人生是夢 Life is a Dream

人生是夢

Life is a Dream

卡爾德隆·德·拉·巴爾卡

Calderón de la Barca

Life Is a Dream is a Spanish-language play by Pedro Calderón de la Barca. First published in 1636, in two different editions, the first in Madrid and a second one in Zaragoza. Don W. Cruickshank and a number of other critics believe that the play can be dated around 1630, thus making Calderón's most famous work a rather early composition. It is a philosophical allegory regarding the human situation and the mystery of life.The play has been described as "the supreme example of Spanish Golden Age drama".The story focuses on the fictional Segismundo, Prince of Poland, who has been imprisoned in a tower by his father, King Basilio, following a dire prophecy that the prince would bring disaster to the country and death to the King. Basilio briefly frees Segismundo, but when the prince goes on a rampage, the king imprisons him again, persuading him that it was all a dream.

The play's central themes are the conflict between free will and fate, as well as restoring one's honor (NADV1). It remains one of Calderón's best-known and most studied works, and was listed as one of the 40 greatest plays of all time in The Independent.[4] Other themes include dreams vs. reality and the conflict between father and son. The play has been adapted for other stage works, in film and as a novel.

三幕哲理劇《人生是夢》，是卡爾德隆的代表作；是他的生活就是戲劇，人生就是夢幻的哲理思想的集中體現。

卡爾德隆的戲劇創作有兩個階段：前一階段接近於維加的民族的、風俗的、現實的風格，後一階段才顯現出哲理的、心理的、甚至神秘的特色，從中可以看到克維多·伊·比列加斯和貢戈拉·伊·阿爾戈特的影響。一般認為《人生是夢》(1635)就是這兩個階段的分界線，也是他的代表作。這是3幕詩體哲理喜劇。主題思想在於闡明人生富貴之虛幻、唯有榮譽和責任為生活的惟一準繩。劇中現實和夢幻撲朔迷離的構思，帶有東方色彩。劇本描寫波蘭王子塞希斯蒙多，因被迷信的父王認為將來會成為殺父禍國的暴君，自幼被幽禁於高塔。父王為了觀察成年後的塞希斯蒙多，將其麻醉並乘其昏睡接進宮中，命朝臣們尊之為君。塞希斯蒙多醒後大發雷霆，譴責其父不該給他生命而又剝奪他的生活權利，於是重被麻醉送回塔上，醒來後以為自己方才是在作夢。此時民眾起事反對國王將傳位於其侄的決定，從高塔中放出塞希斯蒙多，擁上寶座。塞希斯蒙多以為和上次一樣仍然是在夢中，不願為王，但是他終於聽人勸告，決心秉公辦事，治理國家，成為一位賢明君主。劇本的次要主題為意志和宿命的矛盾，說明意志如果遵循榮譽和責任的準繩，就能改變宿命,否則相反,將被宿命所左右。兩種特點交織在這部劇本裡，非常明顯。1642年寫成的著名歷史劇《薩拉梅亞的鎮長》，反映了正義必然戰勝特權、被壓迫者的反抗必然取得勝利的思想，結構完整，情節緊湊，是西班牙古典戲劇中的傑作。

　　

　　

卡爾德隆後一階段的宗教劇和他的神話傳說劇一樣，也有豐富的抒情性。從總體上看，他的戲劇是以人的命運和人的榮譽為其普遍的主題，儘管帶有濃厚的宗教色彩，但也表現了西班牙傳統的民族精神。他的影響一直延續到18世紀初，並且遠及法國的戲劇和德國的浪漫主義文學。

音頻

ACT I

SCENE I—A pass of rocks, over which a storm is rolling away,

and the sun setting: in the foreground, half-way down, a fortress.

(Enter first from the topmost rock Rosaura, as from horseback, in man's attire; and, after her, Fife.)

     ROSAURA.

     There, four-footed Fury, blast

     Engender'd brute, without the wit

     Of brute, or mouth to match the bit

     Of man—art satisfied at last?

     Who, when thunder roll'd aloof,

     Tow'rd the spheres of fire your ears

     Pricking, and the granite kicking

     Into lightning with your hoof,

     Among the tempest-shatter'd crags

     Shattering your luckless rider

     Back into the tempest pass'd?

     There then lie to starve and die,

     Or find another Phaeton

     Mad-mettled as yourself; for I,

     Wearied, worried, and for-done,

     Alone will down the mountain try,

     That knits his brows against the sun.

     FIFE (as to his mule).

     There, thou mis-begotten thing,

     Long-ear'd lightning, tail'd tornado,

     Griffin-hoof-in hurricano,

     (I might swear till I were almost

     Hoarse with roaring Asonante)

     Who forsooth because our betters

     Would begin to kick and fling

     You forthwith your noble mind

     Must prove, and kick me off behind,

     Tow'rd the very centre whither

     Gravity was most inclined.

     There where you have made your bed

     In it lie; for, wet or dry,

     Let what will for me betide you,

     Burning, blowing, freezing, hailing;

     Famine waste you: devil ride you:

     Tempest baste you black and blue:

     (To Rosaura.)

     There! I think in downright railing

     I can hold my own with you.

     ROS.

     Ah, my good Fife, whose merry loyal pipe,

     Come weal, come woe, is never out of tune

     What, you in the same plight too?

     FIFE.

     Ay; And madam—sir—hereby desire,

     When you your own adventures sing

     Another time in lofty rhyme,

     You don't forget the trusty squire

     Who went with you Don-quixoting.

     ROS.

     Well, my good fellow—to leave Pegasus

     Who scarce can serve us than our horses worse—

     They say no one should rob another of

     The single satisfaction he has left

     Of singing his own sorrows; one so great,

     So says some great philosopher, that trouble

     Were worth encount'ring only for the sake

     Of weeping over—what perhaps you know

     Some poet calls the 'luxury of woe.'

     FIFE.

     Had I the poet or philosopher

     In the place of her that kick'd me off to ride,

     I'd test his theory upon his hide.

     But no bones broken, madam—sir, I mean?—

     ROS.

     A scratch here that a handkerchief will heal—

     And you?—

     FIFE.

     A scratch in quiddity, or kind:

     But not in 'quo'—my wounds are all behind.

     But, as you say, to stop this strain,

     Which, somehow, once one's in the vein,

     Comes clattering after—there again!—

     What are we twain—deuce take't!—we two,

     I mean, to do—drench'd through and through—

     Oh, I shall choke of rhymes, which I believe

     Are all that we shall have to live on here.