Structures in Drama戏剧里的结构戲劇裡的結構 · 21 / 23
Arlequin Changes Back. Cléanthis Still Has Something to Say.
阿尔勒坎换回了衣服，克莱昂蒂丝还有话要说
阿爾勒坎換回了衣服，克萊昂蒂絲還有話要說
The Island of Slaves · Pierre de Marivaux
奴隶岛 · 皮埃尔·德·马里沃
奴隸島 · 皮埃爾·德·馬里沃
One servant's forgiveness becomes an example for another. Cléanthis insists on speaking before the comedy can arrive at its embrace.
一个人的宽宏，不能替另一个人回答。喜剧走向拥抱的时候，克莱昂蒂丝坚持说完了自己的话。
一個人的寬宏，不能替另一個人回答。喜劇走向擁抱的時候，克萊昂蒂絲堅持說完了自己的話。
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。
Cléanthis returns to find that Arlequin has changed his clothes. The man who was lately playing the master alongside her is wearing his old outfit again. Asked what has happened, he makes a joke about sizes: his clothes were too small for his friend, and his friend's were too large for him. Then he embraces his former master's knees. Cléanthis wants an explanation. While she was away, something they had been doing together has ended without her.
In Marivaux's The Island of Slaves, two masters and their servants are shipwrecked on an island whose rules reverse their positions. Names, clothes, and the experience of giving orders are exchanged. Trivelin, who administers the arrangement, describes it as a corrective education. He fixes its terms and controls when the visitors may leave. Arlequin's borrowed finery is therefore more than a theatrical costume. For a time, he really can make Iphicrate do things he does not want to do.
The servants have not used all this freedom wisely. They imitate fashionable courtship and then decide to pursue each other's former masters. Ridiculing the habits of the powerful slips towards repeating their commands. Someone else's reluctance becomes something their new position might overcome. The play allows us to see the pleasure of reversal and the harm to which that pleasure can lead.
Arlequin's pleasure begins to falter when Euphrosine asks him not to exploit her helplessness by humiliating her further. He drops his arms and has no answer. Iphicrate then appeals to their shared childhood and accuses him of ceasing to love him. Arlequin cries, but remembers the beatings. His master used to profess affection while inflicting pain. Now a little mockery is treated as an incomprehensible betrayal.
At first Iphicrate defends himself with an account of favours granted and faults corrected. Arlequin rejects the calculation. The master's temper and contempt have often been the real causes of his suffering. Yet he no longer wants his own happiness to depend on Iphicrate's misery. He offers to ask the islanders to let him return home, or, if that fails, to keep him as a friend.
Only then does Iphicrate acknowledge that he did not deserve to be Arlequin's master. He hopes to demonstrate his gratitude through future conduct. The exchange moves them both. Arlequin chooses to give back the clothes. Nobody has suddenly confiscated his authority or forced the old costume onto him.
But old language comes back with it. He calls Iphicrate his master and blames himself for poor service, even for failing to make the man reasonable. He declares himself unworthy of the finer clothes. His refusal to continue humiliating someone is generous. Taking responsibility for having been badly treated is something else. A servant who has been beaten does not also owe his master the education that might have prevented the beating.
That is the scene Cléanthis encounters. She asks what has become of their joint plan. Arlequin proposes being good people instead: he has repented, his former master has repented, and now the women should do likewise. Euphrosine immediately tells her servant what an example this is for her. Iphicrate intervenes. It is an example for the masters.
The small correction changes where the demand falls. Directed at the masters, the example asks them to learn from those they mistreated. Directed first at Cléanthis, it urges an injured person to catch up with another injured person's forgiveness. Arlequin has made a decision for himself. Other people are already turning it into a timetable for her.
Cléanthis keeps speaking. People who despised the poor on grounds of wealth and rank now need from them the good-heartedness they failed to show. Their status did not teach them kindness. Their misfortune has made them quick to demand an even higher virtue from those they formerly belittled. Her anger identifies this imbalance rather than merely delaying the happy ending.
