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Othello 1: the Story and the Context
奧賽羅1 故事內(nèi)容：愛、嫉妒、種族
FKC: Othello is one of Shakespeare's greatest tragedies
FKC：《奧賽羅》是莎士比亞最偉大的悲劇之一。
FKC: What makes it unique, I suppose, is the focus, the central focus on a black African as an empathetic protagonist
FKC：我認為，這個故事的獨特之處在于它關注，它重點關注一位非洲黑人，并且讓觀眾和他產(chǎn)生共鳴。
FKC: Don't let people tell you this play is not about race because we sympathize with Othello and he has been promoted in a white society. On the contrary, Othello is about structural and internalized racism. Interracial marriage and racial fear are at the center, if not the very engine of this play. All the themes we normally talk about military, friendship, sexuality, love, jealousy are all filled by the play's preoccupation with race and the experience of being others.
FKC：如果有人對你說這部戲劇并沒有探討種族問題，你一定不要相信這種說法。因為我們都很同情奧賽羅的遭遇，而且奧賽羅在以白人為主導的社會中，地位是得到了提升的。其實，《奧賽羅》探討的恰恰就是結(jié)構(gòu)化、內(nèi)化了的種族主義。就算跨種族婚姻和種族恐懼不是推動劇情發(fā)展最直接動力，但它們一定也是這部戲劇的核心內(nèi)容。關于這部戲劇我們經(jīng)常談論的主題，如軍事、友情、性欲、愛情、嫉妒都是在種族問題以及與其他種族人物相處的經(jīng)歷推動下展開的。
My name is Professor Farah Kareem Cooper, head of higher education and research at Shakespeare's Globe and professor of Shakespeare Studies at King's College, London.
我叫法拉·卡里姆-庫珀，是莎士比亞環(huán)球劇場高等教育與研究負責人，也是倫敦大學國王學院的莎士比亞研究專業(yè)的教授。
In this course, we’re speaking with Professor Farah Karim- Cooper about Othello. This play, first written and performed around 1604, tells the story of Othello, a black general in the Venetian army who elopes with a white Venetian noblewoman called Desdemona.
本期節(jié)目我們將對話法拉·卡里姆-庫珀教授，和她聊聊《奧賽羅》這部戲劇?！秺W賽羅》寫于1604年，同年被首次搬上舞臺，戲劇講述了威尼斯軍隊中一位黑人將領奧賽羅的故事，劇中他與威尼斯的白人貴族女性苔絲狄蒙娜私奔。
FKC: She falls in love with and can death clandestinely marries a black African. Their love seems to transcend race. But in the end, it doesn't.
FKC：苔絲狄蒙娜愛上了一位非洲黑人，并與他秘密成婚。他們的愛情似乎跨越了種族，但到了戲劇結(jié)尾，我們卻會發(fā)現(xiàn)他們之間的愛情未能成功逾越他們之間的種族鴻溝。
Iago, Othello’s subordinate in the army, decides to destroy Othello by destroying his marriage. Partly by playing on racist ideas in Othello’s society, Iago convinces Othello that Desdemona has been unfaithful to him and that he should punish her with death. Othello realizes too late that Iago has deceived him: he has killed Desdemona, and he goes on to kill himself. Shakespeare took the basic plot of this story from an Italian Renaissance writer called Cinthio. In a collection of novellas, Cinthio tells the story of a white woman who elopes with a black man.
伊阿古是奧賽羅的副官，他企圖通過摧毀奧賽羅的婚姻來毀滅奧賽羅。伊阿古一部分利用奧賽羅所處社會中的種族主義思想，巧言令色，讓奧賽羅相信苔絲狄蒙娜對他不忠誠，讓他相信必須要用死亡來懲罰她。而當奧賽羅意識到被伊阿古欺騙了之后，一切都已經(jīng)遲了：因為那時，他已經(jīng)殺死了苔絲狄蒙娜，并準備自殺。莎士比亞這個故事的情節(jié)取自意大利文藝復興時期作家欽齊奧的一部作品。在欽齊奧的一部中篇小說集中，記錄了這個有關一位白人女性與一位黑人男性私奔的故事。
FKC: The moral of Cinthio's narrative is to tell young women not to marry those who are so separate in nature from them. This is a key racist tenant. But it's not this simplistic in Shakespeare.
