Structures in Drama戏剧里的结构戲劇裡的結構 · 20 / 23
Ariel Reports the Tears, and Prospero Changes His Order
爱丽儿说起囚徒的眼泪以后，普洛斯彼罗改变了命令
愛麗兒說起囚徒的眼淚以後，普洛斯彼羅改變了命令
The Tempest · William Shakespeare
暴风雨 · 威廉·莎士比亚
暴風雨 · 威廉·莎士比亞
A report of successful magic becomes an account of suffering. Prospero listens—but Ariel's own freedom still has to be reckoned with.
一份关于魔法奏效的报告，多出了一个正在哭的人。命令改变了，报信的精灵又将走向怎样的自由？
一份關於魔法奏效的報告，多出了一個正在哭的人。命令改變了，報信的精靈又將走向怎樣的自由？
These readings discuss key scenes and endings. They read the plays, not particular stage or screen productions.
本系列涉及关键剧情与结局，阅读对象是剧本文本，而非某一场舞台演出或影视改编。
本系列涉及關鍵劇情與結局，閱讀對象是劇本文本，而非某一場舞台演出或影視改編。
Prospero asks the time. His magic holds, his spirits obey, and his undertaking is nearing completion. Ariel reminds him that this is the hour at which he said their work should end. Asked about the king and his companions, the spirit reports that they remain confined in the grove, unable to leave until Prospero releases them.
The report begins as an account of successful execution. The prisoners are where they were told to remain. Then Ariel speaks of their distress. Alonso, Sebastian, and Antonio are distracted; their companions mourn over them. Gonzalo, the old counsellor, is crying so heavily that Ariel compares the tears running down his beard to winter water dripping from the eaves.
The image does not excuse anyone's conduct. It introduces a person into a report about the effectiveness of a plan. There is an old man in that grove, and this is what the plan is doing to him. Someone carrying out an order has returned with more information than obedience alone required.
At this point in The Tempest, Prospero has his former enemies within his power. His brother Antonio helped the King of Naples dispossess him as Duke of Milan, sending him and his young daughter out to sea. Their survival and arrival on the island belong to an earlier part of his account. Gonzalo, however, helped them: he supplied necessities and books from Prospero's own library.
The people confined together do not therefore owe the same debt. By dwelling on Gonzalo, Ariel makes an individual face visible within the group called the enemy. Attention to suffering can begin with a particular person before it becomes any general position on mercy. Prospero need not forget how he was injured in order to hear what is happening now.
Ariel says that seeing the prisoners would soften him. Prospero asks whether the spirit really thinks so. If Ariel were human, comes the answer, it would soften him. Prospero takes up the comparison. He has the human capacity to feel what these people feel; anger need not command his next act. He orders Ariel to release them and says that he will restore their senses.
This is not an isolated sentence overturning a plan that had no other possible ending. They have just recalled a previously appointed finishing time. Its force is more precise. The person still able to exercise power makes the reported pain part of his decision about how the work will end. The suffering has not been edited out as irrelevant to success.
The speaker's own position gives the exchange another weight. Ariel has long carried out Prospero's instructions and wants liberty. In Act I, a reminder of a promise to shorten his service brought an angry account of how Prospero rescued him from imprisonment in a tree. The rescue was real. Its recollection also became a reason why he should not complain, followed by a threat to imprison him again.
These are not two companions who are equally free to end the conversation. Ariel both executes orders and lives under them. He understands confinement, yet does not use this report to negotiate a reward for himself. He describes what he has seen. Prospero allows the report to influence an order. The value of that listening is not diminished by remembering the unequal conditions in which the words are spoken.
Nor does the order accomplish every change at once. While Ariel fetches the prisoners, Prospero announces his intention to break his staff and sink his book. Those acts are promised; the scene does not display their completion. Music sounds, the men are brought in still under the spell, and their recovery begins gradually. When Prospero addresses Gonzalo, his own tears answer the old man's.
The prisoners' suffering also does not establish a shared repentance. Alonso offers to restore the dukedom and asks forgiveness. Antonio does not give an equivalent apology. Prospero nevertheless forgives him and demands the return of his position. He can relinquish revenge without ratifying the possession of what was taken from him.
Earlier, Prospero describes the men as penitent. The subsequent scene lets us distinguish that assessment from what each person actually says. His decision can precede an apology, or hold where an apology is absent. Its seriousness does not require us to invent a corresponding inward transformation in everyone who benefits.