Arlequin asks her to do good without reproaches. Seeing her tears, he announces to Euphrosine that she has forgiven her and that resentment is leaving. Cléanthis acknowledges that she is crying and insists that she does not lack a good heart. Euphrosine then admits her abuse of authority. After that admission, Cléanthis gives her own answer: she will release her and would leave with her if a ship were available.
The sequence gives her speech an importance that the tears alone could not have. Emotion has not made her incapable of answering. Arlequin's hopeful interpretation has not replaced the need for her agreement. The movement towards reconciliation includes her complaint rather than making silence its price.
She adds that, if Euphrosine hurts her again, the fault will not be hers. This is a remarkable reservation within an act of forgiveness. She can decide how to act now without guaranteeing another person's future conduct. She does not require proof of permanent perfection before she will stop retaliating. Neither does she undertake to be good enough to ensure that she will never again be injured.
The masters make promises too. Iphicrate will remember his unworthiness. Euphrosine tells Cléanthis to speak no more of slavery and offers to share her possessions when they return to Athens. The possibility of a different life is spoken into the scene. No goods have yet been divided, however, and the return remains ahead. The invitation to stop speaking of servitude could mark a new relation; it could also make the old injury harder to discuss. Conduct after the voyage will matter.
The final gestures preserve another uneasiness. Arlequin urges Cléanthis to kneel and outdo her mistress in goodness. Later she kisses Euphrosine's hand, and he kisses Iphicrate's. These acts occur amid affection, but they still place the old servants in positions of bodily deference. It is possible to be moved by the reconciliation and wonder why greater humility should serve as its most persuasive proof.