FKC：欽齊奧創(chuàng)作這個故事其實是為了勸說年輕女性不要與其他種族的男性通婚，反映的是典型的種族主義思想。但莎士比亞的這部作品主題思想就并非那么簡單了。
In the First Folio, the play’s full title is The Tragedie of Othello, the Moor of Venice. To Shakespeare’s English audience, Venice represented a place where many cultures came together--which is significant for Othello’s identity in the play.
在第一對開本中，《奧賽羅》這部劇的全名是《威尼斯的摩爾人奧賽羅的悲劇》。莎士比亞時期的英國觀眾眼中，威尼斯是一個多文化融合的地方，這一點對于明確奧賽羅在劇中的人物身份十分重要。
FKC: His status as an outsider in a world that's run by the patrician elite to Venice collides paradoxically with a prevailing attitude in Venice of multiracial or multi-ethnic tolerance. So this this strange sort of dichotomy of racial tension in the play. Because of its geographical position, Venice was a really important economic player in the Mediterranean basin at this time. It was an intermediary for trade between the east and the west and a center of mercantilism and commodity exchange and wealth. The Venetian state actually saw it was to their advantage to enable the free flow of foreigners into the city to conduct business …The city was bustling with traders and merchants from all over the world, and black Africans lived there as free men as well as with as slaves.
FKC：奧賽羅一直游離于貴族精英統(tǒng)治下的威尼斯的主流社會之外，而當時的威尼斯在大部分人的心目中卻又是一個包容各種族、各民族的地方，這兩點相互碰撞引發(fā)了不少矛盾。威尼斯特殊的地理位置，造成了戲劇中那種怪異的兩分種族矛盾。在莎士比亞時期，威尼斯在地中海地區(qū)的占據(jù)著重要的經(jīng)濟地位，它是中西方貿(mào)易的樞紐，是商業(yè)、貿(mào)易、財富的中心。當時的威尼斯城邦允許外國人自由前來進行貿(mào)易，它也將這一點視作自己的一大優(yōu)勢……威尼斯城中總是擠滿了來自世界各地的商人，居住在這里的非洲黑人有些是奴隸，但也有一些是享有人身自由的黑人。
One of the anxieties that the English felt, but also they quite liked was that Venice was a place for a multicultural tolerance and free trade. And so what they saw was a sort of space where the black African, the Jew, the Turk, different religions could mix together.
對于威尼斯的文化包容性和自由貿(mào)易，英國人既害怕，又著迷。他們看到在威尼斯生活著非洲黑人、猶太人、土耳其人等不同種族人群，這些人信奉著不同的宗教信仰。
Despite Venice’s multiculturalism, Othello is still positioned as an outsider: he is “the Moor of Venice”, and many of the characters refer to him by this term instead of by his name. The term “Moor” had several different meanings in Shakespeare’s time.
盡管威尼斯包容多種文化，但奧賽羅在這里仍像是局外人。他是“威尼斯的摩爾人”，劇中很多人都這么稱呼他，而不叫他的名字?！澳柸恕边@個稱呼在莎士比亞時代有著多重含義。
Farah Karim-Cooper: There's been a bit of a debate about whether or not Shakespeare's Othello is actually a sub-Saharan African. So therefore he's a black Negro or whether or not he is a North African Muslim and or with some sort of Arab background. But what we learn from the language of the play is that Othello is black.
法拉·卡里姆-庫珀：關于莎士比亞筆下的奧賽羅究竟是不是撒哈拉以南的非洲人，其實還是有一些爭論的。他究竟是非洲黑人呢？還是北非的穆斯林人？又或者帶有一點阿拉伯血統(tǒng)的人？這些都不大好確定。但是從戲劇的語言中我們可以肯定，奧賽羅一定是一位黑人。
FKC: So he is of racial other.
FKC：所以說，他屬于非白人種族。
The play opens with Iago angrily telling his friend Roderigo that “the Moor” has promoted his despised rival, Cassio, instead of him. Iago explains that he will pretend to be Othello’s faithful follower, but his real goal is to serve his own interests and perhaps to take some revenge. “I am not what I am”, he says. And with these words, Iago defines himself as Shakespeare’s master deceiver.
