Chapter 6 life ups and downs norway army

The ups and downs of life in Norway's army (1) Rosencrantz when not confused. ] GUIL (to him furiously) Why can't you say something new!No wonder the whole thing feels like a backwater! Rosencrantz I can't think of anything new to say.I just help out. (almost crying) (Guilderstern reassures him, without the slightest sternness before.) Guilderstern stop crying--it's all right--look at you--look at you, I promise we'll be all right. Rosencrantz But we have nothing to go on, we are cornered. GUIL: We're on our way to England—we're taking Hamlet there. Rosencrantz for what?

Guilderstern for what?Where did you go? ① ①The original text is "Wherehaveyoubeen?", which literally means "where have you been", and here means "where have you been".Rosencrantz took this sentence literally, so next he asked "When?"--Annotation.When is Rosencrantz? (pause) We didn't know what to do when we got there. GUIL: Let's take him to the king. Rosencrantz Where will he be? Guilderstern is not -- King of England. Rosencrantz he knows we're going? Guilderstern does not. Rosencrantz he will not know what we want to do.What shall we say?

GUIL: We have a letter, don't you remember? Rosencrantz Do I remember? Guilderstern's letter explained everything.We all depend on it. Rosencrantz So, that's it? Guilderstern what? Rosencrantz We take Hamlet to the King of England, hand over the letter--and then? There might be something in Guilderstern's letter to keep us going. What if Rosencrantz didn't? That's it for Guilderstern - we're game over. Rosencrantz would have nothing to do. Guilderstern is right. (pause.) Rosencrantz Could we possibly have nothing to do? (pause) Who is the king of England?Guilder Stern depends on when we get there.

Rosencrantz What do you think the letter said? Guilderstern Oh -- regards.Show loyalty, ask for favors, explain debts.Vague promises and implied threats -- diplomatic rhetoric.Greetings to the whole family. Rosencrantz also mentions Hamlet? Guilderstern Oh yes. Rosencrantz and us -- where's the whole thing? Guilderstern I think so. (pause.) Rosencrantz said so we have a letter that explains everything. Guilderstein, you are right. (Rosencrantz takes the words literally. He starts patting his pockets, etc.) What's the matter? ①The original text is "Youvegotit", which means "you are right", "you have this thing" and "you take it".Guilder Stern meant the former, and Rosencrantz heard the latter—annotation.Rosencrantz's letter.

Guilderstern you take it? Rosencrantz (increasingly frightened) Me? (searching frantically) Where will I put it? Guilderstern, you can't lose it. Rosencrantz I must have lost it! That's strange for Guilderstern—I thought he gave me the letter. ROSENCRANZ (looking at him hopefully) Maybe he gave it to you. Guilder Stern, but you look pretty sure it's you who didn't believe it. ROSENCRANZ (LOUDLY) It's me, I haven't had this letter. GUIL But if he gave me this letter, there's no reason you'd have this letter.So I don't understand why you are in such a hurry.

ROSENCRANZ (Pause) I admit this is a bit confusing. Guilderstern It's all getting a little out of hand -- the boat, the night, the loneliness and the sense of uncertainty -- and it's distracting.We cannot lose control.Need to strengthen control.It now appears that either you lost the letter, or you never had the letter at all.That is to say, the king didn't give you the letter at all, which means he gave it to me, which means I probably put the letter in my top pocket, which means (calmly takes out the letter)- - the letter will be in - here. (they look at each other and smile) We can't be that careless anymore.

The ups and downs of life in Norway's army (2) (Pause. Rosencrantz gently takes the letter out of his hand.) Rosencrantz Why did we look for it just now if we found it long ago? GUIL (thinking) Because we thought it was lost. Rosencrantz Anything else? Guilderstern did not. (discouraged.) [Rosencrantz Now we won't be nervous. What is Guilderstern nervous about? Rosencrantz What are the last words I say before we go? When is Guilderstern? Rosencrantz (helplessly) can't remember. ] GUIL (jumps up) What a mess!What's the point of talking like that?! ① here is a pun "we

ejustnotgettinganywhere". Literally means "we can't get anywhere". But it can also mean "no progress has been made, and the words are not on the point". Rosencrantz answers literally below--Annotation. Rosen Krantz (sadly) England doesn't mean much either. I don't believe it anyway. Guilderstern what? Rosencrantz England. GUIL: You mean it's just a fabrication by mapmakers? Rosencrantz I mean I don't believe it! (Calm down) I try my best to picture us arriving in England, maybe a small port - road - residents showing us the way - horses on the road - ride for a day or two weeks, then the palace and the King of England --that's the logical thing to do--but my mind went blank.No, we're all a little off the map.

Guilderstein Yes... yes... (teasingly) But you don't believe in anything until it happens.It all happened, didn't it? (pause) We're drifting down the river of time, clutching at straws.But what good is a brick to a drowning man? Rosencrantz We might as well be dead.Do you think death might be a ship? Guilderstern No, no, no - death - no.Death is not a ship.You need to know what I mean.Death is the ultimate negation.is not there.You can't not be on board. Rosencrantz I am often not present on board. Guilderstein No, no, no--you are often not on board. Rosencrantz I wish I were dead. (Looking at the distance from the side of the boat to the water) I can jump from here.This will destroy their plans.