Meanwhile, Ariel helps Prospero recover the outward appearance of the duke. He sings of another existence, among flowers and in flight, away from the next command. Prospero praises him, says he will miss him, and renews the promise of freedom. Then he sends him to the ship to bring back its master and boatswain. The song of release and the continuation of service occupy almost the same moment.
Prospero's affection need not be counterfeit. The pleasure of Ariel's song need not be cancelled either. Yet pleasure, praise, and freedom describe different conditions. The restored duke is still being dressed and assisted by someone who has not finished serving him. Following only the master's return to his proper place would leave the labour enabling that return at the edge of the picture.
For Ariel, the desired ending cannot be fully expressed as Prospero's success. He wants an existence in which his next destination is no longer determined by how well he completes another person's task. The song briefly makes that life imaginable. It has a direction different from the household's journey home.
At the end of the scene, Prospero promises the company calm seas and a swift voyage. He entrusts that final work to Ariel, then bids him farewell and releases him to the elements once it is done. The promise now has a defined conclusion. Nothing here requires us to turn it into another deception. But the voyage has not been performed before us, and Ariel's subsequent life remains beyond the stage.
Caliban further complicates any account of universal liberation. His plot with Stephano and Trinculo has failed; he is sent to prepare Prospero's dwelling as a condition of pardon. His subjection does not make the attempted violence innocent. Equally, the freedom promised to Ariel does not answer what awaits Caliban. The same ending contains different arrangements for different lives.