戲劇開場時，伊阿古就憤恨地對他的朋友羅德利歌說“那個摩爾人”提拔了他的瞧不起的卡西奧做副將。伊阿古表示他會裝作是奧賽羅忠實的部下，但這不過是“為了自己的利益”，如果可以的話他還計劃進行報復。他說“世人所知道的我，并不是實在的我”。伊阿古的這番言論，讓自己成為了莎士比亞筆下一個有名的大騙子。
Iago and Roderigo know that Othello has eloped that night with Desdemona, the daughter of Brabanzio, a Venetian senator. Using grossly racialized and animalistic language, they shout at Brabanzio’s window that his daughter has run off with the Moor. Brabanzio sends his men after her. Iago, pretending to be loyal, goes to warn the newly married Othello. Then we find out that the Turkish army is threatening Venice’s stronghold on the island of Cyprus. And Othello, Venice’s most skillful general, is summoned to the Duke’s war council.
伊阿古和羅德利哥都知道，那天夜里奧賽羅和威尼斯元老勃拉班修的女兒苔絲狄蒙娜私奔。他們朝著勃拉班修的窗戶，用下流色情、帶著種族歧視的語言大聲喊叫說他的女兒和那個摩爾人私奔了。當勃拉班修派人去追自己的女兒時，伊阿古又假裝忠心地去向新婚的奧賽羅通風報信。而在接下來的劇情中，我們又了解到那時土耳其軍隊正威脅著威尼斯的要塞—塞浦路斯島。奧賽羅作為威尼斯最經(jīng)驗豐富的的將領被召去了公爵的戰(zhàn)爭議事廳。
The scene at the Senate reveals Othello’s double and precarious state in Venice. He is both insider and outsider, both needed and feared. His military talent makes him valued and necessary as the city’s protector. But as the man who won Desdemona away from her Venetian suitors, he also poses a threat to the city and its social customs. Brabanzio tells the Senators that Othello must have used “witchcraft” to seduce Desdemona. Why else, he demands, would a well-bred young Venetian woman run away to what he calls “the sooty bosom” of Othello? This phrase reveals the racial motivation of Brabanzio’s anger. It also alludes to the way the play was originally performed. Othello, a black character, was first played by a white man: an actor named Richard Burbage.
在議事廳的這場戲中，我們可以感受到奧賽羅在威尼斯所處的微妙地位。他既是局內(nèi)人又是局外人，元老院的人們既需要他，但同時又對他心存戒備。奧賽羅的軍事才能十分出眾，因此人們很重視他，需要他來保衛(wèi)城邦。但同時這個將苔絲狄蒙娜從一眾威尼斯追求者手中奪走的男子，對于整個城邦和社會習俗來說又是一個威脅。勃拉班修對元老們說，奧賽羅一定是用“符咒藥物”引誘了苔絲狄蒙娜。他表示，否則，一個出生良好的威尼斯女性怎么可能會投入奧賽羅“這個丑惡的黑鬼懷里”，和他一起私奔呢？勃拉班修的用詞也體現(xiàn)出他憤怒的根源就是種族問題。而且從戲劇最初上演時表演方式我們也可以看出這一點。奧賽羅是一個黑人角色，但這個角色最初的扮演著卻是一個名叫理查德·伯比奇的白人男演員。
FKC: He performed Othello in blackface and impersonated a black African using a variety of techniques such as black paint, which may have been made from walnut shells and oil, or perhaps some burnt cork or the soot of a lamp.
FKC：他扮演奧賽羅這個黑人角色時，會用黑色涂料把自己扮成一個非洲黑人，這種黑色涂料可能是用胡桃殼和油制成的，也可能是用燒過的軟木或者燈上的煤灰做的。
But even though there was not a black actor performing on Shakespeare’s stage, there were black people living in Shakespeare’s London.
不過呢，雖然在莎士比亞時期的舞臺上，并沒有黑人演員參與表演，但在那個時期的倫敦其實是有黑人居住的。
FKC: there were more black people living in Shakespeare's England than we originally thought. And some of them lived free and traded and worked in Suffolk, for example. So is it likely that Shakespeare's audiences may have actually been more racially diverse than we like to think about … We know that because there were black people living in London during this time that they may have had a different notion of racism … But audiences were not homogenous. They were not all white. So it's impossible to suggest that their response to these terms and the staging of racial identity was one way or another. I suspect it was as complex and diverse as the play itself.
