政都需要面对，阻挡的结果只会让台湾在竞争上处于更不利的地位，这也是华尔街日报提出社论《台湾自甘落后》的理由。
+Economists in Taiwan believe that as a result of the trade in services agreement, our service exports to mainland China will grow by 37 percent, while mainland Chinese service exports to Taiwan will only increase by nine percent. The agreement will thus be more beneficial to Taiwan. This is why we believe that the agreement should still be passed. This year we are holding elections, so the current session of the Legislative Yuan is relatively short. However, we hope that both the governing and opposition parties are aware of the international challenges that Taiwan faces. Regardless of which party is in power, these challenges will have to be met. Blocking the agreement will only result in lowering Taiwan’s competitive standing. That is why The Wall Street Journal published an editorial entitled “Taiwan leaves itself behind.”
+所以我再度强调，我看香港与台湾的学运，基本上我们“欢迎民主、反对暴力”，任何一个民主国家都无法容忍国会或行政机关被任何人（包括学生）强占，这样的做法不是民主，而是暴力。

docs/Makefile

@@ -0,0 +1,20 @@
+# Minimal makefile for Sphinx documentation
+#
+
+# You can set these variables from the command line, and also
+# from the environment for the first two.
+SPHINXOPTS    ?=
+SPHINXBUILD   ?= sphinx-build
+SOURCEDIR     = source
+BUILDDIR      = build
+
+# Put it first so that "make" without argument is like "make help".
+help:
+	@$(SPHINXBUILD) -M help "$(SOURCEDIR)" "$(BUILDDIR)" $(SPHINXOPTS) $(O)
+
+.PHONY: help Makefile
+
+# Catch-all target: route all unknown targets to Sphinx using the new
+# "make mode" option.  $(O) is meant as a shortcut for $(SPHINXOPTS).
+%: Makefile
+	@$(SPHINXBUILD) -M $@ "$(SOURCEDIR)" "$(BUILDDIR)" $(SPHINXOPTS) $(O)

docs/make.bat

@@ -0,0 +1,35 @@
+@ECHO OFF
+
+pushd %~dp0
+
+REM Command file for Sphinx documentation
+
+if "%SPHINXBUILD%" == "" (
+	set SPHINXBUILD=sphinx-build
+)
+set SOURCEDIR=source
+set BUILDDIR=build
+
+if "%1" == "" goto help
+
+%SPHINXBUILD% >NUL 2>NUL
+if errorlevel 9009 (
+	echo.
+	echo.The 'sphinx-build' command was not found. Make sure you have Sphinx
+	echo.installed, then set the SPHINXBUILD environment variable to point
+	echo.to the full path of the 'sphinx-build' executable. Alternatively you
+	echo.may add the Sphinx directory to PATH.
+	echo.
+	echo.If you don't have Sphinx installed, grab it from
+	echo.https://www.sphinx-doc.org/
+	exit /b 1
+)
+
+%SPHINXBUILD% -M %1 %SOURCEDIR% %BUILDDIR% %SPHINXOPTS% %O%
+goto end
+
+:help
+%SPHINXBUILD% -M help %SOURCEDIR% %BUILDDIR% %SPHINXOPTS% %O%
+
+:end
+popd

docs/run-make.bat

@@ -0,0 +1 @@
+make clean && make html

docs/run-update-readthedocs.bat

@@ -0,0 +1,2 @@
+git ac "Update docs"
+git push github

docs/source/conf.py

@@ -0,0 +1,58 @@
+# Configuration file for the Sphinx documentation builder.
+#
+# This file only contains a selection of the most common options. For a full
+# list see the documentation:
+# https://www.sphinx-doc.org/en/master/usage/configuration.html
+
+# -- Path setup --------------------------------------------------------------
+
+# If extensions (or modules to document with autodoc) are in another directory,
+# add these directories to sys.path here. If the directory is relative to the
+# documentation root, use os.path.abspath to make it absolute, like shown here.
+#
+# import os
+# import sys
+# sys.path.insert(0, os.path.abspath('.'))
+import os
+import sys
+sys.path.insert(0, os.path.abspath('../../radiobee'))
+
+# -- Project information -----------------------------------------------------
+
+project = 'radiobee'
+copyright = '2022, mu'
+author = 'mu'
+
+# The full version, including alpha/beta/rc tags
+release = '0.1.0beta2'
+
+
+# -- General configuration ---------------------------------------------------
+
+# Add any Sphinx extension module names here, as strings. They can be
+# extensions coming with Sphinx (named 'sphinx.ext.*') or your custom
+# ones.
+extensions = [
+]
+
+# Add any paths that contain templates here, relative to this directory.
+templates_path = ['_templates']
+
+# List of patterns, relative to source directory, that match files and
+# directories to ignore when looking for source files.
+# This pattern also affects html_static_path and html_extra_path.
+exclude_patterns = []
+
+
+# -- Options for HTML output -------------------------------------------------
+
+# The theme to use for HTML and HTML Help pages.  See the documentation for
+# a list of builtin themes.
+#
+# html_theme = 'alabaster'
+html_theme = 'sphinx_rtd_theme'
+
+# Add any paths that contain custom static files (such as style sheets) here,
+# relative to this directory. They are copied after the builtin static files,
+# so a file named "default.css" will overwrite the builtin "default.css".
+html_static_path = ['_static']

docs/source/examples.rst

@@ -0,0 +1,10 @@
+Examples
+=============
+
+``radiobee`` has in-built examples. Just click one of the rows in the ``Examples`` table and click ``Submit`` to testrun.
+
+Installation/Usage:
+*******************
+As the package has not been published on PyPi yet, it CANNOT be installed using pip.
+
+For now, the suggested method is to download the zipped package or use the online version at  `https://huggingface.co/spaces/mikeee/radiobee-aligner/  <https://huggingface.co/spaces/mikeee/radiobee-aligner/>`_

docs/source/index.rst

@@ -0,0 +1,24 @@
+.. radiobee documentation master file, created by
+   sphinx-quickstart on Tue Jan  4 11:32:45 2022.
+   You can adapt this file completely to your liking, but it should at least
+   contain the root `toctree` directive.
+
+Welcome to radiobee's documentation!
+====================================
+
+.. toctree::
+   :maxdepth: 2
+   :caption: Contents:
+
+   intro
+   userguide
+   userguide-zh
+   examples
+   radiobee
+
+Indices and tables
+==================
+
+* :ref:`genindex`
+* :ref:`modindex`
+* :ref:`search`

docs/source/intro.rst

@@ -0,0 +1,21 @@
+Introduction
+============
+
+``radiobee`` (or ``radiobee aligner`` in full) is a powerful dualtext aligner.
+
+The aim is to provide an interface to align two texts.
+
+The current implementation has been developed in Python 3 and ``gradio``.
+
+Motivation
+**********
+
+Properly aligned texts (paragraph-to-paragraph or sentence-to-sentence) find many applications in machine learning (e.g. machine translation), CAT (tmx, translation terms etc.) and education (dual-language ebook), etc.
+
+Limitations
+***********
+
+Currently, only zh-en/en-zh pairs are supported for fast-track mode although further pairs will be added if and when time permits.
+If you are willing to help with a particular pair (for example, de-zh, ja-zh, ru-zh, etc.), you are welcome to contact the developer.
+
+An experimental slow-track mode (approximately 500 pairs per 5 minutes) is introdueced for other laugnage pairs.

docs/source/modules.rst

@@ -0,0 +1,7 @@
+radiobee
+========
+
+.. toctree::
+   :maxdepth: 4
+
+   radiobee

docs/source/radiobee.rst

@@ -0,0 +1,229 @@
+radiobee package
+================
+
+Submodules
+----------
+
+radiobee.align\_sents module
+----------------------------
+
+.. automodule:: radiobee.align_sents
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.align\_texts module
+----------------------------
+
+.. automodule:: radiobee.align_texts
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.amend\_avec module
+---------------------------
+
+.. automodule:: radiobee.amend_avec
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.app module
+-------------------
+
+.. automodule:: radiobee.app
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.cmat2tset module
+-------------------------
+
+.. automodule:: radiobee.cmat2tset
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.docterm\_scores module
+-------------------------------
+
+.. automodule:: radiobee.docterm_scores
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.en2zh module
+---------------------
+
+.. automodule:: radiobee.en2zh
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.en2zh\_tokens module
+-----------------------------
+
+.. automodule:: radiobee.en2zh_tokens
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.file2text module
+-------------------------
+
+.. automodule:: radiobee.file2text
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.files2df module
+------------------------
+
+.. automodule:: radiobee.files2df
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.gen\_aset module
+-------------------------
+
+.. automodule:: radiobee.gen_aset
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.gen\_eps\_minsamples module
+------------------------------------
+
+.. automodule:: radiobee.gen_eps_minsamples
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.gen\_model module
+--------------------------
+
+.. automodule:: radiobee.gen_model
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.gen\_pset module
+-------------------------
+
+.. automodule:: radiobee.gen_pset
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.gen\_row\_alignment module
+-----------------------------------
+
+.. automodule:: radiobee.gen_row_alignment
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.insert\_spaces module
+------------------------------
+
+.. automodule:: radiobee.insert_spaces
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.interpolate\_pset module
+---------------------------------
+
+.. automodule:: radiobee.interpolate_pset
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.lists2cmat module
+--------------------------
+
+.. automodule:: radiobee.lists2cmat
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.loadtext module
+------------------------
+
+.. automodule:: radiobee.loadtext
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.mdx\_e2c module
+------------------------
+
+.. automodule:: radiobee.mdx_e2c
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.plot\_cmat module
+--------------------------
+
+.. automodule:: radiobee.plot_cmat
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.plot\_df module
+------------------------
+
+.. automodule:: radiobee.plot_df
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.process\_upload module
+-------------------------------
+
+.. automodule:: radiobee.process_upload
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.seg\_text module
+-------------------------
+
+.. automodule:: radiobee.seg_text
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.shuffle\_sents module
+------------------------------
+
+.. automodule:: radiobee.shuffle_sents
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.smatrix module
+-----------------------
+
+.. automodule:: radiobee.smatrix
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+radiobee.trim\_df module
+------------------------
+
+.. automodule:: radiobee.trim_df
+   :members:
+   :undoc-members:
+   :show-inheritance:
+
+Module contents
+---------------
+
+.. automodule:: radiobee
+   :members:
+   :undoc-members:
+   :show-inheritance:

docs/source/userguide-zh.rst

@@ -0,0 +1,17 @@
+使用说明
+----------
+
+-   ``radiobee aligner`` 是 ``bumblebee aligner`` 的孪生兄弟。请加入qq群 ``316287378`` 了解这些对齐工具。
+
+-  ``radiobee`` 快对模式目前仅支持中英、英中对齐。
+-  ``radiobee`` 目前仅支持纯文本文件上载 (txt, md, csv 等)。 以后可能会支持 ``docx``, ``pdf``, ``srt``, ``html`` 等格式。
+-  ``file 2`` 为空白时，``radiobee`` 则会视 ``file 1`` 为中英文混合文本及试着分离中英文，然后进行对齐。
+-  英中、中英非空行限制在 ``2000`` 以内，其他语言对的对齐（``500`` 对约需5分钟）则限制在 ``200`` 以内。
+-  第二次上载文件前请点击"Clear"。
+-  ``tf_type`` ``idf_type`` ``dl_type`` ``norm``: 一般无需理会这些参数。
+-  ``esp`` 和 ``min_samples`` 的建议值 -- ``esp`` (最小 ``epsilon``): 8-12, ``min_samples``: 4-8.
+
+   -   ``esp`` 设大些或 ``min_samples`` 设小些可以得到更多的对齐对但也会有更多“误报对” (错误判断为对齐的对)。另一方面，``esp``  设小些或 ``min_samples`` 设大些则会得到少一些对齐对因为可能错失了一些“优质对”。
+
+-  嫌图太小的话，可以右击拷出图的链接用浏览器独立访问拷出来的链接或右击存盘再用看图程序打开存盘的图文件。
+-   ``Flag``： ``radiobee`` 运行出错时可以点击 ``Flag`` 存下有关参数查看或通知开发者。

docs/source/userguide.rst

@@ -0,0 +1,16 @@
+How to use
+----------
+
+-   ``radiobee aligner`` is a sibling of `bumblebee aligner`. To know more about these aligners, please join qq group `316287378`.
+
+-   Uploaded files should be in pure text format (txt, md, csv etc). ``docx``, ``pdf``, ``srt``, ``html`` etc may be supported later on.
+- If ``file 2`` is left blank, ``radiobee`` will treat ``file 1`` as mixed (for example English-Chinese) text and attempt to separate English and Chinese texts before procedding to align them.
+- The number non-blank lines is limited to 2000 for zh-en/zh-en and 200 for other languange pairs.
+-   Click "Clear" first for subsequent submits when uploading files.
+-  ``tf_type`` ``idf_type`` ``dl_type`` ``norm``: Normally there is no need to touch these unless you know what you are doing.
+-   Suggested ``esp`` and ``min_samples`` values -- ``esp`` (minimum epsilon): 8-12, ``min_samples``: 4-8.
+
+   -  Larger ``esp`` or smaller ``min_samples`` will result in more aligned pairs but also more **false positives** (pairs falsely identified as candidates). On the other hand, smaller ``esp`` or larger ``min_samples`` values tend to miss 'good' pairs.
+
+-   If you need to have a better look at the image, you can right-click on the image and select copy-image-address and open a new tab in the browser with the copied image address.
+-   ``Flag``: Should something go wrong, you can click Flag to save the output and inform the developer.