GUIL Unless they're counting on you to jump. Rosencrantz Then I'll stay on board and spoil their plans. (feeling it meaningless, furious) Alright!We don't ask, we don't doubt.We only execute.But things have to be measured.I want everyone to know that I have no faith in England.thanks. (Think about this) Even if it were true, it would just be some other mess waiting for us. Guilderstern I don't understand. Rosencrantz (furious) He won't know what we're talking about.What shall we say? Guilderstern We say - Your Majesty, here we come! Rosencrantz (like a king) Who are you?

Guilderstern We are Rosencrantz and Guilderstern. Rosencrantz (shouting) Never heard of you guys! Guilderstern Oh, we're little people-- ROSENCRANZ (majesticly, ferociously) What game are you playing? GUIL: We are ordered to-- Rosencrantz, the first time I heard-- GUIL (angry) Let me finish. (Humblely) We're from Denmark. What is Rosencrantz here for? Guilderstern it's nothing--we're bringing Hamlet-- Who is Rosencrantz? GUIL: (annoyed) You've heard of his-- Rosencrantz Oh, I've heard of him, but it's nothing to do with me. Guilderstern but-- Rosencrantz you guys are trespassing, wanting me to take in every lunatic you want to get rid of without any proof-- GUIL: We have a letter-- (Rosencrantz grabs it and tears it open.) Rosencrantz (reading quickly) I get it - I get it - it looks like this letter proves what you're saying - it's an explicit order from the King of Denmark, for various reasons, for Denmark And the safety of England, upon reading this letter, I should not hesitate to chop off Hamlet's head--! (Guilderstern snatches the letter. It takes Rosencrantz a long time to react and snatches the letter back. Guilderstern pulls the letter over again, they read it together, then part. Pause. They are in the foreground Very near the front, looking at the front) [The sun has set, and it will soon be dark. Guilderstern, do you really think so? Rosencrantz I just wanted to talk. (Pause)] We are his friends. How do you know, Guilderstern? Rosencrantz We grew up together. Guilder Stern You just said what they said. Rosencrantz But that's what we rely on. The ups and downs of life in Norway's army (3) Guilderstein Well, yes, but no. (casually) Let's straighten things out.Assuming, if you will, they were going to kill him.He's human, he's going to die, death is going to come to us all, stuff like that.In this case, he will die sooner or later.Or we can look at it from a social point of view—he is just one of many people, and even if he dies, it is in line with common sense and a matter of convenience.And let's think about it again, what's so scary about death?Socrates said very philosophically that since we don't know what death is, it is illogical to be afraid of it.It could be a -- great thing.Undoubtedly, it is a relief from the burdens of life, a place of rest and reward for the worshiper of God.Or we look at it from another angle - we are small people, we don't know the ins and outs of things.The situation is complicated inside--it is too daring for us to interfere with the arrangements of fate, even if it is only the arrangement of the king.All in all, the best thing we can do now is to let it go. (Rosencrantz puts the letter in his pocket.) Rosencrantz But why? Guilderstern Don't think logically. Rosencrantz He didn't do anything to us. Guilderstern doesn't care about justice, either. Rosencrantz This is horrible. Guilderstern But this could get worse, I'm starting to think so. (laughs, eases my nervousness) (Behind them Hamlet appears. A thin beam of light strikes. Hamlet goes to the lamp.) Rosencrantz said that about what I saw about us.We, Rosencrantz and Guilderstern, who grew up with him, were awakened one day by a man in the saddle, summoned by the king, and when we arrived, were instructed to inquire what annoyed him , and let him have fun, to have some fun, like a play, but then, unfortunately, some troubles happened that we don't want to see, there was a mess, and the play didn't work out--no other reason. Having said that, this has led, among other things, to an extreme, even homicidal excitement in Hamlet.So we are taking Hamlet to England