Ariel's intervention has thus done something substantial without resolving everything. The king's party is released from its former distress. Prospero chooses not to prolong revenge. Questions of restored property, apology, and service continue on their distinct paths. An act of mercy can alter one part of a situation without becoming evidence that every part is now just.
At the beginning, Prospero is satisfied that his magic is working. Ariel brings back the water running down an old man's beard. The report makes effective power answerable to something more than its effectiveness. A listener lets the suffering it causes affect what he will command next.
Yet Ariel deserves attention beyond his part in awakening human compassion. His own song imagines a life no longer arranged around Prospero. As the prisoners recover themselves and the duke prepares to go home, the spirit's wish remains audible: not merely a kindly master, nor a successful last assignment, but the end of needing a master at all.
普洛斯彼罗先问时辰。他的魔法没有失效，精灵仍然听命，计划已经走到收尾。爱丽儿提醒，到了他先前说工作应当结束的时候。随后，他问起国王阿隆索一行的情形，爱丽儿报告，他们仍照吩咐被拘在树林里，不能自行离开。国王、国王的弟弟和普洛斯彼罗的弟弟神志纷乱，其余的人为他们难过，其中哭得最伤心的是老臣贡萨洛。
在这段话以前，被拘者怎样受苦，还是执行结果：人没有逃走，魔法正在起作用。爱丽儿却说到了泪水，沿着老人的胡须流下来，像冬天屋檐滴下的水。这个比喻没有替任何人的过错辩解，也没有说惩罚已经不合某条规则。它只是让计划的执行，多出了一件原先不必报告的事：那里有一个人，正在这样哭。
这几句话出现在莎士比亚《暴风雨》第五幕。普洛斯彼罗曾是米兰公爵，被弟弟伙同那不勒斯国王夺走位置，与年幼的女儿流落到这座岛上。如今昔日的对手落入他的魔法之中，能够结束他们受困的人，正是那个曾被他们赶走的人。贡萨洛却与这些人不同：当年是他暗中给父女提供了维持生命的物资，还从普洛斯彼罗自己的藏书中，为他备下珍爱的书。
同处一片树林，并没有使这些人都欠下同样的债。爱丽儿说到老人，便使一份关于敌人的总报告里，出现了不完全属于敌人的面孔。报复可以按旧日的阵营安排，对痛苦的看见却可能先从一个具体的人开始。普洛斯彼罗无须突然忘记全部伤害，才有可能听见，这一群人里有人正因他此刻的安排受苦。
爱丽儿继续说，他若亲眼看见，也会心软。普洛斯彼罗追问，真会如此吗？爱丽儿回答，自己若是人，就会。普洛斯彼罗随即说，自己也会，继而在愤怒与更清明的判断之间作出选择。他把那些人视为已经悔悟，不愿再向前报复，让爱丽儿去释放他们，表示要解除魔法，恢复他们的神志，让他们重新成为自己。
爱丽儿不是到这时才学会怜悯的人类。他本是精灵，话里说的正是那个并不属于自己的身份；普洛斯彼罗反而要由此想起自己与受苦者同样能够感受痛苦。他们先前已说到工作结束的时刻，这句话却使结束有了具体的方向：此刻仍能继续施力的人，把听见的痛苦带进了下一项决定，并让释放替代了继续折磨。
这句话的分量，还来自说话者在岛上的处境。爱丽儿一直替普洛斯彼罗办差，自己也想获得自由。第一幕里，他提醒主人早已答应缩短服役时间，得到的却是一场关于旧日救命之恩的追问。普洛斯彼罗曾把他从树中的囚禁解救出来，这件事并非假的；可是当爱丽儿请求兑现承诺，救援又被提出来，证明他不该继续抱怨。主人随后甚至威胁，将他重新关进树里。
因此，第五幕这次发言，并不是两个随时可以告别的人在讨论是否应该宽容。爱丽儿既执行命令，也受命令限制。他懂得被拘住的处境，却没有在这次报告里先把自己的自由拿来交换，也没有要求囚徒日后报答。他讲了眼前所见，主人允许这些话改变一项命令。这样的听取值得珍惜，同时又不能拿来证明，说话者从前遭受的威胁已经无关紧要。
