#city comedy

[babylon-crashing]

《咆哮女郎》THE ROARING GIRL [act ii. scene ii]

托马斯·米德尔顿和托马斯·德克尔（1611)

Thomas Middleton and Thomas Dekker (1611)

Translations and Notes by: ZJC (2026)

第二幕，第二场 | ACT II, SCENE II 场景：一条街道 (Scene: A street) 【塞巴斯蒂安上】 (Sebastian enters) 塞巴斯蒂安 倘若人真有自由意志，那么除了运用意志去爱，这自由还能在何处更完美地闪耀？万物在爱中皆有自由。 SEBASTIAN: If man possess free will at all, where can that liberty shine more perfectly than in the act of loving? All things find freedom in love— 【亚历山大爵士上，在远处偷听】 (Sir Alexander enters at a distance, listening) 塞巴斯蒂安【续】 尽管在其他方面被置于奴役的枷锁之下，就连奴隶在爱中也拥有自由。在万千生灵之中，难道唯独我的欲望要戴上镣铐，而众生却能随意漫步？ SEBASTIAN: (cont.) Though elsewhere bound in chains of service; even slaves are free in love. And shall my desires alone wear fetters, while all creation walks at liberty?

【旁白】 哈，你离得这么近？那我必须袒露我的“真心”了，让悲伤从后门迎接你吧；好吧。【高声】 假设世间所有的舌头——无论是诽谤还是实情——都宣称莫尔令人厌恶，那又如何？倘若在我爱慕的眼中她显得美丽，我又何损之有？我得到了我喜欢的东西。 (aside) Ha, are thou so near? Then I must speak my heart aloud and let “grief” enter by the back door. So be it. (aloud) Grant that to all tongues—whether in slander or in truth—cry out that Moll is loathsome: what then? If she appear fair in the eye of my affection, what lose I? I enjoy what I desire.

塞巴斯蒂安 从未真正爱过的人，是那些眯着眼、用父亲的眼光去选妻的人。我要睁大自己的眼睛。 SEBASTIAN: They never truly loved who squint and choose a wife by their father’s eyesight. I’ll look with mine wide open. 【莫尔与一个搬运工上，后者背着她的大提琴】 (Moll Cutpurse enters with a Porter carrying her viol on his back) [5] 搬运工 我得把这‘胯下拨弄的玩意儿’扛到您房间去吗，玛丽小姐？ PORTER: Do I have to carry this “thing you've been fiddling with between your legs” up to your room, Miss Moll? 莫尔 “玩意儿”？你这头只配在猪圈搓澡的笨驴。你们这些搬运工总为别人扛重担，都没工夫给自己捎点脑子。 MOLL: “Thing”? Thou bath-hog fit only for a sty. You porters carry burdens for all men so long you’ve no leisure left to fetch a wit for yourselves. 搬运工 是扛到您自己的房间吗，小姐？ PORTER: To your own chamber, Mistress? 莫尔 谁愿意听驴叫两遍？还能去哪儿，你这行走的肉架子？ MOLL: Who would hear an ass bray twice? Where else, thou walking shambles? 【搬运工下】 (Porter exits) 塞巴斯蒂安 哎呀，让他们脑子里和背上同时扛东西，负担未免太重了，亲爱的女士。 SEBASTIAN: Alas, to load both the back and the brain at once is too much carriage, dear lady. 莫尔 请原谅，先生，没想到您离得这么近。 MOLL: Pardon me, sir, I knew not that you stood so near. 亚历山大爵士【旁白】 好，好，好，抓个正着。 SIR ALEXANDER: (aside) All right, all right, all right, caught red-handed! 塞巴斯蒂安 我希望能离您更近，而且是以那种使灵魂最高贵部分吐露真情的方式。除此之外，别无所求。 SEBASTIAN: I would be nearer to you, and in that manner which makes the noblest part of the soul speak truth. Beyond that, I desire nothing. 莫尔 先生，我穷得无法回报您，您只能指望我道声谢了。我没有结婚的兴致。我喜欢自己在床两边自由地横躺；再说，妻子应该顺从——但我恐怕自己骨头太硬，学不会服从。 MOLL: Sir, I am too poor to requite you with anything but thanks. I have no mind to marry. I love to lie o’ both sides of the bed myself; and wives should be obedient—my bones are too stiff for that lesson.