Trivelin returns, sees tears and embraces, and declares that this was the result he wanted. He also says that continued revenge would have brought punishment, as the masters' cruelty did. Then he promises their departure in two days. Their reconciliation has taken place within an institution that still decides the consequences of their choices and the conditions of their release.
The clothes have changed back; the journey has not begun. Arlequin has genuinely relinquished the pleasure of another person's pain. Cléanthis too has chosen to stop, but she has taken longer and said more. Neither fact diminishes her answer. If the comedy's tenderness deserves to survive the ending, so do the words she insisted on speaking before she could join it.
克莱昂蒂丝回来，先看见衣服已经换了。方才同自己一起扮主人、安排别人如何示爱的阿尔勒坎，又穿回了从前那一身。她问怎么回事，他说，自己的衣服对朋友太小，朋友的衣服对自己太大。这个答复仍带着他的玩笑，紧接着的动作却使她困惑：他抱住旧主人的膝头，仿佛在请求原谅。她还不知道，在自己离开的这段时间里，一次角色交换已经被他提前结束。
马里沃《奴隶岛》里的两对主仆因海难来到岛上。岛上要求主人和仆人交换名字、衣服与处境，让原先发号施令的人尝受服从。管理者特里维兰把这称作纠正残酷的教育，规定期限，并握有决定何时放他们离开的权力。 所以，阿尔勒坎穿上的不只是一件供人取笑的漂亮衣服。他一度真的能够让从前的主人依菲克拉特做不愿意做的事。
两名仆人也并没有一得到机会，就只想着如何建立更好的生活。他们模仿上流人的调情，继而计划分别追求对方的旧主人，让对方接受自己的爱。 嘲笑虚荣与重复命令靠得很近：原来无法决定自己的处境，如今便很容易把别人的不情愿，当作新身份所能克服的小麻烦。
但阿尔勒坎没有把这份兴致一直保持下去。受到追求的欧弗洛西娜请求他，不要因为现在能够随意羞辱自己，就给已经无助的人增加痛苦。他听后垂下双臂，一时无话。随后，依菲克拉特也来诉说，提起两人共同长大的日子，责怪阿尔勒坎不再爱自己。阿尔勒坎哭了，却也问起过去的鞭打：主人曾一面说爱他，一面使他挨打，如今几句嘲弄，反倒成了无法理解的背叛。
依菲克拉特起初仍替自己辩解，说有过许多恩惠，也说仆人的缺点需要纠正。阿尔勒坎没有认可这份算法；使他吃苦的，常常正是主人的脾气与轻视。可是，他仍不愿以对方的痛苦维持自己的快乐。他答应请求岛民放依菲克拉特回去，即使不能，也愿把他留下作朋友。依菲克拉特这才承认，自己不配做他的主人，希望有机会用以后的行动回应。
阿尔勒坎自己决定换回衣服，温情确实改变了他的行动。只是温情来得太快时，一些旧话也跟着回来。他又称对方为主人，甚至把从前没有好好侍奉、未能使主人变得讲理说成自己的过错，还说不配穿对方的衣服。 他不愿继续羞辱别人，值得珍惜；这些自责却不必一同被认可。挨打的人没有额外欠下把打人者教育好的责任。
于是才有克莱昂蒂丝眼前那幅难懂的情景。她问他们共同的计划怎么办，阿尔勒坎回答，做好人难道不是一个更好的计划？他已悔过，旧主人也悔过，现在希望两位女人也这样做。欧弗洛西娜立刻转向自己的女仆，说这给她做了一个多好的榜样。依菲克拉特却纠正，应该说，这是给他们这些主人做的榜样。