for Hamlet's sake.OK, we figured it out. (Hamlet blows out the lamp. The stage is suddenly dark. The moonlight gradually emerges from the darkness. By the moonlight, Hamlet approaches the sleeping Rosencrantz and Guilderstern. He takes out the letter and replaces it Another letter, backed out. Dawn. Rosencrantz watched the morning light come--from the direction of the theater. Behind him was a cheerful scene. Hamlet reclined in a chair on the deck, wrapped Blanket, reading, probably smoking. Rosencrantz watched the morning light slowly turn into glorious noon. They lay down. The tape recorder muffled. They sat up, With uncharacteristic interest.) GUIL Let's go. Rosencrantz OK.But what is that? [(They listen to music.) Guilderstern (excitedly) There was finally a sound in the void. [Meanwhile in a ship (admittedly) beyond all sound (admittedly) the perfect absolute stillness of the damp languid lapping water and the rocking and creaking ribs of the ship -- was broken; This immediately leads to guessing or assuming or hoping that something is going to happen; the bagpipes are heard.There is a sailor with pursed lips, leaning on a woodwind instrument, fingers and thumbs controlling, shall we say, the air holes, after which, we may say, blowing in breath with the mouth.Then, bagpipes, speak, as the proverb says, the most eloquent music.As such, can change the course of things. (pause) Go see what it is. Someone in Rosencrantz was playing bagpipes. Guilderstern went looking for him. Rosencrantz and then? Guilderstein I don't know -- ask him to play a tune. Rosencrantz for what? Guilderstern Before we lose momentum - hurry up. Rosencrantz why! --something is happening.I didn't notice it at all just now! (Rosencrantz listens. Runs abruptly toward an exit, listening more carefully. Going the other way. Guilderstein doesn't care. Rosencrantz walks around trying to determine where the music is coming from. Finally, he Reluctantly found out—the music was coming from the barrel in the middle. Couldn't get rid of it. He turned to Guilderstern, who still didn't care. Rosencrantz, in the whole process, didn't Said the exact words. His facial expression and gestures showed disbelief. He stood looking at the barrel in the middle. The bagpipes continued inside. He kicked the barrel. The bagpipes stopped. He jumped back to Jill Destern. The bagpipes started again. He walked cautiously towards the barrel. He lifted the lid. The music grew louder. He put the lid back on. The sound died down. He walked towards Guilderstern ...but there was a muffled drumbeat. He stood still. He turned around. Looking at the barrel on the left hand side. The drumbeat continued inside, just keeping up with the flute. He walked back to Guilderstern He opened his mouth to speak. No words came out. He heard the sound of harps again. He turned to look at the third barrel. More instruments joined the playing. It was clear that there was tragedy in all three barrels Actors. They are playing a piece they have heard three times. They continue to play. Rosencrantz sits beside Guilderstern. They stare ahead. The music stops. Pause) I think I listen There was a band playing. (painfully) I'm just assuming so! GUIL (continuing the epilogue) Let's sing this every day...] (The lid of the barrel in the middle is suddenly opened, and the player's head pokes out.) Actor aha!So we're all in the same boat! (He crawls out and goes over to knock on the other barrels) Come out! (Incredibly, the mummers climb out of the barrel, with their instruments in hand, but no car. A few packages. No Alfred. The mummers gaily remark to Rosenkran Ci said) Where are we? Rosencrantz was on the go. Player Of course, we're not there yet. Rosencrantz Are we all going to England? ①The "allright" in the original text "AreweallrightforEngland?" means "all, all", but the actor grasped another meaning of allright to make a fuss, that is, "OK, nothing", so he replied "Youlookallrighttome", that is "You look good to me"--Annotation.Actor, I think you are fine.I don't think they are very special in the UK.Al-fr-ray-d! (Alfred crawls out of the player's pack.) Guilderstern, what are you doing here? The ups and