flagged/file 1/0.txt

@@ -0,0 +1,205 @@
+
+国际
+中
+双语
+英
+2021年，我们在现场：本年度最受欢迎的14篇通讯
+In 2021, We Were There: The Year’s 14 Most Popular Dispatches
+BRYANT ROUSSEAU
+2021年12月31日
+
+HANNAH REYES MORALES FOR THE NEW YORK TIMES
+As the world reopened cautiously in 2021, our correspondents seized the chance to venture out in search of stories that would astonish, delight, provoke and enlighten. We went from the heights of a Himalayan ski slope to the ocean depths off the Philippines where amiable giants dive, and from a rugged island where a whistling language is still used to an Italian atelier where robots carve the sculptures.
+随着2021年世界谨慎地重新开放，我们的记者抓住机会，探索了那些充满惊奇、愉悦、刺激和启迪的故事。我们从喜马拉雅滑雪场的高处来到潜伏着温和巨兽的菲律宾海底；从一个仍以口哨为语言的崎岖岛屿出发，来到一个由机器人完成雕刻的意大利工作室。
+If the pandemic often kept our reporters confined to urban settings in 2020, this year afforded them the chance to explore deep into the countryside. We observed a (bogus) diamond rush in rural South Africa and accompanied Indigenous hunters in Taiwan. We trekked to Canada’s beaver dams, swam in a contested stream in northern Israel and returned home to a Tuscan village sliding back in time.
+如果说2020年的疫情让记者困在城市环境中，今年他们则得到了深入探索乡村地区的机会。我们在南非农村看到了一场（虚假的）钻石热，并与台湾的原住民猎手同行。我们徒步至加拿大的河狸坝，在以色列北部一条存在争端的河流中畅游，并回到了让时光倒流的托斯卡纳村庄。
+Many dispatches arrived from places difficult to access even in the best of times, from ancient ruins in Syria now housing the desperate and displaced to an island off New Guinea full of war relics and human remains. We also made it to Babylon, Suriname, Kaliningrad, Saudi Arabia, Albania and “Trump Lake” in Kosovo.
+许多外派报道发自即使在最好的时代也难以到达的地方，从如今住着绝望和无家可归者的叙利亚古老废墟，到新几内亚附近一个满是战争遗迹和人类遗骸的岛上。我们还去到了巴比伦、苏里南、加里宁格勒、沙特阿拉伯、阿尔巴尼亚以及科索沃的“特朗普湖”。
+Cities demanded attention, too: We put Cairo’s glorious and glitchy elevators (and its Tahrir Square) in the spotlight, along with the giant murals transforming São Paulo into an open-air art gallery. Our stories stretched from an empty Louvre to Rio’s dive bars to Hong Kong’s newly crowded nature spots. Kolkata merited two dispatches: on its fairy tale trams and its cafes, where it’s all about the conversation.
+城市也需要我们的关注：我们聚焦了开罗华丽又故障不断的电梯（以及那里的解放广场），还有将圣保罗变成露天艺术画廊的巨幅壁画。我们的故事从空荡荡的卢浮宫延伸到里约热内卢的廉价酒吧，再到香港近来人满为患的自然景点。加尔各答值得两篇报道：关于其童话般的有轨电车，还有咖啡馆，那是一切交谈发生的地方。
+While travel was a little easier, the coronavirus still gripped the globe. Our dispatches revealed how the world was adapting, from England, where people were moving onto canalboats, to a shuttered Paris, where France’s bureaucracy was in overdrive. We shared our experiences at a quarantine camp in Australia and at a mostly empty Taj Mahal. In Mexico, we spent time with the country’s suffering piñata makers and at its unexpectedly upbeat vaccination centers.
+虽然旅行变得容易一些了，但新冠病毒的阴影依然笼罩全球。我们的报道揭示了世界如何适应这种情况，从人们移居运河船上的英格兰，到封锁的巴黎，那里的法国官僚机构已不堪重负。我们分享了身处澳大利亚的隔离点和几乎空无一人的泰姬陵是何种体验。在墨西哥，我们花时间走访了这个国家苦难深重的皮纳塔制作者和乐观到出乎意料的疫苗接种中心。
+The year’s biggest news stories also led to memorable and moving dispatches, from the hometown of Haiti’s slain president to a border region in Turkey re-energized by Syrian refugees. In Afghanistan, our reporters were there to witness the fighting on the front lines and the final withdrawal of U.S. troops.
+从被杀害的海地总统的故乡，到因叙利亚难民而恢复活力的土耳其边境，这一年的重大新闻催生了难忘而感人的报道。在阿富汗，我们的记者见证了前线的战斗和美军的最后撤离。
+Here are the 14 dispatches most popular with readers in 2021:
+以下就是2021年最受读者欢迎的14篇文章：
+4月，东德里为新冠病人设立的火葬场。
+4月，东德里为新冠病人设立的火葬场。 ATUL LOKE FOR THE NEW YORK TIMES
+‘This Is a Catastrophe.’ In India, Illness Is Everywhere.
+“这是谋杀。”在印度，疾病无处不在。
+As India in April suffered the world’s worst coronavirus crisis, our correspondent described the fear of living amid a disease spreading at such scale and speed: “Crematories are so full of bodies, it’s as if a war just happened. Fires burn around the clock. Many places are holding mass cremations, dozens at a time, and at night, in certain areas of New Delhi, the sky glows.”
+4月，印度遭遇了世界上最严重的新冠危机，我们的记者描述了生活在一种以如此规模和速度传播的疾病中的恐惧：“火葬场堆满了尸体，就好像刚发生过一场战争。大火不分昼夜地燃烧着。许多地方进行一次几十具尸体的集体火化。到了夜晚，在新德里的某些地方，火光冲天。”
+— By Jeffrey Gettleman, photographs by Atul Loke
+——撰文：Jeffrey Gettleman，摄影：Atul Loke
+在阿富汗拉格曼省的塔利班“红队”成员。他们所穿的运动鞋成为了暴力的代名词。
+在阿富汗拉格曼省的塔利班“红队”成员。他们所穿的运动鞋成为了暴力的代名词。 JIM HUYLEBROEK FOR THE NEW YORK TIMES
+In Afghanistan, Follow the White High-Tops and You’ll Find the Taliban
+在阿富汗，跟随白色高帮运动鞋就能找到塔利班
+For many Afghans, unassuming white high-top sneakers with green-and-yellow trim evoke only one emotion: fear. That’s because they’re beloved by Taliban fighters as a status symbol, and the shoes have become synonymous with violence.
+对许多阿富汗人来说，带有黄绿装饰色的白色高帮运动鞋只会唤起一种情绪：恐惧。这是因为，作为身份的象征，这种鞋子受到了塔利班武装分子的喜爱，成为了暴力的代名词。
+— By Thomas Gibbons-Neff and Fahim Abed; photographs by Jim Huylebroek
+——撰文：Thomas Gibbons-Neff和Fahim Abed，摄影：Jim Huylebroek
+9月，巴黎里沃利街与塞瓦斯托波尔大道交汇处的晚高峰。
+9月，巴黎里沃利街与塞瓦斯托波尔大道交汇处的晚高峰。 DMITRY KOSTYUKOV FOR THE NEW YORK TIMES
+As Bikers Throng the Streets, ‘It’s Like Paris Is in Anarchy’
+骑行者挤满大街，“巴黎仿佛进入无序状态”
+An ecologically minded experiment to make Paris a cycling capital has led to a million people now pedaling daily — and to rising tensions with pedestrians. “It’s chaos!” exclaimed Sarah Famery, a 20-year resident of the Marais neighborhood, shaking a fist at a swarm of bikes. “It’s becoming risky just to cross the street!”
+为了让巴黎成为骑行之都，一场具有生态意识的实验导致每天上百万人骑车上街——加剧了骑行者与行人的紧张关系。“全乱套了！”在玛莱区住了20年的莎拉·法默里叫嚷道，并冲着一堆自行车挥舞拳头。“连过马路都变得危险了！”
+— By Liz Alderman; photographs by Dmitry Kostyukov
+——撰文：Liz Alderman，摄影：Dmitry Kostyukov
+意大利蒙法尔科内港，一些前往威尼斯的游船停靠在了这里。
+意大利蒙法尔科内港，一些前往威尼斯的游船停靠在了这里。 GIULIA MARCHI FOR THE NEW YORK TIMES
+Looking for St. Mark’s Square? You May Find Yourself in a Shipyard Instead.
+寻找圣马可广场？你也许会发现自己到了一家造船厂
+On the weekend that Venice’s ban on cruise ships took effect, some tourists were surprised to be docked hours away from the city’s famous sights. “It’s not exactly as charming as Venice,” said the honeymooning Vittoria Comparone, as she looked out from her ships’ cabin — not over St. Mark’s Square, but at towering cranes.
+在威尼斯游船禁令生效后的周末，一些游客停靠在了距离著名景点还有几小时行程的地方，这让他们惊讶无比。“这可不像威尼斯那样迷人，”正在度蜜月的维多利亚·康帕龙说，她从船舱里向外看——看到的并不是圣马可广场，而是高耸的起重机吊臂。
+— By Jason Horowitz; photographs by Giulia Marchi
+——撰文：Jason Horowitz，摄影：Giulia Marchi
+21岁的克里斯蒂娜·伯宁抱着她的奶牛艾莉，身边是她的姊妹席琳和米歇尔。
+21岁的克里斯蒂娜·伯宁抱着她的奶牛艾莉，身边是她的姊妹席琳和米歇尔。 LENA MUCHA FOR THE NEW YORK TIMES
+On This German Farm, Cows Are in Charge. Or at Least Coequals.
+在这家德国农场，奶牛当家。或者至少跟当家平起平坐
+The cows don’t have to produce milk. The pigs sleep late. Their only purpose is to live peacefully — and provoke questions about how we eat. “We need to think about how we can live differently, and we need to leave animals in peace,” said Karin Mück who helps run an ex-dairy farm in Germany turned into an animal retirement home.
+奶牛不需要产奶。猪睡懒觉。它们存在的唯一目的就是过自己的安静日子——并引发关于人类饮食方式的疑问。“我们需要思考如何以不同的方式生活，我们需要��动物一片清净的空间，”卡琳·穆克说，她在德国帮忙经营着一家由奶牛农场改造而成的动物养老院。
