第243集...《哈姆雷特》——威廉·莎士比亚

大家好。

Hello, everyone.

我是斯蒂芬·韦斯特。

I'm Stephen West.

欢迎收听《哲学化》。

This is Philosophize This.

请访问 Patreon.com/philosophizethis。

Patreon.com/philosophizethis.

在 Substack 上阅读我的哲学文章，搜索 philosophize this。

Philosophical writing on Substack at philosophize this on there.

希望你们今天喜欢这期节目。

I hope you love the show today.

今天，我们要讨论莎士比亚的戏剧《哈姆雷特》。

So today, we're talking about the play Hamlet by Shakespeare.

这是我们第三次探讨他的作品，这次我想做一些更有启发性的事情。

And this being the third episode we've done on his work, I want to do something a little more inspirational this time.

通常，我们会讨论这部剧的情节。

See, usually, we talk about the events of the play.

我们会引用那些毕生研究莎士比亚的人的分析，这些内容在这集中当然也会出现。

We give analysis from people who have dedicated their lives to Shakespeare, and both those will certainly be in this episode.

但今天我想做的是，鼓励你以一种不同的方式去阅读这类经典文学作品。

But the thing I want to do that's a bit more today is to inspire you to read classic literature like this a bit differently.

我想谈谈如何像哲学家那样去阅读这部剧。

I wanna talk about reading this play more like a philosopher might be reading it.

如果哲学家的工作之一，是去审视那些对我们而言看似熟悉的概念，比如爱或正义，而他们所做的，是深入剖析这些概念，向我们揭示其另一面，从而帮助我们以全新的视角看待世界，那么《哈姆雷特》正是经典文学中一个非常熟悉的作品。

If part of the job of a philosopher is to take concepts that seem really familiar to us, something like love or justice, And if part of what they do is work through them and show us a whole other side of the thing that can help us see the world in a new way, well, then Hamlet is a very familiar play from classic literature.

对吧？

Right?

那么，如果一位哲学家重新诠释整部剧，以类似的方式为我们提供一种令人振奋的新视角，让作品焕发生机并更具现实意义，会怎样呢？

So what if a philosopher reworked an entire play to similarly give us an exciting new way of seeing it that breathes life into the work and makes it even more relevant?

基于尼采、黑格尔、本雅明等人的观点，哲学家西蒙·克里奇利与精神分析学家詹姆斯·韦伯斯特将联手，以一种比你通常听到的更为现代、更具悲剧色彩的哲学视角来解读《哈姆雷特》。

Building on what Nietzsche, Hegel, Benjamin, and others thought about Hamlet as a play, philosopher Simon Critchley and psychoanalyst Jameson Webster are going to team up and interpret Hamlet as a play through a much more modern, tragic, philosophical lens than you typically hear about.

虽然他们并不反对对这部剧的传统解读，但他们称之为一种‘饼干盒式’的莎士比亚。

And while they're not against more traditional takes on the play, they just call them a kind of biscuit box Shakespeare.

这是他们在一次采访中使用的术语，意思是这种解读有些泛泛而谈。

That's the term they used in an interview one time, meaning it's kinda generic.

对吧？

Right?

比如，每个人都知道的那种《哈姆雷特》解读方式。

Like, there's a take on Hamlet that everybody knows.

就是那种能让你在学校考试中拿高分的解读。

It's the kind of reading of the play that'll get you an a on your test in school.

这本身并没有什么错。

There's nothing evil about that.

但他们确实认为，如果莎士比亚的作品能触动人心，它就应该带来一些震撼。

But they do think that Shakespeare should shake something up in people if it can.

而他们在《幻象常驻：哈姆雷特的教义》一书中所提出的这种解读方式，将在今天这一集的结尾带来这样的效果。

And the reading of the play they lay out in their book called Stay Illusion, The Hamlet Doctrine, is gonna be something that does just that by the end of this episode here today.

总之，要讲的内容很多，我们直接进入剧情吧。

Anyway, lot to cover, so let's get right into the events of the play.

该剧始于丹麦一座城堡的外墙。

The play begins at the front walls of a castle in Denmark.

现在，这些守卫在夜间值守于城堡的瞭望塔上，过去几晚他们一直看到一些让他们感到不安的东西。

Now the guards of this castle stationed up in the watchtowers at night, for the last few nights, they've seen something that's been kind of freaking them out a bit.

有一个幽灵出现在城堡的前平台上，每当它出现时，就会走到守卫面前，直盯着他的脸。

There's a ghost that's been visiting them on the front platform of the castle that when it shows up, it just comes up to him, stares him in the face.

当他们试图上前与它交谈时，它就转过身离开，就像我小学时的每个人一样。

And when they try to go up to talk to it, it turns around and leaves, just like everyone in my elementary school.

因此，在该剧开始的这个夜晚，守卫们这次准备得更充分了。

So on this particular night that the play begins, the guards have come more prepared this time.

他们带来了一位名叫霍拉旭的学者。

They brought along a guy named Horatio, who's a scholar.

他是王室的朋友，他们的计划是让他见到这个幽灵，希望他能知道接下来该怎么做。

He's a friend of the royal family, and their plan is to show him this ghost, hoping that he'll know maybe what the right thing to do next is.

果然，就在这个晚上，他们站在平台上时，幽灵再次出现了。

Sure enough, they're standing on this platform on this night, and the ghost shows up again.

当霍拉旭看到它时，他注意到了他们之前提醒过他的事情。

And as Horatio sees it, he notices something they had warned him about.

幽灵的面容与他们守护的这座城堡里刚刚去世的前国王一模一样。

The face of the ghost looks exactly like the former king of the castle they're guarding that has just recently died.

守卫和霍拉旭认为，最好的做法是告诉他们认为幽灵长得像的那个人的儿子——城堡的年轻王子哈姆雷特。

The guards and Horatio decided the best thing to do is probably to tell the son of the person they thought the ghost just looked like, the young prince of the castle named prince Hamlet.

当霍拉旭，他的朋友，去向哈姆雷特讲述所发生的事情时，我们看到哈姆雷特显然是一位情绪极度低落的人。

Now as Horatio, his friend, approaches Hamlet to tell him what's going on, we see a character in Hamlet who's clearly a man feeling pretty distraught.

我的意思是，这很合理。

I mean, it makes sense.

他刚刚失去了父亲。

He just lost his father.

但不仅如此，他还刚刚得知，他的母亲，那位王后，在父亲去世后这么快就决定再嫁给一个叫克劳狄乌斯的人。

But more than that, he just recently found out his mother, the queen, has decided to remarry some other guy named Claudius so soon after his father's death.

更糟糕的是，他最近总觉得整个王室宫廷里似乎有哪里不对劲。

On top of even that, he just gets the feeling lately that someone seems kinda off with this whole royal court he's a part of.

这里曾经是他觉得自己非常重要的地方，但最近却不再是了。

It's a place he usually sees himself as a pretty important figure in, not so much lately.

所以当他的朋友告诉他，他已故父亲的幽灵刚刚在城堡前出现时，而当晚同一幽灵又再次出现在哈姆雷特面前时，哈姆雷特根本没心情再听更多坏消息。

So when his friend tells him that the ghost of his dead father was just seen at the front of the castle, and when that same ghost appears to Hamlet later on that same night, Hamlet's not exactly in the mood for getting even more bad news delivered to him.