FKC:其實在莎士比亞時期，生活在英國的黑人遠比我們最初所想的要多。例如在薩克福生活的一部分黑人，他們享有人身自由，可以在那里做生意、工作。那個時期莎劇的觀眾們的種族構(gòu)成也許比我們認為的要多元化……我們之所以這么說，是因為在那個時期，英國也有黑人，他們有著不同的種族觀念……觀眾們并不是單一的種族，不全是白人，所以他們對于劇中的語言表達，以及種族身份的舞臺表現(xiàn)形式一定是會有各不相同的反應。我覺得他們的看劇時的反應其實會和這部戲劇本身一樣復雜多元。
Othello also meets with a mixed response in the Senate. While Brabanzio accuses him of witchcraft, the Duke and Senators invite Othello to give his own account of what happened. Othello explains in a moving speech that Brabanzio often invited him to his home to tell the stories of his travels. His relationship with Desdemona began when she became enchanted by these stories. He says that: “She loved me for the dangers I had passed, / And I loved her that she did pity them.” We’ll discuss this full speech in the third episode.
元老院中成員們對于奧賽羅的態(tài)度各不相同。勃拉班修指控奧賽羅使用巫術，而公爵和其他元老們則邀請他親自陳述發(fā)生的一切。奧賽羅用了一段動人的陳述解釋說，比如勃拉班修之前經(jīng)常邀請自己到他家講述曾經(jīng)的旅行經(jīng)歷，這些故事也深深吸引了苔絲狄蒙娜，他們之間的情愫由此而生。他說：“她為了我所經(jīng)歷的種種患難而愛我，我為了她對我所抱的同情而愛她”。在這單元的第三集解讀中，我們將探討這一整段臺詞。
Desdemona then arrives. She affirms that she is in love with Othello and freely ran away to marry him. As she puts it, “I saw Othello’s visage in his mind, / And to his honor and his valiant parts / Did I my soul and fortunes consecrate.” The Senate absolves Othello of any wrongdoing and sends him to Cyprus, to fight a different kind of foreign “other,” the enemy Turks.
接著苔絲狄蒙娜上場。她承認自己愛上了奧賽羅，是自愿跟他私奔結(jié)婚的。她說“在他崇高的精神里，我看見他奇?zhèn)サ膬x表；我已經(jīng)把我的靈魂和命運一起呈獻給他了”。最終元老院宣布奧賽羅無罪，并將他派往塞浦路斯島與另一個外族——土耳其作戰(zhàn)。
FKC: And the Turk represents Islam in this period. And Islam represents a direct threat to Christianity. And Islamic power was immense in this period and sophisticated and extraordinary. And so this is terrifying, actually, to Christian power.
FKC:土耳其代表的是那時的伊斯蘭教，伊斯蘭教是基督教最直接的一個威脅。當時，伊斯蘭教力量強大，是一個復雜且與眾不同的宗教，是一個令基督教權威十分恐懼的存在。
FKC: But what's really interesting is that you think Shakespeare is going to give you this play about this credible battle between the Turks and the Venetian would actually it sort of fizzles out and it becomes a domestic tragedy because the Turkish threat is no more. And then we get to narrow in and focus on the marriage.
FKC:但是這部劇真正有意思的地方在于，你以為莎士比亞接下來將向你講述土耳其和威尼斯之間這場可能暴發(fā)的戰(zhàn)爭，但后來由于來自土耳其的威脅消失了，我們的之后關注點全都集中在了奧賽羅的婚姻問題上。
The threat to the marriage emerges just after the Senate disperses. Roderigo and Iago are left alone onstage. Roderigo, who is infatuated with Desdemona, is in despair about her marriage, but Iago promises to help him seduce her. When Roderigo exits, Iago turns to the audience and unfolds a further plan: he will tell Othello that Cassio is having an affair with Desdemona. In the third episode, we’ll explore some of these key moments where Iago shares his plots.