+— By Melissa Eddy; photographs by Lena Mucha
+——撰文：Melissa Eddy；摄影：Lena Mucha
+在被塔利班占领前不久，阿富汗喀布尔市中心的一名果汁小贩。
+在被塔利班占领前不久，阿富汗喀布尔市中心的一名果汁小贩。 MUJIB MASHAL/THE NEW YORK TIMES
+A Journey Through Kabul on the Day of the Fall
+告别曾经的喀布尔，告别一个希望的时代
+A Times correspondent who grew up in the Afghan capital returned just before the Taliban’s victory, taking in the end of one era and the fearful start of another: “In the hours before the Taliban walked into Kabul, and the two-decade quest to build a democratic Afghanistan tumbled into fear and uncertainty, I left my parents’ home to take a bus around the city. This was not a reporting outing. It was personal.”
+一位在阿富汗首都长大的时报记者在塔利班获胜前回到喀布尔，感受了一个时代的结束和另一个时代充满恐惧的开始：“在塔利班进入喀布尔、让20年来建设民主阿富汗的征途陷入恐惧和不安之前的几个小时，我走出父母家门，乘公交在这座城市兜圈。这不是外出报道。这是为了我自己。”
+— By Mujib Mashal; photographs by Mr. Mashal and Jim Huylebroek
+——撰文：Mujib Mashal；照片：Mashal Mashal和Jim Huylebroek
+海啸发生一个月后的气仙废墟，一户人家后院里脏兮兮的夹克衫。
+海啸发生一个月后的气仙废墟，一户人家后院里脏兮兮的夹克衫。 HIROKO MASUIKE/THE NEW YORK TIMES
+A 1,000-Year-Old Japanese Village, Erased
+具有千年历史的日本村庄消亡
+The earthquake and tsunami of March 11, 2011, wiped away the ancient Japanese village of Kesen. In the past decade, a small group of survivors has valiantly tried to rebuild the community, but a grim reality has set in: This emptiness will likely last forever.
+2011年3月11日的地震和海啸摧毁了日本古老的村庄气仙。过去10年里，一小群勇敢的幸存者试图重建社区，但一个严峻的现实出现了：这种空空荡荡可能会永远持续下去。
+— Photographs by Hiroko Masuike; written by Russell Goldman
+——照片：Hiroko Masuike；撰文：Russell Goldman
+游客在俄罗斯西伯利亚贝加尔湖的干净冰面上拍照。
+游客在俄罗斯西伯利亚贝加尔湖的干净冰面上拍照。
+For Russians in a Pandemic, Lake Baikal Is the Place to See and Be Seen
+没了外国游客，贝加尔湖迎来“俄罗斯季”
+With borders closed because of the pandemic, crowds of Russian tourists have traded tropical beaches for Lake Baikal’s icicle-draped shores. What’s the appeal, especially when the temperature is subzero? “The assault on the senses is otherworldly,” writes our correspondent. “The silence around you is interrupted every few seconds by the cracking underneath — groans, bangs and weird, techno-music twangs. Look down, and the imperfections of the glass-clear ice emerge as pale, shimmering curtains.”
+边境因疫情而关闭，大批俄罗斯游客将旅游目的地从热带海滩换成贝加尔湖冰柱覆盖的湖岸。是什么吸引着他们，尤其是当温度低于零度时？“感官会受到异乎寻常的冲击，”我们的记者写道。“每隔几秒钟，你周围的沉静就会被下面的裂缝打断——低吟声、砰砰声和怪异的类似电子乐拨弦的声音。往下看，玻璃般透明冰面的瑕疵像是闪闪发光的浅色窗帘。”
+— By Anton Troianovski; photographs by Sergey Ponomarev
+——撰文：Anton Troianovski；照片：Sergey Ponomarev
+以色列海法，一头野猪过马路。以色列于2019年禁止射杀这种动物。
+以色列海法，一头野猪过马路。以色列于2019年禁止射杀这种动物。 DAN BALILTY FOR THE NEW YORK TIMES
+Where Boars Hog the Streets
+野猪占领街道
+Groups of boars have become an unavoidable presence in Haifa, Israel, charming some while scaring others. “It became like an everyday thing,” said a chef who lets his dog play with the boars that putter around city parks. Bumping into one is “like seeing a squirrel.”
+在以色列海法，成群结队的野猪已经成为不可避免的存在，一些人觉得有趣而另一些人感到害怕。“这已经变得像一种生活常态，”一位厨师说，他让他的狗和在城市公园游走的野猪玩耍。碰上一头野猪“就像看到一只松鼠”般平常。
+— By Patrick Kingsley; photographs by Dan Balilty
+——撰文：Patrick Kingsley；照片：Dan Balilty
+乔·加拉格尔在爱尔兰奥法利郡的普洛为一名男子进行“偏方治疗”。
+乔·加拉格尔在爱尔兰奥法利郡的普洛为一名男子进行“偏方治疗”。 PAULO NUNES DOS SANTOS FOR THE NEW YORK TIMES
+Secret Charms and 7th Sons: ‘The Cure’ Is Alive and Well in Ireland
+神秘咒语和第七个儿子：在爱尔兰，“偏方”大行��道
+Belief in the benefits of the cure, a type of folk medicine that interweaves home remedies with superstition, religion and a sprinkle of magic is still a way of life in pockets of Ireland. “That we don’t believe in miracles doesn’t mean we don’t hope for them,” a professor of Irish folklore said.
+一种民间医学将家庭药剂与迷信、宗教和魔法交织在一起，在爱尔兰一些地区，对这种偏方的笃信仍然是一种生活方式。“我们不相信奇迹，并不意味着我们不希望有奇迹，”爱尔兰民俗学教授说。
+— By Megan Specia; photographs by Paulo Nunes dos Santos
+——撰文：Megan Specia；照片：Paulo Nunes dos Santos
+黄昏时刻，一组研究人员捕捉从考冲帕兰洞穴飞出的蝙蝠。
+黄昏时刻，一组研究人员捕捉从考冲帕兰洞穴飞出的蝙蝠。 ADAM DEAN FOR THE NEW YORK TIMES
+Thai Caves Attract Millions of Bats (and Now Scientists Too)
+泰国洞穴吸引了数百万只蝙蝠（现在也引来了科学家）
+A cave complex at a temple in Thailand has long drawn tourists, pilgrims and guano collectors. Now, scientists have arrived, looking for links to the coronavirus. “I’m worried that one day bats will only be a legend here,” said a monk at a nearby temple. “If we lose our bats, we lose what makes us special.”
+泰国一座寺庙的洞穴群长期以来一直吸引着游客、朝圣者和鸟粪收集者。现在，科学家们来到这里寻找与新冠病毒相关的线索。“我担心有一天我们只剩下蝙蝠的传说，”附近寺庙的一位僧人说。“如果我们失去了蝙蝠，我们就会失去让我们与众不同的东西。”
+— By Hannah Beech; photographs by Adam Dean
+——撰文：Hannah Beech；照片：Adam Dean
+艺术家艾琳·加西亚-伊内斯和旅店老板耶稣·哈托与他们的驴子奥斯卡一起在圣地亚哥朝圣之路上。
+艺术家艾琳·加西亚-伊内斯和旅店老板耶稣·哈托与他们的驴子奥斯卡一起在圣地亚哥朝圣之路上。 SAMUEL ARANDA FOR THE NEW YORK TIMES
+On Spain’s Camino de Santiago, Even Óscar the Donkey Is a Pilgrim
+在西班牙圣地亚哥朝圣之路上，就连驴子奥斯卡也是一位朝圣者
+An artist and an innkeeper have enlisted the help of a burro in their effort to rescue the traditions of Spain’s ancient pilgrimage route from mass tourism (and selfies). “Losing these traditions, it’s like what if we lost the pyramids?” said one of the pilgrims. “We put a lot of value on monuments, but less on the small things.”
+一位艺术家和一位旅店老板希望通过驴子的帮助，将西班牙古老的朝圣路线传统从大众旅游（和自拍）中解救出来。“失去这些传统，就好像说，如果我们失去了金字塔怎么办？”一位朝圣者说。“我们非常重视纪念碑，但不够重视这些小事。”
+— By Nicholas Casey; photographs by Samuel Aranda
+——撰文：Nicholas Casey；照片：Samuel Aranda
+在卢旺达基加利的一家牛奶吧。
+在卢旺达基加利的一家牛奶吧。 JACQUES NKINZINGABO FOR THE NEW YORK TIMES
+At Rwanda’s Favorite Bars, Forget the Beer: Milk Is What’s on Tap
+在卢旺达最受欢迎的酒吧，不点啤酒：来杯牛奶
+Milk is a favorite drink in Rwanda, and milk bars serve it up in abundance, fresh or fermented, hot or cold. “When you drink milk, you always have your head straight and your ideas right,” a patron said.
+牛奶是卢旺达最受欢迎的饮品，牛奶吧供应大量新鲜或发酵、热或冷的牛奶。“当你喝牛奶时，你总是头脑清醒，想得明白，”一位顾客说。
+— By Abdi Latif Dahir; photographs by Jacques Nkinzingabo
+——撰文：Abdi Latif Dahir；照片：Jacques Nkinzingabo
+78岁的全宋子、77岁的洪锡顺和85岁的罗正顺。她们乘坐的出租车只需要花非常少的钱。
+78岁的全宋子、77岁的洪锡顺和85岁的罗正顺。她们乘坐的出租车只需要花非常少的钱。 JEAN CHUNG FOR THE NEW YORK TIMES
+‘It’s a Godsend’: 9-Cent Taxi Rides in Rural South Korea
+“天上掉下来的好事”：改变韩国农村的“百元出租车”
+One county’s plan to help older, carless citizens stuck in remote villages proved wildly popular and has been copied across South Korea, revolutionizing public transportation in the countryside. “I probably know more about these old folks than anyone else because I drive them two or three times a week,” said one of the a 100-won (9 cent) taxi drivers.
+在韩国的偏远村庄，无车老人难以出行，一个郡政府为此提供的帮助计划广受欢迎，并复制到韩国各地，彻底改变了农村的公共交通。“我可能比别人更了解这些老人，因为我每星期都要载他们两三次，”一位百元出租车司机说。
+— By Sang-Hun Choe; photographs by Jean Chung
+——撰文：Sang-Hun Choe；照片：Jean Chung
+翻译：纽约时报中文网
+
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+西安封城逾一周，极端限制措施惹民怨
+“憎恨男人的人滚出去！”韩国反女权主义浪潮兴起
+“憎恨男人的人滚出去！”韩国反女权主义浪潮兴起
+感染奥密克戎会出现哪些症状？
+感染奥密克戎会出现哪些症状？
+民主国家面临的最大困境是什么？
+民主国家面临的最大困境是什么？
+红毯仪式与礼炮庆祝：恒大称将偿还债务、交付楼盘
+红毯仪式与礼炮庆祝：恒大称将偿还债务、交付楼盘
+为什么许多人对新冠已经不再恐惧？
+为什么许多人对新冠已经不再恐惧？
+2021年，我们在现场：本年度最受欢迎的14篇通讯