释放也不是一个字说出口，所有变化便同时完成。爱丽儿去取人时，普洛斯彼罗说起将折断法杖、沉下魔书的打算；但这一场并没有给出法杖已经折断、书已沉入水中的动作。音乐响起，众人被带来，仍受魔法拘束。普洛斯彼罗看见贡萨洛，也流下眼泪，一面辨认各人的旧事，一面看他们逐渐恢复。 一项停止使用力量的决定，正在通过几件不同的事落实，不能只取一句宏愿，便让其余动作退场。
不过，众人的痛苦并不都是悔过。阿隆索随后确实提出归还公爵之位，并请求宽恕；夺位的弟弟安东尼奥，却没有作出与之对应的认错。普洛斯彼罗仍表示原谅，也明确要求他交还自己的地位。 他可以停止报复，同时继续指出被夺走的东西；原谅并不需要把过去的占有重新确认成对方应有的生活。
与此同时，爱丽儿开始帮助主人恢复公爵的装束，一面忙，一面唱起另一种生活：花间的栖息、轻快的飞行，不再围着下一条指令安排时辰。普洛斯彼罗称赞他，也说自己会想念他，不过仍会给他自由。紧接着，他又命爱丽儿去船上，把船长和水手长带来。歌还没有远去，下一件差事已经到了。
普洛斯彼罗的不舍可以是真实的，爱丽儿唱歌的快乐也是如此。可快乐与已经不必服役，仍然是两种处境。眼前被恢复身份的人，仍在由尚未获得自由的人替他整理衣服、传达消息。若只跟着公爵迎接自己的归来，那个一直使归来成为可能的精灵，便容易留在布景后面。
场末，这一区别还留在告别中。普洛斯彼罗向众人许诺平静的海面和顺利的航程，又把这项差事交给爱丽儿，接着让他在完成以后回到自然中自由生活，并向他道别。 最后的允诺有了明确的收尾，不能随意改成又一场欺骗；可是海上的工作尚未在这场戏里演完，精灵此后的日子也没有展开。我们听见的是告别与释放的安排，不是一段已经展示完毕的自由生活。
这座岛上的另一位受役使者卡利班，也使一切圆满的说法难以成立。他与同伴谋害普洛斯彼罗的计划刚刚失败，此时被命去收拾住处，以求宽恕。 他的行动不能因为受过支配便不再需要判断；但他接到的命令，也不能被爱丽儿的自由允诺代替。不同的人在同一场结尾里，仍被送向不同的以后。
于是，爱丽儿那次劝说所改变的，既没有少到只剩一句漂亮的话，也没有多到替所有人结束了不平等。国王一行不再继续承受原来的拘束，普洛斯彼罗放弃了更进一步的报复；同时，归还地位、对旧事认错、停止役使，仍各有自己的次序。一次善意可以真实地改变其中一项，不必先被包装成全部事情都已做对，才值得承认。
最初，普洛斯彼罗满意的是魔法仍然有效，众人都在掌握之中。爱丽儿带回来的，却不只是一份效果良好的报告，还有老人的胡须上不断落下的水。那一刻，执行命令的人没有只替命令证明成功，也把成功正在使谁受苦带了回来。发令者没有要求这部分见闻消失，接下来的命令因而不同了。
但唱歌的精灵也应当有自己的最后一句。他不只是来帮助人类发现怜悯，再消失在他们的团圆之后。普洛斯彼罗已经重新有了一个可以回去的位置，爱丽儿所盼的，却是不再需要随他去办下一件事。当我们为树林里的囚徒终于获释而松一口气，也值得把那首关于花间生活的歌，听到不再只是工作间隙的愿望。
普洛斯彼羅先問時辰。他的魔法沒有失效，精靈仍然聽命，計劃已經走到收尾。愛麗兒提醒，到了他先前說工作應當結束的時候。隨後，他問起國王阿隆索一行的情形，愛麗兒報告，他們仍照吩咐被拘在樹林裡，不能自行離開。國王、國王的弟弟和普洛斯彼羅的弟弟神志紛亂，其餘的人為他們難過，其中哭得最傷心的是老臣貢薩洛。
在這段話以前，被拘者怎樣受苦，還是執行結果：人沒有逃走，魔法正在起作用。愛麗兒卻說到了淚水，沿著老人的鬍鬚流下來，像冬天屋檐滴下的水。這個比喻沒有替任何人的過錯辯解，也沒有說懲罰已經不合某條規則。它只是讓計劃的執行，多出了一件原先不必報告的事：那裡有一個人，正在這樣哭。
這幾句話出現在莎士比亞《暴風雨》第五幕。普洛斯彼羅曾是米蘭公爵，被弟弟伙同那不勒斯國王奪走位置，與年幼的女兒流落到這座島上。如今昔日的對手落入他的魔法之中，能夠結束他們受困的人，正是那個曾被他們趕走的人。貢薩洛卻與這些人不同：當年是他暗中給父女提供了維持生命的物資，還從普洛斯彼羅自己的藏書中，為他備下珍愛的書。
同處一片樹林，並沒有使這些人都欠下同樣的債。愛麗兒說到老人，便使一份關於敵人的總報告裡，出現了不完全屬於敵人的面孔。報復可以按舊日的陣營安排，對痛苦的看見卻可能先從一個具體的人開始。普洛斯彼羅無須突然忘記全部傷害，才有可能聽見，這一群人裡有人正因他此刻的安排受苦。
愛麗兒繼續說，他若親眼看見，也會心軟。普洛斯彼羅追問，真會如此嗎？愛麗兒回答，自己若是人，就會。普洛斯彼羅隨即說，自己也會，繼而在憤怒與更清明的判斷之間作出選擇。他把那些人視為已經悔悟，不願再向前報復，讓愛麗兒去釋放他們，表示要解除魔法，恢復他們的神志，讓他們重新成為自己。
愛麗兒不是到這時才學會憐憫的人類。他本是精靈，話裡說的正是那個並不屬於自己的身分；普洛斯彼羅反而要由此想起自己與受苦者同樣能夠感受痛苦。他們先前已說到工作結束的時刻，這句話卻使結束有了具體的方向：此刻仍能繼續施力的人，把聽見的痛苦帶進了下一項決定，並讓釋放替代了繼續折磨。