downs of life in Norway's army (4) The actor is running around. (to the actors) All right. --Stand well according to the background! (The actors are in pantomime costumes: a crowned king, Alfred the queen, the poisoner, and two men in cloaks. They stand in the audience. To Guildest Eun) Ko is not happy to see us? (Pause) Looks like you've done pretty well so far. How about you, Guilderstern? The actor was neglected.Our play offended the king. Guilderstern Yes. The actor himself was a second husband.It's really bad strategy. Rosencrantz But it's a pretty good play indeed. We haven't really started the actor--we were stopped by them when the performance was a bit interesting. (looks up at Hamlet) That's how travel should be... Guilderstern, what are you doing there?The actor hides. (pointing to costumes) We had to run around like before. Rosencrantz rides without a ticket. Players are natural -- no one pays us.We're not always in control, we're always betting on certainties and losing all our money.Life is a gamble, a gamble with high odds -- if you bet on it, you wouldn't bet on it.Did you know that any number doubled is an even number? Is it Rosencrantz? Player We learn something every day, but at a price.But we actors are always moving forward, moving forward.Do you know what happened to those old actors? What happened to Rosencrantz? The actor is nothing.They are still acting.Isn't it strange? Guilderstern what? Is it strange that the actor sees us? GUIL: I knew this was not the end of it. The actor is right, almost all of them are still alive.How are you doing so far? [Guilder Stern makes little progress. PLAYER Do you speak to him? Rosencrantz It's possible. Guilderstern But it's no different. Rosencrantz But it's possible. Guilderstern doesn't make sense. Rosencrantz is allowed. Guilder Stern allowed, yes.Nobody limits us.There are no boundaries defined, no prohibitions imposed.Temporarily, we have also obtained, or in other words, possessed by accident, our relief, temporarily.Now is the time to be free and to do as you please.Other wheels are turning, but none of our business.We can breathe.We can rest.We can do whatever we want, say what we want to say, and deal with whomever we want, without any constraints. Rosencrantz is certainly within limits. Guilderstern is certainly within the bounds. ] Rosencrantz is characterized primarily by his compulsion to engage in philosophical introspection, if I may put it that way.Not that he's crazy.That's not to say he wasn't crazy.Most of the time nothing is stated.It may be a kind of madness, or it may not be. Guilderstern still had to come down to symptoms.Meaningful answers, esoteric allusions, confusing identities, saying his father was his mother; suicidal thoughts, giving up exercise, losing laughter, showing signs of claustrophobia, Not to mention his hallucinations of captivity; imaginings of camels, chameleons, capons, whales, weasels, eagles, herons--riddles, faultfinding, evasions; forgetfulness, paranoia, short-sightedness; fantasies, visions; assassination of elders , Abusing parents, insulting lover, not wearing a hat in public, --walking with knees turned out, socks falling off, sighing like a little boy suffering from lovesickness.That's a little too much for his age. Rosencrantz also talked to himself. Guilderstern also talked to himself. (Hamlet goes to the footlights and looks at the audience. The others look at him but says nothing. Hamlet clears his throat loudly and spits at the audience. Presently he wipes his eyes with his hands. He returns to the background.) Rosencrantz (jumps up) Fragmented events!All we have are fragmented events!Dear God, is it too much for us to want continuity/plot? (Before the words are finished, the pirates attack. That is to say: uproar, shouting, running. Everyone on the stage is terrified. Hamlet draws his sword and rushes to the stage. Guilderstern, Rosencrantz and the player Draw swords and rush backstage. Collision. Hamlet turns and backstage. They turn and backstage. Collision. By this time there is panic in the backstage. All four run backstage, Rosencrantz, Gilder Stern and the cast yell :) finally come! Take up