第88集 - 化身博士的离奇案件（罗伯特·路易斯·史蒂文森）

他1859年出版的《物种起源》在出版当天

His 1859 On the Origin of Species which sold out on day of publication with his theory of evolution challenged traditional religious understanding and belief about humanity and creation and it led to a lot of vicious debate.

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My favorite debate is from 1860 where Bishop Wilberforce taunted Thomas Huxley, the grandfather of Aldous Huxley, the writer of Brave New World and our lecture series for that novel is available still at patreon.com/hardcoreliterature.

托马斯·赫胥黎是达尔文理论的坚定拥护者，主教曾嘲讽地问他，究竟是通过祖父还是祖母的血统来宣称自己是从猴子进化而来的。

Thomas Huxley was a strong advocate for Darwin's theory and the Bishop taunted him asking him whether it was through his grandfather or his grandmother that he claimed his descent from a monkey.

后达尔文时代的焦虑弥漫于十九世纪末期，这引发了许多关于灵魂与神圣秩序的生存质疑。而当这一切正在进行时，仿佛还不够似的，我们在世纪末还见证了心理学的诞生，以及那个时代对梦境、潜意识、分裂人格、精神疾病等领域的痴迷。

Post Darwinian anxiety is everywhere in the late nineteenth century and it led to a lot of existential questioning about the soul and divine order and whilst all of this was going on as though that wasn't enough we also see at the end of the century the birth of psychology and the era's fascination with dreams and the unconscious and split personalities, mental illness and so on.

科学与最初被视为充其量只是伪科学的领域之间存在紧张关系，因为当时的心理学与催眠术、通灵媒介以及对神秘学和超自然现象的研究交织在一起。

And there was a tension between science and what was originally seen as very much a pseudoscience at best because psychology at this time blended with hypnotism and psychic mediumship and studies into the occult and the paranormal.

许多著名实验试图与死者沟通，当然那个时代充斥着大量欺诈者和捕食者。

Many famous experiments sought to contact the dead and charlatans of course were rife and predatory across the age.

所以杰基尔医生和兰尼恩医生因科学分歧而闹翻——兰尼恩称之为'胡言乱语'——这实际上在当时虚构作品之外是相当常见的情况。

So for Doctor Jekyll and Doctor Lanyon to have had a falling out over scientific differences what Lanyon calls bulldo dash was actually a pretty common occurrence outside of fiction during this time.

回到故事本身，阿蒂桑仍然执意要找到这个人物，他说：'如果他是海德先生，那我就是追寻先生。'

But back to the story, Artisan is still hell bent on finding this figure and he says, if he be mister Hyde, I shall be mister Seek.

我们得知他开始在恩菲尔德指给他的那扇门附近徘徊。

And we're told he begins to haunt about the door pointed out to him by Enfield.

当然，从词源学上讲，'haunt'意味着你经常出没或造访的地方。

Of course haunt etymologically that means where you regularly hang out or visit.

如果你追溯这个词的词源到古老的含义层面，它还包含着'回家'的微妙含义。

If you go back into the ancient pockets of meaning with this words etymology, it also has the meaning contains the nuance meaning of returning home.

但当然，当我们谈论'hauntings'时，通常是指鬼魂出没的现象。

But of course when we speak of hauntings we typically do so in terms of ghostly apparitions.

但当他说道'如果他是海德先生，那我就是追寻先生'时，他明确邀请我们思考这些角色名字中的词源学微妙之处——在维多利亚时代的英国文学中，你的名字就是你的性格，你的性格就是你的名字，存在着大量直白的象征手法。

But when he says if he be mister Hyde I shall be mister Seek he invites us overtly to think about the etymological nuance in these character names and in Victorian England in literature your name was your character, your character was your name and there was a lot of straightforward symbolism going on.

海德（Hyde）是什么意思？

What does Hyde mean?

海德先生。

Mister Hyde.

嗯，'hide'意味着隐藏、遮掩、躲藏。

Well, hide means to hide, to conceal, to hide.

海德先生，这就是他的定义。

Mister hide, that's how he is defined.

是的，拼写略有不同，但发音完全一致。

Yes, it's spelled a little differently but orally it sounds exactly the same.

当然，在伦敦提到'海德'时，人们也会联想到海德公园——这座位于城市中心的公园。我曾在伦敦生活时经常散步和跑步经过那里，而历史上海德公园曾是个危险地带。

Of course in London when you say Hyde, one might also think of Hyde Park, the park central in the city and I used to walk it, I used to run around it when I lived in London and Hyde Park was historically a dangerous locale.

维多利亚时代这里尤其危险，夜间常有拦路强盗和罪犯出没，人们甚至会在那里埋藏珠宝。

It was dangerous during the Victorian era especially at night due to highwaymen and criminals and people used to have jewels there as well.

海德公园实际上成为英格兰最早使用人工照明的大道之一，数百盏油灯被用来遏制犯罪。

And Hyde Park actually became one of the first artificially lit highways in England with hundreds of oil lamps to combat that criminality.

如何预防犯罪？

How do you prevent crime?

用光照亮它。

Shine a light on it.

罪犯总在黑暗中滋生。

Criminals thrive in darkness.

正如福斯塔夫所言，他们藏身暗处，借月光行事，让人无从辨认。

They thrive in hiding away, working by the light of the moon as Falstaff might say, so you can't identify them.

如果你乘坐时光机回到史蒂文森、王尔德和狄更斯的时代，你会对当时实际上的黑暗与肮脏程度感到震惊。

And if you took a time machine back to the age of Stevenson and Wilde and Dickens, you would be absolutely astonished at just how dark and dirty it really was.

虽然这些故事告诉我们那时很黑暗肮脏，但实际程度可能远超我们的想象。

We're told it's dark and dirty in these stories but it would actually be on a level we can't even comprehend.

听到'hide'这个名字，我们还会联想到什么？

What else do we think of with the name hide?

我会想到兽皮外套，人们将剥下的兽皮披在身上——当然，为了时尚目的，动物得先被宰杀才能剥取毛皮。

I think of an animal hide which one might wear as a coat, you might drape it around yourself and of course the animal has to be killed first before the skin, the pelt is peeled off for fashionable purposes.

所以你会想到伪装，对吧？

So you think of a disguise, don't you?

你会联想到谋杀。

You think of murder.

这就引出了杰克尔（Jackal）的名字。

And that leads us into Jackal's name.

在维多利亚时代的英格兰，尤其是苏格兰人史蒂文森的发音，与我们今天的不同。

The pronunciation in Victorian England especially from Scotsman Stevenson wouldn't have been like ours today.

他应该被称为杰基尔医生（Doctor Jekyll）。

He would have been called doctor Doctor Jekyll.

所以你会听到更明显的重音落在第二个音节上。

So you've got that more clear emphasis on the second syllable.

这个名字里藏着不祥之词'kill'（杀），杰基尔（Jekyll）实际上源自古布列塔尼语，结合了法语中的'je'（我）和'kill'一词的变体。

It has the ominous word kill in there, Jekyll Jekyll and it actually comes from the old Breton which combines the French je or I and a variant of the word kill.

我杀，杰基尔，我杀。

I kill Jekyll, I kill.

但随着时间的推移，它逐渐演变为'高贵'或'领主'的含义。

But it took on the meaning over time as noble or lord.

若他是海德先生，我便是寻觅先生。

If he be mister Hyde, I shall be mister Seek.

我们从中看到一种对名字作为身份标识的讽刺性自我认知，以及行为塑造角色的体现。

We get this ironic self conscious awareness on names as identifiers and character being in what we do.

所以他不再是厄特森先生，他将被定义为正在‘寻找’的人。

So he's no longer mister Utterson, he's going to be defined by what he's doing, seeking.

我认为——史蒂文森无疑也这么想——这让我联想到《登山宝训》中的箴言：求则得之，寻则见之，叩门则门开。

And I think also and Stevenson undoubtedly thought so too, I think of the Sermon on the Mount and the maxim ask and you will receive, seek and you shall find, knock and the door will be opened.

罗伯特·路易斯·史蒂文森有灵性追求但不笃信宗教。

Robert Louis Stevenson was spiritual but not religious.

或许可以说他是个持怀疑态度的信徒。

He was a skeptical believer we might say.

他成长于苏格兰长老会家庭，但成年后脱离了教会。

He was raised Scottish Presbyterian but he rejected the church in adulthood.

他经历了严重的信仰危机，拒绝形式化的宗教——这在十九世纪变得越来越普遍。

He had a real crisis of faith rejecting formal religion which was becoming increasingly more common across the course of the nineteenth century.

尽管他晚年曾与基督教传教士合作，对《圣经》保持敬畏态度，并最终形成了不基于教条或正统的‘显现之神’信仰。

Though he would work with Christian missionaries later in life and he did take a reverential view of the bible and he would ultimately develop a belief in the manifest God not rooted in doctrine or orthodoxy.

关于这个捉迷藏式的宣言，我们还能联想到什么？

What else do we think of with this hide and seek assertion?

这暗指了一种童年游戏，所以这里带有一种玩耍的元素，黑暗的玩耍。

Well it is an allusion to a childhood game so there's an element of play, dark play here.

我认为这也融入了十九世纪对侦探和谜团日益增长的迷恋，如果我们进行一些文学谱系追踪，可以找到一条线索。

This is also I think plugging into the nineteenth century's increasing fascination with detectives and mystery and we can trace a line if we're doing some literary lineage hunting.

我们可以从埃德加·爱伦·坡的侦探或古斯塔夫·杜邦——文学中出现的第一个职业侦探——追溯这条线索。

We can trace a line from Edgar Allan Poe's detective or Gust du Pon who was the first professional detective appearing in literature.

阅读他1841年的《莫格街凶杀案》，阅读《玛丽·罗热之谜》和《失窃的信》。

Read his 1841 The Murders in the Rue Morgue, read The Mystery of Marie Roget and read The Pearloined Letter.

爱伦·坡是美国短篇小说家，他捕捉了集体无意识并重振了短篇小说形式，当然他本人也是极其典型且具有代表性的哥特风格作家。

Poe is the American short story writer who captured the collective unconscious and reinvigorated the short story form and he is also of course profoundly and prototypically gothic too.

他笔下的侦探杜邦通过逻辑推理破解案件。

His detective Dupuyne solved crimes through logical reasoning.

我们可以追溯一条线索，从他贯穿到狄更斯《荒凉山庄》中的探长巴克特——小说中首位出现的职业侦探。

We can trace a line from him through to inspector Bucket in Dickens's Bleak House who's the first professional detective that appears in a novel.

我们还可以将这条线索延续至威尔基·柯林斯《月亮宝石》中的苏格兰场警探卡夫。

We can trace a line through to Scotland Yard detective Sergeant Cuff in Wilkie Collins' The Moonstone.

当然，我们还可以将这条线索追溯至福尔摩斯，他首次登场于杰基尔与海德之后一年，即1887年比顿圣诞年刊中的《血字研究》。

And of course we trace this line up to Sherlock Holmes who first appeared the year after Jekyll and Hyde in Beaton's Christmas Annual with A Study in Scala 1887.

