Shakespeare's Politics

20人呀！你是誰，竟敢向天主抗辯？製造品豈能對製造者說：你為什麼這樣製造了我？	依 29:16
21難道陶工不能隨意用一團泥，把這一個作成貴重的器皿，把那一個作成卑賤的器皿嗎？	依 29:16耶 18:6智 15:7依 45:9; 64:7
22如果天主願意顯示自己的義怒，並彰顯自己的威能，曾以寬宏大量，容忍了那些惹他發怒而應受毀滅的器皿；	2:4; 3:25-26箴 16:4智 12:20-21
23他如此作，是為把他那豐富的光榮，在那些他早已準備好，為進入光榮而蒙憐憫的器皿身上彰顯出來，又有什麼不可呢？	8:29弗 2:1-7
24這些器皿就是我們這些不但從猶太人中，而且也從外邦人中被天主所寵召的人。

vesture

2005-07-10
近讀些Allan Bloom談「政治、詩與莎士比亞」等，更覺得必須圍勦威尼斯（「一座色彩斑爛的美麗城市」）才行。

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Bloom, Allan Shakespeare's Politics. With Harry V. Jaffa. 160 p. 5-1/4 x 8 1964
Paper $17.00sp 0-226-06040-3 /Paper $12.50sp 0-226-06041-1 Fall 1996
日譯本：Shakespeare's Politics. (1966/1981) (with Harry V. Jaffa). 『シェイクスピアの政治学』松岡啓子 訳，信山社出版，2005


目錄：TABLE OF CONTENTS

1: Introduction: Political Philosophy and Poetry
2: On Christian and Jew: The Merchant of Venice
3: Cosmopolitan Man and the Political Community: Othello
4: The Morality of the Pagan Hero: Julius Caesar
5: The Limits of Politics: King Lear, Act I, Scene i
Harry V. Jaffa
Acknowledgments
Index

布魯姆（Allan Bloom）《巨人與侏儒：布魯姆文集》秦露 林國榮等譯 北京：華夏出版社，2003
。其中「政治、詩與莎士比亞」翻譯出該書的前四章

。最後一章可能為Harry V. Jaffa所作，所以不翻譯。
翻譯大體很認真，不過還是有許多地方可以更好。譬如說，Allan Bloom說，『羅馬書』（Romans）9-11章最能說明《威尼斯商人》中基督徒和猶太人的信仰之差別：（『基督徒與公民』（On Christian and Jew: The Merchant of Venice 。注意：中文翻譯將「猶太人」改成「公民」），《巨人與侏儒：布魯姆文集》 p.122之注）。可惜，大陸翻譯者未查它，所以碰到vessel ，不知道它指「器皿」。

下述羅馬書之引文為提綱：

9:21 [hb5] 窯匠難道沒有權柄、從一團泥裏拿一塊作成貴重的器皿、又拿一塊作成卑賤的器皿麼。
[kjv] Hath not the potter power over the clay, of the same lump to make one vessel unto honour, and another unto dishonour?
[bbe] Or has not the potter the right to make out of one part of his earth a vessel for honour, and out of another a vessel for shame?

9:22 [hb5] 倘若　神要顯明他的忿怒、彰顯他的權能、就多多忍耐寬容那可怒預備遭毀滅的器皿．
[kjv] What if God, willing to shew his wrath, and to make his power known, endured with much long suffering the vessels of wrath fitted to destruction:
[bbe] What if God, desiring to let his wrath and his power be seen, for a long time put up with the vessels of wrath which were ready for destruction:

9:23 [hb5] 又要將他豐盛的榮耀、彰顯在那蒙憐憫早預備得榮耀的器皿上．
[kjv] And that he might make known the riches of his glory on the vessels of mercy, which he had afore prepared unto glory,
[bbe] And to make clear the wealth of his glory to vessels of mercy, which he had before made ready for glory,
*****
"The power of music in the soul—described to Jessica marvelously by Lorenzo in the Merchant of Venice—has been recovered after a long period of desuetude." (The Closing of the American Mind, p.69)

就像在《威尼斯商人》中，羅蘭佐精彩地向潔西嘉描述的那樣，心靈中音樂的力量經歷了漫長的蕭索時期後，終於復蘇了。（布魯姆（Allan Bloom）《走向封閉的美國精神》缪青、宋麗娜等譯，北京：中國社會科學出版社，1994，第66頁。
2008補--此書近年有新譯版本


案：名字改成朱生豪翻譯的。）

我對於此翻譯，也有兩意見：「心靈中音樂的力量」似乎應該改成「音樂對於心靈的力量」。
更有（教育）意思的是將莎士比亞原文和朱生豪的翻譯拿來讀讀（其評論非本文主旨）。

LORENZO
Sweet soul, let's in, and there expect their coming.
親愛的，我們進去，等著他們回來吧。
And yet no matter: why should we go in?
不，還是不用進去。
My friend Stephano, signify, I pray you,
Within the house, your mistress is at hand;
我的朋友斯丹法諾，請你進去通知家裏的人，你們的女主人就要來啦，
And bring your music forth into the air.
叫他們準備好樂器到門外來迎接。
Exit Stephano（斯丹法諾下）
How sweet the moonlight sleeps upon this bank!
月光多麼恬靜地睡在山坡上！
Here will we sit and let the sounds of music
我們就在這兒坐下來，
Creep in our ears: soft stillness and the night
讓音樂的聲音悄悄送進我們的耳邊；
Become the touches of sweet harmony.
柔和的靜寂和夜色，是最足以襯托出音樂的甜美的。
Sit, Jessica. Look how the floor of heaven坐下來，潔西嘉。
Is thick inlaid with patines of bright gold:
瞧，天宇中嵌滿了多少燦爛的金鈸；

There's not the smallest orb which thou behold'st
你所看見的每一顆微小的天體，
But in his motion like an angel sings,
在轉動的時候都會發出天使般的歌聲，
Still quiring to the young-eyed cherubins;
永遠應和著嫩眼的天嬰的妙唱。
Such harmony is in immortal souls;
在永生的靈魂裏也有這一種音樂，
But whilst this muddy vesture of decay
可是當它套上這一具泥土製成的俗惡易朽的皮囊以後，
Doth grossly close it in, we cannot hear it.
我們便再也聽不見了。