奧賽羅婚姻的威脅在元老院剛一散會后就出現(xiàn)了，那時舞臺上只剩下羅德利哥和伊阿古兩人。羅德利哥癡戀著苔絲狄蒙娜，對于她和奧賽羅結(jié)婚感到十分絕望，但伊阿古答應幫他引誘苔絲狄蒙娜。當羅德利哥退場后，伊阿古轉(zhuǎn)向觀眾，向他們陳述了自己的計劃：他將騙奧賽羅說卡西奧和苔絲狄蒙娜私通。在第三集解讀中，我們將探討伊阿古對觀眾們講述他那些陰謀詭計的一些關鍵臺詞片段。
The scene then shifts to Cyprus, where we learn that a storm has drowned the enemy Turkish fleet. That night, the troops celebrate and Othello enjoys a private reunion with Desdemona-- and Iago starts putting his plot into action. In the revelry, he gets Cassio drunk and has Roderigo provoke him into fighting. Cassio wounds Roderigo and Othello enters the chaotic scene to ask “honest Iago” what happened. This name “honest” for Iago is significant in its irony.
接著場景轉(zhuǎn)到了塞浦路斯島，敵軍土耳其艦隊因遭遇暴風雨而沉沒。那天夜里，威尼斯全軍舉行了慶祝活動，奧賽羅也私下去見了苔絲狄蒙娜，同時，伊阿古在此刻開始實行他的陰謀行動。狂歡中，他把卡西奧灌醉，并讓羅德利哥挑釁卡西奧，從而刺激卡西奧向自己動武。最終卡西奧打傷了羅德利哥，接著奧賽羅來到混亂的現(xiàn)場，詢問“正直的伊阿古”發(fā)生了什么事情?！罢薄边@個詞對于伊阿古真是十足的諷刺。
FKC: He is often referred to in the play as honest Iago. He has the trust of Rodrigo, of Cassio, Desdemona, of Monta?o. And most importantly, of Othello …
FKC:他在劇中經(jīng)常被稱作“正直的伊阿古”，他得到了羅德利哥、卡西奧、苔絲狄蒙娜、蒙塔諾等等很多人的信任，而最關鍵的是，他還贏得了奧賽羅的信任……
Iago tells Othello, with apparent reluctance, how Cassio struck Roderigo. Othello removes Cassio from his office as lieutenant and Cassio is devastated. Iago suggests he ask Desdemona to intervene with Othello on his behalf. But then Cassio exits and Iago, in another soliloquy to the audience, reveals the next part of his plan. While Desdemona pleads for Cassio out of kindness, Iago will convince Othello that she is pleading Cassio’s case because she is in love with him. He will, he says, “out of her own goodness make the net / That shall enmesh them all.”
伊阿古裝作猶豫的樣子，向奧賽羅講述了卡西奧襲擊羅德利哥的場景。于是，奧賽羅宣布卡西奧不再是他的部屬，這令卡西奧萬分沮喪。接著伊阿古建議卡西奧去請求苔絲狄蒙娜為他向奧賽羅求情。但是在卡西奧退場后，伊阿古再次在一段獨白中向觀眾們透露了他接下來的計劃。他表示當苔絲狄蒙娜出于善意替卡西奧求情時，自己將誘導奧賽羅，使他相信苔絲狄蒙娜這么做是因為與卡西奧有私情。他說“我就利用她善良的心腸污蔑她的名譽，讓他們一個個都落進我的羅網(wǎng)之中”。
Cassio follows Iago’s advice and goes to Desdemona. As Iago predicted, she enthusiastically pleads for Othello to reconcile with Cassio. Othello agrees. But shortly afterwards, Iago asks Othello if Cassio knew about his secret courtship of Desdemona. Othello says, “He did, from first to last. Why dost thou ask? … Is he not honest?” “Honest, my lord?” says Iago. “What dost thou think?” asks Othello. “Think, my lord?” says Iago. Othello finally loses patience: “thou echo’st me / As if there were some monster in thy thought / Too hideous to be shown.” Iago’s rhetorical strategy is a clever one. The suggestiveness and incompleteness of his words convince Othello that they represent some darker thought--some darker truth--that remains unspoken.