莫尔 我非常感激您的好意，正因为我把您当朋友，我才不愿您日后后悔这桩买卖。我现在自己当家做主，对女人来说已经够“男人”了；婚姻不过是砍头易首，姑娘丢了自己的头，却换上个更糟的。 MOLL: I thank you truly; and because I love you as a friend, I would not have you repent the bargain. I govern myself already, and that’s manhood enough for a woman. “Marriage” is but chopping and changing heads: the maid parts with her own, and takes a worse in exchange. 亚历山大爵士【旁白】 这是我耳朵喝到过的、从这咆哮女郎嘴里出来的最顺心的回答了。 SIR ALEXANDER: (aside) This is the sweetest draught my ears ever drank from this roaring girl. 塞巴斯蒂安 这番话足以把任何傻瓜永远从您身边吓跑，而这正是我爱上您的妙处所在。 SEBASTIAN: This speech would fright all fools forever from you—and therein lies the very cause I love you. 亚历山大爵士【旁白】 这逆子又把一切都搞砸了！ SIR ALEXANDER: (aside) The villain mars all again! 莫尔 相信我，先生，我也能忠贞地爱您。 MOLL: Believe me, sir, I can love you faithfully. 亚历山大爵士【旁白】 你这句“爱”真该死！ SIR ALEXANDER: (aside) That word “love” confounds me! 莫尔 但请把这事再搁一晚想想。只要活着，千万别跑着去娶妻。许多人急着成亲，结果连鞋跟都跑丢了。再会了，先生。 MOLL: But think on’t another night. So long as you live, never run to marry. Many have so run, and lost their heels by the way. Farewell, sir. 【裁缝上】 (Tailor enters.) 裁缝 莫尔小姐，莫尔小姐。嚯——嚯——嚯——嚯！ TAILOR Mistress Moll! Mistress Moll! Ho— ho— ho—ho! 亚历山大爵士【走上前】 那么，谁是那个生了锈的破钟？是你吗？ SIR ALEXANDER: (stepping forward) Who is the rusty clock now? You? 塞巴斯蒂安 是路德门的钟，先生；它就没准过。 SEBASTIAN: Ludgate clock, sir—it was never right.

塞巴斯蒂安 在这个世界上，老实巴交毫无用处。我要把这个疯丫头引入我的计划，取得她的帮助。她是天生的“工具”，能帮恋人们得偿所愿。我的真爱终将相见。 SEBASTIAN: In this world, plain dealing does nothing. I’ll draw this mad wench into my design and make her serve it. She is a natural “instrument” to bring lovers to their ends. My true love shall yet be won. 【塞巴斯蒂安下】 (Sebastian exits.)

NOTE.

[5] Viol，当时常被称为胯间提琴 (It was often referred to as a violin held between the legs.)

[cont.] ...

[babylon-crashing]

《咆哮女郎》THE ROARING GIRL [act i. scene ii.]