两句话只差指向，要求却落在了不同的人身上。若榜样先朝着主人，是请他们学习怎样不凭身份任意对待别人；若先朝着另一位受过伤害的人，便成了催她赶紧追上同伴的宽宏。阿尔勒坎刚刚为自己作出的决定，被人接过去，开始说明克莱昂蒂丝接下来应当怎样回答。
她于是把尚未说完的话说下去。那些曾仗着钱财、身份轻视穷人的人，如今却需要穷人拿出自己没有拿出的好心肠；高贵并没有自动教会他们善待人，遇到困难时，他们反倒急于向被轻视者要求更高的德行。 她的责问不能只被听成脾气比阿尔勒坎坏。愿意停手，并不需要连同刚才终于能够说出的经历一起收回；两个人也不必用相同的速度，证明自己没有被往事变坏。
阿尔勒坎劝她不要一面做好事一面责骂，又看见她流泪，便向欧弗洛西娜宣布，她已经原谅了，怨恨正在消失。克莱昂蒂丝承认自己在哭，却说自己并不缺少善心。欧弗洛西娜这时亲口承认，曾滥用对她的权力；随后，克莱昂蒂丝才作出完整的回答，愿意给她自由，也愿意同她回去。 眼泪没有使她不能再说话，同伴的判断也不应代替她这一次亲自回答。
尤其值得留下的，是她在答应以后加上的一句意思：若对方将来仍然伤害自己，那不是自己的过错。 她没有要求对方先证明永远不会再错，才肯停止今天的报复；也没有保证，自己足够善良便能确保对方从此改好。她所决定的，只能是自己现在愿意怎样对待这个人，不能顺便承担对方以后所有行动。
主人们也确实说出了新的承诺。依菲克拉特愿记住自己不配做主人的羞惭，欧弗洛西娜则要女仆不再说起奴役，并许诺回到雅典后与她分享财物。 许诺让回乡后的关系有了新的可能。可是财物此时尚未分配，回乡后的生活也没有被演出；一句不再提奴役，究竟会成为不同相处的开始，还是使旧伤以后更难被提起，还需要往后的行动来回答。
终场的姿态因此仍有不安。阿尔勒坎请克莱昂蒂丝跪下，好比女主人更高尚；她后来吻了女主人的手，他也去吻旧主人的手。 这些动作发生在大家互相接纳的时刻，却仍让从前受服侍的一方接过另一方的低身。我们可以承认喜剧里的感动，也仍然问，为什么证明自己不怀恶意，需要以比对方更加谦卑来完成。
特里维兰回来，看见眼泪与拥抱，宣布这正是自己期待的结果。他同时说明，若仆人继续报复，也会像先前的主人一样受到惩罚，最后才允诺他们两天后返乡。 眼前的好意也始终处在一套有奖惩、有去留决定的安排中。能否离开，并不只由彼此的拥抱决定。
衣服已经换回，海上的归途还没有开始。阿尔勒坎确实不愿再靠使别人难过去快乐，克莱昂蒂丝也亲口选择了停手。她说得较晚、说得较多，并没有使这个选择失去分量。若结尾的温情值得保存，她在温情到来以前坚持说完的那些话，也应该一起留下，而不是被用来说明，她终于赶上了别人。
克萊昂蒂絲回來，先看見衣服已經換了。方才同自己一起扮主人、安排別人如何示愛的阿爾勒坎，又穿回了從前那一身。她問怎麼回事，他說，自己的衣服對朋友太小，朋友的衣服對自己太大。這個答復仍帶著他的玩笑，緊接著的動作卻使她困惑：他抱住舊主人的膝頭，彷彿在請求原諒。她還不知道，在自己離開的這段時間裡，一次角色交換已經被他提前結束。
馬里沃《奴隸島》裡的兩對主僕因海難來到島上。島上要求主人和僕人交換名字、衣服與處境，讓原先發號施令的人嘗受服從。管理者特里維蘭把這稱作糾正殘酷的教育，規定期限，並握有決定何時放他們離開的權力。 所以，阿爾勒坎穿上的不只是一件供人取笑的漂亮衣服。他一度真的能夠讓從前的主人依菲克拉特做不願意做的事。
兩名僕人也並沒有一得到機會，就只想著如何建立更好的生活。他們模仿上流人的調情，繼而計劃分別追求對方的舊主人，讓對方接受自己的愛。 嘲笑虛榮與重復命令靠得很近：原來無法決定自己的處境，如今便很容易把別人的不情願，當作新身分所能克服的小麻煩。
但阿爾勒坎沒有把這份興致一直保持下去。受到追求的歐弗洛西娜請求他，不要因為現在能夠隨意羞辱自己，就給已經無助的人增加痛苦。他聽後垂下雙臂，一時無話。隨後，依菲克拉特也來訴說，提起兩人共同長大的日子，責怪阿爾勒坎不再愛自己。阿爾勒坎哭了，卻也問起過去的鞭打：主人曾一面說愛他，一面使他挨打，如今幾句嘲弄，反倒成了無法理解的背叛。
依菲克拉特起初仍替自己辯解，說有過許多恩惠，也說僕人的缺點需要糾正。阿爾勒坎沒有認可這份算法；使他吃苦的，常常正是主人的脾氣與輕視。可是，他仍不願以對方的痛苦維持自己的快樂。他答應請求島民放依菲克拉特回去，即使不能，也願把他留下作朋友。依菲克拉特這才承認，自己不配做他的主人，希望有機會用以後的行動回應。