同样，在福尔摩斯身上，我们不仅看到了逻辑推理与演绎，更看到了一个充满迷雾、烟瘴与鸦片瘾症的哥特式世界。

Again with Holmes not only do we see logical deduction and reasoning but we see all of this in a gothic world of fog, smog and opium addiction.

随着福尔摩斯的出现，侦探小说的黄金时代开始了，从那时起进入二十世纪，我们看到读者对神秘故事的喜爱只会越来越深。

And with Holmes the golden age of detective fiction begins and from there into the twentieth century we see the reading public's taste for mystery only deepens.

我们对这类作品变得如饥似渴，比如阿加莎·克里斯蒂笔下的赫尔克里·波洛和玛普尔小姐。

We become insatiable for it with the likes of Agatha Christie with her Hercule Poirot and Miss Marple.

当然，我们还会看到美国作家达希尔·哈米特和雷蒙德·钱德勒笔下的冷硬派黑色犯罪小说。

And then of course we see the hard boiled noir crime fiction of American writers like Dashiell Hammett and Raymond Chandler.

而像达芙妮·杜穆里埃的《蝴蝶梦》这类小说之所以大受欢迎，正是因为读者们痴迷于精彩的悬疑故事。

And of course the reason for the popularity, the incredible popularity of novels like Daphne du Maurier's Rebecca is due to the fact that the readers loved a good mystery.

但若他是海德先生，我便是追寻先生。

But if he be mister Hyde, I shall be mister Seek.

读到这个论断时，我不禁想起那句古老的警语。

I also think of the age old warning when I read this assertion.

我想起那句警告：小心你的愿望，或者说你的意志。

I think of the warning, be careful what you wish for or what you will.

小心你所追寻的、你所寻找的，因为你可能会得到它。

Be careful what you seek, you look for because you might just get it.

你可能会得到比你预想的更多的东西。

You might just get more than you bargained for.

我们一再看到，最好的恐怖故事和最佳科幻作品都是以这一核心信息为警示的道德寓言。

Time and again we see the best horror stories and the best speculative fiction are cautionary moral tales with this message at the core.

如果你想看一个真正体现这种警示寓言的优秀短篇，《猴爪》就是绝佳的范例。

And if you want a great short story that really exemplifies this teaching tale then The Monkey's Paw is a really great encapsulation of that.

恐怖常常是扭曲的愿望实现，就像弗洛伊德所说的梦境那样。

Horror is often perverted wish fulfillment like dreams as Freud would say.

我们再次可以用宗教视角解读这一观点：匠人寻求知识，而永恒的故事总是关于寻求知识导致人类堕落。

And again we can return to the religious reading with this assertion, Artisan is searching for knowledge and the perennial story is in the search for knowledge that leads to the fall of mankind.

偷食分辨善恶的智慧树果实。

Eating of the tree of knowledge of good and evil.

工匠踏上一段都市探索之旅，因为哥特式是一种扭曲的浪漫冒险。

Artisan sets out on a quest, an urban quest because Gothic is a corrupted quest romance.

它是一种浪漫形式，但却是被扭曲的形式。

It is a form of romance but it's a perverted form.

当我们提到浪漫时，那是一种结构上的定义。

And when we say romance, that's a structural designation.

喜剧和悲剧也是如此。

The same with comedy and tragedy.

喜剧之所以为喜剧，是因为它以婚姻收场。

A comedy is a comedy because it ends in marriage.

悲剧同样由其结局定义。

A tragedy is defined by its ending too.

它以死亡告终，舞台或书页上血迹斑斑。

It ends in death with the stage or page awash with blood.

而浪漫则兼具两者，既有死亡也有婚姻，既有爱情也有混乱，最终以重生和新生命作结。

And romance has a bit of both, death and marriage, love and chaos and ultimately ends in rebirth and new life.

但哥特式风格以停滞与腐朽告终。

But the gothic ends in stagnation and decay.

按照诺斯洛普·弗莱的说法，浪漫属于夏日神话体系，而我认为哥特式是永恒寒冬的文学类型。

Romance is summer mythos according to Northrop Frye but I see gothic as the genre of endless winter.

于是工匠开始追寻真相与知识，在街头巷尾直面海德先生时，被对方反常而令人厌恶的气场所震慑。

So Artisan searching out for the truth, for knowledge and in the streets he comes face to face with mister Hyde and he's struck by the man's unnatural and repulsive presence.

他看见对方脸上的恐惧，视其为野蛮咆哮的野兽。当他说出'先生'时，对方反问：你怎么认识我？

He sees fear on his face, he sees him as savage and snarling and when he says mister he says how did you know me?

工匠强迫他露出真容，并宣告：现在我将永远认得你。

Artisan makes him show his face and he says, now I will know you.

他将海德先生描述为严重畸形——矮小如穴居人，带着憎恶、嫌恶与恐惧的凶残神情，声称其几乎非人。

He describes mister Hyde as having great deformity, as being dwarfish and troglodytic and having a murderous look of loathing and disgust and fear and he says he's hardly human.

爱的反面不是恨，而是恐惧。

The opposite of love is not hate but fear.

仇恨是恐惧的一个维度。

Hatred is a dimension of fear.

他注视着海德，感受到一个污浊灵魂的光芒透过并改变着其肉体容器。

And he looks upon Hyde and he feels the radiance of a foul soul transpiring through and transfiguring its clay content.

这种强烈的圣经式词汇再次指向了那个时代的张力——宗教信仰与理性科学进步之间的冲突。

Again this intensely biblical lexus points to the tension of the era, the tension between religious belief and reason and scientific advance.

当他看着海德时，他说能从其脸上读到撒旦的印记。

And when he looks upon Hyde he says he can read Satan's signature upon his face.

之后，他拜访了杰基尔医生的住所。

Now after this he visits doctor Jekyll's house.

他走过一条满是破败房屋的街道，那里租住着形形色色的人。

He goes down a street of decaying abodes which are let to all manner of men.

你可能会注意到'吗哪'这个词的双关含义。

And you might note the play on the word manna.

方式，人。

Manner, man.

你的行为方式既是你的存在状态，也是你文明礼貌的公众形象，但可能并非真实的自我。

Your manner is your way of being but it's also your civil public facing politeness but potentially not your true self.

这是你穿戴的东西，是你用来隐藏的面具。

It's something you wear, it's something you hide behind.

他拜访杰基尔家时，看见海德先生走了进去，但杰基尔的管家普尔却将他拒之门外，说医生不在家，杰基尔不在家。

He visits Jekyll's house and he sees mister Hyde go in there but Jekyll's butler Poole turns him away saying that the doctor's not home, Jekyll's not home.

我们可以思考这种'不在家'的象征与隐喻。

We might think of the figuration, the metaphor of not being home.

长久以来，我们一直将肉体形态比喻为某种居所，可以说是我们肉体的宅邸。

We have long spoken of our corporeal form metaphorically as a kind of abode, our bodily mansion we might say.

所以杰基尔不在家，于是厄特森询问管家保罗：那海德刚才进去是对的吗？

So Jackal's not home and Utterson asks Paul the butler, well is it right then that Hyde just went in?

保罗回答是的，他有钥匙。我们还看到他穿过旧解剖室进去了。

And Paul says yes, he has a key And we see that he went in through the old dissecting room.

厄特森离开时留下印象：这位海德先生若是被研究过，必定藏有自己的秘密——从他外表看就是些阴暗的秘密。

Artisan leaves with the impression that this mister Hyde if he was studied must have secrets of his own, black secrets by the look of him.

与这些秘密相比，可怜的杰基尔最不堪的秘密都如同阳光般明媚。

Secrets compared to which poor Jekyll's worst would be like sunshine.

所以我们有了人被研究的这个概念，律师和解剖者都将人视为研究对象，几乎是动物般的研究对象，但想到他可怜的朋友杰基尔所处的困境，哦，他一定遇到了大麻烦，这时他又转而思考自己的良知，想到在上帝的律法中是没有追诉时效的。

So we've got this idea of man being studied, lawyer and vivisector alike see man as a subject almost an animal like subject but thinking about the deep waters that his poor friend Jekyll must be in, oh he must be in some real trouble, he then turns his mind to his own conscience and he thinks about how in the law of God there is no statute of limitations.

阿特森始终保持着职业态度，这位律师用法律术语思考着：这一定是某个古老罪孽的幽灵，某种隐藏耻辱的毒瘤，惩罚在记忆遗忘多年后降临，而自爱早已宽恕了过错。律师被这个念头所伤，沉浸在对过去的回忆中，在记忆的每个角落摸索。

Utterson is ever the professional, the lawyer thinking in legalistic terms, it must be that the ghost of some old sin, the cancer of some concealed disgrace, punishment coming years after memory has forgotten and self love condoned the fault and the lawyer scarred by the thought brooded a while on his own past groping in all the corners of his memory.

然而他因自己犯下的诸多恶行而卑微如尘土，又因那些险些犯下却最终避免的恶行，重新升起一种清醒而充满敬畏的感恩。

Yet he was humbled to the dust by the many ill things he had done and raised up again into a sober and fearful gratitude by the many he had come so near to doing yet avoided.

这不是很奇妙吗？

Isn't that fantastic?

所以他在思考，他在良心中回溯，不仅想着自己犯下的恶行，还有那些差点犯下但最终避免的恶。

So he's thinking, he's going back in his conscience, he's thinking not only of the bad that he's done but the bad that he almost did but managed not to do.

这很有趣。

That's interesting.

哥特风格提醒我们，我们都是罪人，都已堕落，都有着以某种方式持续影响当下的过去。

The Gothic reminds us that we're all sinners, we're all fallen and we all have a past that in some way or another continues to bear upon the present.

我们之前用诺曼·奥布莱恩在《生与死》中的话说过：精神分析中的神经症概念，实际上只是原罪的诗意转化。

We've said before in the words of Norman O'Brien in Life Against Death that the psychoanalytical idea of neurosis is really just a poetic transmutation of original sin.

我们生来就有缺陷。

We're born flawed.

只是我们变得多么神经质、多么有缺陷、多么罪恶深重。

It's just how neurotic, how flawed, how sinful we become.

在遇见海德几天后，厄特森参加了一个在杰克尔医生家举办的晚宴，医生看起来一切正常。后来他私下与医生谈论了遗嘱及其与海德先生的关系。

Now a few days after meeting Hyde, Utterson then attends a dinner party at the home of doctor Jackal who seems fine And later he speaks privately with him about his will and his connection to mister Hyde.

但随后他变得防备且不安，坚持要厄特森不必为他担心，并说：‘只要我愿意，随时可以摆脱海德先生’，这话说得真奇怪。

But then he becomes defensive and uneasy and he insists that Utterson must not worry about him and he says, the moment I choose I can be rid of mister Hyde, which is a weird thing to say.

如果你不觉得自己的意志正在衰退、腐化或被篡夺，你就不会说这样的话或感到需要坚持己见。

You wouldn't say such a thing or feel the need to assert your will if you didn't feel like your will was actually decaying and being corrupted or usurped.

这听起来很像是吸毒者和酗酒者的说辞。

And this sounds to me like the language of drug addicts and alcoholics.

我随时都能摆脱他，我随时都能戒掉，我随时都能停止。

I can be rid of him when I like, oh I can quit whenever I like, I can stop it whenever I like.