arms! pirate! There is in front! There is also in the back! Do your best! kill! The ups and downs of life in Norway's army (5) (Four people run to the top of the backstage, see that the situation is not good, start to waver, and run for their lives in the front stage: Hamlet runs in the front, jumps into the barrel on the left, and the player jumps into the barrel on the right. Rosencrantz and Gilder Stern jumped into the barrel in the middle. Everyone put the lid on the barrel as soon as they jumped in. The light dimmed until it was dark, and the sound of fighting continued. Then the sound of fighting also gradually died down, until there was a Silence. The light comes on. The barrel in the middle (that is, Rosencrantz and Guilderstern) is gone. The lid of the barrel on the right is carefully lifted, and the barrel of Rosencrantz and Guilderstern The head comes out. The lid of the other bucket (Hamlet's) is lifted. The players' heads are exposed. They see each other's head, and they close the lid with a bang. Pause. The lid of the bucket is gently lifted again. open.) ROSENCRANZ (with relief) They're gone. (starts to climb out) It was too dangerous just now.My reactions have never been so fast. (All three come out of the barrel. Guilderstern is cautious and nervous. Rosencrantz is dizzy. The Player is calm. They find a barrel is missing.) ROSENCRANZ (looks around) Where's--? (The actor takes off his hat in mourning.) Once again, the actor is alone - he has to rely on himself. GUIL (worried) What do you mean?Where is he? The actor is gone. Where did Guilderstern go? Yes, actor, we're out of luck, if the word can be used. Rosencrantz (incomprehensible) dead? actor luck. Rosencrantz (deliberately) He's dead? Actor who knows? GUIL (tensiles) He's not coming back? The actor will most likely not return. Rosencrantz said so that he was dead.As far as we are concerned he is dead. The player or as far as he is concerned we are dead. (He comes to the side and sits down) It's not too bad, is it? GUIL (nervously) But he can't--we want--we have a letter--we're going to England, and take a letter to the king... Yes, actor, that's for sure.I congratulate you for keeping your situation clear. Guilder Stern But you don't understand - the letter has - we've been given instructions - without him the whole thing would be meaningless. Any actor could be attacked by pirates.Just send the letter over.They'll send an ambassador from England to explain... Guilderstern (getting angry) You don't understand--the pirates let us go home, ya--laugh, go home--woohoo--(furiously) Pirates let us go home! The actor (comforting him) All right... Guilderstern (on the verge of tears) Nothing can be solved without him... The actor is ready... ①This sentence unfortunately speaks of their fate, and in fact it was Hamlet who sent the two of them on the road of no return-Annotation.GUIL Our deliverance depends on Hamlet! The actor is ready! Guilderstern What shall we do? The actor is like this. (He turns and walks away, lying down if he wishes. Rosencrantz and Guilderstern part.) Rosencrantz was saved again. What saved Guilderstern? ROSENCRANZ (sighs) The sun is going down. (pause) It's going to be dark soon. (pause) If that's west. (Pause) Unless we've already-- GUIL (shouting) Shut up!I've had enough!Do you think it would be helpful for us to speak up now? (Breakoff) We've come too far, and now it's all momentum that pushes us forward; we're pointlessly marching toward eternity, with no possibility of slowing down, no hope of explanation.Rosencrantz Be happy -- what's the point of living if you can't even be happy? (he cheers up) We'll be fine.I think we'll just have to go on. Where is Guilderstern going? Rosencrantz goes to England. Guilder Stern England!That's a dead end.I never believed it. Rosencrantz All we have to do is get our reports right and that's enough.It must be so. Guilderstern I don't believe it - such as the coast, the port - and then we disembark and ask for directions and say - where is the king? --then he said, oh, you go down that road, take the first turn to the left--(angry) I don't believe this stuff! Rosencrantz sounds unlikely. GUIL: What