卡西奧聽從了伊阿古的建議，去找苔絲狄蒙娜求情。正如伊阿古預言的那樣，苔絲狄蒙娜非常積極地替他向奧賽羅求情，希望他能與卡西奧重歸舊好。奧賽羅同意了。但沒過多久，伊阿古就去問奧賽羅是否知道卡西奧與苔絲狄蒙娜之間的私情。奧賽羅回答說“當真！嗯，當真。你覺得有什么不對嗎？他這人不老實嗎？”“老實?我的主帥!”伊阿古接著說。奧賽羅接著問：“你有什么意見？”伊阿古回答道：“意見?我的主帥！”終于奧賽羅失去了耐心，他說：“你在學我的舌，好像在你的思想之中，藏著什么丑惡不可見人的怪物似的。”伊阿古的說話策略相當巧妙，他言語中的暗示意味和欲說未說的情緒讓奧賽羅確信，他的話中藏著一些丑惡得不可見人的事情——一些丑惡得不可見人的真相——一些他未能說出口的真相。
FKC: It's not just that Othello has been naive. I think a lot of people land at the end of the play that Othello is naive. But it's that Iago is a rhetorical giant. He is very, very good with speech.
FKC: 其實這不僅僅是因為奧賽羅容易被騙，我相信很多看完這部劇的人都會覺得奧賽羅太容易被騙了。但主要原因還是伊阿古太巧舌如簧了，他說話真的太有技巧了。
Finally, Iago reveals what this darker thought is. He tells Othello, “O, beware, my lord, of jealousy! / It is the green-eyed monster.” Othello insists that he has no jealousy about Desdemona’s faithfulness. But Iago advises Othello, “Look to your wife; observe her well with Cassio.” It is “unnatural,” he suggests, for Desdemona not to desire someone “Of her own clime, complexion, and degree”--that is to say, another white Italian noble, like Cassio. Othello does start to wonder if Desdemona may have lost her love for him--perhaps because he is old, or perhaps because he is black. Desdemona enters and sees that Othello looks distressed. She wipes his head with a handkerchief Othello once gave her. When she exits, she drops the handkerchief. Her maid Emilia picks it up and gives it to Iago, her husband, who has often asked her to steal it.
最終，伊阿古說出了這個丑惡得不可見人的事情。他對奧賽羅說：“啊，主帥，您要留心嫉妒??；那是一個綠眼的妖魔”。在西方文化中，“綠眼”代表的就是“嫉妒”。但奧賽羅堅持說他毫不懷疑苔絲狄蒙娜對自己的忠誠。但是緊接著伊阿古建議奧賽羅“注意尊夫人的行動；留心觀察她對卡西奧的態(tài)度”，他表示苔絲狄蒙娜對與“她同國族同膚色同階級”的人不動心是“違反常情的”，而他口中的這個人，這個意大利白人貴族，就是卡西奧那類人。奧賽羅的確懷疑過苔絲狄蒙娜也許因為自己年齡大，或者更因為自己是一個黑人而已經(jīng)不愛自己了。接著當苔絲狄蒙娜走上舞臺時，她發(fā)現(xiàn)奧賽羅看上去情緒十分低落。她用奧賽羅送給自己的一塊手帕替他揉了揉頭。在她退場時，她卻不小心弄丟了這塊手帕。她的女仆埃米莉亞撿到了這塊手帕，并把手帕給了她的丈夫伊阿古，此前伊阿古一直讓她去偷這塊手帕。
Othello is now in agony at the thought of losing Desdemona’s love. He confronts Iago and demands that he provide proof that she has been unfaithful.
此刻的奧賽羅已經(jīng)深陷在苔絲狄蒙娜不再愛自己的苦悶情緒中。他找到伊阿古，讓他去搜集證據(jù)證明苔絲狄蒙娜背叛了自己。
FKC: Othello is fiercely intelligent and he is strategic. He's a tactical thinker. So he's really struggling to reconcile how someone is kind and loving and generous and risk taking as Desdemona, too, as she, you know, she took huge risk marrying him would commit such a blatant act of betrayal to sort of negate everything that she just risked. He needs to see proof.
FKC:奧賽羅很有智慧，也很講究策略，他是一個有謀略的思想家。所以他不會輕易相信，苔絲狄蒙娜這樣善良、有愛心、慷慨且勇敢的女性會這么明目張膽地背叛他，畢竟當初苔絲狄蒙娜和他結(jié)婚的是冒了巨大風險的，她怎么可能放棄自己冒這么大風險爭取來的東西呢？他需要看到證據(jù)。
The handkerchief becomes that proof. Iago stages a conversation with Cassio where Othello can overhear. Iago prompts Cassio to talk about his affair with the courtesan Bianca, but lets Othello believe that Cassio is talking about his affair with Desdemona. What’s more, Othello sees the handkerchief in Cassio’s hands--because Iago had planted it earlier in Cassio’s room. Seeing the handkerchief, Othello is now convinced that Cassio and Desdemona are lovers.