可他还是听到了这些消息。

By golly, does he get some of it anyway.

他父亲的幽灵告诉他，那天他并非自然死亡，而是被他母亲刚刚选择嫁给他的人——克劳狄斯谋杀的。

The ghost of his father tells him that he didn't just randomly die that day, but that he was murdered by that guy Claudius that his mom just chose to marry.

这一切的暗示对哈姆雷特来说就是：他必须做点什么，他所处的整个宫廷如今已经腐烂堕落，而社会会告诉他，如果想做一个有尊严的儿子，正确的做法就是杀死克劳狄斯，为父亲报仇。

The implication of all this being, of course, to Hamlet that he has to do something, that the entire court he's a part of is now something that's gone rotten and corrupt, and that society would tell him, if you wanna be an honorable son in this situation, the right thing to do here is to kill this cloudiest guy and avenge your father's death.

在这些可怕的事情发生之前，哈姆雷特就已经是个容易过度思考的人。

Now Hamlet, even before any of this horrible stuff ever happened to him, he was already a guy that probably thought a little too much about stuff.

但如今，得知这个消息后，他的内心就像被摇晃的雪球一样一片混乱。

But now that he's gotten this news, now the inside of his head has been turned into a veritable snow globe.

他为在这种情况下该做什么而痛苦挣扎。

He agonizes over what the right thing to do is in this situation.

毕竟，什么都不做也不是一个选择。

After all, sitting back doing nothing about it isn't an option.

但话说回来，仅仅因为社会说我要去杀了这个人，并不意味着那就是正确的做法。

But also, look, just because society says I should go out and kill this guy, that doesn't mean that's the right thing to do either.

顺便问一下，我真的知道这个克劳狄斯有罪吗？

By the way, do I know if this Claudius guy is even guilty?

我的意思是，我是从谁那里听到这个消息的？

I mean, who did I hear this from?

这可不是什么特别可靠的信源。

Not exactly the most reliable of sources.

一个鬼魂告诉了我这件事。

A freaking ghost told me about it.

我怎么知道它说的是真的呢？

How do I even know it's telling the truth?

我怎么知道这个幽灵是真的呢？

How do I even know the ghost is real?

它会不会只是一个邪恶的恶魔在欺骗我呢，他说。

Couldn't it be an evil demon just deceiving me, he says.

于是他想出一个计划，假装自己疯了，以便争取一些时间，观察克劳迪乌斯，弄清楚下一步该怎么做。

So he comes up with a plan that he's gonna act like he's gone crazy to buy himself some time while he watches Claudius and tries to figure out what to do next.

但随着时间推移，他越想越多，周围的人越觉得他行为怪异，他渐渐开始把自己视为懦夫，甚至开始憎恨自己，因为连做个决定都做不到。

But the more that time passes, the more he ruminates, the more people around him see this weird behavior, Eventually, he starts to think of himself as a coward, and eventually, he even begins to loathe himself for being someone who's failing to be able to make a decision at all.

哈姆雷特逐渐被这种无法解决的内心折磨所吞噬。

Hamlet becomes someone progressively consumed by this unresolvable internal torture.

现在，故事发展到这个阶段，正是停下来探讨其背后哲学的好时机。

Now this is already a great place in the story to pause and start talking about some of the philosophy underneath all this.

我会先从传统的解读开始，然后再讲韦伯斯特和克里奇利的观点。

I'll start with the more traditional take, and then we'll get on to Webster and Critchley's take.

对迄今为止故事事件的一种常见解读是，莎士比亚身处文艺复兴时期，这意味着他紧接中世纪之后，又在启蒙运动之前。

A common reading of the events of the story so far is that Shakespeare is someone doing his work during the Renaissance, meaning this places him right after the Middle Ages and right before the Enlightenment.

更重要的是，这使他成为了一个在那个时代深刻感受到思想碰撞的人——他生活在中世纪思想的余波中，而正是这种碰撞催生了文艺复兴时期的人文主义。

And importantly, that makes him someone who during his time would have been painfully aware of the collision of ideas he's living in the wake of where out of this collision came Renaissance humanism.

在这种解读下，哈姆雷特这个角色，他所有的道德困惑、无法做出选择和决定的无力感，许多评论家认为，这正是莎士比亚在展现一种张力：早期中世纪以神为中心的道德指引，与后来文艺复兴时期的人文主义之间发生冲突，后者不再为人们提供明确的答案，从而造就了那些始终在内心激烈挣扎的人。

Now under this kind of reading, Hamlet as a character, you know, in all his moral confusion, in his lack of an ability to choose and make a decision, many critics will say that this was Shakespeare staging the tension that goes on when earlier medieval forms of moral guidance that are rooted in something like a god collide with later Renaissance humanism where these answers aren't as easily available to people and so create people who are stuck in a battle up in their own minds all the time.

哈姆雷特那像雪球般混乱的头脑，正是我们人类试图单靠理性去寻找道德答案时所必然陷入的困境。

Hamlet's snow globe of a brain is what happens when we, as people, try to think our way to moral answers all on our own.

因此，这部剧中的哈姆雷特确实竭尽全力想要弄清楚什么才是正确的事，而且他确实极度害怕做出错误的决定。

And the point would be then that, man, does he try really hard to figure out what the right thing to do is in this play, and, man, does he fear making the wrong decision.

因此，按照这种解读，哈姆雷特是一个被置于糟糕境遇中的好人。

Hamlet then, under this kind of reading, is a good person that's been put in a bad situation.

这种观点认为，莎士比亚在这部剧中扮演了一位被严重低估的道德心理学家，远在心理学成为一门专业学科之前。

The take is that Shakespeare writes this play as a very underrated kind of moral psychologist long before psychology was even a field of specialty.

这种观点认为，哈姆雷特这个角色之所以伟大，是因为无论现代读者是谁，我们都能在哈姆雷特王子身上看到自己的一丝影子。

The take is that, ultimately, the character of Hamlet is a work of brilliance because no matter who you are reading it in the modern world, we can all see a little bit of ourselves in prince Hamlet.

当我们读到他反复思虑、因难以抉择而痛苦挣扎的过程时，我们看到了自己。

We see ourselves when we read his process of ruminating and suffering over deciding what the right thing to do is.

也许这个观点在他在剧中后期著名的独白中体现得最为清晰，他说：‘生存还是毁灭，这是个问题，是默默忍受命运的暴虐毒箭，还是挺身反抗人世的无涯苦难。’

And maybe this whole point is seen most clearly in his famous speech that he gives much later on in the play where he says, to be or not to be, that is the question, whether it is nobler to suffer life's hardships or to end them.

在这种解读下，这段独白可以被视为现代人思维方式的终极体现。

You know, under this reading, this whole speech he gives can be taken as a sort of ultimate representation of this modern person's way of thinking.

甚至当面对是否继续活下去这样看似简单的问题时，在这种新兴的现代身份与思想模式中，我们的命运就是不断质疑和自我怀疑，永远无法确定什么才是正确的选择。

Or even when it comes to the seemingly easy question of whether or not to continue with our lives, our fate in this new modern disposition of identity and thought that's emerging is to always be questioning and second guessing ourselves, never quite knowing what the right thing to do is.