托马斯·米德尔顿和托马斯·德克尔（1611)

Thomas Middleton and Thomas Dekker (1611)

Translations and Notes by: ZJC (2026)

第一幕，第二场 | ACT I, SCENE II 场景：亚历山大·温格雷夫爵士家中的大厅 (Scene: A great room in the house of Sir Alexander Wengrave) 【亚历山大·温格雷夫爵士、戴维·戴珀爵士、亚当·阿普尔顿爵士、戈肖克与拉克斯顿同上。】 (Sir Alexander Wengrave, Sir Davy Dapper, Sir Adam Appleton, Goshawk, and Laxton enter.) 众人【齐声】 感谢您，好心的亚历山大爵士，感谢您丰盛的款待。 ALL (As one) Thanks to you, good Sir Alexander, for your noble and plentiful entertainment. 亚历山大爵士 哎，哎——道谢反而显得生分了。 SIR ALEXANDER: Fie, fie—thanks make us strangers. 戴维爵士 当慷慨铺满餐桌时，说实话，离席时若不致谢，那真是罪过。 SIR DAVY: When bounty spreads the board so richly, to rise without thanks were a sin indeed. 亚历山大爵士 别再谢了，别再谢了。说真的，先生们，里屋太闷了。诸位觉得这客厅如何？ SIR ALEXANDER: No more of thanks, no more. In truth, gentlemen, the inner rooms were close. How like you this chamber? 众人【齐声】 哦，好极了！ ALL: (as one) Exceedingly well! 亚当爵士 这里的空气多清新甜美，真凉爽！ SIR ADAM: The air is sweet and freshly tempered here. 戈肖克 我最喜欢这视野。 GOSHAWK: The prospect pleases me most. 拉克斯顿 看看这陈设。 LAXTON: Mark the furnishing. 戴维爵士 一间非常雅致、宜人的房间。 SIR DAVY: A most graceful and inviting room. 亚历山大爵士 戴维·达珀爵士，布置这间房间花了我不少真金白银。然而，好东西总是物有所值。不——待会儿你们看到我的画廊，那里挤满了形形色色的肖像，美丑混杂，如同阴雨天里的阳光。 SIR ALEXANDER: Sir David Dapper, furnishing this room cost me a considerable sum of money. However, good things are always worth the price. No—when you see my gallery, it's crammed with portraits of all sorts of people, a mixture of beauty and ugliness, like sunshine on a rainy day ...

在一个画框里，成千上万颗脑袋肩并肩地挤在一起，仿佛整个房间都是由人脸砌成的。那么多充满喜悦的眼神，就像新书上华丽的标题，他们的眼睛仿佛在阅读——那些眼睛似乎在转动，在说着一些陈词滥调。 In one frame, thousands of heads are squeezed together, shoulder to shoulder, as if the entire room were built of human faces. So many joyful eyes, like the ornate titles in a new book, their eyes seem to be reading—those eyes seem to be moving, uttering clichés.

而这里那里，当谄媚的耳朵竖起倾听时，一个扒手正像老鹰一样目光锐利地四处游荡，伺机下手。我无需指给你们看：凭着他那副贼眉鼠眼的样子，你就能认出他来。这幅肖像画得栩栩如生。而在下方——鲜花似乎在摇曳，就像一座漂浮的小岛在环绕海岸的海洋上移动。 And here and there, while flattering ears are pricked up to listen, a pickpocket is lurking around like a hawk, his eyes sharp, waiting for an opportunity to strike. I don't need to point him out to you: you can recognize him by his shifty, thieving look. This portrait is painted so realistically. And below—the flowers seem to be swaying, like a small floating island moving on the ocean surrounding the coast. 【塞巴斯蒂安与格林威特上。】 (Sebastian and Greenwit enter.) 众人【齐声】 这些景致妙极了。 ALL: These sights are wondrous. 塞巴斯蒂安 这位先生，我的朋友，要向您告辞了，父亲。 SEBASTIAN: This gentleman, my friend, must take his leave of you, father. 亚历山大爵士 哈！告辞，塞巴斯蒂安？谁？ SIR ALEXANDER: Ha! Take leave, Sebastian? Who? 亚历山大爵士【旁白】 啊，好小子！你的血热了吗？沸腾了吗？被蜇疼了吗？我要刺得更深些。 SIR ALEXANDER: (aside) Ha, my boy! Is thy blood warm now? Does it boil? Hast thou been stung? I’ll prick thee deeper yet. 亚历山大爵士 哦，一个女人！ SIR ALEXANDER: O—a woman! 塞巴斯蒂安 一只“肉蝇”！那确实能惹恼任何人。 SEBASTIAN: A flesh-fly! That indeed will anger anyone. 亚历山大爵士 一个卑劣的女人—— 他说，那是大自然用来嘲弄女性的造物；一个不配被提及的生物；在她尚未完全成形之前就已经存在。 SIR ALEXANDER: A vile woman— He said, she was a creature Nature had created to mock womankind; a being unworthy of mention; existing even before she was fully formed.

