我在找戲劇資料的時候，赫然發現！
這是在你大一的時候寫的，或是引用的我不清楚。
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Agamemnon
阿加曼農
In the Agamemnon Aeschylus wished to exhibit to us the sudden downfall from
the very summit of prosperity and renown to the abyss of ruin. The ruler, the
hero, the commander of the collected hosts of Greece at the very instant of
his success in that most glorious achievement, the destruction of Troy, for
which his fame was to be reëchoed in time present and time to come, in
the very act of crossing the threshold of the house for which he has so long
been sighing, and amidst the careless preparations for a festive banquet, is
murdered, as Homer expresses it, "like an ox beside his crib," murdered by
his faithless wife; his throne is seized upon by her worthless paramour, his
children are consigned to banishment or helpless servitude.
希臘悲劇作家埃斯庫羅斯渴望展示我們的是一個已達繁榮顛峰的希臘與頗具名望的希臘將
領阿加曼農凱旋歸來後的家庭悲劇.這位在希臘擁有最高統治權的英雄,因著特洛伊的毀滅
,這個輝煌的戰績,成為家喻戶曉的人物. 由皇室家族行動為開端,在草率的準備歡樂節慶
的宴會中,如同荷馬在史詩中說的"like an ox beside his crib," 阿加曼農被自己不忠
誠的妻子謀殺,他的王權被毫無價值的情婦爭奪,他的孩子或被放逐或被做無謂的犧牲……
In the view of giving a striking effect to so terrific a reverse of fortune,
the poet was obliged in the first place to give additional splendor to the
conquest of Troy. This he has done in the first half of the piece, in a
peculiar fashion but certainly with great impressiveness, and in a manner
that arrests the imagination. It is of consequence to Clytemnestra that she
should not be surprised by her husband's return. She has, therefore, taken
measures to have an unbroken line of beacon-fires from Troy to Mycenæ,
to announce to her the great event. The play opens with the speech of a
watchman, who supplicates of the gods a deliverance from his toils, since now
for ten years exposed to the cold night-dews, he has seen the alternating
stars passing above him, and ever in vain been waiting for the signal; at the
same time he sighs in secret over the ruin which is at work in the royal
house. At this moment he sees the wished-for flame blaze up, and hastens to
announce it to his lady.
鑒於如此引人注目的可怕結果,一個大逆轉的命運,詩人在一開始便承續荷馬史詩中賦予阿
加曼農光輝的征服特洛伊事蹟,在前半段的作品中展現獨特卻十分令人印象深刻的方式,同
時也捕捉了一些想像空間的模式.阿加曼農的歸來,應該讓身為妻子的克來天奈斯拖(與姦
夫謀殺阿加曼農,後皆為其子所殺)不感驚訝,因為她有權利利用狼煙來告知自己戰勝特洛
伊的偉大事件. 這個劇本由一個巡夜者為開頭,他日以繼夜懇求上帝原諒他的陰謀已有十
年,然後經過漫長的等待那個狼煙的訊號,當他看到火焰燃起的那刻隨即通知他那已準備好
的情婦--克來天奈斯拖伺機謀害阿加曼農的時刻來到……
A chorus of old men appears, and in its ode exhibits the war of Troy in all
its fateful relations, traces it back to its origin, to all the prophecies
connected with it at the time, to the sacrifice of Iphigenia, with which the
Greeks were constrained to purchase their departure on the expedition.
Clytemnestra explains to the chorus the reasons for her joyful sacrifice.
Presently enters the herald Talthybius, who relates all as an eye-witness;
the spectacle of the conquered, plundered, flame-devoted city, the triumph of
the host, and the glory of its commander. Reluctantly, however, as unwilling
to interrupt his prayers for their posterity by evil tidings, he relates the
subsequent mishaps of the Greeks, their dispersion, and the shipwreck
suffered by many of them--calamities wherein the wrath of the gods had begun
to reveal itself.