然而，话虽如此，也存在另一种可能性，即把哈姆雷特看作一个完全不是这样的角色。

Now all that said, there's also the possibility here of reading Hamlet as a character who's nothing like this at all.

如果我们像哲学家那样来解读哈姆雷特呢？

What if we read Hamlet more like a philosopher might approach the play?

弗里德里希·尼采对哈姆雷特这个角色有着截然不同的看法。

Friedrich Nietzsche thought something very different can be taken from the character of Hamlet.

他在《悲剧的诞生》中讨论过这一点，但韦伯斯特和克里奇利在他们的书中引用了这一观点。

He writes about it in Birth of Tragedy, but Webster and Critchley quote it in their book.

他说：‘知识扼杀了行动。'

He says, quote, knowledge kills action.

行动需要幻觉的面纱。

Action requires the veil of illusion.

这正是哈姆雷特所教导的教训，引文结束。

It is this lesson which Hamlet teaches, end quote.

你看，如果哈姆雷特并不是一个因为无法决定何为正确之事而无法行动的好人呢？

See, what if Hamlet is not just a good person who can't act because he can't decide on what the right thing to do is?

如果哈姆雷特被解读为这样一个人：他无法行动，是因为他看穿了整个事后合理化自己行为、并称之为道德以求自我安慰的游戏呢？

What if Hamlet is instead read as someone who can't act because he sees through the entire game of trying to rationalize our own behavior after the fact and then call it moral to make ourselves feel better.

如果正如尼采所说，行动需要幻觉的面纱，那么哈姆雷特之所以无法行动，正是因为他缺乏足以合理化自己欲望的道德幻觉。

If, as Nietzsche says, action requires the veil of illusion, well, Hamlet is someone who can't act because he lacks the moral illusions to justify what he wants to do.

例如，当他得知父亲是被谋杀的时候。

For example, when he finds out that his father was murdered.

他在那时并不需要困惑。

He doesn't have to be confused there.

他完全可以听从社会的期待，做体面的事，直接杀死克劳狄斯。

He can listen to society, do the honorable thing, and just kill Claudius.

这是现成的答案。

That's the ready made answer.

这个答案被直接提供给他，从理论上讲，这样做在道德上完全正当。

It's served up to him, and it would be totally morally justifiable to do in theory.

但根据这种解读，他看穿了这个选择不过是一个故事。

But under this reading, he sees through that option as merely being a story.

整个想法是，他可以随意杀人，事后只要理由充分，双手就能保持道德清白。

This whole idea that he can just kill someone, and afterwards, his hands are gonna be morally clean just because he had good reasons for doing it.

他知道得太多，无法相信关于人类行为有如此简单的说法。

He knows too much to ever bring himself to believe in something that simple about our actions.

他知道在这里杀人可能会误杀无辜者。

He knows that killing someone here runs the risk of killing an innocent person.

他知道自己的行为可能带来后果。

He knows there could be a fallout to his actions.

这可能会引发一场混乱的继承战争，争夺下一任统治者。

It could start a really messy succession war about who's gonna rule next.

他知道这件事可能会把其他许多无辜的人牵扯进来，就像他自己被卷入一样，尤其是丹麦人民。

He knows it could drag all sorts of other innocent people into this thing like he's been dragged into it, not the least of which are the people of Denmark.

换句话说，这里的知识扼杀了行动，而行动需要幻觉的帷幕。

In other words, knowledge here has killed action, and action requires the veil of illusion.

对尼采而言，哈姆雷特只是一个看穿了我们面对每一个可能选择时所玩的道德游戏的人。

To Nietzsche, Hamlet is just someone who sees through this game we play with morality when it comes to every possible choice we make.

大多数人实际上只是先行动，然后再为自己的行为找一个看似合理的道德理由，接着沉溺于一种幻觉，以为自己完全摆脱了行为所带来的真实复杂性与后果。

All many people ever do in practice is just act, then come up with a good moral reason for why they had to do the thing, and then sit around basking in some illusion about how absolved they are of any of the true complexity and fallout of what they did.

哈姆雷特无法做出类似的决定，因为他无法让自己活在这种幻觉之中。

Hamlet can't make that same kind of decision because he can't bring himself to live in that kind of an illusion.

正是在这种意义上，克里奇利和韦伯斯特将哈姆雷特描述为一个反俄狄浦斯式的人物。

See, it's in this way that Critchley and Webster describe the character of Hamlet as a bit of an anti Oedipus.

还记得我们在关于希腊悲剧的节目中讲过的俄狄浦斯吗？

Remember Oedipus from the episodes we've done on Greek tragedy?

简单说一下。

Real quick.

在这个故事中，俄狄浦斯是一位国王，他杀死了一名陌生男子，随后迎娶了一位寡居的女王。

In that story, Oedipus is a king who kills a random stranger, then he marries a widowed queen.

他与她育有子女。

He has children with her.

他诅咒了杀害老国王的凶手。

He curses the murderer of the old king.

他展开了对这起罪行的全面调查，最终却发现，他一直在追捕的那个人其实就是他自己。

He launches a full investigation into the crime, only to finally realize that he's actually the guy he's been hunting the whole time.

他才是那个杀害前任国王的人。

He's the one that killed the former king.

他们的观点是，俄狄浦斯是一个在完全无知的情况下依然采取行动的人，而韦伯斯特和克里奇利认为，哈姆雷特正是俄狄浦斯的反面。

Their point is that Oedipus then is someone who acts in total ignorance despite not knowing much of anything, and Webster and Critchley Hamlet is the anti Oedipus.

他是一个因知晓父亲之死的真相，以及看透了我们大多数人所玩的道德游戏，而根本无法采取任何行动的人。

He's a man whose knowledge of his father's death and his insights about the moral game most of us are playing prevent him from ever taking action in the first place.

无论怎样，这也是他们为何将这本书命名为《哈姆雷特准则》的原因所在。

This is also, for whatever it's worth, what they're referencing in the title of the book, the Hamlet doctrine.

这就是他们给这个观点起的名字：知识与洞察力在实践中，具有阻止人们采取行动的能力。

It's the name they give to this idea that knowledge and insight, just in practice, has the ability to kill people taking action in the world.

在此基础上，克里奇利和韦伯斯特为我们呈现了截然不同的视角，来理解剧中正在展开的情境。

Now building on this, Critchley and Webster offer a very different picture of the situation we're watching unfold in the play.

哈姆雷特不是一个身处逆境的好人。

Hamlet is not a good person that's in a bad situation.

哈姆雷特是一个被困在无法持续的内心状态中的人。

Hamlet is someone who's stuck in an internal situation that is unsustainable.

由于他对父亲究竟遭遇了什么充满怀疑，他完全无法像常人那样，接受现实、将其融入生活，然后努力向前走。

Because with all his doubt about what's actually happened to his father, he's completely unable to do the normal thing where he would accept what's happened, integrate it into his life, and try to move on.

但与此同时，他也无法采取任何可能带来救赎的行动——你知道的，推动事情向前发展，因为他看穿了这一切的幻象，明白自己无论做什么都只是事后合理化自己的行为。

But at the same time, he's unable to take action and do anything that might be redemptive, you know, move things forward for him because he sees through the illusion and knows that anything he does will just be rationalizing his actions after the fact.

因此，哈姆雷特这个人，更准确的描述应该是被麻痹了的人。

So we have a man here in Hamlet where the better way to describe him is someone who's paralyzed.