+2021年，我们在现场：本年度最受欢迎的14篇通讯
+《纽约时报》读者选出的125年来最佳书籍
+《纽约时报》读者选出的125年来最佳书籍
+新的一年人们怎么吃？2022年美食潮流预测
+新的一年人们怎么吃？2022年美食潮流预测
+《纽约时报》2021年最受欢迎的20篇文章
+《纽约时报》2021年最受欢迎的20篇文章
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+国际
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+2021年，我们在现场：本年度最受欢迎的14篇通讯
+In 2021, We Were There: The Year’s 14 Most Popular Dispatches
+BRYANT ROUSSEAU
+2021年12月31日
+
+HANNAH REYES MORALES FOR THE NEW YORK TIMES
+As the world reopened cautiously in 2021, our correspondents seized the chance to venture out in search of stories that would astonish, delight, provoke and enlighten. We went from the heights of a Himalayan ski slope to the ocean depths off the Philippines where amiable giants dive, and from a rugged island where a whistling language is still used to an Italian atelier where robots carve the sculptures.
+随着2021年世界谨慎地重新开放，我们的记者抓住机会，探索了那些充满惊奇、愉悦、刺激和启迪的故事。我们从喜马拉雅滑雪场的高处来到潜伏着温和巨兽的菲律宾海底；从一个仍以口哨为语言的崎岖岛屿出发，来到一个由机器人完成雕刻的意大利工作室。
+If the pandemic often kept our reporters confined to urban settings in 2020, this year afforded them the chance to explore deep into the countryside. We observed a (bogus) diamond rush in rural South Africa and accompanied Indigenous hunters in Taiwan. We trekked to Canada’s beaver dams, swam in a contested stream in northern Israel and returned home to a Tuscan village sliding back in time.
+如果说2020年的疫情让记者困在城市环境中，今年他们则得到了深入探索乡村地区的机会。我们在南非农村看到了一场（虚假的）钻石热，并与台湾的原住民猎手同行。我们徒步至加拿大的河狸坝，在以色列北部一条存在争端的河流中畅游，并回到了让时光倒流的托斯卡纳村庄。
+Many dispatches arrived from places difficult to access even in the best of times, from ancient ruins in Syria now housing the desperate and displaced to an island off New Guinea full of war relics and human remains. We also made it to Babylon, Suriname, Kaliningrad, Saudi Arabia, Albania and “Trump Lake” in Kosovo.
+许多外派报道发自即使在最好的时代也难以到达的地方，从如今住着绝望和无家可归者的叙利亚古老废墟，到新几内亚附近一个满是战争遗迹和人类遗骸的岛上。我们还去到了巴比伦、苏里南、加里宁格勒、沙特阿拉伯、阿尔巴尼亚以及科索沃的“特朗普湖”。
+Cities demanded attention, too: We put Cairo’s glorious and glitchy elevators (and its Tahrir Square) in the spotlight, along with the giant murals transforming São Paulo into an open-air art gallery. Our stories stretched from an empty Louvre to Rio’s dive bars to Hong Kong’s newly crowded nature spots. Kolkata merited two dispatches: on its fairy tale trams and its cafes, where it’s all about the conversation.
+城市也需要我们的关注：我们聚焦了开罗华丽又故障不断的电梯（以及那里的解放广场），还有将圣保罗变成露天艺术画廊的巨幅壁画。我们的故事从空荡荡的卢浮宫延伸到里约热内卢的廉价酒吧，再到香港近来人满为患的自然景点。加尔各答值得两篇报道：关于其童话般的有轨电车，还有咖啡馆，那是一切交谈发生的地方。
+While travel was a little easier, the coronavirus still gripped the globe. Our dispatches revealed how the world was adapting, from England, where people were moving onto canalboats, to a shuttered Paris, where France’s bureaucracy was in overdrive. We shared our experiences at a quarantine camp in Australia and at a mostly empty Taj Mahal. In Mexico, we spent time with the country’s suffering piñata makers and at its unexpectedly upbeat vaccination centers.
+虽然旅行变得容易一些了，但新冠病毒的阴影依然笼罩全球。我们的报道揭示了世界如何适应这种情况，从人们移居运河船上的英格兰，到封锁的巴黎，那里的法国官僚机构已不堪重负。我们分享了身处澳大利亚的隔离点和几乎空无一人的泰姬陵是何种体验。在墨西哥，我们花时间走访了这个国家苦难深重的皮纳塔制作者和乐观到出乎意料的疫苗接种中心。
+The year’s biggest news stories also led to memorable and moving dispatches, from the hometown of Haiti’s slain president to a border region in Turkey re-energized by Syrian refugees. In Afghanistan, our reporters were there to witness the fighting on the front lines and the final withdrawal of U.S. troops.
+从被杀害的海地总统的故乡，到因叙利亚难民而恢复活力的土耳其边境，这一年的重大新闻催生了难忘而感人的报道。在阿富汗，我们的记者见证了前线的战斗和美军的最后撤离。
+Here are the 14 dispatches most popular with readers in 2021:
+以下就是2021年最受读者欢迎的14篇文章：
+4月，东德里为新冠病人设立的火葬场。
+4月，东德里为新冠病人设立的火葬场。 ATUL LOKE FOR THE NEW YORK TIMES
+‘This Is a Catastrophe.’ In India, Illness Is Everywhere.
+“这是谋杀。”在印度，疾病无处不在。
+As India in April suffered the world’s worst coronavirus crisis, our correspondent described the fear of living amid a disease spreading at such scale and speed: “Crematories are so full of bodies, it’s as if a war just happened. Fires burn around the clock. Many places are holding mass cremations, dozens at a time, and at night, in certain areas of New Delhi, the sky glows.”
+4月，印度遭遇了世界上最严重的新冠危机，我们的记者描述了生活在一种以如此规模和速度传播的疾病中的恐惧：“火葬场堆满了尸体，就好像刚发生过一场战争。大火不分昼夜地燃烧着。许多地方进行一次几十具尸体的集体火化。到了夜晚，在新德里的某些地方，火光冲天。”
+— By Jeffrey Gettleman, photographs by Atul Loke
+——撰文：Jeffrey Gettleman，摄影：Atul Loke
+在阿富汗拉格曼省的塔利班“红队”成员。他们所穿的运动鞋成为了暴力的代名词。
+在阿富汗拉格曼省的塔利班“红队”成员。他们所穿的运动鞋成为了暴力的代名词。 JIM HUYLEBROEK FOR THE NEW YORK TIMES
+In Afghanistan, Follow the White High-Tops and You’ll Find the Taliban
+在阿富汗，跟随白色高帮运动鞋就能找到塔利班
+For many Afghans, unassuming white high-top sneakers with green-and-yellow trim evoke only one emotion: fear. That’s because they’re beloved by Taliban fighters as a status symbol, and the shoes have become synonymous with violence.
+对许多阿富汗人来说，带有黄绿装饰色的白色高帮运动鞋只会唤起一种情绪：恐惧。这是因为，作为身份的象征，这种鞋子受到了塔利班武装分子的喜爱，成为了暴力的代名词。
+— By Thomas Gibbons-Neff and Fahim Abed; photographs by Jim Huylebroek
+——撰文：Thomas Gibbons-Neff和Fahim Abed，摄影：Jim Huylebroek
+9月，巴黎里沃利街与塞瓦斯托波尔大道交汇处的晚高峰。
+9月，巴黎里沃利街与塞瓦斯托波尔大道交汇处的晚高峰。 DMITRY KOSTYUKOV FOR THE NEW YORK TIMES
+As Bikers Throng the Streets, ‘It’s Like Paris Is in Anarchy’
+骑行者挤满大街，“巴黎仿佛进入无序状态”
+An ecologically minded experiment to make Paris a cycling capital has led to a million people now pedaling daily — and to rising tensions with pedestrians. “It’s chaos!” exclaimed Sarah Famery, a 20-year resident of the Marais neighborhood, shaking a fist at a swarm of bikes. “It’s becoming risky just to cross the street!”
+为了让巴黎成为骑行之都，一场具有生态意识的实验导致每天上百万人骑车上街——加剧了骑行者与行人的紧张关系。“全乱套了！”在玛莱区住了20年的莎拉·法默里叫嚷道，并冲着一堆自行车挥舞拳头。“连过马路都变得危险了！”
+— By Liz Alderman; photographs by Dmitry Kostyukov
+——撰文：Liz Alderman，摄影：Dmitry Kostyukov
+意大利蒙法尔科内港，一些前往威尼斯的游船停靠在了这里。
+意大利蒙法尔科内港，一些前往威尼斯的游船停靠在了这里。 GIULIA MARCHI FOR THE NEW YORK TIMES
+Looking for St. Mark’s Square? You May Find Yourself in a Shipyard Instead.
+寻找圣马可广场？你也许会发现自己到了一家造船厂
+On the weekend that Venice’s ban on cruise ships took effect, some tourists were surprised to be docked hours away from the city’s famous sights. “It’s not exactly as charming as Venice,” said the honeymooning Vittoria Comparone, as she looked out from her ships’ cabin — not over St. Mark’s Square, but at towering cranes.
+在威尼斯游船禁令生效后的周末，一些游客停靠在了距离著名景点还有几小时行程的地方，这让他们惊讶无比。“这可不像威尼斯那样迷人，”正在度蜜月的维多利亚·康帕龙说，她从船舱里向外看——看到的并不是圣马可广场，而是高耸的起重机吊臂。
+— By Jason Horowitz; photographs by Giulia Marchi
+——撰文：Jason Horowitz，摄影：Giulia Marchi
+21岁的克里斯蒂娜·伯宁抱着她的奶牛艾莉，身边是她的姊妹席琳和米歇尔。
+21岁的克里斯蒂娜·伯宁抱着她的奶牛艾莉，身边是她的姊妹席琳和米歇尔。 LENA MUCHA FOR THE NEW YORK TIMES
+On This German Farm, Cows Are in Charge. Or at Least Coequals.
+在这家德国农场，奶牛当家。或者至少跟当家平起平坐
+The cows don’t have to produce milk. The pigs sleep late. Their only purpose is to live peacefully — and provoke questions about how we eat. “We need to think about how we can live differently, and we need to leave animals in peace,” said Karin Mück who helps run an ex-dairy farm in Germany turned into an animal retirement home.