但這塊手帕恰恰就成了證據(jù)。伊阿古在明知奧賽羅在一旁偷聽的情況下找卡西奧問話，他故意引導卡西奧談論他與情婦比安卡之間的事情，但這些話聽在奧賽羅耳中，就像是在說苔絲狄蒙娜一樣。最關鍵的是奧賽羅看到了卡西奧手中拿著的那塊手帕，這其實也是伊阿古事先放在卡西奧屋內(nèi)的，但是這個場景卻讓奧賽羅最終確信卡西奧和苔絲狄蒙娜之間的確有私情。
FKC: The handkerchief in the play becomes this proof. It's a really, really important object. Once he sees that his jealousy and despair overtake him when this handkerchief becomes the thing that he relies upon.
FKC:劇中這塊手帕就成了證據(jù)。它真的真的非常關鍵。奧賽羅一見到這塊手帕，心中的嫉妒和絕望就占了上風，正是這塊手帕讓他相信了伊阿古的話。
Othello, wracked with grief and anger, plans to strangle Desdemona in her bed. When he next sees her, he hits her and calls her a whore. Desdemona passionately pleads her innocence, but Othello is unmoved. The distraught Desdemona asks Emilia if any woman could do something so wrong as commit adultery and swears that her husband’s unkindness will “never taint [her] love.” We’ll examine Emilia’s unconventional reply to Desdemona in the third episode.
悲傷且憤怒的奧賽羅計劃趁苔絲狄蒙娜睡覺時勒死她。他再次見到苔絲狄蒙娜后，不但打了她，還叫她“娼婦”。苔絲狄蒙娜激動地辯解說自己是清白的，但奧賽羅卻不為所動。悲痛欲絕的苔絲狄蒙娜問埃米莉亞世上有沒有干通奸這種壞事的女人，并發(fā)誓說她丈夫的無情“永遠不能摧毀她的愛情”。在本單元第三集解讀中，我們將重點探討埃米莉亞對苔絲狄蒙娜的那段不尋?；貜?。
That night, Othello orders Iago to kill Cassio while he goes to kill Desdemona. Othello represents himself as a minister of justice, but he is almost overwhelmed by the sight of her sleeping form, saying: “Oh, balmy breath that dost almost persuade justice to break her sword!”
那天夜里，奧賽羅命令伊阿古去殺卡西奧，而他自己則計劃去殺苔絲狄蒙娜。奧賽羅視自己為公道的審判者，但當他看到苔絲狄蒙娜的睡顏時，他差一點就要放棄了，他說“啊，甘美的氣息！你幾乎誘動公道的心，使他折斷他的利劍了！”
FKC: Othello, enters her bedchamber, sees her sleeping, acknowledges her beauty and her virtue. But then he becomes overwhelmed by his jealousy.
FKC：奧賽羅走進苔絲狄蒙娜的臥房，看著她的睡顏，他承認苔絲狄蒙娜是美麗且高尚的。但緊接著在他內(nèi)心，嫉妒占了上風。
Desdemona wakes. Othello tells her to prepare for death and to confess her sins. She protests that she never committed any sin with Cassio. When Othello tells her Cassio is dead, Desdemona weeps. Othello’s anger rises again, and he smothers her. Emilia comes in as Desdemona is dying, and hears her final words: “Commend me to my kind lord.” Othello tells the horrified Emilia that Desdemona was unfaithful, and that Iago, Emilia’s husband, knew it. Emilia insists Desdemona was innocent, curses Iago, and calls for help. Iago and the Venetian officers arrive. Othello explains the “just grounds” of Desdemona’s death: he heard Cassio confess their love affair and saw Desdemona’s handkerchief in his hand. Emilia tells Othello that she gave the handkerchief to Iago. Iago stabs Emilia, the officers seize him, and Emilia dies on the bed beside Desdemona.