韦伯斯特和克里奇利认为，这种无法被消化的过剩心理能量，在剧中通过他的行为转化成了我们所看到的羞耻、自我厌恶和对处境的忧郁。

And Webster and Critchley, all this excess psychological energy that can't be metabolized gets transformed through his behavior in the play into the shame we see, self loathing, melancholy about his situation.

就像其他创伤事件的受害者一样，哈姆雷特开始对周围所有人发泄怒火，包括他的爱人奥菲莉亚、他的朋友和宫廷同僚。

That just like other victims of a traumatic event often do, Hamlet starts to lash out at all the people around him, at his love interest Ophelia, at his friends and co members of the court.

再次强调，哈姆雷特并不仅仅是个无法做决定的人。

Once again, Hamlet is not just some guy that can't make a decision.

另一种解读方式是，哈姆雷特是一个受伤的、常常刻薄且令人反感的人，他无法改变。

A different way to read this whole thing is that Hamlet is a damaged, often mean, unlikable kind of person who can't change.

因此，他逐渐成为接下来故事发展中一切事件的共谋者。

And so he becomes complicit in everything that starts to play out next in the events of the story.

因为一旦哈姆雷特采取装疯卖傻、对周围人发泄怒火的策略，克劳狄斯就开始对他产生怀疑。

Because once Hamlet adopts this whole strategy of acting crazy and lashing out at all the people around him, That guy Claudius starts to get a little suspicious of him.

他想：作为这个新政权的统治者，我该如何利用手头的资源，弄清楚哈姆雷特到底发生了什么？

He asks, how do I, as the new ruler of this whole place, really use the resources I have to get a read on what's going on with this guy Hamlet?

于是他想出了一个计划。

And he comes up with a plan.

他打算找来哈姆雷特的两位老朋友，让他们陪在他身边，设法探查他突然如此疯狂的原因。

He's gonna take two old friends of Hamlet, ask them to hang out with him, and try to get information about what's making him act so crazy all of a sudden.

他们在剧中名叫罗森克兰茨和吉尔登斯吞。

Their names in the play are Rosencrantz and Guildenstern.

听起来像是一家律师事务所什么的。

Sounds like a law firm or something.

无论如何，他们通过这种方式监视他获取了一些信息，克劳狄斯和他的核心圈子因此得出一个理论：哈姆雷特行为如此异常，一定与他对一个名叫奥菲莉亚的女子的感情有关，而大家都知道她和哈姆雷特之间有些暧昧。

Anyway, they get some information by spying on him like this, and Claudius and his inner circle developed the theory that what's making Hamlet act so erratically must have something to do with the love he has for a woman named Ophelia, who everybody kinda knows she and Hamlet have something between them.

于是他们又想出了另一个计划。

So they come up with another plan.

我们安排一次会面，用奥菲莉亚当诱饵。

Let's set up a meeting and use Ophelia as a kind of bait.

让她去和哈姆雷特交谈。

She can talk to Hamlet.

我们偷偷旁听，看看我们的推测是否属实，还是只是我们自己在胡乱猜测。

We can listen in, and we can see if this theory of ours is actually what's going on or if we're just all imagining it.

这次会面发生在城堡的一个巨大大厅里。

The meeting goes on inside of one of the giant lobbies of the castle.

奥菲莉亚坐在大厅里。

Ophelia is sitting in the lobby.

她正在读一本祈祷书，这是她一贯的行为。

She's reading a prayer book, standard behavior for her.

哈姆雷特走进房间，正是在这一幕中，他发表了我们之前提到的著名‘生存还是毁灭’独白。

And Hamlet enters the room, and it's at this point in the play that he delivers the famous to be or not to be speech we talked about.

他讲完后，奥菲莉亚试图和他交谈，但这时他决定向她发难。

After he's done with it, Ophelia tries to talk to him, but this is the moment that he decides to lash out at her.

他侮辱了她。

He insults her.

他告诉她必须立刻去修道院，暗示了一些极其恶劣的事情。

He tells her she needs to get herself to a nunnery, like, real quick, you know, just implying some really horrible stuff about her.

她感到受伤。

She's hurt.

哈姆雷特又一次对别人大喊大叫。

Hamlet screaming at someone yet again.

克劳狄斯刚刚利用奥菲莉亚进行监视，现在他意识到，哈姆雷特发疯的原因根本与他对奥菲莉亚的兴趣无关。

And Claudius, who just used Ophelia for his own spying, he now realizes that whatever Hamlet's mad about really has nothing to do with his interest in Ophelia.

于是，当他派心腹间谍躲进壁橱偷听哈姆雷特的另一次谈话时，哈姆雷特察觉到壁橱里有人，结果刺死了那人。此时，克劳狄斯比以往任何时候都更清楚，现在可能是除掉哈姆雷特的好时机，以免他成为更大的威胁。

So when he has his head spy go and hide in a closet to be able to listen in on another conversation Hamlet's having, And when Hamlet notices someone's in the closet and ends up stabbing the guy, more than ever before, Claudius realizes now, probably a good time to get rid of this guy Hamlet before he becomes even more of a problem for him.

为了避免在节目进行中打断，我想感谢今天支持本节目的所有赞助商。

And just so we don't kinda interrupt the show at any point beyond this, I wanna thank everybody that goes through the sponsors of the show today.

本集由NordVPN赞助。

This episode is sponsored by NordVPN.

NordVPN是一种通过加密您的互联网流量来保护您连接安全的服务，从而让上网更加安全。

NordVPN is a service that helps secure your connection by encrypting your Internet traffic, which then makes using the Internet more secure.

是的。

Yes.

当然，当你使用公共Wi-Fi时，情况就是如此。

This is the case with public Wi Fi if you're using it, of course.

但它也能保护银行信息、密码等私人数据。

But it also helps protect private data like bank details, passwords.

它甚至能防止你的互联网服务提供商监控你的活动。

It even shields your activity from being monitored by your Internet service provider.

听听你每月只需一杯咖啡的价格就能获得什么。

Listen to what you get for just the price of a cup of coffee per month.

通过威胁防护专业版，这项服务功能可以让 NordVPN 在下载时扫描文件并阻止广告和恶意链接。

With Threat Protection Pro, it's a feature of the service, NordVPN can scan files during download and block ads and malicious links.

你还可以切换虚拟位置，以访问你所在地区无法观看的节目、体育赛事和其他内容。

You can also switch your virtual location to access shows, sport and events, anything that isn't available in your region.

还要考虑到，所有这些功能只需一个 NordVPN 订阅，即可在多达 10 台设备上使用。

Also consider that all of this, with just one subscription to NordVPN, is available to you on up to 10 different devices.

这也是支持播客的好方法。

It's also a great way to support the podcast.

要获得 NordVPN 计划的最佳折扣，请前往 nordvpn.com/followthis。

To get the best discount off your NordVPN plan, go to nordvpn.com slash follow this.

我们的链接还能让你在两年计划基础上额外获得四个月服务。

Our link will also give you four extra months on the two year plan.

NordVPN提供三十天无条件退款保证，完全无风险。

There's no risk with Nord's thirty day money back guarantee.

链接在播客节目描述框中。

The link is in the podcast episode description box.