+奶牛不需要产奶。猪睡懒觉。它们存在的唯一目的就是过自己的安静日子——并引发关于人类饮食方式的疑问。“我们需要思考如何以不同的方式生活，我们需要��动物一片清净的空间，”卡琳·穆克说，她在德国帮忙经营着一家由奶牛农场改造而成的动物养老院。
+— By Melissa Eddy; photographs by Lena Mucha
+——撰文：Melissa Eddy；摄影：Lena Mucha
+在被塔利班占领前不久，阿富汗喀布尔市中心的一名果汁小贩。
+在被塔利班占领前不久，阿富汗喀布尔市中心的一名果汁小贩。 MUJIB MASHAL/THE NEW YORK TIMES
+A Journey Through Kabul on the Day of the Fall
+告别曾经的喀布尔，告别一个希望的时代
+A Times correspondent who grew up in the Afghan capital returned just before the Taliban’s victory, taking in the end of one era and the fearful start of another: “In the hours before the Taliban walked into Kabul, and the two-decade quest to build a democratic Afghanistan tumbled into fear and uncertainty, I left my parents’ home to take a bus around the city. This was not a reporting outing. It was personal.”
+一位在阿富汗首都长大的时报记者在塔利班获胜前回到喀布尔，感受了一个时代的结束和另一个时代充满恐惧的开始：“在塔利班进入喀布尔、让20年来建设民主阿富汗的征途陷入恐惧和不安之前的几个小时，我走出父母家门，乘公交在这座城市兜圈。这不是外出报道。这是为了我自己。”
+— By Mujib Mashal; photographs by Mr. Mashal and Jim Huylebroek
+——撰文：Mujib Mashal；照片：Mashal Mashal和Jim Huylebroek
+海啸发生一个月后的气仙废墟，一户人家后院里脏兮兮的夹克衫。
+海啸发生一个月后的气仙废墟，一户人家后院里脏兮兮的夹克衫。 HIROKO MASUIKE/THE NEW YORK TIMES
+A 1,000-Year-Old Japanese Village, Erased
+具有千年历史的日本村庄消亡
+The earthquake and tsunami of March 11, 2011, wiped away the ancient Japanese village of Kesen. In the past decade, a small group of survivors has valiantly tried to rebuild the community, but a grim reality has set in: This emptiness will likely last forever.
+2011年3月11日的地震和海啸摧毁了日本古老的村庄气仙。过去10年里，一小群勇敢的幸存者试图重建社区，但一个严峻的现实出现了：这种空空荡荡可能会永远持续下去。
+— Photographs by Hiroko Masuike; written by Russell Goldman
+——照片：Hiroko Masuike；撰文：Russell Goldman
+游客在俄罗斯西伯利亚贝加尔湖的干净冰面上拍照。
+游客在俄罗斯西伯利亚贝加尔湖的干净冰面上拍照。
+For Russians in a Pandemic, Lake Baikal Is the Place to See and Be Seen
+没了外国游客，贝加尔湖迎来“俄罗斯季”
+With borders closed because of the pandemic, crowds of Russian tourists have traded tropical beaches for Lake Baikal’s icicle-draped shores. What’s the appeal, especially when the temperature is subzero? “The assault on the senses is otherworldly,” writes our correspondent. “The silence around you is interrupted every few seconds by the cracking underneath — groans, bangs and weird, techno-music twangs. Look down, and the imperfections of the glass-clear ice emerge as pale, shimmering curtains.”
+边境因疫情而关闭，大批俄罗斯游客将旅游目的地从热带海滩换成贝加尔湖冰柱覆盖的湖岸。是什么吸引着他们，尤其是当温度低于零度时？“感官会受到异乎寻常的冲击，”我们的记者写道。“每隔几秒钟，你周围的沉静就会被下面的裂缝打断——低吟声、砰砰声和怪异的类似电子乐拨弦的声音。往下看，玻璃般透明冰面的瑕疵像是闪闪发光的浅色窗帘。”
+— By Anton Troianovski; photographs by Sergey Ponomarev
+——撰文：Anton Troianovski；照片：Sergey Ponomarev
+以色列海法，一头野猪过马路。以色列于2019年禁止射杀这种动物。
+以色列海法，一头野猪过马路。以色列于2019年禁止射杀这种动物。 DAN BALILTY FOR THE NEW YORK TIMES
+Where Boars Hog the Streets
+野猪占领街道
+Groups of boars have become an unavoidable presence in Haifa, Israel, charming some while scaring others. “It became like an everyday thing,” said a chef who lets his dog play with the boars that putter around city parks. Bumping into one is “like seeing a squirrel.”
+在以色列海法，成群结队的野猪已经成为不可避免的存在，一些人觉得有趣而另一些人感到害怕。“这已经变得像一种生活常态，”一位厨师说，他让他的狗和在城市公园游走的野猪玩耍。碰上一头野猪“就像看到一只松鼠”般平常。
+— By Patrick Kingsley; photographs by Dan Balilty
+——撰文：Patrick Kingsley；照片：Dan Balilty
+乔·加拉格尔在爱尔兰奥法利郡的普洛为一名男子进行“偏方治疗”。
+乔·加拉格尔在爱尔兰奥法利郡的普洛为一名男子进行“偏方治疗”。 PAULO NUNES DOS SANTOS FOR THE NEW YORK TIMES
+Secret Charms and 7th Sons: ‘The Cure’ Is Alive and Well in Ireland
+神秘咒语和第七个儿子：在爱尔兰，“偏方”大行��道
+Belief in the benefits of the cure, a type of folk medicine that interweaves home remedies with superstition, religion and a sprinkle of magic is still a way of life in pockets of Ireland. “That we don’t believe in miracles doesn’t mean we don’t hope for them,” a professor of Irish folklore said.
+一种民间医学将家庭药剂与迷信、宗教和魔法交织在一起，在爱尔兰一些地区，对这种偏方的笃信仍然是一种生活方式。“我们不相信奇迹，并不意味着我们不希望有奇迹，”爱尔兰民俗学教授说。
+— By Megan Specia; photographs by Paulo Nunes dos Santos
+——撰文：Megan Specia；照片：Paulo Nunes dos Santos
+黄昏时刻，一组研究人员捕捉从考冲帕兰洞穴飞出的蝙蝠。
+黄昏时刻，一组研究人员捕捉从考冲帕兰洞穴飞出的蝙蝠。 ADAM DEAN FOR THE NEW YORK TIMES
+Thai Caves Attract Millions of Bats (and Now Scientists Too)
+泰国洞穴吸引了数百万只蝙蝠（现在也引来了科学家）
+A cave complex at a temple in Thailand has long drawn tourists, pilgrims and guano collectors. Now, scientists have arrived, looking for links to the coronavirus. “I’m worried that one day bats will only be a legend here,” said a monk at a nearby temple. “If we lose our bats, we lose what makes us special.”
+泰国一座寺庙的洞穴群长期以来一直吸引着游客、朝圣者和鸟粪收集者。现在，科学家们来到这里寻找与新冠病毒相关的线索。“我担心有一天我们只剩下蝙蝠的传说，”附近寺庙的一位僧人说。“如果我们失去了蝙蝠，我们就会失去让我们与众不同的东西。”
+— By Hannah Beech; photographs by Adam Dean
+——撰文：Hannah Beech；照片：Adam Dean
+艺术家艾琳·加西亚-伊内斯和旅店老板耶稣·哈托与他们的驴子奥斯卡一起在圣地亚哥朝圣之路上。
+艺术家艾琳·加西亚-伊内斯和旅店老板耶稣·哈托与他们的驴子奥斯卡一起在圣地亚哥朝圣之路上。 SAMUEL ARANDA FOR THE NEW YORK TIMES
+On Spain’s Camino de Santiago, Even Óscar the Donkey Is a Pilgrim
+在西班牙圣地亚哥朝圣之路上，就连驴子奥斯卡也是一位朝圣者
+An artist and an innkeeper have enlisted the help of a burro in their effort to rescue the traditions of Spain’s ancient pilgrimage route from mass tourism (and selfies). “Losing these traditions, it’s like what if we lost the pyramids?” said one of the pilgrims. “We put a lot of value on monuments, but less on the small things.”
+一位艺术家和一位旅店老板希望通过驴子的帮助，将西班牙古老的朝圣路线传统从大众旅游（和自拍）中解救出来。“失去这些传统，就好像说，如果我们失去了金字塔怎么办？”一位朝圣者说。“我们非常重视纪念碑，但不够重视这些小事。”
+— By Nicholas Casey; photographs by Samuel Aranda
+——撰文：Nicholas Casey；照片：Samuel Aranda
+在卢旺达基加利的一家牛奶吧。
+在卢旺达基加利的一家牛奶吧。 JACQUES NKINZINGABO FOR THE NEW YORK TIMES
+At Rwanda’s Favorite Bars, Forget the Beer: Milk Is What’s on Tap
+在卢旺达最受欢迎的酒吧，不点啤酒：来杯牛奶
+Milk is a favorite drink in Rwanda, and milk bars serve it up in abundance, fresh or fermented, hot or cold. “When you drink milk, you always have your head straight and your ideas right,” a patron said.
+牛奶是卢旺达最受欢迎的饮品，牛奶吧供应大量新鲜或发酵、热或冷的牛奶。“当你喝牛奶时，你总是头脑清醒，想得明白，”一位顾客说。
+— By Abdi Latif Dahir; photographs by Jacques Nkinzingabo
+——撰文：Abdi Latif Dahir；照片：Jacques Nkinzingabo
+78岁的全宋子、77岁的洪锡顺和85岁的罗正顺。她们乘坐的出租车只需要花非常少的钱。
+78岁的全宋子、77岁的洪锡顺和85岁的罗正顺。她们乘坐的出租车只需要花非常少的钱。 JEAN CHUNG FOR THE NEW YORK TIMES
+‘It’s a Godsend’: 9-Cent Taxi Rides in Rural South Korea
+“天上掉下来的好事”：改变韩国农村的“百元出租车”
+One county’s plan to help older, carless citizens stuck in remote villages proved wildly popular and has been copied across South Korea, revolutionizing public transportation in the countryside. “I probably know more about these old folks than anyone else because I drive them two or three times a week,” said one of the a 100-won (9 cent) taxi drivers.
+在韩国的偏远村庄，无车老人难以出行，一个郡政府为此提供的帮助计划广受欢迎，并复制到韩国各地，彻底改变了农村的公共交通。“我可能比别人更了解这些老人，因为我每星期都要载他们两三次，”一位百元出租车司机说。
+— By Sang-Hun Choe; photographs by Jean Chung
+——撰文：Sang-Hun Choe；照片：Jean Chung
+翻译：纽约时报中文网
+
+点击查看本文英文版。
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pyproject.toml