合唱隊中一個老人出現了,在他頌歌中表達與特洛伊戰爭有重大關聯與追溯其源頭的預言
之事—Iphigenia的犧牲,以及和希臘人被迫努力取得遠征的起點.克來天奈斯為她
(Iphigenia)歡愉的犧牲向合唱隊解釋.
不久,進來了一些目擊那戰勝,掠奪,充滿熱情的城市場景以及榮耀在身的指揮官證人的演
員使者,不願意打斷他為子孫的壞消息所做的祈禱文,隨後希臘人面臨的災難,他們的分散
及遭受嚴酷的船難,歷歷揭露了上天的憤怒……
輪到阿加曼農的出場,他坐在慶祝勝利的雙輪戰車上,在另一個裝滿戰利品的戰車上,隨後
的是卡珊多拉(特洛伊女預言家)與他的戰俘女奴.
Now comes Agamemnon himself seated on a triumphal chariot. On another
chariot, laden with spoils, follows Cassandra, his captive concubine,
according to the laws of war in those times. Clytemnestra greets him with a
hypocritical show of joy and veneration, bids her maidens spread forth the
purple carpets of the costliest golden embroidery, that the foot of the
conqueror may not touch the ground. Agamemnon with wise moderation refuses to
accept this honor, which belongs only to the gods. At last he complies with
her solicitations, and follows her into the house. The chorus begins to
entertain dark forebodings. Clytemnestra returns to entice Cassandra, by
friendly persuasion, to the same destruction. She remains dumb and immovable.
But scarcely is the queen away when, seized by prophetic rage, she breaks out
into confused indistinct wailings. Presently, she reveals her predictions to
the chorus more clearly; she beholds, in spirit, all the atrocities which
have been perpetrated within this house: that Thyestean banquet in which the
children were served up to the father, and from which the son turned away his
eye; the shades of the mangled children appear to her on the battlements of
the palace. She sees also the murder which is in readiness for her lord, and
though shuddering at the reek of death, she rushes like a maniac into the
house to meet her inevitable destruction. Behind the scenes are heard the
groans of the dying Agamemnon.
[color=green]克來天奈斯拖虛偽的表現出歡愉及尊敬來迎接他,並命令女傭在前方鋪上紫
色含黃金刺繡的貴重地毯,讓這榮耀歸來的勝利者不踩到地面.然而聰明而穩健的阿加曼農
拒絕接受這項榮耀,並將這份榮耀歸於上帝;不過到最後還是遵從克來天奈斯拖的懇求並隨
她進屋;此時合唱隊已有一種不詳的預感,然而克來天奈斯拖更進一步以柔性勸說慫恿卡珊
多拉與她合作.只見卡珊沉默一動也不動,只見皇后爭奪那群神憤怒的預言,終於她爆發了
情緒,虛弱的慟哭;一會兒她向合唱隊清楚地揭露她的預言,她用靈魂注視著克來天奈斯拖
所有的暴行:在宴會上將兒子驅逐出去放逐在碉堡上的城垛,貴族為謀殺案的準備一切就緒
,室內充斥著死亡的臭氣……她發狂的衝進屋內看到這一切無可避免的毀滅,同時聽到幕後
垂死的阿加曼農不斷的呻吟聲……
The palace is thrown open; Clytemnestra stands beside the corpse of her king
and husband, like an insolent criminal who not only acknowledges the deed but
glories in it, and would justify it as a righteous act of requital for
Agamemnon's sacrifice of Iphigenia to his own ambition. Her jealousy of
Cassandra and guilty union with the worthless Ægisthus, who does not
make his appearance till the end of the piece, are scarcely touched upon as
motives, and remain quite in the background. This was necessary to preserve
the dignity of the subject. But in other respects also Clytemnestra was not
to be depicted as a frail, seduced woman, but with the traits of that heroic
age which is so rich in bloody catastrophes, in which all passions were so
impetuous, and men, both in good and evil, exceeded the common standard of
later ages. What is more revolting, what proves a deeper degeneracy of human
nature than the conception of horrible crimes in the bosom of cowardly
effeminacy? If the poet be called upon to depict such crimes, he must by no
means seek to palliate them, or to mitigate our detestation of them. The
bringing the sacrifice of Iphigenia so close to us has also the advantage of
obviating too much bitterness of indignation at the fall of Agamemnon. He is,
at the best, not guiltless; former crime recoils on his own head. Moreover,
according to the religious notions of the Greeks, an ancient curse weighed
heavily on his house; Ægisthus, the author of his overthrow, is a son
of that very Thyestes on whom his father Atreus had taken so unnatural a
revenge, and this fateful connection was vividly brought before our minds by
the choral odes, but especially by the prophecies of Cassandra.