shall we say if we see the king? Rosencrantz We say - here we are! Guilderstern (like a king) Who are you? Rosencrantz We are Guilder Stern and Rosencrantz. Who is Guilderstern? rosencrantz um, i'm- you're-- Guilderstern, what are you doing here? Rosencrantz Oh, we came with Hamlet--but some pirates-- Guilderstern I don't understand.Who are these people and what do they have to do with me?You popped out of nowhere, talking nonsense-- ROSENCRANZ (with letter) We have a letter-- The ups and downs of life in Norway's army (6) GUIL (snatches it and opens it) A letter - yes - that's right.That's about the same--a letter--(read) "England is a faithful tribute to Denmark, as friendship between the two countries grows like a palm tree, and so on--on reading this letter, please do not Hesitate, immediately execute the two messengers, Rosencrantz and Guilderstern." (It takes him a moment to realize. Rosencrantz snatches the letter. Guilderstern snatches it back. Rosencrantz pulls the letter halfway back to him. They read it again , looking up. The player stands up, goes to his bucket, kicks and shouts into it.) Players, they are all gone!everything is over! (Incredulously, one by one, the Mummers climb out of the barrel and stand in a casual circle around Rosencrantz and Guilderstern, menacingly. Rosencrantz and Guilderstern Still in a state of shock, as if hypnotized.) GUIL (quietly) We took a wrong step and got into the boat. [Of course we can walk, change direction, and wander around, but our actions are limited to a larger action, like wind and water, engulfing us forward, irresistible...] Rosencrantz They were ready to do this to us a long time ago, weren't they?It has been from the beginning.Who thought we'd be this important? Why Guilderstern?Is it all just for this?Who are we?How can our insignificant death have so many entanglements? (painfully to the player) Who are we? Players You are Rosencrantz and Guilderstern.That's enough. Guilderstern No, not enough.Tell us just that--and let us end--and, in the end, still get no explanation-- PLAYER In our experience, most things end in death. GUIL (frightened, wanting revenge, contemptuously) Your experience!A group of actors! (He draws a dagger from the player's girdle and places the point of it against the player's throat: the player backs away, Guilderstern follows, more calmly) I'm talking about death--you never had experience in this area.You can't act it out.You've died a thousand random times... and there's nowhere on your body where the blood has cooled.Because even when you're dying, you know you can come back on stage in a different outfit.But no one rises from death--no applause--there's silence and some old clothes, and that's--death--(He thrusts the dagger in, up to the hilt. The player stands there, His eyes widened in horror, and as soon as the dagger was drawn, he immediately covered the wound: he uttered a small whimper, fell to his knees, then fell to the ground. As the player was dying, the nervous Guilderstern called out to the mummers, almost hysterically) if we are destined to die, so is he -- if it is our fate, then it is his -- and if no one explains it to us, then no one will explain it to him Explanation…… (The actors watch the actor die: they watch with interest. The actor finally remains motionless. There is a brief silence. Then the actors start applauding, expressing their sincere admiration. The actor stands up and slaps himself clean.) PLAYER (modestly) Well, well, gentlemen—don't flatter me too much—but it's all right. (The actors are still congratulating him. The player walks towards Guilderstern, who stands rooted, dagger in hand) What do you think? (pause) You see, that's what they really believe -- that's what they expect. (He reaches for the dagger. Guilderstern slowly puts the point of the knife in the player's hand and stabs it... the blade slips into the hilt. The player smiles and takes the dagger back.) Perhaps you You'll think I'm -- cheating. Rosencrantz (laughs loudly and nervously to ease his nerves) Very good, very good!Totally fooled me -- did he fool you too -- (applause) Do it again!Again! PLAYER (excitedly, hands spread out, very