苔絲狄蒙娜醒了過來。奧賽羅讓她做好被殺的準備，并勸她承認自己的罪行。但苔絲狄蒙娜則一再堅稱自己和卡西奧是清白的。當奧賽羅對她說卡西奧已經(jīng)死了的時候，苔絲狄蒙娜哭了，這令奧賽羅再次怒火中燒，于是他掐死了苔絲狄蒙娜。埃米莉亞進來時，奄奄一息的苔絲狄蒙娜說了她最后的那句臺詞，她說：“可是讓我做一次禱告吧！”奧賽羅對驚恐的埃米莉亞說，苔絲狄蒙娜對自己不忠，這件事她的丈夫伊阿古一切全都知道。但埃米莉亞也堅稱苔絲狄蒙娜是清白的，她一邊咒罵伊阿古，一邊找人幫忙。接著伊阿古和一些威尼斯的警吏們匆匆趕來，奧賽羅解釋說苔絲狄蒙娜是“死有余辜”，因為他聽見卡西奧承認和苔絲狄蒙娜之間的私情，并看見他手里拿著苔絲狄蒙娜的手帕。但是，埃米莉亞告訴奧賽羅那塊手帕是她給伊阿古的，聽到這些話伊阿古拔劍刺死了埃米莉亞。雖然伊阿古被警吏們制服了，但埃米莉亞也倒在床上，死在了苔絲狄蒙娜身邊。
Othello, now realizing how terribly Iago has deceived him, laments over Desdemona’s body, and entreats the officers to find out why Iago did this: “Will you, I pray, demand this demi-devil / Why he hath thus ensnared my soul and body?” But the rhetorically suave Iago now has nothing more to say. His last words in the play are, “What you know, you know. From this time forth I never will speak word.” Iago is taken away to be tortured and Othello is arrested.
此刻，奧賽羅終于意識到伊阿古欺騙了自己，他在苔絲狄蒙娜的尸體旁悲痛欲絕，請求警吏們調(diào)查清楚伊阿古這么做的原因：“你們問一問那個頂著人頭的惡魔，為什么他要這樣陷害我的靈魂和肉體？”此刻一向善于言辭的伊阿古也無言以對，他說了自己在劇中的最后一段臺詞“你們所知道的，你們已經(jīng)知道了；從這一刻起，我不再說一句話”。之后伊阿古被帶下去接受酷刑的懲罰，奧賽羅也被逮捕了。
But Othello still has something to say. He makes a final speech asking the officers to remember the time when a “turbaned Turk” attacked a citizen of Venice and he, Othello, “took [him] by the throat … and smote him thus.” With these words, he stabs and kills himself--thus taking on the role both of his younger self who killed the Turk and the Turk he killed. Othello casts himself both as insider and outsider, the protector of Venice and the enemy that Venice must be protected from. This divided sense of self is one of the great struggles that defines Othello in the play.
但是奧賽羅仍有話要說，他在自己最后那段臺詞中請求警吏們不要忘記當“一個裹著頭巾的土耳其人”毆打一個威尼斯人時，他，奧賽羅“一把抓住了對方的咽喉，就這樣把他殺了”。說完這些，奧賽羅以劍自刎。此時的他，既是那個刺死土耳其人的年輕奧賽羅，又像是那個被殺的土耳其人，他既是局內(nèi)人，又是局外人，既是威尼斯的守衛(wèi)，又是威尼斯需要防范的敵人。這種自我意識的割裂是奧賽羅所經(jīng)歷的一個巨大掙扎，而恰恰是這種掙扎造就了奧賽羅在劇中的人物形象。
Farah Karim-Cooper: He has a sense of himself as a divided self in terms of his identity. He's the Christian and the Turk, which means he's the civilized social person and the barbarian all at once. So this is really a kind of complex and ambiguous sense of self perception, which makes him really interesting to us as fellow humans.
法拉·卡里姆-庫珀：在他的自我意識中，他對自己的身份認知是割裂的。他既是基督教徒又是土耳其人，這意味著在他身上文明教化和原始野蠻并存。這是一種極其復雜模糊的自我認知，也正是這一點深深吸引了我們這些普通觀眾。
What creates this divided sense of self? Is it Iago’s malicious plots? Or are there larger social forces at work, which provoke destructive racialized perspectives in all the characters, even in Othello himself? We’ll delve more deeply into these questions in the next episode.
是什么導致了他這種割裂的自我認知呢？是伊阿古邪惡的陰謀嗎？還是更廣泛的社會因素在起作用，觸發(fā)了劇中所有角色，包括奧賽羅本人在內(nèi)的那些毀滅性種族觀念呢？下期節(jié)目，我們將更加深入地探討這一系列問題。
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