她既像女人又像男人，既不像女人也不像男人，而且——最奇怪的是——太阳赋予她一个身体，却投下两个影子；不，无论她走到哪里，站到哪里，坐到哪里，她所吸引的目光比任何彗星都要多。 She was both woman and man, neither woman nor man, and—strangest of all—the sun gave her one body, yet cast two shadows; no, wherever she went, wherever she stood, wherever she sat, she attracted more attention than any comet. 塞巴斯蒂安【大喊】 这是谎话！ SEBASTIAN: (Shouting) ’Tis false!

塞巴斯蒂安 我被蛊惑了，被我的欲望束缚了……泪水、祈祷、威胁——都无法熄灭我内心的火焰…… SEBASTIAN: I am enchanted, bound in the chains of my desire; tears, prayers, threats—nothing can quench the fire within me … 【下。】 (Exits.) 亚历山大爵士【独白。】 现在展翅飞吧。当你最察觉不到我的时候，我就在你的身边…… SIR ALEXANDER: (alone.) Fly now. I’ll be nearest when thou least perceiv’st me… 【拉尔夫·特拉普多尔上。】 (Ralph Trapdoor enters.) 亚历山大爵士 你要扮演那狡猾的蜘蛛，编织细网去捕捉她的性命。 SIR ALEXANDER: Thou shalt play the subtle spider, weaving fine nets to catch her life. 特拉普多尔 她的性命，先生？ TRAPDOOR: Her life, sir? 亚历山大爵士 是的——或者吸干她的心血；拉紧你的绳索去套住她。我会找到法律，把她挂在绞架上。 SIR ALEXANDER: Aye—or drain her heart-blood; draw thy cords tight to snare her. I’ll find the law to hang her on those hooks. 特拉普多尔 一个“咆哮小子”要制伏这位“咆哮女郎”。 TRAPDOOR: A “roaring boy” shall master “the roaring girl.” 亚历山大爵士 上帝保佑你，别浪费时间。 SIR ALEXANDER: God speed thee. Waste no time. 【二人从不同方向下。】 (Exeunt severally.)

[cont.] ...

[babylon-crashing]

《咆哮女郎》THE ROARING GIRL [act i. scene i]

第一幕，第一场 | ACT I, SCENE I场景：亚历山大家中，塞巴斯蒂安的书房 (Scene: Sebastian’s study in the house of Sir Alexander)

【玛丽·菲茨阿拉德上，扮作女裁缝，手持一个褶领盒；内德·尼特富特随上，他是个矮小的仆人，肩搭餐巾，手端木盘，像是刚从餐桌旁过来。】 (Mary Fitzallard enters disguised as a Sempstress, carrying a box of ruffs, followed by Ned Nettleton, a short Servant, a napkin over his shoulder and a wooden tray in his hand, as if fresh from the dining table.)

内德·尼特富特【拿腔拿调地。】 那位年轻的绅士？我们年轻的少主人，亚历山大爵士的公子！您是渴望将您的讯息凌空传递，直达他的尊耳吗？ NED: (with affected ceremony.) The young gentleman? Our youthful master, the son of Sir Alexander! Do you burn with desire to have your message fly straight through the air and lodge itself within his noble ear?