阿爾勒坎自己決定換回衣服，溫情確實改變了他的行動。只是溫情來得太快時，一些舊話也跟著回來。他又稱對方為主人，甚至把從前沒有好好侍奉、未能使主人變得講理說成自己的過錯，還說不配穿對方的衣服。 他不願繼續羞辱別人，值得珍惜；這些自責卻不必一同被認可。挨打的人沒有額外欠下把打人者教育好的責任。
於是才有克萊昂蒂絲眼前那幅難懂的情景。她問他們共同的計劃怎麼辦，阿爾勒坎回答，做好人難道不是一個更好的計劃？他已悔過，舊主人也悔過，現在希望兩位女人也這樣做。歐弗洛西娜立刻轉向自己的女僕，說這給她做了一個多好的榜樣。依菲克拉特卻糾正，應該說，這是給他們這些主人做的榜樣。
兩句話只差指向，要求卻落在了不同的人身上。若榜樣先朝著主人，是請他們學習怎樣不憑身分任意對待別人；若先朝著另一位受過傷害的人，便成了催她趕緊追上同伴的寬宏。阿爾勒坎剛剛為自己作出的決定，被人接過去，開始說明克萊昂蒂絲接下來應當怎樣回答。
她於是把尚未說完的話說下去。那些曾仗著錢財、身分輕視窮人的人，如今卻需要窮人拿出自己沒有拿出的好心腸；高貴並沒有自動教會他們善待人，遇到困難時，他們反倒急於向被輕視者要求更高的德行。 她的責問不能只被聽成脾氣比阿爾勒坎壞。願意停手，並不需要連同剛才終於能夠說出的經歷一起收回；兩個人也不必用相同的速度，證明自己沒有被往事變壞。
阿爾勒坎勸她不要一面做好事一面責罵，又看見她流淚，便向歐弗洛西娜宣佈，她已經原諒了，怨恨正在消失。克萊昂蒂絲承認自己在哭，卻說自己並不缺少善心。歐弗洛西娜這時親口承認，曾濫用對她的權力；隨後，克萊昂蒂絲才作出完整的回答，願意給她自由，也願意同她回去。 眼淚沒有使她不能再說話，同伴的判斷也不應代替她這一次親自回答。
尤其值得留下的，是她在答應以後加上的一句意思：若對方將來仍然傷害自己，那不是自己的過錯。 她沒有要求對方先證明永遠不會再錯，才肯停止今天的報復；也沒有保證，自己足夠善良便能確保對方從此改好。她所決定的，只能是自己現在願意怎樣對待這個人，不能順便承擔對方以後所有行動。
主人們也確實說出了新的承諾。依菲克拉特願記住自己不配做主人的羞慚，歐弗洛西娜則要女僕不再說起奴役，並許諾回到雅典後與她分享財物。 許諾讓回鄉後的關係有了新的可能。可是財物此時尚未分配，回鄉後的生活也沒有被演出；一句不再提奴役，究竟會成為不同相處的開始，還是使舊傷以後更難被提起，還需要往後的行動來回答。
終場的姿態因此仍有不安。阿爾勒坎請克萊昂蒂絲跪下，好比女主人更高尚；她後來吻了女主人的手，他也去吻舊主人的手。 這些動作發生在大家互相接納的時刻，卻仍讓從前受服侍的一方接過另一方的低身。我們可以承認喜劇裡的感動，也仍然問，為什麼證明自己不懷惡意，需要以比對方更加謙卑來完成。
特里維蘭回來，看見眼淚與擁抱，宣佈這正是自己期待的結果。他同時說明，若僕人繼續報復，也會像先前的主人一樣受到懲罰，最後才允諾他們兩天後返鄉。 眼前的好意也始終處在一套有獎懲、有去留決定的安排中。能否離開，並不只由彼此的擁抱決定。
衣服已經換回，海上的歸途還沒有開始。阿爾勒坎確實不願再靠使別人難過去快樂，克萊昂蒂絲也親口選擇了停手。她說得較晚、說得較多，並沒有使這個選擇失去分量。若結尾的溫情值得保存，她在溫情到來以前堅持說完的那些話，也應該一起留下，而不是被用來說明，她終於趕上了別人。
Text & sources文本与来源文本與來源
This essay reads scenes IX–XI of L’Île des esclaves, with reference to scenes II and VI–VIII, in the French digital edition at Théâtre Classique. It includes the ending. Dialogue is paraphrased from the French; characters retain their original names here despite the play's exchange of identities.
本文采用 Théâtre Classique 的《奴隶岛》法文数字编辑本，主要细读第九至十一场，并参照第二、六至八场，包含结尾。中英文人物对白均据法文译述；交换身份后的称呼按人物原名辨认。
本文採用 Théâtre Classique 的《奴隸島》法文數字編輯本，主要細讀第九至十一場，並參照第二、六至八場，包含結尾。中英文人物對白均據法文譯述；交換身分後的稱呼按人物原名辨認。