這句話的分量，還來自說話者在島上的處境。愛麗兒一直替普洛斯彼羅辦差，自己也想獲得自由。第一幕裡，他提醒主人早已答應縮短服役時間，得到的卻是一場關於舊日救命之恩的追問。普洛斯彼羅曾把他從樹中的囚禁解救出來，這件事並非假的；可是當愛麗兒請求兌現承諾，救援又被提出來，證明他不該繼續抱怨。主人隨後甚至威脅，將他重新關進樹裡。
因此，第五幕這次發言，並不是兩個隨時可以告別的人在討論是否應該寬容。愛麗兒既執行命令，也受命令限制。他懂得被拘住的處境，卻沒有在這次報告裡先把自己的自由拿來交換，也沒有要求囚徒日後報答。他講了眼前所見，主人允許這些話改變一項命令。這樣的聽取值得珍惜，同時又不能拿來證明，說話者從前遭受的威脅已經無關緊要。
釋放也不是一個字說出口，所有變化便同時完成。愛麗兒去取人時，普洛斯彼羅說起將折斷法杖、沈下魔書的打算；但這一場並沒有給出法杖已經折斷、書已沈入水中的動作。音樂響起，眾人被帶來，仍受魔法拘束。普洛斯彼羅看見貢薩洛，也流下眼淚，一面辨認各人的舊事，一面看他們逐漸恢復。 一項停止使用力量的決定，正在通過幾件不同的事落實，不能只取一句宏願，便讓其餘動作退場。
不過，眾人的痛苦並不都是悔過。阿隆索隨後確實提出歸還公爵之位，並請求寬恕；奪位的弟弟安東尼奧，卻沒有作出與之對應的認錯。普洛斯彼羅仍表示原諒，也明確要求他交還自己的地位。 他可以停止報復，同時繼續指出被奪走的東西；原諒並不需要把過去的佔有重新確認成對方應有的生活。
與此同時，愛麗兒開始幫助主人恢復公爵的裝束，一面忙，一面唱起另一種生活：花間的棲息、輕快的飛行，不再圍著下一條指令安排時辰。普洛斯彼羅稱讚他，也說自己會想念他，不過仍會給他自由。緊接著，他又命愛麗兒去船上，把船長和水手長帶來。歌還沒有遠去，下一件差事已經到了。
普洛斯彼羅的不捨可以是真實的，愛麗兒唱歌的快樂也是如此。可快樂與已經不必服役，仍然是兩種處境。眼前被恢復身分的人，仍在由尚未獲得自由的人替他整理衣服、傳達消息。若只跟著公爵迎接自己的歸來，那個一直使歸來成為可能的精靈，便容易留在佈景後面。
場末，這一區別還留在告別中。普洛斯彼羅向眾人許諾平靜的海面和順利的航程，又把這項差事交給愛麗兒，接著讓他在完成以後回到自然中自由生活，並向他道別。 最後的允諾有了明確的收尾，不能隨意改成又一場欺騙；可是海上的工作尚未在這場戲裡演完，精靈此後的日子也沒有展開。我們聽見的是告別與釋放的安排，不是一段已經展示完畢的自由生活。
這座島上的另一位受役使者卡利班，也使一切圓滿的說法難以成立。他與同伴謀害普洛斯彼羅的計劃剛剛失敗，此時被命去收拾住處，以求寬恕。 他的行動不能因為受過支配便不再需要判斷；但他接到的命令，也不能被愛麗兒的自由允諾代替。不同的人在同一場結尾裡，仍被送向不同的以後。
於是，愛麗兒那次勸說所改變的，既沒有少到只剩一句漂亮的話，也沒有多到替所有人結束了不平等。國王一行不再繼續承受原來的拘束，普洛斯彼羅放棄了更進一步的報復；同時，歸還地位、對舊事認錯、停止役使，仍各有自己的次序。一次善意可以真實地改變其中一項，不必先被包裝成全部事情都已做對，才值得承認。
最初，普洛斯彼羅滿意的是魔法仍然有效，眾人都在掌握之中。愛麗兒帶回來的，卻不只是一份效果良好的報告，還有老人的鬍鬚上不斷落下的水。那一刻，執行命令的人沒有只替命令證明成功，也把成功正在使誰受苦帶了回來。發令者沒有要求這部分見聞消失，接下來的命令因而不同了。
但唱歌的精靈也應當有自己的最後一句。他不只是來幫助人類發現憐憫，再消失在他們的團圓之後。普洛斯彼羅已經重新有了一個可以回去的位置，愛麗兒所盼的，卻是不再需要隨他去辦下一件事。當我們為樹林裡的囚徒終於獲釋而松一口氣，也值得把那首關於花間生活的歌，聽到不再只是工作間隙的願望。
Text & sources文本与来源文本與來源
This essay uses the Folger Shakespeare Library text, chiefly Act V, scene 1, with reference to Act I, scene 2. It discusses the final arrangements on the island; the Epilogue's address to the audience is outside its scope.
本文采用 Folger Shakespeare Library 数字编辑本，以第五幕第一场为中心，回看第一幕第二场的前史及爱丽儿请求自由，包含剧终安排。文中中文对白为译述；讨论止于岛上行动，不将尾声向观众的请求并入同一场景。
本文採用 Folger Shakespeare Library 數字編輯本，以第五幕第一場為中心，回看第一幕第二場的前史及愛麗兒請求自由，包含劇終安排。文中中文對白為譯述；討論止於島上行動，不將尾聲向觀眾的請求併入同一場景。