这也是有毒关系中常见的说辞。

This is also the language of toxic relationships.

如果情况变得太糟，我随时可以抽身离开。

If it ever gets too bad, I can always leave.

我们可能会想到自己沉迷的各种恶习，或许曾对自己和他人说过谎——'我随时都能戒掉'。

We might think to any of the bad habits that we indulge and we probably have told ourselves and others, we've lied to ourselves and others, I can stop whenever.

我只是现在还不愿意戒掉而已。

I can simply not choose to, I just don't want to just yet.

这听起来像是个否认自己问题的瘾君子。

So this sounds like a drug addict in denial of his problem.

十二步康复计划的第一步是什么？

What's the first step in the 12 step program?

就像我们在书俱乐部关于大卫·福斯特·华莱士《无尽的玩笑》系列讲座中讨论过的内容。

Something that we spoke about with David Foster Wallace's Infinite Jest, which we have a lecture series for at the book club.

承认自己对问题无能为力，从而将自我托付给更高的力量。

You admit you are powerless over your problem and thus give yourself over to a higher power.

随着故事推进，时间来到这些事件发生一年后——我们被告知在18XX年10月的伦敦（当时惯常会隐去具体年份）。

And then as the story continues, we come forward a year, one year after these events and we're told that London in the month of October '18 something, it's a convention of the time to blot out the exact date.

伦敦被一桩异常凶残的罪行震惊了，我们阅读这段文字时，仿佛在读一则新闻剪报。

London was startled by a crime of singular ferocity and it feels like when we're reading this, we're reading a newspaper clipping.

这是第四章，标题为《卡鲁谋杀案》。

This is the fourth chapter which is entitled the Karoo murder case.

伦敦被一桩因受害者显赫地位而更引人注目的罪行所震惊。

London was startled by a crime that was rendered all the more notable by the high position of the victim.

文中提到一位受人尊敬的老年绅士——丹弗斯·卡鲁爵士。

We're told a respected elder gentleman called Sir Danvers Carreux.

如果你曾与我们一起在硬核文学读书会读过达芙妮·杜穆里埃的《蝴蝶梦》，或许能看出她为丹弗斯太太这个角色命名的灵感来源。

So if you read Daphne du Maurier's Rebecca with us at the Hardcore Literature Book Club you might see where she got the name for missus Danvers, the character missus Danvers.

这位丹弗斯·卡鲁是厄特森的客户，他在街头被海德先生用棍棒残忍殴打致死。

So Danvers Carre who was a client to Utterson was brutally beaten to death in the street by mister Hyde.

场面确实极其残暴。

And it really is brutal.

他挥舞着沉重的手杖突然暴怒，跺着脚，像疯子一样挥舞手杖，行为完全失控。

With his heavy cane all of a sudden he broke out in a great flame of anger stamping with his foot brandishing the cane and carrying on like a madman.

老先生后退了一步，神情显得非常惊讶且略带受伤，就在此时，海德先生彻底失控，用棍棒将他击倒在地。

The old gentleman took a step back with the air of one very much surprised and a trifle hurt and at that mister Hyde broke out of all bounds and clubbed him to the earth.

紧接着，他如同猿猴般狂暴地践踏着受害者，暴雨般的重击下，骨头碎裂声清晰可闻，躯体在路面上抽搐。

And next moment with ape like fury, he was trampling his victim underfoot and hailing down a storm of blows under which the bones were audibly shattered and the body jumped upon the roadway.

我们再次看到恐怖与惊骇之间的界限划分。

Again we see the delineation between horror and terror.

这一事件被描述为恐怖，因为你亲眼目睹了这场棍棒致死的暴行。

This event is described as horror because you're seeing it, you're seeing the clubbing to death.

但有趣的是，面对这种恐怖场景，我们并非亲历者，而是通过传闻获知。

But interestingly, seeing this horror, we don't get to see ourselves but we get it through hearsay.

目睹这种恐怖加剧了故事的惊悚感，强化了即将降临的灾祸预兆。

Seeing this horror increases the terror for the story, increases the sense of impending harm that lays ahead.

丹弗斯·卡鲁爵士的谋杀案被一名女仆目击，她指认了海德先生，警方通过现场遗留的半截断裂手杖追踪到了他。

The murder of Sir Danvers Carrewho was witnessed by a maid who identifies mister Hyde and the police track him through the broken cane he left one half of at the scene.

他们发现这根手杖原本属于亨利·杰基尔医生。

A cane that once belongs they find to a doctor Henry Jekyll.

我们可能会想到'cane'这个词的双关含义——既指手杖，又暗指该隐与亚伯的故事，于是我们得到了这个怪诞的视觉隐喻：当善恶的分界线贯穿我们时，手杖被折成两段。

And we might think of the oral play on words with cane as in a walking stick and cane as in Cain and Abel and we get that grotesque visual metaphor of being broken in two when the line separating good and evil runs right through us.

也许某天我们会发现自己突然崩溃。

We may just one day find that we snap.

苏格兰场的纽康门探长——他的名字或许暗示了警队相对年轻的历史，'Newcomen'字面意思就是'新来者'。

Inspector Newcomen of Scotland Yard and maybe his name points to the relative newness of the police force, it's there in his name, newcomen means newcomer.

在19世纪20年代，也就是本世纪初，英国实际上还没有全国性的正规警察部队或执法机构。

In the eighteen twenties, so the beginning of the century, Britain actually had no organized national police force or law enforcement.

那是由教区治安官、巡夜人和地方法官组成的混合体，在伦敦这样的城市地区，犯罪活动极其猖獗且持续增长。

It was a mixture of parish constables, watchmen and magistrates and in urban areas like London crime was absolutely rampant and always rising.

这给政治家们带来了改革压力。

This put pressure on politicians for reform.

于是大都会警察局于1829年成立，可以说为我们提供了第一批现代巡逻警员。

So the Metropolitan Police was founded in 1829 and gave us the first modern bobbies on the beat if you like.

1842年，我们见证了警方侦探部门的创建。

In 1842, we see the creation of the detective branch of the police.

由此可见侦探小说为何开始兴起。

So we can see why detective fiction starts to become a thing.

我们看到便衣警察调查严重犯罪、收集证据等等。

And we see plain clothes officers investigating serious crime and collecting evidence and so forth.

直到1878年才成立了刑事调查部。

It's in 1878 that you get the opening of the criminal investigation department.

因此专业化程度大幅提升，这里的警员负责收集证人证词、再次收集证据，随着世纪推进我们开始看到非常早期的简陋法医学，但效果并不理想。

So you get a lot more professionalism with this and officers here are responsible for collecting witness statements, again collecting evidence and we start to see very early rudimentary forensics as the century goes on but it's not very good.

维多利亚时代的侦探既被视为现代理性主义的象征，也被视为国家监控的代表。

And Victorian detectives came to be seen as both a symbol of modern rationalism but also state surveillance.

因此那里存在着信任与不信任的混合情绪。

So there was a mixture of trust and mistrust there.

所以纽科门探长拜访了厄特森先生，因为不仅在现场发现了他的客户杰基尔的手杖残段，犯罪现场还有一个密封信封，正面写着阿蒂森先生的姓名和地址。

So inspector Newcomen visits mister Utterson because not only was one half of a cane belonging to his client Jekyll left at the scene but at the scene of the crime there was a sealed envelope with mister Artisan's name and address on the front.

于是我们再次看到了被封闭事物的象征意义。

So again we get that symbolism of things shut away.

这是一个充满上锁的门和密封信封的世界。

This is a world of locked doors and sealed envelopes.

现在，警探和律师一同前往海德位于苏荷区的住所，那是一片以犯罪闻名的拥挤肮脏住宅区。

Now together the inspector and the lawyer they go to Hyde's lodgings in Soho and this was an area of cramped dirty housing that had a reputation for criminality.

早在19世纪30年代至50年代，苏荷区就被视为波西米亚风格、国际化但同时也声名狼藉的地方。

As early as the eighteen thirties through to the fifties, Soho was seen as bohemian, cosmopolitan but also disreputable.

这里居住着许多移民、艺术家，也是性工作者的聚集地。

It was home to many migrants, home to many artists and home to sex workers too.

这里有廉价的住房，剧院也坐落于此。

There was cheap housing and the theaters were down there.

自莎士比亚时代起，剧院就与妓院比邻而居，到了世纪后期，苏荷区更发展出了隐秘的同性恋社交网络和聚会场所。

Ever since Shakespeare, the theaters rubbed shoulders with brothels and later in the century Soho developed a hidden network of covert gay hangouts and meeting places.

当然，当时同性恋是非法的，这曾让奥斯卡·王尔德陷入麻烦并震惊全国。

Of course homosexuality was illegal that got Oscar Wilde in trouble and scandalized the nation.

将同性恋定罪迫使许多人不得不过着双重生活。

The criminalizing of homosexuality meant many were forced to live double lives.

这就是为什么我们在文学作品中频繁看到双重人格或分身的概念。

And that's why we see doubles or doppelgangers, the idea of splits in personality abounding in literature at this time.

许多人感觉他们不得不将真实的自我隐藏在阴影之中。

Many felt as though they had to hide their true selves in the shadows.

我们在令人难忘的哥特杰作《道林·格雷的画像》中看到了这种主题的完美体现。

We see this come through in the utterly sublime hauntingly beautiful Gothic masterwork, The Picture of Dorian Gray.

于是他们前往海德的住所，但所有交谈过的人都不知道海德的真实样貌，甚至连他的女仆也不例外。

So they go to Hyde's lodgings and everyone they speak to has no idea of what Hyde really looks like, even his maids.

人们几乎从未见过他，也没有他的照片，除了一个特征外，没人能对他的外貌达成一致。

They hardly ever saw him, he was not photographed, no one could agree on his appearance aside from one point.

他身上有种令人不安的、未言明的畸形感。

He had a haunting sense of unexpressed deformity.

在维多利亚时代，身体畸形被强加了非常不公平的负面污名。

Now there was a very unfair negative stigma attached to physical deformity in the Victorian era.

他们将身体畸形与内在畸形联系在一起。

They tied physical deformity to inward deformity.

这仍是所谓的畸形秀和马戏团杂耍表演盛行的年代。

This was still the era of the so called freak shows and circus sideshows.

你或许看过1932年托德·布朗宁的《畸形人》，这部现代视角下被视为剥削性电影的作品确实如此。

Indeed you might watch Todd Browning's Freaks from 1932, so the modern era which is seen as exploitative cinema now and it is.

但在当时，这部电影却以革命性的姿态对真实马戏团杂耍表演者倾注了共情与同情，赋予他们人性光辉。

But also for the time, this film radically empathized with and sympathized with real life circus sideshow performers humanizing them.

这部电影极具颠覆性，本质上是对剥削现象本身的批判，但它仍震惊了观众并最终遭禁。

This film is very subversive and it is essentially a critique of exploitation itself but still this film shocked audiences and would end up banned.

顺便说一句，那真是个电影艺术的黄金时代。

And just as an aside, what an age for cinema by the way.

万圣节期间，我喜欢看些经典恐怖片和哥特式电影之类的作品。

Around the Halloween season, I like to watch some classic horror films and gothic films that sort of thing.