@@ -0,0 +1,15 @@
+[tool.poetry]
+name = "radiobee-aligner"
+version = "0.1.0"
+description = ""
+authors = ["ffreemt"]
+
+[tool.poetry.dependencies]
+python = "^3.7"
+gradio = "*"
+
+[tool.poetry.dev-dependencies]
+
+[build-system]
+requires = ["poetry-core>=1.0.0"]
+build-backend = "poetry.core.masonry.api"

pyrightconfig.json

@@ -0,0 +1,9 @@
+{
+  "include": ["tests", "radiobee"],
+  "venvPath": ".venv",
+  "reportTypeshedErrors": false,
+  "reportMissingImports": true,
+  "reportMissingTypeStubs": false,
+  "pythonVersion": "3.8",
+  "ignore": []
+}

pytest.ini

@@ -0,0 +1,3 @@
+[pytest]
+# addopts = --doctest-modules
+log_cli = true

radiobee/__init__.py

@@ -0,0 +1 @@
+"""Init."""

radiobee/__main__.py

@@ -0,0 +1,439 @@
+"""Run interactively."""
+# pylint: disable=invalid-name, too-many-arguments, unused-argument, redefined-builtin, wrong-import-position, too-many-locals, too-many-statements
+from typing import Any, Tuple, Optional, Union  # noqa
+
+import sys
+from pathlib import Path
+import platform
+import signal
+from random import randint
+from textwrap import dedent
+from itertools import zip_longest
+
+# import socket
+from socket import socket, AF_INET, SOCK_STREAM
+
+from sklearn.cluster import DBSCAN  # noqa
+
+import joblib
+from varname import nameof
+import logzero
+from logzero import logger
+
+# import numpy as np
+import pandas as pd
+import seaborn as sns
+
+import matplotlib.pyplot as plt  # noqa
+
+# from tabulate import tabulate
+from fastlid import fastlid
+
+# for embeddable python
+if "." not in sys.path:
+    sys.path.insert(0, ".")
+
+import gradio as gr
+
+# from radiobee.error_msg import error_msg
+from radiobee.process_upload import process_upload
+from radiobee.gradiobee import gradiobee
+
+sns.set()
+sns.set_style("darkgrid")
+fastlid.set_languages = ["en", "zh"]
+
+signal.signal(signal.SIGINT, signal.SIG_DFL)
+print("Press Ctrl+C to quit\n")
+
+
+def savelzma(obj, fileloc: str = None):
+    """Aux funciton."""
+    if fileloc is None:
+        fileloc = nameof(obj)  # this wont work
+    joblib.dump(obj, f"data/{fileloc}.lzma")
+
+
+def greet(input):
+    """Greet yo."""
+    return f"'Sup yo! (your input: {input})"
+
+
+def upfile1(file1, file2=None) -> Tuple[str, str]:
+    """Upload file1, file2."""
+    del file2
+    return file1.name, f"'Sup yo! (your input: {input})"
+
+
+def process_2upoads(file1, file2):
+    """Process stuff."""
+    # return f"{process_upload(file1)}\n===***\n{process_upload(file2)}"
+
+    text1 = [_.strip() for _ in process_upload(file1).splitlines() if _.strip()]
+    text2 = [_.strip() for _ in process_upload(file2).splitlines() if _.strip()]
+
+    text1, text2 = zip(*zip_longest(text1, text2, fillvalue=""))
+
+    df = pd.DataFrame({"text1": text1, "text2": text2})
+
+    # return tabulate(df)
+    # return tabulate(df, tablefmt="grid")
+    # return tabulate(df, tablefmt='html')
+
+    return df
+
+
+if __name__ == "__main__":
+    debug = True
+    # debug = False
+
+    uname = platform.uname()
+
+    # match = re.search(r'[a-z\d]{10,}', gethostname())
+    # hf spaces release: '4.14.248-189.473.amzn2.x86_64'
+    # match = re.search(r'[a-z\d]{10,}', node)
+    # if match and node.system.lower() in ["linux"]:
+    if "amzn2" in uname.release:
+        # likely hf spaces
+        server_name = "0.0.0.0"
+        debug = False
+    else:
+        server_name = "127.0.0.1"
+
+    if debug:
+        logzero.loglevel(10)
+    logger.debug(" debug ")
+    logger.info(" info ")
+
+    # _ = """
+    inputs = [
+        gr.inputs.Textbox(
+            # placeholder="Input something here",
+            default="test text"
+        )
+    ]
+    inputs = ["file", "file"]
+    inputs = [
+        gr.inputs.File(label="file 1"),
+        # gr.inputs.File(file_count="multiple", label="file 2", optional=True),
+        gr.inputs.File(label="file 2", optional=True),
+    ]
+
+    # modi 1
+    _ = """
+        tf_type: Literal[linear, sqrt, log, binary] = 'linear'
+        idf_type: Optional[Literal[standard, smooth, bm25]] = None
+        dl_type: Optional[Literal[linear, sqrt, log]] = None
+        norm: norm: Optional[Literal[l1, l2]] = None
+        x min_df: int | float = 1
+        x max_df: int | float = 1.0
+    # """
+    input_tf_type = gr.inputs.Dropdown(
+        ["linear", "sqrt", "log", "binary"], default="linear"
+    )
+    input_idf_type = gr.inputs.Radio(
+        ["None", "standard", "smooth", "bm25"], default="None"
+    )  # need to convert "None" this to None in fn
+    input_dl_type = gr.inputs.Radio(
+        ["None", "linear", "sqrt", "log"], default="None"
+    )  # ditto
+    input_norm_type = gr.inputs.Radio(["None", "l1", "l2"], default="None")  # ditto
+
+    inputs = [
+        gr.inputs.File(label="file 1"),
+        gr.inputs.File(label="file 2", optional=True),
+        input_tf_type,  # modi inputs
+        input_idf_type,
+        input_dl_type,
+        input_norm_type,
+        gr.inputs.Slider(
+            minimum=1,
+            maximum=20,
+            step=0.1,
+            default=10,
+        ),
+        gr.inputs.Slider(
+            minimum=1,
+            maximum=20,
+            step=1,
+            default=6,
+        ),
+    ]
+
+    examples = [
+        [
+            "data/test_zh.txt",
+            "data/test_en.txt",
+            "linear",
+            "None",
+            "None",
+            "None",
+            10,
+            6,
+        ],
+        [
+            "data/test_en.txt",
+            "data/test_zh.txt",
+            "linear",
+            "None",
+            "None",
+            "None",
+            10,
+            6,
+        ],
+        [
+            "data/shakespeare_zh500.txt",
+            "data/shakespeare_en500.txt",
+            "linear",
+            "None",
+            "None",
+            "None",
+            10,
+            6,
+        ],
+        [
+            "data/shakespeare_en500.txt",
+            "data/shakespeare_zh500.txt",
+            "linear",
+            "None",
+            "None",
+            "None",
+            10,
+            6,
+        ],
+        [
+            "data/hlm-ch1-zh.txt",
+            "data/hlm-ch1-en.txt",
+            "linear",
+            "None",
+            "None",
+            "None",
+            10,
+            6,
+        ],
+        [
+            "data/hlm-ch1-en.txt",
+            "data/hlm-ch1-zh.txt",
+            "linear",
+            "None",
+            "None",
+            "None",
+            10,
+            6,
+        ],
+        [
+            "data/ps-cn.txt",
+            "data/ps-en.txt",
+            "linear",
+            "None",
+            "None",
+            "None",
+            10,
+            4,
+        ],
+        [
+            "data/test-dual.txt",
+            "data/empty.txt",
+            # None,  # does not work
+            "linear",
+            "None",
+            "None",
+            "None",
+            10,
+            6,
+        ],
+        [
+            "data/xiyouji-ch1-zh.txt",
+            "data/xiyouji-ch1-de.txt",
+            "linear",
+            "None",
+            "None",
+            "None",
+            10,
+            6,
+        ],
+    ]
+
+    # modi examples setup
+
+    outputs = ["dataframe", "plot"]
+    outputs = ["plot"]
+    outputs = ["dataframe", "plot"]
+    out_df = gr.outputs.Dataframe(
+        headers=None,
+        max_rows=12,  # 20
+        max_cols=None,
+        overflow_row_behaviour="paginate",
+        type="auto",
+        label="To be aligned",
+    )
+    out_df_aligned = gr.outputs.Dataframe(
+        headers=None,
+        # max_rows=12,  # 20
+        max_cols=3,
+        overflow_row_behaviour="paginate",
+        type="auto",
+        label="aligned pairs",
+    )
+    out_file_dl = gr.outputs.File(
+        label="Click to download csv",
+    )
+    out_file_dl_excel = gr.outputs.File(
+        label="Click to download xlsx",
+    )
+
+    # modi outputs
+    outputs = [
+        out_df,
+        # "plot",
+        gr.outputs.Image(label="plot"),
+        out_file_dl,
+        out_file_dl_excel,
+        out_df_aligned,
+        gr.outputs.HTML(),
+    ]
+    # outputs = ["dataframe", "plot", "plot"]  # wont work
+    # outputs = ["dataframe"]
+    # outputs = ["dataframe", "dataframe", ]
+
+    server_port = 7860
+    with socket(AF_INET, SOCK_STREAM) as sock:
+        sock.settimeout(0.01)  # 10ms
+
+        # try numb times before giving up
+        numb = 5
+        for _ in range(numb):
+            if sock.connect_ex(("127.0.0.1", server_port)) != 0:  # port idle
+                break
+            server_port = server_port + randint(0, 50)
+        else:
+            raise SystemExit(f"Tried {numb} times to no avail, giving up...")
+
+    description = "WIP showcasing a blazing fast dualtext aligner, currrently supported language pairs: en-zh/zh-en for fast-track, other language pairs are handled by slow-track"
+
+    # moved to userguide.rst in docs
+    article = dedent(
+        """
+        ## NB
+        *   `radiobee aligner` is a sibling of `bumblebee aligner`. To know more about these aligners, please join qq group `316287378`.
+        *   Uploaded files should be in pure text format (txt, md, csv etc). `docx`, `pdf`, `srt`, `html` etc may be supported later on.
+        *   Click "Clear" first for subsequent submits when uploading files.
+        *   `tf_type` `idf_type` `dl_type` `norm`: Normally there is no need to touch these unless you know what you are doing.
+        *   Suggested `esp` and `min_samples` values -- `esp` (minimum epsilon): 8-12, `min_samples`: 4-8.
+           -   Smaller larger `esp` or `min_samples` will result in more aligned pairs but also more **false positives** (pairs
+           falsely identified as candidates). On the other hand,
+           larger smaller `esp` or `min_samples` values tend to miss
+           'good' pairs.
+        *   If you need to have a better look at the image, you can right-click on the image and select copy-image-address and open a new tab in the browser with the copied image address.
+        *   `Flag`: Should something go wrong, you can click Flag to save the output and inform the developer.
+        """
+    ).strip()
+
+    # "<p style='text-align: center'><a href='https://arxiv.org/abs/2112.11641' target='_blank'>JoJoGAN: One Shot Face Stylization</a>| <a href='https://github.com/mchong6/JoJoGAN' target='_blank'>Github Repo Pytorch</a></p> <center><img src='https://visitor-badge.glitch.me/badge?page_id=akhaliq_jojogan' alt='visitor badge'></center> <p style='text-align: center'>samples from repo: <img src='https://raw.githubusercontent.com/mchong6/JoJoGAN/main/teaser.jpg' alt='animation'/></p>"  # noqa
+
+    article = dedent(
+        """ <p style="text-align: center">readiobee docs:
+        <a href="https://radiobee.readthedocs.io/" target="_blank">readthedocs</a>
+         or in Chinese but rather short <a href="https://radiobee.readthedocs.io/en/latest/userguide-zh.html#" target="_blank">中文使用说明</a>
+        </p>
+        """
+    ).strip()
+
+    css_image = ".output_image, .input_image {height: 40rem !important; width: 100% !important;}"
+
+    # css = ".output_image, .input_image {height: 20rem !important; width: 100% !important;}"
+
+    css_input_file = ".input_file  {height: 8rem !important; width: 100% !important;}"
+
+    css_output_file = ".output_file  {height: 4rem !important; width: 100% !important;}"
+
+    logger.info("running at port %s", server_port)
+
+    _ = """
+    inputs = ...
+    outputs = ...
+    # properly
+    # define gradiobee to take inputs and spil out outputs
+
+    iface = gr.Interface(
+        fn=gradiobee,
+        inputs,
+        outputs,
+    )
+    # """
+    iface = gr.Interface(
+        # fn=greet,
+        # inputs="text",
+        # fn=process_upload,
+        # fn=process_2upoads,
+        # inputs=["file", "file"],
+        # outputs="text",
+        # outputs="html",
+        # fn=fn,
+        fn=gradiobee,
+        inputs=inputs,
+        outputs=outputs,
+        title="radiobee-aligner🔠",
+        description=description,
+        article=article,
+        examples=examples,
+        # theme="darkgrass",
+        theme="grass",
+        layout="vertical",  # horizontal unaligned
+        allow_flagging="manual",  # "auto"
+        flagging_options=[
+            "fatal",
+            "bug",
+            "brainstorm",
+            "excelsior",
+        ],  # "paragon"],
+        css=f"{css_image} {css_input_file} {css_output_file}",
+    )
+
+    iface.launch(
+        share=False,
+        # share=True,
+        debug=debug,
+        server_name=server_name,
+        # server_name="127.0.0.1",
+        server_port=server_port,
+        # show_tips=True,
+        enable_queue=True,
+        # height=150,  # 500
+        width=900,  # 900
+    )
+
+_ = """
+
+        ax = sns.heatmap(cmat, cmap="viridis_r")
+
+        ax.invert_yaxis()
+        ax.set_xlabel(fastlid(df.text1)[0])
+        ax.set_xlabel(fastlid(df.text2)[0])
+
+        # return df, plt
+        return plt.gca()
+
+https://colab.research.google.com/drive/1Gz9624VeAQLT7wlETgjOjPVURzQckXI0#scrollTo=qibtTvwecgsL colab gradio-file-inputs-upload.ipynb
+    iface = gr.Interface(plot_text, "file", "image")
+
+def is_port_in_use(port):
+    import socket
+    with socket.socket(socket.AF_INET, socket.SOCK_STREAM) as s:
+        return s.connect_ex(('localhost', port)) == 0
+
+socket.socket(socket.AF_INET, socket.SOCK_STREAM).connect_ex(('127.0.0.1', 7911))
+
+---
+css https://huggingface.co/spaces/nielsr/LayoutLMv2-FUNSD/blob/main/app.py#L83
+
+css = ".output_image, .input_image {height: 40rem !important; width: 100% !important;}"
+#css = "@media screen and (max-width: 600px) { .output_image, .input_image {height:20rem !important; width: 100% !important;} }"
+# css = ".output_image, .input_image {height: 600px !important}"
+
+mod = 'en2zh'
+packname = packx.__name__
+
+globals()[mod] = getattr(importlib.import_module(f"{packname}.{mod}"), mod)
+
+"""