<總結>最早有關劇場的確實資料，以及世界上最早的偉大劇本，都來自希臘。有幾世紀之
久，希臘戲劇只在祭祀戴歐尼索斯(Dionysus)的節慶中演出。希臘神話裡中他是宙斯
(Zeus)與少女西蜜麗(Semele)之子，被殺後首遭肢解，繼而復活，成為酒與豐腴之神。因
此他象徵了生命的循環，像新生、茁長、衰壞、死亡與再生；或者涉及季節的更替如春去
夏來，秋盡冬至。作為酒與豐腴之神，他亦代表著世上許多非理念的力量。在早期的戴歐
尼索斯禮拜中，酗酒縱慾被視為是宗教衝動的一部分，而加以接受。雖然這種惡風陋習已
經逐漸昇華，但是禮拜中求取豐腴的基本目的仍然保存未變。自公元前534年左右起,悲劇
成為雅典的春季迎神賽會的組成部分。相傳累斯博斯島的阿里翁是演唱這種樂舞的第一人
, 品達羅斯的老師拉索斯據說曾在雅典表演這種樂舞。另一位詩人泰斯庇斯首次用一個演
員同合唱隊對話,後來埃斯庫羅斯又加上第二個演員,這樣才真正發展成為戲劇。在埃斯庫
羅斯的悲劇中歌隊占中心地位。按照當時賽會規定,每一個參加悲劇競賽的詩人要演出三
部悲劇和一部“羊人劇”,後者是用扮成半人半羊的歌隊演出的插科打諢戲。埃斯庫羅斯
的三部曲,一般故事都是連貫的,他不重視戲劇結構和人物描寫,主要是表現個人行為與天
神意志之間的矛盾衝突。他的語言豐富華麗, 有時過份誇張,以致晦澀難懂。希臘戲劇的
第一個確切紀錄見之於公元前534年，這一年「城市的戴神節」組織改變，在各項活動中
加入了悲劇演出競賽，因此戲劇在此以前肯定已經存在。這時期中唯一可考的戲劇家就是
塞士比斯(Thespis)，也就是第一次悲劇競賽的冠軍得主，他也是第一個為世人所知的演
員，所以以後演員們就常被叫做塞士比斯之徒(Thespians)。塞士比斯的戲劇比較簡單，
它只有一個演員和一個歌隊。這倒並不是說劇裏只有一個人物，而是說，所有的角色都由
同一個演員扮演。這一個演員用面具來改變他的身份，而當他離開了舞臺去換裝為另一個
人物時，歌隊便以歌唱和舞蹈來彌補這段空檔，所以歌隊便成為早期戲劇中的主要元素。
敵對人物間面對面的衝突，後世固然視為戲劇的必要條件，然在那種只有一個演員的情形
下，當然是不可能的事。埃斯庫羅斯是第一個加入第二個演員的古希臘劇作家，這個重要
發展令戲劇衝突的可能性得以展開，而演員重要性的加強亦同時削弱了歌隊的重要性。另
外，他的劇作裡關注著人與神的關係，著重所謂真理觀念的問題，他認為人類在痛苦中學
習，最終將會找尋到一種新的宇宙秩序，就是宇宙間的真理，人間恩仇終由國家法律審理
等。這在人類觀念史發展具有革命性意義。而埃斯庫羅斯本人亦被尊為「悲劇之父」。
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