最后但同样重要的是，本集由BetterHelp赞助。

Last but not least, this episode is sponsored by BetterHelp.

假期是传统的时间。

The holidays are a time of traditions.

对一些人来说，这意味着长久以来的家庭仪式。

For some people, that means long standing family rituals.

对另一些人来说，这意味着开创全新的方式，或重新思考整个节日的意义。

For others, it means starting something new or rethinking what the whole season even looks like.

传统可能很有意义，但也可能在一年中通常繁忙甚至有些孤独的时期带来压力。

Traditions can be meaningful, but they can also add pressure during a time of the year that's usually pretty busy and sometimes lonely.

心理咨询是假期期间为自己创造所需空间的好方法。

Therapy can be a great way to create the space you need during the holidays.

这可能会帮助你更好地反思，并以更清晰的心态面对这个季节。

It might help you to be able to reflect and approach a season with more clarity.

事实上，为心理咨询留出时间本身就可以成为一种新的传统，它在这一年中的各种事务之外，还优先关注心理健康。

In fact, making time for therapy can become a new tradition in and of itself, one that prioritizes mental well-being alongside everything else happening this time of year.

BetterHelp 是全球最大的在线心理咨询平台之一，拥有超过三万名持证治疗师，并已为全球五百多万用户提供服务。

BetterHelp is one of the world's largest online therapy platforms with over 30,000 licensed therapists and more than 5,000,000 people served globally.

BetterHelp 的治疗师严格遵守行为准则，并持有完全合法的执业资格。

BetterHelp therapists work under a strict code of conduct and are fully licensed.

只需填写一份简短的问卷，系统就会为你匹配一位治疗师；如果匹配不合适，你随时可以更换另一位治疗师。

Just fill out a short questionnaire, get matched with a therapist, and if the match isn't right, it's possible to switch to another therapist at any time.

根据超过一百七十万条客户评价，BetterHelp 的实时咨询平均评分为 4.9 分（满分 5 分）。

Live sessions on BetterHelp average a 4.9 out of five rating based on over 1,700,000 client reviews.

因此，今年十二月，通过照顾好自己，开启一种新的传统吧。

So this December, start a new tradition by taking care of you.

我们的听众在 betterhelp.com/fillthis 可享受 10% 的折扣。

Our listeners get 10% off at betterhelp.com/fillthis.

那是 betterhelp.com/fillthis。

That's better,help,.com/fillthis.

现在回到播客。

And now back to the podcast.

现在让我们再暂停一下，因为这部剧到目前为止出现的所有监视行为可以从几种不同的角度来理解，这一点很重要。

Now let's pause again for a moment because all this spying that's been seen in the play so far can be read in a couple different ways that are important to understand.

更传统的解读通常认为，莎士比亚在这里安排这些监视情节，是为了反映他所处的伊丽莎白时代英国社会。

More traditional readings usually see all this spying put in here by Shakespeare as a reflection of the Elizabethan English society that Shakespeare is writing this work in.

看，历史学家有时会把16世纪的整个英格兰时期称为我们今天所知的现代监控国家的发源地。

See, historians will sometimes call this whole period of sixteenth century England as the birthplace of what we now know as the modern surveillance state.

莎士比亚生活在一个全新的间谍网络正在兴起的世界里。

Shakespeare's living in a world here where there's a whole new level emerging of spy networks.

政府正在向各种机构安插双重间谍。

There's double agents being embedded into things by the government.

还有密码破译。

There's code breaking.

如果他们不喜欢某人对公众说的话，就会折磨并监禁神父。

They would torture and throw priests in jail if they didn't like what they were saying to the public.

他们会截获信件，并在投递前阅读内容。

They would intercept letters and read them before they were delivered.

我的意思是，莎士比亚本人在写作时，也必须让作品通过审查办公室的审核，而该办公室多次要求他修改内容，以符合特定的叙事框架。

I mean, Shakespeare himself, actually, even in his writing, had to have things approved by a censorship office that then, on multiple occasions, required him to change things in his work if it didn't fit into a certain narrative.

因此，对剧中克劳狄乌斯及其亲信监视行为的传统解读，是将其视为莎士比亚所处现实世界的反映。

So the more traditional reading of the spying of Claudius and his inner circle in the play is that this is a reflection of what's going on in the real world of Shakespeare.

当这种监视行为成为人们彼此交往的常态时，世界会变成什么样子？

What does the world start to look like when we make surveillance like this commonplace about how people do business with each other?

但克里奇利和韦伯斯特则提出了另一种解读，他们将这种观点进一步深化，转向了完全不同的方向。

Ah, but then there's the reading of Critchley and Webster that takes this whole reading and then intensifies it into something else entirely.

他们说：‘哈姆雷特的世界是一个由无处不在的间谍活动所定义的星球，而他的自我监控不过是这种活动的镜像。’

They say, quote, Hamlet's world is a globe defined by the omnipresence of espionage, of which his self surveillance is but a mirror.

哈姆雷特可以说是关于警察国家中监视行为的戏剧。'

Hamlet is arguably the drama of surveillance in a police state, end quote.

你看，如果我们以哲学家的方式更深入地解读《哈姆雷特》呢？

See, again, what if we read Hamlet a bit more like a philosopher might read it?

如果我们把剧中的监视理解为某种超越了人们只是在壁橱里互相窥探的行为呢？

What if we interpreted the surveillance in the play as something that goes beyond people, you know, just spying on each other in a closet or something?

如果监视本身就是这部剧的结构性条件呢？

What if surveillance is actually a structural condition of the play itself?

一种理解剧中一切事件如何发生的关键所在。

Something crucial to be able to understand how everything in it comes to pass.

好吧，让我们来为这个观点辩护一下。

Well, let's try to make a case for it.

我的意思是，首先，显然剧中许多重大事件都围绕着某种间谍活动展开。

I mean, first of all, obviously, there's the fact that many of the major events of the play do center around some kind of espionage that's going on.

这确实是事实。

That's that's just true.

但克里奇利和韦伯斯特说得更进一步：哈姆雷特整个内在体验——他持续的自我分析，以及将内省作为与世界互动的主要方式——也许这种倾向正是源于他外部世界的结构方式？

But Critchley and Webster say even more than that, Hamlet's whole internal experience, you know, his constant self analysis, the constantly looking inward as his primary way of interfacing with the world, what if this is a tendency he has that emerges out of the way his whole external world is structured?

如果在你所处的环境中，你始终被监视、被追踪，连一丝自由喘息的空间都没有，那么持续地自我监视岂不是再自然不过的事？

What if it just makes sense to constantly live in surveillance of yourself when the environment you live in is something that watches you and tracks you at a level that gives you no free space to just be?

我的意思是，哪怕只是为了自我保护，为什么不 relentlessly 地追踪自己的内心体验，以确保当别人在监视你时，你不会陷入麻烦？

I mean, even in just a self preservation sense, why not relentlessly track my own inner experience so that I can make sure I'm not gonna face problems when it's being tracked by others?

如果真是这样，那么我们在阅读《哈姆雷特》时就可以提出一个问题：这种外部监视会不会在人们身上引发某种神经质倾向？

Now if this were true, then one question we can ask here as we're reading Hamlet is what if external surveillance like this produces a kind of neuroticism in people?