玛丽【迟疑地。】 呃，只想私下说一两句话，先生，没别的。 MARY: (hesitating.) Why—only a word or two in private, sir. Nothing more.内德·尼特富特【正式地。】

您的期许必将开花结果！您的美意必将获得最圆满的回报。我会留意，待我们少主人“挺立”之时——也就是说，当他办完晨间私事，起身下床——我便将他呈献于您。 NED: (solemnly.) Your hopes shall blossom and bear fruit! Your goodwill shall meet with the fullest satisfaction. I shall watch my time, and when our young master stands upright—that is, when he has dispatched his morning business and risen from bed—I shall present him to you.

玛丽 谢谢，先生。 MARY: Thank you, sir.内

德·尼特富特【旁白】 顺便告知他，我已为他精心物色好了；既然他已酒足饭饱，这可比餐盘上任何一道菜都更鲜嫩可口。【对玛丽】 他可知晓您的芳名？我斗胆请问您的“贞洁圣名”？ NED: (aside) And I shall tell him too that I have picked out a choice morsel for him; now that he is full-fed, this will relish better than any dish at table. (To Mary) Does he know your name? May I presume to ask your—virginal and virtuous name?

玛丽 我想，先生，他提过……一些软塌塌的褶领。 MARY: I think, sir, he mentioned—some drooping ruffs.

内德·尼特富特 “软塌塌的褶领”？倘若您不吝豁出那点矜持，移步大厅，那些头发卷曲、粗俗无礼的仆役正享用着残羹冷炙，在那里，您将受到最郑重、最诚挚且巧妙的欢迎。 NED: “Drooping ruffs”? If you would but spend a little modesty and step into the hall, where the curled-haired, unmannerly Servants feed on what they can get, you would find a most solemn, hearty, and ingenious welcome.

玛丽【犹豫地。】 我已经用过饭了，先生。 MARY: (uneasy.) I have already eaten, sir.

内德·尼特富特 或者，您是否愿意赏光移步储藏室，与我们那些侍女共饮一杯醇厚的奥尔良葡萄酒，亲吻那杯沿？ NED: Or will you be pleased to step into the buttery and pledge a cup of rich Orléans wine with our maids, and kiss the lip of the glass?

玛丽【更犹豫地。】 还是不必了，先生。 MARY: (more uneasy.) No, thank you, sir.

内德·尼特富特 那么，我们少主人很快就会感知到您的莅临；即刻便知。 NED: Then our young master shall shortly have some sense of your coming—he shall know of it straight.玛丽 我卑微地感谢您，先生。 MARY: I humbly thank you, sir.【内德·尼特富特下。】 (Ned Nettleton exits.)

玛丽【独白。】 若不是我这满怀满是苦涩的忧伤……换作从前，我定会笑着看那只装模作样的小猴儿耍他的把戏。 MARY: (alone.) Had my heart not been so full of bitter sorrow—in former days I should have laughed to see that aping monkey play his tricks.

【停顿】 但如今一支毒箭刺在我心口，我笑不出来。那种因轻浮结就的爱，消逝得也轻如鸿毛；但真正的爱，孕育于灵魂深处——像我这样的灵魂，哪怕最轻微的创伤也会流血至死——我奉献的，正是这样的爱。【唱】 “愈是扑灭， 这火焰，/ 愈难餍足。” 唉，天啊！ (Pause.) But now a poisoned arrow sticks within my breast, and I cannot laugh. That light love, knotted up in lightness, that counterfeit affection, dies as lightly as it’s made; but true love is bred deep within the soul—and such a soul as mine will bleed to death from the smallest wound—this is the love I give. (sings) "The more we strive to quench this fire,/ the less it can be satisfied." O heaven!

[cont...]

[medicalinsuranceimportantfq]

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[seriousmoneydramaturgy-blog]

Follow the link for a brief description on the City Comedy, as well as four examples of full-length City Comedies.