radiobee/align_sents.py

@@ -0,0 +1,70 @@
+"""Align sents via gale-church."""
+# pylint: disable=
+
+from typing import List, Tuple  # noqa
+
+import re
+
+# from itertools import tee
+# from more_itertools import ilen
+from nltk.translate.gale_church import align_blocks
+
+from radiobee.amend_avec import amend_avec
+
+
+def align_sents(lst1: List[str], lst2: List[str]) -> List[Tuple[str, str]]:
+    """Align sents.
+
+    >>> lst1, lst2 = ['a', 'bs',], ['aaa', '34', 'a', 'b']
+    """
+    if isinstance(lst1, str):
+        lst1 = [lst1]
+
+    if isinstance(lst2, str):
+        lst2 = [lst2]
+
+    src_blocks = [len(re.sub(r"\s+", "", elm)) for elm in lst1]
+    tgt_blocks = [len(re.sub(r"\s+", "", elm)) for elm in lst2]
+
+    avec = align_blocks(src_blocks, tgt_blocks)
+
+    len1, len2 = len(lst1), len(lst2)
+    # lst1, _ = tee(lst1)
+    # len1 = ilen(_)
+    # lst2, _ = tee(lst2)
+    # len2 = ilen(_)
+
+    amended_avec = amend_avec(avec, len1, len2)
+
+    texts = []
+    # for elm in aset:
+    for elm0, elm1 in amended_avec:
+        # elm0, elm1, elm2 = elm
+        _ = []
+
+        # src_text first
+        if isinstance(elm0, str):
+            _.append("")
+        else:
+            # _.append(src_text[int(elm0)])
+            _.append(lst1[int(elm0)])
+
+        if isinstance(elm1, str):
+            _.append("")
+        else:
+            # _.append(tgt_text[int(elm0)])
+            _.append(lst2[int(elm1)])
+
+        _a = """
+        if isinstance(elm2, str):
+            _.append("")
+        else:
+            _.append(round(elm2, 2))
+        # """
+        del _a
+
+        texts.append(tuple(_))
+
+    return texts
+
+    # return ["", ""]

radiobee/align_texts.py

@@ -0,0 +1,57 @@
+"""Align texts based on aset, src_text, tgt_text."""
+from typing import List, Tuple, Union
+from logzero import logger
+
+
+# fmt: off
+def align_texts(
+        aset: List[Tuple[Union[str, float], Union[str, float], Union[str, float]]],
+        src_text: List[str],
+        tgt_text: List[str],
+) -> List[Tuple[Union[str], Union[str], Union[str, float]]]:
+    # fmt: on
+    """Align texts (paras/sents) based on aset, src_text, tgt_text.
+
+    Args:
+        aset: align set
+        src_text: source text
+        tgt_text: target text
+
+    Returns:
+        aligned texts with possible mertics
+    """
+    xset, yset, metrics = zip(*aset)  # unzip aset
+    xset = [elm for elm in xset if elm != ""]
+    yset = [elm for elm in yset if elm != ""]
+
+    if (len(xset), len(yset)) != (len(tgt_text), len(src_text)):
+        logger.warning(
+            " (%s, %s) != (%s, %s) ", len(xset), len(yset), len(tgt_text), len(src_text)
+        )
+        # raise Exception(" See previous message")
+
+    texts = []
+    for elm in aset:
+        elm0, elm1, elm2 = elm
+        _ = []
+
+        # src_text first
+        if isinstance(elm1, str):
+            _.append("")
+        else:
+            _.append(src_text[int(elm1)])
+
+        if isinstance(elm0, str):
+            _.append("")
+        else:
+            _.append(tgt_text[int(elm0)])
+
+        if isinstance(elm2, str):
+            _.append("")
+        else:
+            _.append(round(elm2, 2))
+
+        texts.append(tuple(_))
+
+    # return [("", "", 0.)]
+    return texts

radiobee/amend_avec.py

@@ -0,0 +1,60 @@
+"""Amend avec from align_block."""
+# pylint: disable=
+
+from typing import List, Tuple, Union
+
+from itertools import zip_longest
+from logzero import logger  # noqa
+
+# from radiobee.gen_aset import gen_aset
+
+
+# fmt: off
+def amend_avec(
+        avec: List[Tuple[int, int]],
+        len0: int = 0,
+        len1: int = 0,
+) -> List[Tuple[Union[int, str], Union[int, str]]]:
+    # fmt: on
+    """Amend avec from align_block.
+
+    Rewritten based on gen_aset.
+
+    Args:
+        avec: list generated by align_block
+        len0: max first possibe entries
+        len1: max second entries
+    Return
+        nicely amended to include all entries
+    Raise
+        None
+    """
+    # empty avec []
+    if not avec:
+        return [*zip_longest(range(len0), range(len1), fillvalue="")]
+    # empty [[]]
+    if len(avec) == 1:
+        if not avec[0]:
+            return [*zip_longest(range(len0), range(len1), fillvalue="")]
+
+    buff = []
+    pos0, pos1 = -1, -1
+    for elm in avec:
+        # elm0, elm1, elm2 = elm
+        elm0, elm1, *elm2 = elm
+        elm0 = int(elm0)
+        elm1 = int(elm1)
+        interval = max(elm0 - pos0 - 1, elm1 - pos1 - 1)
+        _ = zip_longest(range(pos0 + 1, elm0), range(pos1 + 1, elm1), [""] * interval, fillvalue="")
+        buff.extend(_)
+        buff.append(elm)
+        pos0, pos1 = elm0, elm1
+
+    # last batch if any
+    # elm0, elm1 = tgt_len, src_len
+    elm0, elm1 = len0, len1
+    interval = max(elm0 - pos0 - 1, elm1 - pos1 - 1)
+    _ = zip_longest(range(pos0 + 1, elm0), range(pos1 + 1, elm1), [""] * interval, fillvalue="")
+    buff.extend(_)
+
+    return buff

radiobee/app.py

@@ -0,0 +1,36 @@
+"""Talk to spaces VM via subprocess.check_output."""
+# import httpx
+import subprocess as sp
+from shlex import split
+import gradio as gr
+
+
+def greet(command):
+    """Probe vm."""
+    try:
+        out = sp.check_output(split(command), encoding="utf8")
+    except Exception as e:
+        out = str(e)
+    # return "Hello " + name + "!!"
+    if not (out and out.strip()):
+        out = "No output, that's all we know."
+    return out
+
+
+iface = gr.Interface(
+    fn=greet,
+    inputs="text",
+    outputs="text",
+    examples=[
+        "cat /proc/version",
+        "free  # show free memory",
+        "uname -m",
+        "df -h .",
+        "cat /proc/cpuinfo",
+    ],
+    title="probe the system",
+    description="talk to the system via subprocess.check_output ",
+)
+
+# iface.launch(share=True, debug=True)
+iface.launch(debug=True)

radiobee/cmat2tset.py

@@ -0,0 +1,59 @@
+"""Gen triple-set from a  matrix."""
+from typing import List, Tuple, Union  # noqa
+
+import numpy as np
+import pandas as pd
+
+
+# fmt: off
+def cmat2tset(
+    cmat1: Union[List[List[float]], np.ndarray, pd.DataFrame],
+    # thirdcol: bool = True
+) -> np.ndarray:
+    # ) -> List[Union[Tuple[int, int], Tuple[int, int, float]]]:
+    # fmt: on
+    """Gen triple-set from a matrix.
+
+    Args
+        cmat: 2d-array or list, correlation or other metric matrix
+        # thirdcol: bool, whether to output a third column (max value)
+
+    Returns
+        Obtain the max and argmax for each column, erase the row afterwards to eliminate one single row  that would dominate
+        every column.
+    """
+    # if isinstance(cmat, list):
+    cmat = np.array(cmat1)
+
+    if not np.prod(cmat.shape):
+        raise SystemError("data not 2d...")
+
+    _ = """
+    # y00 = range(cmat.shape[1])  # cmat.shape[0] long time wasting bug
+
+    yargmax = cmat.argmax(axis=0)
+    if thirdcol:
+        ymax = cmat.max(axis=0)
+
+        res = [*zip(y00, yargmax, ymax)]  # type: ignore
+        # to unzip
+        # a, b, c = zip(*res)
+
+        return res
+
+    _ = [*zip(y00, yargmax)]  # type: ignore
+    return _
+    """
+    low_ = cmat.min() - 1
+    argmax_max = []
+    src_len, tgt_len = cmat.shape  # ylim, xlim
+    for _ in range(min(src_len, tgt_len)):
+        argmax = int(cmat.argmax())
+        row, col = divmod(argmax, tgt_len)
+        argmax_max.append([col, row, cmat.max()])  # x-axis, y-axis
+
+        # erase row-th row and col-th col of cmat
+        cmat[row, :] = low_
+        cmat[:, col] = low_
+
+    return np.array(argmax_max)