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Whether you credit Mad Men (2007-2015) or Breaking Bad (2008-2013), TV’s recent renaissance began with a literal interpretation of moral relativism: Man is the measure of all things.
無論你是否對《廣告狂人》（2007-2015）或《絕命毒師》（2008-2013）讚譽有加，（你都不能否認）近期電視螢屏的復興始於對道德相對論的文學解讀：男性是衡量萬物的唯一準則。
And then there was The Good Wife, a TV series revolving around a woman.
這時一部圍繞女人的電視劇——《傲骨賢妻》橫空出世。
Created by Michelle and Robert King in 2009, The Good Wife centers on betrayed political spouse Alicia Florrick, played by Julianna Margulies.
《傲骨賢妻》由米歇爾和羅伯特•金夫婦於2009年打造，該劇圍繞著遭遇政客丈夫背叛的妻子艾麗西亞•福洛瑞克（朱麗安娜•瑪格麗絲飾演）展開。
It came to an end on May 8, and it may be the show with the largest and most lasting influence, having produced a new kind of heroine, one no longer hamstrung by the traditional expectations of easy emotion or instant 「likability」.
5月8日，《傲骨賢妻》完結，這部劇最大和最深遠的影響或許就在於創造了一種新式女主人公，她不再被感情簡單的和一眼就能「招人喜歡」的傳統期望拖累。
Shows like House of Cards (2013-), How to Get Away With Murder (2013-), Jessica Jones (2015-) and even Penny Dreadful (2014-) owe as much, if not more, to The Good Wife than any of their cable peers or even the expanding digital universe. Their female leads continue to stretch boundaries that Alicia Florrick refused to acknowledge.
《傲骨賢妻》對很多劇集的影響遠超其他同期劇，像《紙牌屋》（2013-）、《逍遙法外》（2013-）、《傑西卡•瓊斯》（2015-）、甚至《低俗怪談》（2014-），它們的流行也有《傲骨賢妻》的功勞。這些劇集中女性主人公也像艾麗西亞•福洛瑞克一樣突破傳統。
With her careful smile and watchful demeanor, Alicia kept her own counsel and refused to be categorized.
艾麗西亞謹慎的微笑和警惕的舉止讓人猜不透她的心思，她獨樹一幟，拒絕被劃歸為某一類人。
Her enigmatic mien was even more surprising given the familiarity of the character. The Good Wife was a fictionalized look at what happens to a political wife after she’s forced to 「assume the position」, between podium and flag, as her erring spouse confesses his sins to the cameras.
在熟悉了這個人物之後，我們會被她的高深莫測驚呆。《傲骨賢妻》虛構了一個政客的妻子在丈夫出軌之後繼續扮演好一個妻子的角色的故事，當她犯了錯的丈夫在鏡頭前懺悔自己的惡行時，她被迫站在演講臺和國旗之間（接受這種屈辱）。
But miraculously, neither Margulies nor the Kings followed the usual script. Alicia wasn’t spunky, pluckyor feisty, and she wasn’t visibly wounded, emotionally damaged, fatally self-effacing or popping Valium in the bathroom.
不過，出乎意料的是瑪格麗絲和金氏夫婦都沒有按常規劇本的套路走。艾麗西亞的表現既不怒氣衝衝也不勇敢、好強，你甚至在她身上看不到傷痕、情感創傷、謙卑，她更不會在浴室裡放安眠藥。
With a restraint that bordered on the heroic yet never played as such, Margulies created a whole new type of character. Neither devoid of emotion nor hostage to it, Alicia was a woman who had learned to control what she could: this moment of her life. Then the next moment of her life. And so on.
受限於從未有人扮演過類似的女主人公，瑪格麗絲只能自己創造了一個全新的角色。艾麗西亞並非全無感情，但又不受制於感情，她懂得如何控制自己能夠掌控的一切：自己當下的生活。之後再考慮以後的生活等。
She stood alone for many years, both as a character and a presence. Homeland’s (2011-) Carrie Mathison appeared, powerful but, with her grimacing tears and brilliant madness, Alicia’s polar opposite.
多年來她孤獨地獨自承擔著這個現象級的角色。然後《國土安全》（2011-）的女主凱莉•馬蒂松出現了，不過伴隨著她強悍外表的是痛苦的眼淚和絕頂的瘋狂，而艾麗西亞恰恰相反。
Claire Underwood on House of Cards (2013-) shared Alicia’s use of silence and noncommittal stares, but Claire came from a place of near comic-book ruthlessness. She was no everywoman facing the rubble of betrayal, the demands of work and family, the treachery of office politics.
《紙牌屋》（2013-）中的克萊爾•安德伍德和艾麗西亞一樣擅用沉默和態度曖昧的眼神，但克萊爾卻有著近似漫畫書中人物般的冷酷無情。面對愛人出軌的狼藉、工作和家庭的重壓、辦公室政治的背叛時，她的表現根本不像普通女人。
Though the Kings chose to end The Good Wife, and end where it began– with Alicia’s husband facing jail and she once again asked to define the terms of the show’s title, it really doesn’t matter. The show has already left its mark: We will see Alicia’s deceptively tranquil gaze and enigmatic power reflected in the faces of increasingly diverse female characters for years to come.
儘管金氏夫婦選擇用開篇一樣的情節完結《傲骨賢妻》——艾麗西亞的丈夫面臨牢獄之災，而她又一次被要求當一個和劇名一樣的「傲骨賢妻」，但這已無所謂。劇集早已(在整個行業)留下了自己的印記：艾麗西亞帶有迷惑性的波瀾不驚的眼神和高深莫測的能量，我們將在未來在越來越多的各類女性角色身上看到。
本文刊登於《21世紀英文報》1155期V1版
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