考虑到我们如今所处的世界，常被称为无人能真正逃脱的数字全景监狱，我们每天沉浸其中的各种追踪与监视形式，究竟在哪些不为我们察觉的方式上影响着人们的行为？

And, you know, given the world we live in now, often called a digital panopticon that no one can really escape, how do all the varying forms of tracking and surveillance that we live immersed in every day, how do these affect people's behavior in ways that aren't obvious to us?

这些影响往往在得体的交谈中，仅仅表现为一些性格上的小怪癖。

Ways that show up in polite conversation oftentimes as simply personality quirks.

韦伯斯特和克里奇利甚至曾指出，如果你以这种方式解读《哈姆雷特》，而世界继续朝着越来越严密的监视方向发展，那么终有一天，当当局意识到这部剧中的这种信息时，原本学生在学校里普遍阅读的《哈姆雷特》，可能会被禁止阅读，因为担心学生们会开始反思自己是否正生活在一个类似克劳狄斯所用手段的警察国家中。

Webster and Critchley even say at one point about all this that if you were to read Hamlet in this way and if the world continues to progress into this direction of more and more surveillance, there could honestly come a day where if the authorities became aware of this messaging in the play, instead of Hamlet being a play that's really common for students to read when they're in school, Hamlet could actually become something that students are banned from reading for fear that they'll start considering how they're living in some kind of a police state similar to the tactics used by Claudius.

但话虽如此，接下来要讲的 arguably 是全剧最重要的场景，它涉及奥菲莉娅——如果你还记得，之前哈姆雷特曾对她大喊，让她去修道院反省自己。

But all that said, what comes next is arguably the most important scene in the entire play, and it involves Ophelia, which if you remember from before was the woman Hamlet screamed at and said she needs to check herself into a nunnery.

还记得之前那个场景吗？当哈姆雷特被人监视时，结局是他刺杀了躲在窗帘后衣橱里的人。

See, in one of those scenes from before when Hamlet was getting spied on, it ended with Hamlet stabbing someone who was hiding in a closet behind a curtain.

为了澄清一下，哈姆雷特当时刺死的那个人名叫波洛涅斯。

Well, to clarify, that man that Hamlet stabbed there was named Polonius.

波洛涅斯不仅是克劳狄斯间谍网络的头目，同时也是奥菲莉亚的父亲。

And not only was Polonius the head of Claudius' spy network, but he also happened to be the father of Ophelia.

这个情节在故事中标志着整个事件意义的一个重要转折点。

This moment in the story marks a pretty significant turning point for the meaning of everything going on in it.

因为在此之前，哈姆雷特只是假装精神失常作为一种策略，但奥菲莉亚如今，鉴于她到目前为止所付出的巨大代价，她确实开始失去理智了。

Because while Hamlet before her was just pretending to be losing his mind as a tactic, Ophelia now, given the significant cost she's had to pay so far, she's actually someone who's starting to lose her mind.

想想她经历了什么。

Think about what she's gone through.

她被王室利用，成为他们拯救自己、监视哈姆雷特的庞大计划中的一环。

She's used by the royal court as part of their grand scheme to save themselves and spy on Hamlet.

在被迫卷入这一切的过程中，她被哈姆雷特残酷地对待和拒绝，而她原本非常在乎他。

Then in her forced involvement and all that, she is brutalized and rejected by Hamlet, who she cared a lot for.

然后她的父亲躲在窗帘后的衣橱里，被那个刚刚还对她说过那么多温柔话语的人杀死了。

And then her father hides behind a curtain in a closet and gets killed by that very same guy that just said all those really nice things about her.

所以这并不令人惊讶。

So it's not shocking.

接着我们切换到剧中奥菲莉亚的场景，她出现时，明显可以看出她的精神状况出了严重问题。

We then cut to a scene in the play with Ophelia where she shows up and something's obviously going very wrong when it comes to her mental health.

她对人们说话时用的是奇怪的片段和谜语。

She's speaking to people in these weird fragments and riddles.

有时她会自言自语地胡言乱语。

Sometimes she's kinda rambling to herself.

她唱着歌，但只唱出歌曲中一些怪异的片段。

She's singing songs, but only bizarre parts of the songs.

她甚至开始向人们分发花朵，而她在分发时，显然赋予了这些花朵某种象征意义，而周围的人都应该懂这些含义。

She even starts handing out these flowers to people where as she does it, there's obviously some symbolic meaning to her giving them out that apparently everybody around her is supposed to know about.

但实际上，没人真的懂。

Nobody really does, though.

换句话说，她的处境非常糟糕。

She's not in a good spot, in other words.

再往后跳几个场景，哈姆雷特的母亲冲进场景，告诉所有人奥菲莉亚刚刚被发现死在河里，周围漂浮着花朵，她显然是从河边的一棵柳树上掉下去的。

And fast forward just a couple scenes later in the play, and Hamlet's mother bursts into the scene, and she informs everyone that Ophelia was just found dead, floating in a river, flowers all around her, that she had apparently fallen out of a willow tree nearby the river.

至于她的死是意外还是自杀，剧中没有人明确说明，但你知道，这毕竟是一出悲剧，许多读者都把她的死视为蓄意为之。

And whether this was accidental or on purpose is never explicitly said by anyone, but, you know, again, this is a tragedy, and there's plenty of readers out there that treat her death as though it was on purpose.

许多人认为，奥菲莉亚这个角色才是这出戏真正的悲剧英雄，尽管哈姆雷特出现在剧名中并且是主角。

Now, it's said by many that the character of Ophelia is actually the tragic hero of this play, despite the fact that Hamlet is in the title and he's the main character.

对奥菲莉亚更传统的解读，会把她视为莎士比亚为了象征一种失落的纯真而加入的角色。

More traditional readings of Ophelia will treat her character as someone that Shakespeare wanted to include in this play to symbolize a kind of lost innocence.

奥菲莉亚是社会和家庭在成员沉迷于自我中心的腐败荒唐行为时所付出的悲剧代价，正如剧中王室宫廷那样。

That Ophelia is the tragic cost that societies and families have to pay when the people in them get too caught up in their own ego driven corrupt nonsense, much like the royal court in the play.

这种解读会说，如果哈姆雷特是那个失去父亲、最终在内心逐渐崩溃的人，那么奥菲莉亚则可以被看作是失去父亲后，成为哈姆雷特对照面的人物。

This kind of reading will say that if Hamlet is somebody who lost his father and then eventually finds himself imploding in a very internal way, then Ophelia can be read as someone who loses her father and acts as a sort of foil to Hamlet.

对莎士比亚而言，这是一个人如何在外在层面崩塌的另一种方式。

That to Shakespeare, this is yet another way that a person can externally crumble.

这一切都是因为我们放任政治或道德的堕落蔓延且无人制止的结果。

All of this as a result of when we allow for political or moral decay to spread and go unchecked.

当然，这种解读也完全没问题。

And this is a perfectly fine reading for whatever it's worth.

但当然，我们还可以有另一种完全不同的方式来理解奥菲莉亚这个角色。

But of course, again, there's another way altogether we could be looking at the character of Ophelia.

事实上，完全可以专门做一期节目，来探讨奥菲莉亚这个角色以及多年来不同哲学家对她的各种解读。

Honestly, an entire episode could be done just on the character of Ophelia and the ways different philosophers have interpreted her over the years.