那真是个电影艺术的盛世啊。

What an age for cinema.

我们在硬核文学读书会讨论过达芙妮·杜穆里埃1938年出版的《蝴蝶梦》，她花了五年时间完成这部作品。

We spoke in the hardcore literature book club of Daphne du Maurier's Rebecca coming out in 1938 and she took five years to write it.

她在开始创作那部小说之前，应该已经看过三部令人惊叹的电影。

She would have seen a trio of incredible films just before writing that novel.

我们可以回顾1931年这个黄金年份，那时有什么发现呢？

We can look to the vintage year of 1931 and what do we find?

詹姆斯·惠尔执导的《科学怪人》由鲍里斯·卡洛夫主演，《德古拉》由贝拉·卢戈西主演，以及鲁本·马莫利安执导、弗雷德里克·马奇主演的《化身博士》——马奇凭借此片获得最佳男主角，其表演至今仍具有震撼人心的力量。

James Whale's Frankenstein with Boris Karloff, Dracula with Bela Lugosi and Jekyll and Hyde directed by Rubon Mamoulian and starring Frederic March who won best actor and his performance is still very much a haunting power house today.

在海德的住所，他们发现房间一片狼藉，看起来他是匆忙逃离的，现在已不知所踪。

At Hyde's lodging, they find his rooms in disarray and it looks like he fled hastily and he cannot be found.

但他们找到了手杖的另一半和一些烧焦的文件，暗示海德试图销毁犯罪证据——这对一个继承25万英镑遗产、且是受人尊敬的杰基尔医生得意门生的人来说，实在有失体统。

But they recover the other half of the cane and some burnt papers suggesting Hyde tried to destroy some evidence of criminality which hardly seems fitting for a man heir to a quarter of 1,000,000 sterling and who is the favorite of the respected doctor Jekyll.

他们在灰烬中发现了一本绿色支票簿的残存部分，阿特森对探长说：我们只需在银行守株待兔，因为金钱就是那个人的命脉。

And they find in the embers the butt end of a green checkbook and Artisan says to the inspector well we need only wait at the bank because money is life to the man.

凶杀案发生后，阿特森先生拜访了杰基尔医生。

Following the murder Mr Artisan visits Doctor Jekyll.

我们穿过他的实验室和解剖室，文中交代这是律师第一次被允许进入朋友住所的这个区域——他好奇地打量着这个阴暗无窗的建筑，穿过手术室时带着一种不适的陌生感环顾四周。

We go through his laboratory, his dissecting room, we're told it was the first time that the lawyer had been received in that part of his friend's quarters and he eyed the dingy windowless structure with curiosity and gazed round with a distasteful sense of strangeness as he crossed the theatre.

曾经挤满求知若渴的学生，如今却空荡寂静，实验桌上摆满化学仪器。

Once crowded with eager students and now lying gaunt and silent, the tables laden with chemical apparatus.

地板上散落着板条箱和包装稻草，光线透过雾蒙蒙的圆顶昏暗地照射进来。

The floor strewn with crates and littered with packing straw and the light falling dimly through the foggy cupola.

我们看到那位医生。

We see that Doctor.

杰基尔显得病入膏肓且惊魂未定。

Jekyll appears deadly sick and shaken.

阿蒂森说：'你该不会疯到要包庇这家伙吧？'

Artisan says you've not been mad enough to hide this fellow, have you?

而杰克尔医生表示他已永远断绝与海德的所有联系。

And doctor Jackal says that he's cut off all contact from Hyde forever.

我和他永远断绝关系了。

I'm done with him forever.

我不在乎海德下场如何，他将永远销声匿迹。

I cannot say that I care what becomes of Hyde, he will never more be heard of.

工匠说，你知道，如果闹上法庭，你的名字可能会曝光。

Artisan says, you know, if it came to a trial your name might appear.

所以我们再次感受到那种对公开丑闻的恐惧。

So we get that fear of public disgrace coming through again.

杰基尔给阿特森看了一封据称是海德写的信，信中海德为引发这些麻烦道歉，并声称自己会消失。

And Jekyll shows Utterson a letter supposedly from Hyde in which Hyde apologizes for causing all this trouble and says he will disappear.

现在工匠合理怀疑这封信并非真迹，可能是杰基尔自己写的。

Now Artisan rightfully suspects that the letter is not genuine and that Jekyll may have written it himself.

信上署名是海德，但笔迹有些不对劲，而且杰基尔声称已经烧掉了装这封信的信封，这也显得可疑。

It's signed Hyde but there's something off about the handwriting and there's something off about the fact that Jekyll claims to have burnt the envelope the letter came in.

这非常可疑。

This is very suspicious.

这怎么不算极度可疑呢？

How is this not incredibly suspect?

这听起来像是在协助和教唆杀人犯逃脱。

This sounds like aiding and abetting the escape of a murderer.

阿蒂森听说海德口述了杰基尔的遗嘱条款后说，我就知道会这样。

Artisan, hearing that Hyde had dictated the terms of Jekyll's will said, I knew it.

他是想谋杀你。

He meant to murder you.

你真是侥幸逃过一劫。

You've had a fine escape.

当我们在伦敦穿行时，听到报童在街头叫卖特刊——议员遭骇人谋杀，丑闻的漩涡在我们周围翻涌，因为丑闻总是最畅销的。

And as we navigate London we hear newsboys crying out in the street, special edition shocking murder of an MP, the eddy of a scandal swirls around us because scandal sells.

我们对最恶劣的罪行有着病态、阴森、邪恶的好奇心，这种好奇心最糟糕的一面在于，真实的恐怖与罪恶竟能成为娱乐消遣。

We have this morbid, macabre, sinister curiosity about the worst crimes and one of the worst aspects of this curiosity is that real life terror and horror and evil can become like entertainment.

从进化论角度不难理解我们为何会被吸引——通过接触不同案例来收集信息，仿佛这样就能让自己免遭伤害。

It's understandable from an evolutionary perspective why we might be attracted to it because we feel as though we might avoid harm ourselves if we can just be exposed to and learn about different cases because we're collecting information maybe we can prepare ourselves.

这对媒体而言是把双刃剑。

And it is a double edged sword when it comes to the media.

我个人对此深有体会，因为我的家人不幸认识一位轰动全国的谋杀案受害者。

I've got personal experience with this myself because my family does sadly know somebody who became a very widely publicized victim of a murder.

这是一把双刃剑，因为既有那些只顾围观好戏、忘记事件中心是真实存在的活人的看客，但如果我们能保持一定程度的尊重，我们一次次看到，媒体传播信息往往正是实现正义的途径——通过公开信息，人们会主动补充线索，许多案件因此得以侦破。

It's a double edged sword because you've got the gawkers who come to lap up the drama of it all forgetting that these are real people at the center of the so called story but if done in a respectful way, a somewhat respectful way time and again we see that the dissemination of information through the media very frequently is what brings about justice because you're getting information out and so you can get people to come and add information and many crimes have been solved.

于是执法部门与媒体之间形成了这种微妙的共生关系。

So there's this uneasy symbiotic relationship between law enforcement and the media.

而本案中海德的名字被全国报纸大肆报道，这意味着他在法庭上很可能会被指认出来。

And in this case with Hyde's name being splashed about the papers of the nation, that should mean that he will probably be recognized in court.

不是吗？

No?

如果他可以，他能永远躲藏下去吗？

If he can, can he hide forever?

厄特森再次穿过伦敦的街道，穿过仍沉睡在被淹没城市上空风中的雾气，那里的灯光如红宝石般闪烁，书中这样描述。

Utterson goes again through the streets of London, through the fog which is still sleeping on the wind above the drowned city where the lamps glimmered like carbuncles we're told.

这个意象不是很棒吗？

Isn't that a great image?

狄更斯谈论城市的感染，史蒂文森则把灯光比作红宝石。

Dickens talks about the infection of the city, Stevenson talks about the lights being like carbuncles.

什么是痈？

What's a carbuncle?

那是皮肤上的脓肿或感染性疖子。

It's an abscess or an infected boil on the skin.

所以这座城市就像一个活物，但却是病态丑陋的。

So the city is like a living thing but a diseased unsightly thing.

这可能是我最喜欢的城市描述之一。

That might be one of my favorite descriptions of the city.

厄特森将杰克尔给他的这封信交给了他的首席书记员格斯特先生——一位笔迹专家，并向他展示了一份杀人犯的亲笔签名，这个说法相当生动，也说明了最凶残的罪犯确实会以某种方式成为名人。

And Utterson takes this letter that Jackal gave him to his head clerk, mister Guest who's a handwriting expert and he presents him with a murderous autograph which is quite a phrase and speaks to how the most heinous criminals would indeed become celebrities in a way.

我们今天仍能看到这种现象，连环杀手拥有粉丝，甚至收到粉丝来信。

We see that still today with serial killers who have fans, they get fan mail.

但格斯特先生说这个笔迹像是杰基尔的镜像。

But mister Guest says that the handwriting is like a mirror image of Jekyll's.

笔迹完全一致，唯一的区别在于倾斜方向。

It's identical, the only difference is in the direction in which it is sloped.

厄特森说了什么？

And Utterson says what?

亨利·杰基尔为杀人犯伪造文件，这让他血液都凝固了。

Henry Jekyll forged for a murderer and his blood run cold in his veins.

想想伪造这个概念。

Think about the idea of forgery.

这意味着作假、撒谎、欺诈行骗，假装成不是的样子——或许真正的伪造并非海德的笔迹，而是杰基尔的。

It means to fake, to lie, to commit deceit and fraud, to pretend one thing that is not and to be another but perhaps the real forgery is not Hyde's handwriting but Jekyll's.

海德失踪后时间流逝。

Now time passes after Hyde's disappearance.

丹佛斯爵士之死的悬赏高达数千英镑，但警方调查无果，海德如同从未存在般彻底消失。

Thousands of pounds were offered in reward for the death of Sir Danvers was resented as a public inquiry we're told but Mr Hyde had disappeared out of the ken of the police as though he had never existed.

他的过往劣迹被大量揭露，全都声名狼藉。

Much of his past was unearthed indeed and all disreputable.

关于此人残忍行径的传闻接踵而至：冷酷暴虐的生活，诡异的同伙，职业生涯中如影随形的憎恨——但对其当下踪迹却杳无音信。

Tales came out of the man's cruelty at once so callous and violent of his vile life, of his strange associates, of the hatred that seems to have surrounded his career but of his present whereabouts, not a whisper.

在这之后，医生。

After this Doctor.

杰基尔似乎变得更快乐、更善于社交了。

Jekyll seems happier and more social.

我们得知他开始了一种新生活，忙于公益事业，显得平静祥和，但这种状态并未持续。

We're told a new life began for him where he seemed to be doing much public good keeping busy and seeming at peace but this does not last.

噩梦尚未结束，阿蒂桑发现兰宁医生已病入膏肓。

The nightmare is not over and Artisan finds Doctor Lanyon has fooled deadly ill.

死亡判决清晰地写在他脸上，据说他面容充满恐惧。

His death warrant was written legibly upon his face and his face was filled with terror we're told.

这发生在涉及杰基尔的神秘事件之后。

And this happens after a mysterious event involving Jekyll.