professionally) Death in any age, in any occasion!Hanging to death, convulsions to death, lung disease coughing to death, cutting to death with a knife, execution, suffocation, starvation to death!The carnage in the climax, stabbed to death with a poisoned blade!The two duel to die together!Please look! [Reproduction of the "duel" scene at the end of Hamlet: the player (as Hamlet) duels with an actor (as Laertes), both of whom are stabbed with poisoned swords and die of poisoning.At the same time Alfred drank the poisoned wine, and the king did not have time to stop him.He also died.The player stabbed the king.Laertes died.The player also dies after delivering the following monologue.The whole pantomime is best done without weapons or wine glasses.The light is also dimmed in the background where the deaths occur.In a crowd of dying, dying -- tragically, romantically] so to say it's all over -- what happens in life: light goes with life, darkness comes prematurely in the winter of your life. Guilderstern (tired and pale, but still a little impatient; commenting on the whole pantomime) No - no - it's not like that for us.There is nothing romantic about the process of dying, and death is not a game that ends quickly.Death is nothing - death is not - is non-existence, is nothing - never comes back, such time will never end - is a crack you can't see, through which when the wind blows, no sound at all... (Backstage lights go out completely. Only Guilderstern and Rosencrantz are visible. Rosencrantz applauds intermittently and eventually falls silent. Short pause.) Rosencrantz So, that's it, isn't it? (No answer. He looks ahead) The sun goes down.Or, according to the prevailing theory, Earth is coming. (short pause) Not that it makes a difference. (pause) What does all this mean?When did it start? (Pause. No answer) Why can't we just stay here?I mean no one is going to come and pull us away...they have to wait.We're young... healthy... we've got years to live... (Pause. No answer. Screaming) We've done nothing wrong!We didn't hurt anyone, did we? Guilderstern I can't remember. ROSENCRANZ (getting himself together) Well, I don't care.I've had enough.To tell you the truth, I am relieved. (He disappears from the stage. GUIL does not notice.) Guilderstern One morning, our names were called...a message...a summons...at first we definitely had the chance to say no.But somehow we missed it. (He looks around and finds himself alone) Rosen--?Jill --? (He pulls himself together) Well, we'll have to be more careful next time.Now you can still see me and then you--(disappears) (Instantly the whole stage is illuminated. The audience can see that the backstage is set up just as it was when the actors performed death. Court scene, corpses scattered, last scene of Hamlet. Namely: King, Queen, Laertes and Hamlet all dead. Horatio holds Hamlet. Fortinbras is there. And two envoys from England.) The sight of the envoy was too miserable.We came here on orders from England to reply to our lord here, to tell him that we had obeyed his order, and put Rosencrantz and Guilderstern to death; The ears that listen to our words have lost consciousness, whose mouth do we hope to get a thank you from? Horatio If he could speak to you, he would not thank you; he never ordered you to put them to death.But since you all came by such a coincidence, some just came back from the Polish battlefield, and some just came from England, and happened to see this tragedy, then please ask someone to lift these corpses and put them on the high platform, so that All can see, let us report to the ignorant world how these things happened; you can hear enough of rape and murder, perverted deeds, secret judgments, accidental slaughter, artifice of murder by hand, and self-harm The ending: I can tell you all this with certainty. (But in the monologue above, the play fades away, replaced by darkness and music.) The ups and downs of life in Norway's army (7) 亨利·卡尔一个衣着邋遢的很老很老的老人，另一个形象是他年轻时风度翩翩的样子。 特里斯坦·查拉达达主义者查拉。一个(自称)魅力非凡的年轻人，五短身材，黑发，外表很孩子气。戴单片眼镜。 詹姆士·乔伊斯乔伊斯在1917年和1918年之间，三十六岁。身上穿着不成套的夹克和裤子。 列宁列宁在1917年，四十七岁。 贝内特卡尔的男仆。其戏份儿不可小觑。 格温多林卡尔的妹妹，年轻，漂亮，也是一个需要认真对待的人物。 塞西莉同样年轻，漂亮，甚至需要更加认真对待。