但既然我们今天讨论的是‘我们是谁’，克里奇利和韦伯斯特可能会问：如果奥菲莉亚正是我们看到这部悲剧中最具经典模糊性的核心所在，那会怎样？

But because we're talking about who we are today, Critchley and Webster would ask, again, what if Ophelia is actually where we see most of the classic ambiguity that makes a tragedy like this what it is?

如果她才是这部剧真正的悲剧英雄呢？

What if she's the true tragic hero of this play?

他们可能会说，让我们暂时想想她的角色。

Consider her character for a moment, they might say.

她是剧中深爱着一个人——哈姆雷特的人。

She's a person in the play who loves someone, Hamlet.

她被身边所有人利用——她的父亲、哥哥，还有王室的其他成员。

She gets used by everybody around her, her father, brother, other members of the royal court.

在剧情的发展中，她被推到了自己的极限，作为一个被卷入周围一切事件中的人，最终她选择了自杀，这被克里奇利和韦伯斯特称为她唯一的真正交流语言——也就是说，在其他一切都被剥夺之后，这是她表达自己立场的唯一方式。

Through the events of the play, she gets pushed to her own limits as someone caught up in all this that's going on around her, and then she takes her own life in what Critchley and Webster call her only real language of exchange, meaning the only thing she really has left to express her position after everything else has been taken away from her.

换句话说，他们认为，首先将奥菲莉亚视为一个与古希腊悲剧中安提戈涅极为相似的角色是有帮助的。

In other words, they say it's useful to first think of Ophelia as a character that's pretty similar to someone like Antigone from earlier Greek tragedy.

简单来说，让我们理解一下他们这句话的含义。

Real quick, just so we can understand what they mean by this point.

《安提戈涅》讲述了一个女人被国王剥夺了为哥哥举行正式葬礼权利的故事。

Antigone is a story of a woman who's denied by a king to be able to give her brother a proper burial.

国王说她不能埋葬哥哥，因为她的哥哥是个叛徒。

The king says she can't bury him, that her brother was a traitor.

国王命令将尸体暴露在外，以此警示他人不要成为叛徒，但安提戈涅拒绝服从这一命令。

His body has to be left out on display as a message to everybody else not to be a traitor, and Antigone refuses to abide by this.

她说，她对哥哥和对神明负有责任。

She says she has a duty to her brother and to the gods.

这比任何国王所说的话都更为重要。

It's far more important than anything a king ever had to say.

于是她还是出去埋了他。

So she goes out and buries him anyway.

做完这件事后，国王把她关进了一个洞穴，任她自生自灭。

And after doing that, the king locks her in a cave, leaving her for dead.

但她并没有在洞穴里等待救援，哭喊着求人来救她，而是选择在被困洞穴时结束自己的生命，作为她仅存的、真正表达忠诚的行动之一。

And instead of waiting there in the cave, crying out for help, help, waiting for someone to come and save her life, she instead decides to take her own life while trapped in the cave as one of her only remaining acts of true solidarity.

现在，韦伯斯特和克里奇利再次将安提戈涅与莎士比亚《哈姆雷特》中的奥菲莉亚进行比较。

Now, again, Webster and Critchley draw a comparison here between Antigone and Ophelia in Shakespeare's Hamlet.

想想它们的相似之处。

Consider the similarities.

奥菲莉亚也有一件她强烈渴望并竭尽全力想给予他人的事。

Ophelia also had something she strongly desired and tried as hard as she could to give it to someone.

她同样被国王完全当作一件物品，更不用说周围所有的男性了。

She also was treated completely as an object by a king, not to mention by all the other men around her.

我的意思是，她几乎成了这些操控一切的男性随心所欲的工具。

I mean, she essentially became an instrument for whatever the whim of the day was for all these guys that are coordinating stuff.

当她发现自己被困在这样一个世界的尽头时，她选择了结束自己的生命，将其视为最后的表达方式。

And then she also, when she meets the end of the world that she finds herself trapped in, she ends her life in what she sees as a final act of expression.

关键是，作为这个王室宫廷中被完全当作棋子来对待的角色，韦伯斯特和克里奇利将她的死亡称为一种爱的行动——她的疯狂与死亡成为剧中一种英雄式的真相，揭示了这个世界竭力将她贬低到的境地。

Point is, as a member of this royal court that treats her entirely as a pawn in their own rationalizing and calculating of everything, Webster and Critchley call her death a sort of love act, that her madness and her death become a kind of heroic truth in the play because they expose what the world has worked so hard to reduce her to to this point.

什么都没有。

Nothing.

事实上，这正是他们解读该剧时提出的几个理由之一：《哈姆雷特》最终是一个关于虚无的故事。

In fact, it's one of the several reasons they say in their interpretation of the play that Hamlet is ultimately a story that's about nothing.

它并不是关于一个名叫哈姆雷特的王子必须做出艰难抉择的故事。

It's not about a prince named Hamlet that has to make a tough decision.

不。

No.

在某种非常重要的意义上，他们说这是一部关于虚无的戏剧。

In some very important sense, they say it's a play that's about nothing.

这种虚无，指的是虚无主义。

Nothing in the form of nihilism, that is.

哈姆雷特被简化为虚无，因为他被困在一种瘫痪状态中，既无法接受现实，也无法向前迈进。

Hamlet is reduced to nothing because he's trapped in a state of paralysis where he can't accept and can't move forward.

奥菲莉亚被周围利用她的男性和阴谋贬低为虚无。

Ophelia is reduced to nothing by the men and the schemes that use her that are all around her.

甚至剧中的大多数角色也都被贬低为虚无，几乎除了霍拉旭之外的所有主要角色都在剧终时死去。

Even most of the cast of the play is reduced to nothing, and that pretty much every main character other than Horatio just dies at the end of it.

如果你想理解克里奇利和韦伯斯特如何看待他们角色最深层的部分，这一点是理解哈姆雷特与奥菲莉亚之间关键差异的重要之处。

And this is the important difference to understand between Hamlet and Ophelia if you wanna consider how Critchley and Webster see the deepest parts of their character.

最终，让奥菲莉亚与哈姆雷特如此不同的是，奥菲莉亚才是真正有能力去爱的人。

Ultimately, what makes Ophelia so different from Hamlet is that Ophelia is someone who's actually capable of love.

为了支持这一观点，他们引用了陀思妥耶夫斯基关于爱的一句著名名言。

To help make their case for this, they work in a famous quote here about love from Dostoevsky.

我们之前讨论过这句话。

We talked about this quote.

我们做过关于他的专题系列。

We did our series on him.

他说：‘地狱就是无法去爱。’

He said, quote, hell is the inability to love, end quote.

对克里奇利和韦伯斯特而言，这句话几乎就是哈姆雷特在这个世界上全部存在的核心。

And to Critchley and Webster, that quote is pretty much the core of Hamlet's entire existence on this planet.

他们说，这里首先要理解的是，爱总是建立在某种缺失之上的。

They say the first thing to understand here is that love is something that is always built on a kind of lack.

他们在这个观点上借鉴了拉康的理论。

They're building off a Lacan with this point.

每当我们渴望被他人爱时，我们去爱，是因为我们有需求，或者因为我们不完整。

Whenever we wanna be loved by another person, we love because we have needs or because we're incomplete.