兰宁说他再也不想听到或见到杰基尔医生。

And Lanyon says he wishes to hear or see no more of doctor Jekyll.

我与那个人彻底了断了。

I am quite done with that person.

这让我们想起了什么？

What does that remind us of?

我视他为已死之人。

I regard him as dead.

现在，兰宁拒绝透露发生了什么，但他暗示自己目睹了某种恐怖且非自然的现象。

Now, Lanyon refuses to say what happened but he hints that he's witnessed something horrifying and unnatural.

而厄特森提到兰宁的'失去男子气概的状况'，这个说法很有意思。

And Utterson talks of Lanyon's unmanning condition which is an interesting phrase.

当时人们对'失去男子气概的状况'存在诸多恐惧。

There was a lot of fear around unmanning conditions at the time.

其中一种恐惧是对梅毒的恐惧，这种疾病在当时无法治愈，会使人发疯并随时间恶化。

One fear was the fear of syphilis which was incurable and sent people mad and worsened over time.

我的牛津导师梅斯文博士曾说过，维多利亚晚期哥特风格展现了文明被进步'去男性化'的现象。

My Oxford tutor, doctor Methvin, would talk of the late Victorian Gothic as showing civilization as being unmanned by progress.

我很喜欢'被进步去男性化'这个说法。

I love that phrase, unmanned by progress.

那是普罗米修斯式、浮士德式的探索，对火种的追寻，对答案的求索，而在追寻生命的过程中最终招致自身的毁灭。

It's that Promethean, Faustian searching, the questing for fire, the searching for answers and in searching for life ultimately securing one's death.

马克斯·诺尔道将维多利亚晚期称为'世纪末'，视其为道德与肉体双重堕落退化的时代。

Max Nordau would refer to the late Victorian era, the Fandiciecle as an era of degeneration and decay, moral and physical decay.

那是个腐朽与枯竭并存的年代。

This was an era of corruption and sterility.

但若回望这个时代的开端，我们能在玛丽·雪莱的《弗兰肯斯坦》中看到人们对以扭曲方式创造生命的痴迷。

But looking again to the start of the era we can see in Mary Shelley's Frankenstein the fascination with bringing life into the world but in a corrupted way.

弗兰肯斯坦博士从死亡中创造了生命。

Doctor Frankenstein brings life into the world out of death.

事实上，人类现在已经能够创造生命了。可悲的是，雪莱在写作时刚刚失去了她的新生儿，这种痛苦也融入了故事之中。

Now indeed one can already bring life into the world and tragically Shelley was writing off the back of having just lost her infant, her newborn, so that works its way into the story.

但从死亡中创造生命的想法确实可以说是令人沮丧的。

But the idea of bringing life out of death is quite unmanning indeed we might say.

然而许多人会悲剧性地亲身经历那种渴望——那种因深切悲痛而产生的复活死者或与逝者沟通的愿望。

And yet many will tragically know personally the painful desire, the wish to reanimate the dead or communicate with the dead and the dearly departed that arises from profound grief.

我们将继续看到《弗兰肯斯坦》这类作品中的评论在我们这个时代得到延续，但会以科幻小说的形式呈现，这些推测性小说领域存在大量交叉重叠。

We're gonna continue to see the commentary made in works like Frankenstein come through in our time but we're gonna see it in science fiction and there is a big overlap in these realms of speculative fiction.

厄特森收到了杰基尔的另一封信，信中写道'你必须允许我走自己的黑暗之路'，并说他已给自己招致无法言说的惩罚与危险。

Utterson receives another letter from Jekyll who says you must suffer me to go my own dark way and he says he has brought a punishment and a danger I cannot name on myself.

他自称是'罪人之首，受苦之冠'。

And he refers to himself as the chief of sinners and the chief of sufferers.

两周后，兰尼恩医生去世，他给厄特森留了另一封信，一封密封信函规定只能在杰基尔医生死亡或失踪后开启。

Now a fortnight on, doctor Lanyon dies and he leaves another letter for Utterson, a sealed letter to be opened only after doctor Jekyll's death or disappearance.

如果厄特森本人去世，这封信将未经拆阅即被销毁。

And if Utterson himself dies, the letter is to be destroyed unread.

厄特森将信锁进了保险柜。

And Utterson locks it away in a safe.

于是我们有了一个装着黑暗秘密的密封信封被锁在保险箱里，而杰基尔医生已退出社交圈并彻底自我封闭。

So you've got a sealed envelope with dark contents locked in a safe and we see doctor Jekyll has withdrawn from society and completely isolates himself.

在一个极具象征意义、令人毛骨悚然的噩梦般场景中，我们看到厄特森和恩菲尔德继续着他们的周日散步。

And in a really symbolically compelling and eerie and nightmarish scene we see the Utterson and Enfield continuing their Sunday walks.

他们停在杰基尔家门外，看到他古怪地坐在敞开的窗前，面色苍白神情痛苦。他们从窗外与他交谈片刻，起初气氛愉快，但突然杰基尔脸上浮现出惊恐表情，猛地关上窗户消失在视线中，彻底躲开了公众视野。

They stop outside of Jekyll's house and they see him bizarrely sitting at an open window and he looks pale and miserable and they speak, they speak to him from the window for a time, they speak pleasantly for a moment but then suddenly the expression on Jekyll's face transforms into terror and he slams the window shut vanishing from sight hiding away from public view.

随后我们看到杰基尔博士的管家普尔，某个深夜惊恐万分地拜访了厄特森先生，坚持要求他必须立刻前往宅邸。

And then we see that Poole, the butler of doctor Jekyll, late one night he visits mister Utterson in a state of terror and he insists you've got to come to the house.

我家主人遭遇了可怕的事。

Something terrible has happened to my master.

他的举止变得极其反常，您必须马上过去。

His manner has been altered for the worst and you've just gotta come.

情况很不对劲，他们穿过伦敦空荡的街道前行。

Something's not right and they make their way through the deserted streets of London.

那是三月里一个寒冷狂野的夜晚，苍白的月亮仰卧天际，仿佛被风吹斜了身子，薄纱般的云絮以最透明的蕾丝状飞掠而过。

It was a wild cold seasonable night of March with a pale moon lying on her back as though the wind had tilted her and a flying rack of the most diaphanous and lorney texture.

狂风让交谈变得困难，还把血色吹上了人们的脸颊。

The wind made talking difficult and flecked the blood into the face.

除此之外，这阵风似乎异常彻底地扫清了街上本就不多的行人。

It seemed to have swept the streets unusually bare of passengers besides.

阿特森先生心想，他从未见过伦敦的这个区域如此荒凉。

For mister Artesyn thought he had never seen that part of London so deserted.

当他们抵达宅邸时，那里诡异般寂静，只有杰基尔医生实验室里传出些奇怪声响——普尔认为被锁在里面的并非杰基尔医生，而是海德先生。

When they get to the house it is eerily quiet except for some strange noises coming from doctor Jekyll's laboratory and Poole believes that the man locked inside is not doctor Jekyll but really mister Hyde.

一个饱受折磨的声音从内部传出，向天哀嚎。

A tortured voice cries out from within crying out to heaven.

普尔坚信海德谋杀了杰基尔医生后仍将自己反锁其中，而阿特森思索着凶手为何要留在被害者身旁——这让我想起纪伯伦的箴言：被害者并非对自己被杀毫无责任。

And Pooh believes that Hyde has murdered doctor Jekyll and then remained locked in there and Utterson thinks why would the murderer stay beside the murdered which prompts me to think of Khalil Gibran's maxim, the murdered is not unaccountable for his own murder.

被害者与凶手实为一体两面。

Murdered and murderer are one and the same.

普尔说那个柜子里住着的'他'或'它'，日夜哭喊着要某种药物，却始终无法如愿以偿。

Poole says him or it or whatever it is that lives in that cabinet has been crying night and day for some sort of medicine and he cannot get it to his mind.

里面的人不断差遣他们去药房取特定化学品，却总以'纯度不足'为由拒绝每一批药物，声称对其当前用途毫无价值。

The man inside has kept sending them to fetch certain chemicals from druggists but keeps rejecting every batch saying that it's impure and useless for his present use.

普尔向阿特森出示了杰基尔写的字条，上面正苦苦哀求他们送来那种药物。

Poole presents Artisan with a note from Jekyll which is imploring them for the drug.

求求你，我需要这种药，我需要这些化学品。

Please I need this drug, I need these chemicals.

所以我们再次看到，这个故事涉及许多主题，但本质上是一个关于毒瘾的故事。

So again we see that this is a story about many things but it's a story about drug addiction.

普尔看见那个东西——那个绝非我主人的生物——在箱子里翻找，同时痛苦地哭喊着。当它看见我时，它尖叫起来。

Poole saw that thing, that thing which was not my master searching through crates as he cried out in pain and when it saw me, it cried.

为什么它会像老鼠一样尖叫然后从我面前逃走？

Why did it cry like a rat and then run from me?

他将这个生物描述为侏儒般的，并再次确信谋杀已经发生。

And he describes the creature as dwarfish and is again convinced that murder has been done.

现在，在一个极具视觉冲击力的场景中，阿蒂桑和普尔用斧头破门而入，他们眼前发现了什么？

Now in a really visually powerful scene, Artisan and Poole break down the door with an axe and what do they discover before them?

他们发现了海德先生的尸体。

They discover the body of mister Hyde.

看似自杀身亡，但身体扭曲且仍在抽搐。

Dead seemingly by suicide but contorted and still twitching.

就在正中央躺着一具痛苦扭曲、仍在抽搐的男子尸体。

Right in the midst there lay the body of a man sorely contorted and still twitching.

他们踮着脚尖靠近，将尸体翻转过来，看到了爱德华·海德的脸。

They drew near on tiptoe turned it on its back and beheld the face of Edward Hyde.

他穿着过于宽大的衣服——那是医生尺寸的衣物，面部肌肉仍在抽动似有生机，但生命已彻底消逝。

He was dressed in clothes far too large for him, clothes of the doctor's bigness, the cords of his face still moved with a semblance of life but life was quite gone.

从手中碾碎的药剂瓶和空气中弥漫的强烈杏仁味，阿蒂桑意识到他眼前是一具自杀者的尸体。

And by the crushed file in the hand and the strong smell of kernels that hung up on the air, Artisan knew that he was looking on the body of a self destroyer.

于是他们面前的海德穿着明显是杰基尔尺码的过大衣服，却找不到杰基尔医生生死存亡的踪迹，只有他实验用的各种盐类和化学品散落四周。当他们搜查住所时，最令人毛骨悚然的发现之一便是那面铲形玻璃——也就是镜子。

So they've got Hyde before them wearing clothes that seemed to be Jekyll's clothes too big for him but there's no sign of doctor Jekyll dead or alive but the salts and chemicals that he had been experimenting with are all around and they search the abode and one of the eeriest things they come across is the shovel glass which is the mirror.

随后出现了令人不安的一幕：我们被告知他们走向镜子，不自觉地带着恐惧凝视镜中深处。

And there's an uncanny moment where we're told they came to the mirror into whose depths they looked with an involuntary horror.

这难道不引人入胜吗？

Isn't that fascinating?