还有她年老时的形象。 娜佳列宁的妻子，四十八岁。 这部戏剧的主要人物包括列宁、詹姆士·乔伊斯和特里斯坦·查拉。读者也许没有意识到，亨利·卡尔同样也是真实的历史人物。Indeed it is. 以下情况我是从理查德·艾尔曼的《詹姆士·乔伊斯》一书中得知的。1918年3月，临时居住在苏黎世的演员克劳德·西基斯，向乔伊斯建议他们成立一家剧团，上演英语戏剧。乔伊斯同意了，并且出任英国艺人剧团的经理。首部上演的戏剧就是《重要的是认真》。演员待招。 专业演员可拿到三十法郎的代币券，业余演员将得到十法郎作为来参加排练的车费。乔伊斯对待此事非常积极，为了得到官方对剧团的批准，他还前去拜访了总领事A.珀西·贝内特。他成功地获得了批准，尽管贝内特"对乔伊斯很生气，因为乔伊斯在战争期间没有向领事馆正式报到提供服务，或者因为他可能知道了乔伊斯为中立的《国际评论》做事，以及对战争结果表示的公开漠视。他甚至可能听说了乔伊斯写的《杜利先生》，写的就是这个时期……"--以上摘自艾尔曼的杰出传记，在我写作《戏谑》期间，此书给了我无穷的乐趣。 同时，西基斯在拼凑一个演出阵容……"一个重要的发现是特里斯坦·罗森，他是一个英俊的年轻人，曾经在科隆歌剧院唱了四年男中音，但从未在戏剧中演过角色。几经劝诱，罗森同意出演华任真一角。西基斯招来塞西尔·帕尔默扮演男管家，并且找到一个叫埃塞尔·特纳的女子出演劳小姐……但是，没有人扮演男主角亚吉能。现在想来真是不幸：乔伊斯推荐了一个他在领事馆见到的年轻人，叫亨利·卡尔，高个，帅气。因伤退役后，卡尔在领事馆谋了份小职。西基斯得知他曾在加拿大一些业余戏剧演出中扮演过角色，决定冒险用他。" 卡尔的表演最后取得了小小的成功。为了扮演亚吉能，他甚至一片热情地买了几条裤子、一顶帽子和一副手套。但是演出一结束，这个演员和经理乔伊斯就吵起架来。按照预先安排，乔伊斯给每个演员十法郎或三十法郎，此举却激怒了卡尔，卡尔后来向西基斯抱怨说，乔伊斯给他钱时像是在给小费。 结局既是小题大做又拖沓冗长。乔伊斯和卡尔最后上了法庭，引起了两个诉讼。卡尔要求补偿买裤子等所花的费用，要么利润分成，而乔伊斯则提出反诉，要求卡尔归还卖五张票的所得，并控告他诽谤。这些纷争直到1919年2月才尘埃落定。乔伊斯在钱上打赢了官司，输了诽谤案。但他还是在中尽情实施了他的惩罚。在书中，"他像但丁一样面面俱到，铁面无情地分配了惩罚……乔伊斯原先想把总领事贝内特和亨利·卡尔写成两个经常酗酒、亵渎上帝、下流鄙俗的士兵，他们在《瑟茜》一章中把斯蒂芬·德达莱斯击倒；但是他最后还是决定把贝内特写成准尉副官，是士兵卡尔的上司，但卡尔谈到他时却是完全的不恭不敬。" 除了这少得可怜的一点东西外，我再也找不到关于亨利·卡尔的其他资料。依据它们，我设想出一位年迈的绅士在回忆他过去和乔伊斯以及达达主义者查拉的交往。他早年娶了一位列宁时期他在图书馆遇到的女孩，现在他们仍住在苏黎世。他的回忆也许不是很准确。 此剧在伦敦上演后不久，我收到一封让我既兴奋又担忧的信。信的开头是："关于你的戏剧的剧评完全迷住了我--主要原因是，亨利·卡尔是我的先夫，他于1962年去世。"这封信来自诺埃尔·卡尔夫人，卡尔的第二任妻子。 从她那里，我知道了亨利·威尔弗雷德·卡尔于1894年出生于森德兰，在达勒姆郡长大。他家有四兄弟，其中包括他的一个双生兄弟瓦尔特，现在也去世了。十七岁时，亨利去了加拿大，在银行工作了一段时间。1915年，他自愿参军，随加拿大皇家高地军团到了法国。次年，他严重受伤，在无人地带躺了五天后被俘。他因伤被德国人送到一家修道院。修士们把他看护到"部分康复"，然后他作为"交换战俘"和一群人一起被送往瑞士。 就这样，亨利·卡尔到了苏黎世，在此他遇到了詹姆士·乔伊斯，无意间竟成了舞台上以及舞台外的戏剧的领衔主角，还因为成了中一个小角色而获致某种不朽。 也是在苏黎世，他遇到了他的第一任妻子诺拉·塔洛克。战后他们在英格兰结了婚，后来他带她回到加拿大。他在蒙特利尔的一家百货商店找了份工作。在这儿他最高职位干到公司秘书。 1928年，他遇到了诺埃尔·巴赫，那时他还在蒙特利尔。他和第一任妻子离婚后，和诺埃尔于1933年在蒙特利尔结婚。第二年，他们回到英格兰。亨利最后是进了一家铸造厂工作。当下一次战争到来时，他和妻子正住在谢菲尔德。他们被炮弹炸得无家可归，便搬到了沃里克郡的乡村。在此亨利领导了地方军。战后他们留在了沃里克郡。 1962年，亨利去了趟伦敦，在那儿心脏病发作，在肯辛顿的圣玛丽亚修道院医院去世。他没有孩子。 我十分感谢诺埃尔·卡尔夫人提供的这些关于亨利的生平信息，尤其感谢她如此仁厚善良地待我以及待这部在她看来一定名字起得特别好的戏剧。 ●致谢 此剧中，列宁和娜佳说的话几乎都来自列宁的文集和娜佳的《列宁回忆录》。我也从以下书中受益颇多，感激不尽： 米歇尔·C·摩根的《列宁》；罗伯特·佩恩的《列宁》；亚当·B·乌拉姆的《列宁和布尔什维克》；艾德蒙·威尔逊的《走向芬兰站》；高尔基的《和列宁在一起的日子》；AJP泰勒的《第一次世界大战》；理查德·埃尔曼的《詹姆士·乔伊斯》；约翰·格拉斯的《乔伊斯》；汉斯·李希特的《达达主义：艺术和反艺术》；以及罗伯特·马瑟韦尔编辑的《达达派画家和诗人》。此外，我还非常感谢詹姆士·克鲁格曼先生借给我有关列宁在瑞士的资料。这些资料以及所有其他资料的具体使用则由我本人承担责任。 ■第一幕 这部戏剧的场景设在苏黎世的两个地方：亨利·卡尔的寓所客厅(以下为"客厅")，苏黎世公共图书馆的一部分(以下为"图书馆")。大部分的剧情发生在卡尔的记忆里--记忆回溯到第一次世界大战期间，这个时期恰如其分地在舞台设计、服装等上头有所体现。须认为老卡尔自那时起一直居住在那套寓所里。 生活的沉浮挪威的军队（8） 客厅的正门必须是在舞台后部中央处：如果门在侧边，大多数的上场效果可能会严重削弱。最好是双开门。不过，至少要有一扇侧门。房中央有张桌子，桌子的每一边都有把好椅子，还有张边桌，以及其他摆设。 图书馆使人联想到更大的空间--如高大的书架，等等。在第二幕，塞西莉(图书馆管理员)需要一张柜台或书桌--这在戏剧开始时不一定非让观众看见不可。某些上场，如娜佳的上场，可能是通过门，而不是从舞台侧翼上。 序幕和第二幕中的图书馆不一定非得从同一个角度来呈现。 我们从图书馆开始。 舞台上乔伊斯、列宁和查拉各有其位。 格温和乔伊斯坐在一起。他们正忙碌着，身旁满是书、稿子、铅笔…… 列宁埋头在书和稿纸里，安静地写着。查拉自戏剧开始就一直在写。他的桌上有一顶帽子和一把大剪刀。查拉写完，拿起剪刀，把纸上所写一个词一个词地剪入帽子里。所有词到了帽子里后，他摇摇帽子，再把词都倒到桌上。他迅速地把纸片分成随意的几行，把几张纸片翻过来，等等，接着大声朗读如此排列的结果。 戏谑查拉鳗鱼吃巨大的苹果查拉 主要的日记厨师的帽子他将学习嗡呣吧！ 生病的跑步的哎呀低语杀死后来的坚果东方， 中午叔伯的生病的日子克拉拉！①…… ①事实上这段文字游戏的破解应该从英文原文入手： Eelateenormousappletzara keydiarychefshathelllearnoomparah! Illracedalaswhisperskilllaternuteast, noonavuncularilldayClara! 其读音"翻译"成法文便是如下的一段打油诗： Ilestunhomme,sappelleTzara Quidesrichessesatillenonpareil IlrestealaSuisse Parcequilestunartiste NousnavonsqueLart,ildeclara 大意是：有个男人名叫查拉，他的天赋谁都比不了，他住在瑞士，是个艺术家，声称"万般皆下品，惟有艺术高"。 这样的开场既让观众猝然遭遇现代派文学的下马威，又暗示本剧的多民族、多语言背景--译注。 ②这是第十四章的第一句话，Deshill是爱尔兰语，意为"向右"或"向太阳"；Holles是地名，即产院所在的霍利斯街；Eamus是拉丁文，意为"咱们去"。后面乔伊斯要求重复三遍，是第九章提到的古罗马"阿尔瓦尔"祭司祈祷格式--译注。 ③这是第十四章的第二段话。霍霍恩为产院院长的姓氏--译注。塞西莉(上场)嘘--！ (她的警告是向图书馆的所有人发出的。她从舞台一侧上场，没有通过门，并且像忙碌的人一样，步伐匆匆地走过舞台，从另一侧下场。没有人留意。) 乔伊斯(对格温口授)Deshillholleseamus② 格温(写)Deshillholleseamus 乔伊斯三次。 格温嗯。 乔伊斯日神啊，光神啊，霍霍恩，赐我胎动吧，赐我子宫果实吧。 ③ 格温日神啊，光神啊，霍霍恩，赐我胎动吧，赐我子宫果实吧。 乔伊斯三次。 格温嗯。 乔伊斯呼啦拉，男娃呀男娃呀，呼啦拉！ ① 格温呼啦拉，男娃呀男娃呀，呼啦拉！ ①这是第十四章的第三段话。这几段话的翻译均参照金堤的译本（北京：人民文学出版社，1997年）。第十四章的场景是都柏林一家产院。这一章就是本剧末尾处乔伊斯声称的"运用了从乔叟到卡莱尔的全部英国文学，来描绘发生在都柏林一个产院的故事"。事实上这几段的祈祷语是乔叟之前的风格，有古英语和拉丁语的痕迹--译注。乔伊斯呼啦拉，男娃呀男娃呀，呼啦拉！ 格温同样的三次？ 乔伊斯嗯。 (此时，查拉已把纸片重新放入帽子。他抓出一把，一次读一个词，每读完一个词再放回帽子里去。) 查拉克拉拉叔伯的！ 低语生病的嗡呣吧！ 鳗鱼坚果日记日子 苹果查拉…… ……帽子！ 塞西莉(再次上场)嘘--！ (塞西莉带了几本书上场，把它们放在列宁身边。 查拉穿过门离开图书馆。 现在观众有必要观察到以下场景：格温从乔伊斯手中接过一个文件夹。塞西莉也从列宁手中接过一个同样的文件夹。这两个夹着手稿的文件夹颜色鲜艳，十分抢眼。两个女孩都因故把文件夹放在一张桌上或椅子上，而后两人错拿了对方的文件夹。在首演中，格温掉了一只手套，诸如此类，但具体是怎么造成错拿的并不重要，重要的是让观众看到它的发生。 格温现在准备离开图书馆，然后带着列宁的文件夹离开。