更重要的是，真正爱一个人总是需要一种哈姆雷特这个角色绝不允许自己拥有的脆弱性。

And more than that, to truly love someone else always requires a kind of vulnerability that Hamlet, a character, just doesn't allow into his life.

每当爱接近哈姆雷特时，他都会逃回自己的内心，陷入某种评论之中，这些评论可能涉及幽默、社会表演、残忍，有时他甚至会用到这些。

Every time love gets close to Hamlet in the play, he has to run away into his head, into some commentary that involves either humor, social performance, cruelty, he even uses at times.

他做这一切，只是为了永远不必向他人展现自己可能有的任何需求。

And he does all this just so he never has to show anyone else any sort of need that he may be having.

一生都沉浸在自己的思绪中，不断寻找每件事的理性解释，只因为害怕没有答案意味着什么，这种生活可以用一个词来形容——地狱。

To spend your whole life endlessly thinking up in your own head, needing a rational explanation for everything just because you're scared of what it would mean for you to not have answers, there was one word to describe that sort of life that fits here, hell.

地狱就是无法去爱，而哈姆雷特这个角色，几乎达到了戏剧中人物所能接近这种状态的极致。

Hell is the inability to love, and Hamlet's about as close to that as a character in a play can actually get.

他必须控制一切，却什么都做不了。

He has to control everything but can do nothing.

现在请注意，奥菲莉娅在许多重要方面恰恰是这一切的反面。

Now notice how Ophelia though is in many important ways the inverse of all this.

她确实找到了在世界上行动和做事的方式，但她往往对自己能做什么几乎没有控制权。

She does find a way to act and do things in the world, but she often has very little control over what she actually gets to do.

在韦伯斯特和克里奇利看来，她代表了哈姆雷特始终未能成为的那种人——一个真正具备脆弱性与爱的能力的人，而她的最终行为，成为对城堡中已变得习以为常的破碎生活方式的一种抗议。

She represents for Webster and Critchley what Hamlet never finds a way to become, a person who's genuinely capable of vulnerability and love and someone whose final act becomes a protest against the broken way of living that's become so normalized in the rest of the castle.

无论如何，为了串联起故事的其余部分，如果你一般喜欢死亡与终结的主题，那么这部剧的后半部分对你来说将是一场真正的享受。

Anyway, to tie together the rest of the story here, if you're a fan of death and dying in general, then the rest of this play is gonna be a a true joy for you to be able to read.

正如我之前提到的，克劳狄斯在得知哈姆雷特的目标是自己之后，便想置他于死地。

As I mentioned before, Claudius wants Hamlet dead after he finds out that it's about him.

所以他让哈姆雷特乘坐一艘船前往英格兰，由他的两个朋友罗森格兰兹和吉尔登斯吞陪同，他们恰好也是他的法律顾问。

So he puts him on a ship to England with his two friends, Rosencrantz and Gildenstern, who also happened to be his legal representation.

开玩笑的。

Just kidding.

但他确实派他去英格兰，并带了一封信要交付。

But he he sends him to England with a letter to deliver.

哈姆雷特在途中打开了这封信，发现信中命令收信人将他处死。

Hamlet opens the letter along the way, and he sees that it's telling the people he's delivering it to to kill him.

于是他修改了信件，把内容改成让收信人杀死他的两个朋友。

So he edits the letter, switches it to say to kill his two friends instead.

他把改好的信交给他们去送，然后自己返回了城堡。

He gives it to them to deliver, and eventually goes back to the castle.

他一回到城堡，就遭到奥菲莉亚的哥哥挑战，要进行一场击剑比赛。

Once he gets back, he's challenged to a fencing match by Ophelia's brother.

哈姆雷特和她的哥哥最终都被涂有毒药的剑刺中。

Both Hamlet and her brother end up getting stabbed by a sword dipped in poison.

在死前，哈姆雷特强迫国王喝下了原本为他准备的毒酒。

Before he dies, Hamlet forces the king to drink the poisoned wine he had set up for Hamlet.

本质上，只要在剧中出现过、但不是霍拉旭的任何人，最终都会以某种方式死去。

Essentially, if there's a person you've heard about in the play so far who's not named Horatio, they find some way by the end of this play to die.

无论如何，如果非要我从韦伯斯特和克里奇利那里再留下一个观点，那就是剧中关于知识本身的一个普遍见解。

Anyway, if there's one last point to all this I wanna leave you with from Webster and Critchley, it's a general point they make about knowledge itself that's made in the play.

顺便说一下，也许你已经注意到，在我们这三期关于莎士比亚的节目中，每一部剧都探讨了我们在获取知识时可能遭遇的一种重要误区。

By the way, maybe you've noticed so far that throughout these three episodes we've done on William Shakespeare, each one of these plays deals with some kind of important pitfall we may experience when it comes to knowledge.

对吧？

Right?

比如在《尤利乌斯·凯撒》中，可以说它揭示了我们在判断世界真相时，多么容易被修辞的力量所左右。

Like in Julius Caesar, you could say it's about how vulnerable we can often be to the force of rhetoric when it comes to choosing what we know about the world.

在《罗密欧与朱丽叶》中，可以说它展现了当我们盲目接受继承的意识形态时，会如何把自己困住。

In Romeo and Juliet, you could say it's about how imprisoned we can all find ourselves if we just accept whatever inherited ideology is given to us.

而在《哈姆雷特》中，可以说它探讨了当我们过度分析知识时所面临的真正危险——如果我们不加警惕，这种分析会扼杀我们迫切需要的行动力。

Well, now in Hamlet, you could say it's about the real risk we face when it comes to the overanalysis of our knowledge and how it can kill the action that we desperately need in the world if we don't watch out for it.

但无论如何，除了以上所有内容之外，这里还有一个关于知识的重要旁点，它体现在哈姆雷特这个角色身上。

But anyway, outside of even all this, there's another side point about knowledge here that's important to mention, and it's embodied by Hamlet as a character.

我只是觉得，如果不至少提一下这一点，这一集就不完整，值得思考一下。

I just feel like the episode would be incomplete without at least mentioning this point, something to think about.

这就是重点。

And here it is.

哈姆雷特这个角色告诉我们，有时我们最需要的知识，恰恰是在存在层面和身份层面上最能毁掉我们的那种知识。

The character of Hamlet shows us that sometimes the knowledge we most need is the very knowledge that ruins us the most at an existential level and at the level of identity.

当哈姆雷特从鬼魂那里得知关于他父亲的真相时，这确实毁掉了他。

This is certainly true of Hamlet in the play when he receives the knowledge about his father from the ghosts, it ruins him.

我认为，对大多数人来说，这一点也是成立的，尽管当别人需要时，由你去提供这样的知识往往很难。

And I think this is a point that's true for most of us, though it's tough to be the person to give that knowledge to someone when they need it.

无论如何，谢谢你们包容我刚才的长篇大论。

Anyway, thanks for indulging me there.

如果你想讨论这一集，可以在节目页面的评论区访问Patreon.com/philosophize this。

Patreon.com/philosophize this in the comment section of the episode page if you wanna talk about this episode.

我很想听听你的想法。

I'd love to hear what you think.

感谢你为支持这个播客所做的一切。

Thanks for everything you do to help keep this podcast going.

谢谢你的收听。

Thank you for listening.

下次再聊。

I'll talk to you next time.