为何在这犯罪现场——这个你原以为是谋杀或自杀的现场，虽不清楚具体发生了什么，但显然发生了某种恐怖邪恶之事。

Why at this scene of the crime, a scene that you've taken for murder or suicide, you don't know quite what's gone on but something horrific and evil has taken place.

为什么照镜子会让你脸上浮现出不由自主的恐惧？

Why is it looking in the mirror brings about a look of involuntary horror upon your face?

你在镜中看到了什么？

What do you see in the glass?

你看到了你自己。

You see yourself.

潜意识里，他们可能已经对这个情况有了什么直觉？

Unconsciously, what do they already potentially intuit about this situation?

现在他们在桌上发现了一份新遗嘱，将所有财产留给厄特森而非海德。

Now on the desk, they find a new will leaving everything to Utterson instead of Hyde.

他们还发现了一封信，请求厄特森阅读兰宁医生的叙述，并找到了一份由杰基尔密封的自白书，解释了整个事件的来龙去脉。

And they find a letter asking Utterson to read doctor Lanyon's narrative and they find a sealed confession written by Jackal explaining the whole story.

厄特森离开房子，希望能最终了解真相，我们在接近结尾处看到一章，倒数第二章，是以拉尼翁医生的一封信的形式呈现的。

Utterson leaves the house in the hopes of learning the truth at last and we get a chapter right near the end, the second last chapter which takes the form of a letter written by doctor Lanyon.

在这段叙述中，拉尼翁描述了某晚收到杰基尔医生的奇怪请求：去他家从实验室取一个抽屉，交给一个以他名义前来的人，此人会在午夜时分来取——而这个人正是海德。

And in this narrative Lanyon describes the strange request one night he received from doctor Jekyll to go to his house, take a drawer from the laboratory and to give it to a man who will present himself in my name, who would collect it at midnight and this man turned out to be Hyde.

海德喝下抽屉里的药剂，在他眼前变回了杰基尔医生。

Hyde drank the potion from the drawer and transformed before his eyes into Doctor Jekyll.

这里我们得知一个真相：这两个人实为一体，他们本是同一人。这一真相摧毁了兰尼恩对理性的信仰和对科学的信心，最终导致他迅速衰弱并死去。

And here we get the revelation that these two men were one, they were one in the same person and this revelation destroyed Lanyon's belief in reason and his faith in science and ultimately led to his swift decline and death.

或许他不告诉厄特森，就是为了让他免遭同样的命运。

Perhaps his not telling Utterson was his sparing him the same fate.

非常有趣的是，在我们今年录制的硬核文学读书会开始时。

It's very interesting at the Hardcore Literature Book Club we began this year at time of recording.

我们从冬去春来时开始这一年，阅读了奥维德的《变形记》。

We began the year as winter went into spring by reading Ovid's Metamorphoses.

但现在我们在秋去冬来时结束这一年，再次在虚构作品中见证另一种变形。

But now we end the year as autumn rolls into winter and we see again another transformation in fictive form.

我们看到人类向更卑劣生物的转变，又再度变回的过程。

We see the transformation from human to baser creature and back again.

关于变形，值得玩味的是：这究竟是真正的蜕变，还是我们最终变成的模样本就一直潜藏在我们体内，始终存在？

The interesting thing to ponder when it comes to transformation is, is it really a metamorphosis or is what we transform into ultimately something that was already always within us, it was always there.

我们收到了兰宁的这封信，值得注意的是这个叙事被精心构建的框架结构，以及文本中层层递进的抽离与包裹手法，非常具有哥特风格。

So we get this letter from Lanyon and it's interesting to note the framed nature of the narrative and the layers upon layers of removal or enveloping in this text that's very gothic.

我们先是听到阿特森讲述故事（当然最初他是从恩菲尔德那里听来的），然后他转述了兰宁的叙述，而兰宁的叙述中又包含了杰基尔的一封信。

We've got Artisan telling his story of course initially he heard a story from Enfield but he's telling a story and then he tells the story of Lanyon's narrative which then tells a further story and within which contains a letter from Jekyll.

这些层层嵌套的结构就像俄罗斯套娃一样。

So we've got these layers upon layers like Russian dolls.

这是展现杰基尔与海德真实情况的绝妙叙事手法。

It's a great way, great narrative figuration of showing what's really going on with Jekyll and Hyde.

海德对兰宁说：'一个全新的知识领域和通往名利的道路已向你敞开，你将亲眼见证足以撼动撒旦不信者的神迹。'

And Hyde said to Lanyon, a new province of knowledge and avenues to fame and power lay open to you and your sight shall be blasted by a prodigy to stagger the unbelief of Satan.

'你这个否定超验医学价值的人，你这个藐视权威的人，看好了。'

You who have denied the virtue of transcendental medicine, you who have denied your superiors, behold.

然后他开始融化、变形、改变。

And there he melts and alters and changes.

他将玻璃杯举到唇边，一饮而尽。

He put the glass to his lips and drank at one gulp.

一声惨叫随之而来。

A cry followed.

他踉跄后退，摇摇晃晃，抓住桌子支撑身体，瞪大充血的双眼，张大嘴巴喘息着。

He reeled, staggered, clutched at the table and held on staring with injected eyes, gasping with open mouth.

就在我注视时，我察觉到某种变化正在发生。

And as I looked there came I thought a change.

他的身体似乎膨胀起来，脸色突然变得乌黑，五官开始扭曲融化。下一秒我已跳起来退到墙边，举起手臂抵挡这骇人的景象，内心被恐惧彻底淹没。

He seemed to swell, his face became suddenly black and the features seemed to melt and alter and the next moment I had sprung to my feet and leapt back against the wall, my arm raised to shield me from that prodigy, my mind submerged in terror.

'天啊！'我尖叫道。

Oh God, I screamed.

'天啊！'我一遍又一遍地喊着。因为在我眼前，面色惨白、浑身发抖、几近昏厥的杰基尔正用手摸索着前方，就像从死亡中复活的人。

Oh God, again and again for there before my eyes pale and shaken and half fainting and groping before him with his hands like a man restored from death.

站在那里的是亨利·杰基尔。

There stood Henry Jekyll.

兰扬说：'我的生命根基已被彻底撼动。'

My life is shaken to its roots, Lanyon says.

睡眠已离我而去。

Sleep has left me.

致命的恐惧日夜不离我左右。

The deadliest terror sits by me at all hours of the day and night.

我感到自己时日无多，必将走向死亡。

I feel that my days are numbered and that I must die.

那夜潜入我屋的生物，根据杰基尔亲口供认，正是那个名叫海德、作为卡鲁谋杀案凶手被全国通缉的家伙。

The creature who crept into my house that night was on Jekyll's own confession known by the name of Hyde and hunted for in every corner of the land as the murderer of Karru.

读者们翘首以盼的时刻终于到来，我们迎来了第十章，也是最终章——亨利·杰基尔关于案件的全部陈述。

And the moment that readers have all been waiting for, we get the tenth chapter, the final chapter is Henry Jekyll's full statement of the case.

我认为这是作品绝对震撼的高潮，或者说终章，是我读过最精彩的结局之一。

And I think this is an absolutely incredible climax or concluding chapter of a work, one of the best that I have read.

这最后一章向我们展示了杰基尔医生的完整自白，揭露了医生外表下的人性，以及人性背后隐藏的兽性。

This final chapter gives us doctor Jekyll's full confession and reveals the man behind the doctor and the beast behind the man.

在这份自白中，我们得以知晓他创造海德先生的方式与动机、变身的全过程，以及这一切如何最终毁灭了他。

And in this confession we get the how and the why of his creation of mister Hyde, the transformation and how it ultimately destroyed him.

吉柯博士写道，他长期以来对生活的两面性——善与恶——抱有深厚的科学兴趣，并且对人性的双重本质极为关注，甚至可以说是痴迷。

Doctor Geckel writes that he long had deep scientific interest in the duplicity of life, good versus evil and he was keenly interested or indeed obsessed with man's dual nature.

人类既有道德与理性的一面，但我们无法否认人也有其低劣的冲动。

Man had a moral and intellectual side but we cannot deny that man has his baser impulses too.

人并非真正单一，而是真正双重的存在。

Man is not truly one but truly two.

在目睹体内这两种本性的角力后，他开始思考：即便我确实可以被定义为其中任一，那也只是因为我从根本上同时兼具两者。

And witnessing the contest between these two natures within himself, he started to think even if I could rightly be said to be either, it was only because I was radically both.

所以我既是所行之善，亦是所为之恶。

So I'm the good that I do, I'm the bad as well.

无论我们如何否认，如何试图隐藏，内心的邪恶与善良同样真实存在——它们相互冲撞，彼此角力。吉柯的假说是：若能将这两种冲动分别安置于不同人格中，生命便能摆脱所有不可承受之重。

As much as we try to deny it, as much as we might want to hide it, the evil within us is a present force as is the good and these two clash, they butt heads and Jekyll's hypothesis was that life would be relieved of all that was unbearable if each of these impulses could be housed in separate identities.

这样你既能让肆意妄为的邪恶面获得满足，同时也保留着善良的本性。

So you had your evil side that can run amok and delight in it and you had your good side too.

于是他开始实验，寻找能导致这种人格分离的特定药剂，最终配制出一种撼动人格根基的化合物。

And so he experimented finding certain agents that could lead to such dissociation compounding a drug that shook the fortress of identity itself.

1931年的那部电影，你真的应该看看。

And the 1931 film, you really should watch that.

它以非常视觉化的方式完美捕捉了这种分裂，并且真实展现了十九世纪达尔文理论带来的焦虑，这种焦虑正是源于达尔文的进化论。

It really captured this split perfectly in a really visual way and it really captured the nineteenth century's Darwinian anxiety because this is an anxiety that came about by virtue of Darwin's evolutionary theory.

我们看到电影中那个被雇佣的生物非常像灵长类动物，一个类猿的形象，一个原始的形象。

We see that the hired creature in that film is very much a primate figure, an ape like figure, a primitive figure.

另一部我非常推荐的好电影是六十年代初的汉默恐怖片，那部不太出名的《杰基尔博士的面具》

Another great film that I really highly recommend is the hammer horror film from the early nineteen sixties, the lesser known hammer horror called The Face of Doctor Jekyll.

这太棒了，因为它们为故事增添了更多内容。

That's brilliant because they add so much more to the story.

它们丰富了他的人际关系。

They add his relationships.

它们充实了杰基尔医生的生活，里面还有一些精彩的台词。

They fill out Doctor Jekyll's life and there's some fantastic lines in there.

从电影一开始，这就是对史蒂文森故事一个极具灵感的补充。

A really inspired addition to Stevenson's story in that film right from the very start.

杰基尔博士谈到他解放内心生物的实验中，因为有两种力量在体内争夺主导权，他说存在两个自我。

Doctor Jekyll talks about his experiments in freeing the creature within because there are two forces within struggling for supremacy and he says there are two beings.

一是人可能成为的样子——超越善恶；二是人将会成为的样子——同样超越善恶。

One, man as he could be which is beyond good and evil and two, man as he would be which is also beyond good and evil.

这听起来很像尼采的超人理论，不是吗？

This sounds very much like Nietzsche's Ubermensch doesn't it?

那个超越善恶的人。电影中有人问杰基尔博士（这句台词很棒）：'亨利，你能用手术刀将人性中的恶切除吗？'

The man who rises above good and evil And doctor Jekyll's asked in that film and this is a great line, will you cut evil out of man with a scalpel, Henry?

我们始终处于这种张力之中，就像在野兽与天使之间的钢丝上行走。

We've always had this tension that we're tightrope walking partway between beast and angel.

这在文艺复兴时期的世界观中尤为明显，正是哈姆雷特的焦虑所在。

We see this in the renaissance model of the world, that was Hamlet's anxiety.

人类是多么了不起的杰作啊。

What a piece of work is a man.

文艺复兴时期的焦虑在于：人类被留待自行划定人性的边界。

The renaissance anxiety is that man is left to ordain the limits of his own humanity.

我们会升华还是堕落？

Will we rise or will we fall?

我们在东方哲学和精神实践中也能看到这种渴望超越痛苦与快乐的追求，因为正如弗洛伊德所言，它们本质上是同源的。

And we see this all the way back in the eastern philosophies and spiritual practices with that desire to rise above both pain and pleasure alike because as Freud would say they are ultimately of the same substance.

于是杰基尔对他的工作变得痴迷。

So Jekyll became obsessed with his work.

他变得孤僻离群，被各种念头占据——痴迷本身就是一种附体状态。

He became solitary and reclusive and possessed by ideas and obsession is possession.

我们在'硬核文学读书会'的讲座中多次探讨过附体现象。

We've spoken about possession a lot in our lectures of the Hardcore Literature Book Club.

我们曾在《失落的斯特拉迪瓦里》里与丽贝卡讨论过附体。

We've spoken about possession with Rebecca with the Lost Stradivarius.

当你沉浸于工作时，总想进入那种心流状态——仿佛有股恶魔般的、创造性的、超自然的、神圣的力量正通过你发挥作用。

And when you are immersed in your work, you wanna access a flow state where it feels like a demonic creative otherworldly divine force is working through you.

这种心流状态能推动你前进、创作、赋予事物生命，但心流也有其阴暗面。

That flow state helps you move along and produce and create and bring things to life but there's a dark side to flow.

还有一种更为阴暗的状态，你会感觉某种非你本我、或是你试图隐藏压抑的那部分自我正在攫取你的掌控权。

There's something much much darker where you also feel like something that is not you or is a part of you that you would like to hide away, shut away is grabbing hold of you too.

令你痴迷的事物最终可能反过来支配你。

That which obsesses you can end up possessing you.

杰基尔在自白书中说道，他以为邪恶的那部分自我可以摆脱正直另一半的抱负与悔恨，独自前行。

And so Jackal says in his confession that he thought that the unjust might go his way delivered from the aspirations and remorse of his more upright twin.

关于抱负与悔恨——我们内心既有不愿追求崇高的部分，也有想要摆脱道德负担的一面，那种总觉得自己行径不义的罪恶感。

So aspiration and remorse, there's a part of us that does not want to aspire for higher and there's a side of us that does not want our conscience that burden of guilt always feeling like I've done something unjust.

要是我们身上卑劣的兽性部分能够自行其是就好了。

If only the baser animalistic side of us could go his own way.

他写道：这就是人类的诅咒——这两个对立面永远纠缠不休。

It was the curse of mankind he writes that these two were bound together continually struggling.

善与恶的战争在我们体内持续上演。

The battle between good and evil takes place within us.

杰基尔说他开始觉察到这具看似实在的躯壳里，存在着颤抖的虚无，如同雾霭般转瞬即逝的本质。

And Jekyll says that he began to perceive the trembling immateriality, the mist like transients of this seemingly so solid body in which we walk attired.

人类生活的宿命与重担，在于试图摆脱永远束缚在肩头的东西，越是努力挣脱，它越会以更可怕的压力重返我们身上。

The doom and burden of man's life is in attempting to cast off what is forever bound to his shoulders and the more you try to cast it off the more it returns upon us with even more awful pressure.

于是杰基尔医生找到一种方法，在保持体面文明外表的同时，将卑劣的自我分裂成另一个人格，从而以另一个身份享受作恶的快感，使杰基尔的良知免受谴责。

And so doctor Jekyll found a way to keep his respectable civilized front whilst splitting off his baser self into another, so as to delight or take pleasure in evil doing as another, thus sparing the conscience of Jekyll.

他说当自己变得十倍的邪恶，成为原始恶念的奴隶时，反而感到更年轻、更轻盈、更快乐。

And he says that he felt younger, lighter and happier when tenfold more wicked and sold as a slave to his original evil.

弗拉基米尔·纳博科夫在解读这部中篇小说时指出，这里实际上并非只有杰基尔医生和海德先生两个人格。

Now Vladimir Nabokov in his reading of the novella points our attention to the fact that there aren't actually just two personalities here, doctor Jekyll and mister Hyde.

人并非真正的一体，而是二元的，但也不仅仅是两个。

Man's not truly one but two, there's not two.

杰基尔本人强调这一点：你有海德，那是一个人格。

Jekyll himself emphasizes this, you've got Hyde, that's one personality.

海德是纯粹的恶，但这并不意味着杰基尔就是纯粹的善。

Hyde is pure evil but that does not mean that Jekyll is pure good.

这个人并非纯粹的善，他并非与内心罪人完全对立的圣人。

The man is not pure good, he's not the total saint in opposition to the sinner within him.

他只是一个普通人。

He's just a normal human.

所以他的本性已经是善与恶的混合体。

So his baseline is already a mixture of good and bad.

他并非纯粹的善，而是善恶兼具。

He's not pure good, he's good and bad.

有时品德高尚，有时道德冷漠，有时会做出让自己后悔的事。

Sometimes virtuous, sometimes morally indifferent, sometimes doing things he wished he hadn't.

所以杰基尔既是善也是恶，包含着海德那部分纯粹的恶的一小部分。

So Jekyll is good and evil and contains a small percentage of the pure evil of Hyde.

海德是纯粹的恶，因此在体型上比杰基尔更小，这显示了退化，显示了精神上的堕落或萎缩。

Hyde is pure evil and so smaller than Jekyll in stature that shows the degradation, that shows the spiritual fall or the shrinking.

他像俄罗斯套娃一样紧密地嵌套在杰基尔体内，那是某种低劣的东西，是我们试图掩盖的东西。

He fits compactly within Jekyll like a Russian doll, it's something base, something that we try to cover up.

但那里还存在第三种人格。

But there's a third personality there as well.

海德先生虽然是纯粹的邪恶，但体内也残留着少量杰基尔的痕迹。

You've also got Hyde, mister Hyde with a small amount of Jekyll residue within him too even though he's pure evil.

海德这个角色还拥有杰基尔的记忆，但他憎恨杰基尔。

You've also got this element of Hyde where he has the memories of Jekyll but he hates him.

他极度憎恨这个更为正直的双胞胎。

He absolutely hates this more upright twin.

这非常有趣，我们在无敌浩克身上看到了明显受海德和弗兰肯斯坦启发的影子。

It's very interesting we see with the incredible Hulk who was very much inspired by both Hyde and Frankenstein.

浩克会变大，但史蒂文森故事中的海德先生却在缩小。

The Hulk grows in size but mister Hyde in Stevenson's story shrinks.

他被描述为一个畸形的侏儒或类猿的野蛮人。

He's described as a deformed dwarf or an ape like brute.

较小的版本嵌套在较大的版本之中。

The smaller version fits within the bigger version.

因此邪恶并非我们变成的东西，而是早已存在于我们体内、我们堕落或萎缩后显现的本质。

So the evil is not something we become, it's something already housed within us that we descend to or fall to or shrink to.

邪恶潜伏在我们每个人心中，尼采深知这一点，他会说：你的怯懦并非道德。

Evil lies dormant in all of us and Nietzsche knew this and he would say, your cowardice is not morality.

仅仅声称'我不会'并不意味着你真的不会。

Just because you say I wouldn't doesn't mean you really wouldn't.

它通常意味着'我不能'。

What it often means is I can't.

你不应该做是因为我不能做——如果我能的话我会做，但我要公开宣称我不会做。

You shouldn't because I can't and I would if I could but I'm gonna say publicly I wouldn't.

威廉·布莱克告诉我们：放纵之路通向智慧之宫，你永远不知道什么是足够，直到你知道什么是过度。

William Blake would tell us that the road of excess leads to the palace of wisdom and you never know what is enough until you know what is more than enough.

如果我们彻底追随黑暗冲动，最终应该能抵达某种神圣的善，某种美德——在那里我们会发现自身道路的错误，但谁愿意走那条路呢？

If we are to follow the darker impulses all the way through, we should on the other side arrive at some divine good, some sort of virtue where we discover the error of our ways but who wants to take that road?

谁愿意踏上那条道路？

Who wants to go down that road?

问题是，我们都会以这样或那样的方式走上那条路——试炼之路、犯错堕落之路、做出明知不该为之事的道路。

The thing is in one way or another we all travel that road, the road of trials, the road of mucking up and falling and doing what we know we're better than.

我们都曾经历过，也都将继续经历这些。

We've all been there, we all will continue to go there.

但关于这些人格面具的有趣之处在于，如果我们将其提取并试图认同它，有些日子里我们只是邪恶或潜在邪恶的一小部分，被稀释在更宏大的善我之中。

But the interesting thing about these personas if we extract it and try to identify with it, some days we are just a small percentage of evil or evil potential, evil diluted within the grander self, the good self.

而在其他日子里，我们内心的恶念会更容易浮出表面。

Whilst other days, our evil impulses can rise closer to the surface.

就连厄特森也说过这样的话，他回想自己做过的一切坏事，还有那些他本可以做却克制住没做的恶行。

Even Utterson said this, he thought about all the bad things he did but also the bad things that he didn't do that he could've that he stopped.

但大多数日子里，我们都是两者的混合体，从未完全善良，也从未彻底邪恶，而是持续经历着一种内在的张力，这两种极端对立面之间痛苦的拉扯，这正是人类的诅咒。

But most days we are a blend of the two, never wholly good, never wholly bad, but experiencing a constant internal tension, a painful tension between these two polar opposites and this is the curse of mankind.

史蒂文森其实预见了弗洛伊德的精神分析理论，以及他关于我们心理分裂状态的解读。

Stevenson really anticipates Freudian analysis and Freud's understanding of the split within our psyches.

可以说杰基尔医生代表自我——体面、表象、文明化的外壳，而海德先生则是本我——冲动、不道德、兽性的驱动力与欲望。

We might say that Doctor Jekyll is the ego, he's respectability, surface, the civilized self whilst mister Hyde is the id, the impulsive, immoral, animalistic drive and desire.

当然还有那个理性化的存在——超我，也就是叙述者，或者说是杰基尔分裂出来专门评论这两重自我的第三视角，它见证着两者间的斗争。

And then of course, you've got the rationalizing entity, the superego which is the narrator or indeed the extra split off self that Jekyll makes to comment upon these two selves who's witnessing the struggle between the two.

杰基尔在他的自白中承认，他最初很享受作为海德的自由。

And Jekyll in his confession admits that he initially enjoyed his freedom as Hyde.

海德比他邪恶十倍，他沉醉于自己能够作恶的快感中，但放纵一段时间后，他又想变回去，他想成为杰基尔，他想摆脱海德，他厌恶自己的所作所为，甚至在海德体内时，当海德实施这些恶行时，他开始渴望回归本我。

Hyde was tenfold more wicked and he enjoyed the evil that he was able to do but after indulging it for some time, he wants to change back, he wants to be Jackal, he wants to be rid of Hyde, he doesn't like what he's doing and even within Hyde, whilst Hyde's doing all of this, he starts to yearn to go back.

杰基尔渴望放纵海德的自由，但当他化身为海德时，仍有部分自我残留其中。

Jekyll yearns to indulge the liberty and freedom of Hyde but a bit of him remains behind when he's in Hyde.

因此我们必须强调，这并非一个好人彻底蜕变成恶人的过程。

So we stress this is not a complete metamorphosis with a good man transforming into an evil one.

我们看到的只是杰基尔医生体内本就存在的邪恶，在他选择的药物作用下浮出水面并占据主导。

We're just seeing the evil already present within doctor Jekyll brought to the surface given domination by the administration of his drug of choice.

他服用这种药物越多，就需要更大剂量才能维持杰基尔的状态，避免变成海德。

And the more he takes this drug, the more he has to take to remain Jekyll and avoid Hyde.

过去他服药是为了变成海德。

He used to take it so that he could turn into Hyde.

如今他成了海德，却要服药才能变回杰基尔。

Now he is Hyde and he has to take it to be Jekyll.

他已变得恶多于善，这意味着现在若没有药物，他就需要靠药物来保持稳定，需要药物来维持些许体面，否则他将永远沦为原始的野兽本性。

He has become more evil than good and that means now without the drug, he needs the drug to be stable, he needs the drug to remain somewhat respectable otherwise he's gonna be his base animal self forever.

任何与成瘾抗争过的人都视此故事为一面镜子，我们在其中处处看到自己的影子，当然我们也记得史蒂文森创作这个故事时正深陷成瘾的泥潭。

Anyone who's ever struggled with addiction sees this story as a mirror, we find our signature all over it and we remember of course that Stevenson was in the grips of addiction when writing this story.

他并非凭空编造这个故事，而是源自痛苦而私密的亲身经历。

He did not fabricate this tale without painful intimate personal experience.

这源于他内心深处恶魔般的存在，而成瘾正是打开内心邪恶之门的万无一失的途径。

It came from somewhere deep and demonic within him and developing a drug addiction is an absolutely foolproof way of accessing that evil within.

若你想逐渐走上一条极其黑暗的道路，那就培养一个习惯，染上一种瘾。

If you want to suddenly start going down a very dark path indeed over time develop a habit, develop an addiction.

我们都清楚成瘾者的双重生活或隐秘生活。

We all know about the double life or the secret life of addicts.

我们看到杰基尔医生其实就是个典型的瘾君子。

We see doctor Jekyll is just an archetypical drug addict really.

我们看着他试图通过计划赎罪来合理化过去的不良行为——‘哦我要行善补偿’，同时也表现出想要疏远、甚至将那个黑暗自我视为他人的欲望。

We see him trying to rationalize his past bad behavior by planning to atone for it now, oh I'll be good to compensate and also showing desire himself, to distance himself or even seeing that darker self as another.

那不是我。

That wasn't me.

你知道我不是那样的人。

You know I'm not like that.

我们都听过瘾君子说这句话，也许我们自己也曾说过——那不是我。

We've all heard someone say that when they're in the grips of addiction perhaps we've said it ourselves, that's not me.

但如果你做了，那就是你。

Well if you did it, it is you.

你不喜欢这样，但那确实是你，是你的一部分。

You don't like it but it is you, it's a part of you.

这是瘾君子在逃避责任。

This is the addict fleeing from responsibility.

杰基尔黑暗的秘密在于，他内心存在渴望施加痛苦的欲望，因此他创造了另一个身份来享受这种施虐快感。

The black dark secrets of Jekyll are the fact that there's something inside him that lusts to inflict pain so he creates a separate identity in order to relish that sadism.

但此刻我们看到，海德已成为杰基尔的本性，而杰基尔的人格正在消退、萎缩并逐渐消失。

But we see at this point Hyde is Jekyll's character, Jekyll is receding and diminishing and disappearing away.

当然，这里仍然存在对海德恶习的浪漫化和美化。

Of course there's still this romanticizing and glorification of the vice of Hyde.

即使当他不想与他有任何瓜葛时，他仍会说他对生活的热爱是美妙的。

Even when he wants nothing to do with him, he says his love of life was wonderful.

我们再次联想到毒瘾问题。

And again we can think of drug addiction.

瘾君子会回顾他们最糟糕的时期，当他们跌入谷底，灵魂最黑暗的夜晚时——即使已经远离那种状态，即使在康复期，他们仍会怀念那些糟糕的时光，因为当时感觉有多好。他们可能会美化，可能会美化事情即将失控前的那段时光，虽然所有人都看得出情况已经非常糟糕。但嘿，你当时感觉还挺不错。当然，在这种追求快感的过程中，他们实际上是在自我伤害，变成了自我毁灭者，并在此过程中摧毁着社会，因为我们彼此相连。可以说，你对自己所做的，往往也会对他人做。

Drug addicts will look back on the times when they were at their worst, when they were at bomb, during their darkest nights of the soul and still even distance from it, even in recovery, they will miss those bad times because of how good they felt and they might romanticize, they might romanticize about the time just before things spiraled out of control but everyone can see things went to a really bad place but hey, you felt pretty good But of course in that pursuit of pleasure one is actually committing self harm, they're becoming a self destroyer and in that destroying society along the way because we are all one another and we might say that that which you do to yourself you often do to others.

一次又一次，神秘主义、宗教和灵性教导告诉我们：快乐是通往痛苦的陷阱。

Time and again the mysticisms, the religions, the spiritual teachings teach us that pleasure is a trap leading to pain.

短期快乐会导致长期痛苦。

Short term pleasure leads to long term pain.

即时满足会带来长期折磨，反之亦然。

Instant gratification leads to long term suffering and vice versa.

因此有种感觉认为，终极自由实际上是一种痛苦的禁锢。

And so there's a sense that ultimate freedom is actually a painful imprisonment.

我们需要为自己设定一些限制和约束才能获得真正的自由，因此不满的文明社会得以建立。

We need to ordain some limits and some constraints for ourselves in order to be free and thus discontented civilized society is erected.

杰基尔在自白书中说，他感觉自己像个家中的陌生人。

In his confession, Jekyll says he felt like a stranger in his own house.

所有我们遇见的人类都是善恶的混合体，而爱德华·海德在人类行列中却是纯粹的恶，最终他作为海德被囚禁，良知微弱遥远的声音呼喊着：这不对，我想回去，我改变主意了，请放了我。

All human beings as we meet them are commingled out of good and evil and Edward Hyde along in the ranks of mankind was pure evil and he ends up trapped as Hyde with the dim receding distant voice of his conscience crying out this isn't right, I wanna go back, I changed my mind, please release me.

在书的最后自白部分，我们看到杰基尔的心理进一步分裂破碎。

By the very ends of the book in the confession we see that the psyche of Jekyll is fractured and split even further.

于是你有了海德，有了杰基尔，还有另一个自我。

So you've got Hyde, you've got Jekyll and then you've got this other self.

他现在与这两个实体都分离了，不认为自己属于其中任何一个。

He's now detached from both of these entities and does not see himself as any of them.

此时他除了终结这两者——也就是终结他自己——还能做什么呢？

And what is he to do at this point other than bring an end to both of them and thus himself.

可惜药物失效了。

Unfortunately the drug stopped working.

他最初使用的药剂中存在某种杂质，使他得以体验那种奇妙的转变感受，但如今这种感觉已不复存在，他现在被困在最糟糕的状态中——这在我看来就像药物逐渐失效，你需要服用越来越多才能勉强维持正常状态，不再是为了获得快感，而是为了感觉正常。然而无论你服用多少，最终都只会感觉自己像个怪物。

There was an impurity in the batches that he used initially that gave him access to this wonderful feeling of transformation that's no longer and now he's trapped at his worst which sounds to me just like a drug wearing off losing its efficacy until you need to take more and more just to hit baseline, to feel normal, no longer to feel good and then no matter how much you take you end up feeling like a monster anyway.

杰基尔医生服用了刚好足够的最初那批有效的不纯药剂，在知道自己即将永远被吞噬之前，写下了这份最后的忏悔。

Doctor Jekyll takes just enough of the original impure batch that actually worked to write out this last confession before he knows that he's going to be subsumed forever.

他说半小时后，当我将再次且永远披上那令人憎恶的人格时，我知道自己将会坐在椅子上颤抖哭泣。

Half an hour from now he says, when I shall again and forever reindue that hated personality, I know how I shall sit shuddering and weeping in my chair.

他不禁思索：海德是会死在绞刑架上，还是能在最后一刻鼓起勇气自我解脱？

And he wonders, will Hyde die upon the scaffold or will he find the courage to release himself at the last moment?

上帝知道，我已毫不在意。

God knows, I am careless.

这是我真正的死亡时刻，之后发生的一切都与另一个自我有关，而不再关乎我本人。

This is my true hour of death and what is to follow concerns another than myself.

此刻，当我放下笔准备封存这份忏悔时，我就要结束那个不幸的亨利·杰基尔的生命了。

Here then, as I lay down the pen and proceed to seal up my confession, I bring the life of that unhappy Henry Jekyll to an end.

尽管这听起来相当悲惨，但其中仍闪烁着一丝希望。

And though that sounds rather disastrous, there is a glimmer of hope nonetheless.

他深知自己即将永远失去自我，那个正直善良的自我。

There he knows that he's gonna lose himself, the self, the good upright self forever.

他将失去杰基尔，因此写下这份忏悔录。

He's gonna lose Jackal so he writes his confessional.

他感到需要卸下重担，做最后一件事——坦白承认，直面自己的罪行。

He feels that he needs to deburden himself and do one last thing, confess and admit, look the wrongdoing in the face.

他封存了忏悔录，然后变回海德，接下来发生了什么？

He seals his confession and then he goes back to Hyde and what happens?

与继续杀戮狂欢最终死在绞刑架上不同，这个卑劣纯粹的海德先生似乎还残留着些许良知。

Rather than continuing on a killing spree and then dying on the scaffold, it does seem that this base evil, pure evil mister Hyde, there is some remnant of the conscience still left.

他决定结束自己的生命。

He decides to take his own life.

当然，史蒂文森的这个结局是刻意保持模糊的。

Now Stevenson's ending of course is deliberately ambiguous.

如果你以纯粹的悲剧模式、绝望的视角来解读结局，或许海德自杀只是出于懦弱的自利——当他意识到自己终将被捕处决时选择逃避。这样我们看到邪恶自我毁灭了。

If you read the ending purely in the tragic mode, in a mode of despair, then perhaps Hyde killed himself only out of cowardly self interest as a way to escape capture when he realizes that it is inevitable that they will kill him anyway and so we see that evil has destroyed itself.