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注释： ①一封写于1613年7月2日的信中说道，“国王剧团上演了一部新剧，叫《一切皆真》，演的是亨利八世时期的一些主要事件”，并提到演出地点是“环球剧院”，剧情包括“国王在红衣主教伍尔习家中开假面舞会”(Sir Henry Wotton,qtd.in E.K.Chambers,William Shakespeare:A Study of Facts and Problems,vol.2,Oxford:Oxford University Press,1951,p.344)。这封信提到的演出时间、剧团、剧院、剧情都与莎士比亚与弗莱彻合作的《亨利八世》相符，再加上《亨利八世》中的确频繁出现“真相”、“真实”、“真理”等字眼(据统计，剧中“true”的各种衍生词共出现过整50次，see Gordon McMullan,"Shakespeare and the End of History",in Essays and Studies,48[1995],p.18)，莎学界大部分学者认为，信中所指就是《亨利八世》一剧；该剧初上映时，以“一切皆真”作为剧名或者副标题，“亨利八世”这个标题则首次出现在第一对开本中，在将此剧归为“历史剧”后，为使其与其他历史剧剧名风格一致，第一对开本编者作出了如此改动(see Gordon McMullan,Introduction,in Henry VIII[All Is True],by William Shakespeare and John Fletcher,Gordon McMullan,ed.,London:Methuen Drama,2000,p.2)。 ②Tony Tanner,Prefaces to Shakespeare,Cambridge and London:The Belknap Press of Harvard University Press,2010,p.469. ③Tony Tanner,Prefaces to Shakespeare,p.469. ④Walter Cohen,"All Is True(Henry VIII)",in Stephen Greenblatt et al.,eds.,The Norton Shakespeare,New York:Norton & Company,Inc.,2008,p.3119. ⑤See Majorie H.Nicloson,"The Authorship of Henry VIII",in PMLA,37(1922),p.489. ⑥本文中《亨利八世》的译文若未作注，均引自杨周翰译本(《亨利八世》，杨周翰译，收入《莎士比亚全集》第六卷，人民文学出版社，2009年，第509-614页)；带“*”号的则选自梁实秋译本(《亨利八世》，梁实秋译，中国广播电视出版社、远东图书公司，2001年)；如有例外，再另作注。该剧历史人物译名从杨本，其他莎剧的剧名及人物译名从所引译本。英语原文中有些词句有多重含义，译文无法全部体现，而且有时分析中用到的含义并非译文所强调的那层，因此部分引文将以脚注形式附上原文。所有莎剧引文的英文原文以及圆括号中的幕、场次及行数均以牛津版《莎士比亚全集》第二版为准(Stanley Wells and Gary Taylor,eds.,William Shakespeare:The Complete Works,2[nd] ed.,Oxford:Clarendon Press,2005)，文中用数字表示幕与场次，如第一幕第一场写作“1.1”，以此类推。 ⑦Brian Walsh,Shakespeare,the Queen's Men,and the Elizabethan Performance of History,Cambridge:Cambridge University Press,2009,p.7. ⑧莎士比亚和弗莱彻创作此剧的目的，绝不是演出一部忠于史料史实的亨利八世统治史。在创作过程中，二人打乱了历史事件发生的先后顺序，并大大压缩了事件的时间间隔。例如。该剧将亨利八世娶安·波林安排在伍尔习落马之前，而历史上前者发生在1533年，后者发生在1529年，并且伍尔习已于1530年去世。剧中，凯瑟琳王后在伊丽莎白一世出生前去世。但实际上伊丽莎白生于1533年，而凯瑟琳则于三年后去世。历史上，勃金汉公爵于1521年被斩，亨利八世于1525年征“善行捐”(Amicable Grant)，两者相隔四年，而在剧中，勃金汉被杀紧接着“善行捐”事件。经过如此肆意压缩与重组，历史事件间便有了新的因果关系，它们为剧本内部逻辑服务，但不符史料记载。剧作家或可称这样的新安排其实揭露出事实背后的真相，但他们无法否认，至少在历史事件发生时间与先后顺序问题上，《亨利八世》绝没做到“一切皆真”。 ⑨Donald R.Kelley and David Harris Sacks,Introduction,in Donald R.Kelley and David Harris Sacks,eds.,The Historical Imagination in Early Modern Britain:History,Rhetoric,and Fiction,1500-1800,Cambridge:Cambridge University Press,1997,p.1. ⑩Donald R.Kelley and David Harris Sacks,Introduction,p.2. (11)Hayden White,"The Historical Text as Literary Artifact",in Vincent B.Leitch et al.,eds.,The Norton Anthology of Theory and Criticism,Now York:W.W.Norton & Company,Inc.,2010,p.1540. (12)Ivo Kamps,"The Writing of History in Shakespeare's England",in Richard Dutton and Jean E.Howard,eds.,A Companion to Shakespeare's Works,vol.2,Oxford:Blackwell Publishing,2003,p.5. (13)Emma Smith,The Cambridge Introduction to Shakespeare,Cambridge:Cambridge University Press,2007,p.137. (14)Irving Ribner,"The Tudor History Play:An Essay in Definition",in PMLA,69(1954),p.595. (15)A.J.Hoenselaars,"Shakespeare and the Early Modern History Play",in Michael Hattaway,ed.,The Cambridge Companion to Shakespeare's History Plays,Cambridge:Cambridge University Press,2002,p.25. (16)阮珅《前言》，收入方平主编《莎士比亚全集》第八卷，上海译文出版社，2014年，第593页。 (17)Marjorie Garber,Shakespeare After All,New York:Anchor Books,2004,p.880. (18)Paul Dean,"Dramatic Mode and Historical Vision in Henry VIII",in Shakespeare Quarterly,37(1986),p.177. (19)详见《哈姆雷特》(Hamlet) 3.2：4-5、《特洛伊罗斯与科瑞西达》(Troilus and Cressida) 1.3：153-154、《理查三世》(Richard III) 3.5：5-9；关于莎士比亚时代表演风格的研究，详见Andrew Gurr,The Shakespearean Stage 1574-1642,Cambridge; Cambridge University Press,2009,pp.113-124。 (20)详见《无事生非》(Much Ado About Nothing) 2.3：142、《理查三世》3.5：1-4。 (21)Donald Davidson,Truth,Language and History:Philosophical Essays,Oxford:Oxford University Press,2005,p.129. (22)笔者自译。原文为"sick interpreters,once weak ones"，有的版本也作"sick interpreters,or weak ones"。 (23)笔者自译。 (24)Pierre Sahel,"The Strangeness of a Dramatic Style:Rumour in Henry VIII",in Shakespeare Survey,38(1985),p.149. (25)Pierre Sahel,"The Strangeness of a Dramatic Style:Rumour in Henry VIII",pp.145-146. (26)Anne Barton,Essays,Mainly Shakespearean,Cambridge:Cambridge University Press,1994,p.185. (27)Lee Bliss,"The Wheel of Fortune and the Maiden Phoenix of Shakespeare's King Henry the Eighth",in ELH,42(1975),p.3, (28)Lee Bliss,"The Wheel of Fortune and the Maiden Phoenix of Shakespeare's King Henry the Eighth",p.6. (29)Lee Bliss,"The Wheel of Fortune and the Maiden Phoenix of Shakespeare's King Henry the Eighth",p.6. (30)Gordon McMullan,Introduction,in Henry VIII(All Is True),p.99. (31)Peter Rudnystky,"Henry VIII and the Deconstruction of History",in Shakespeare Survey,43(1991),p.48. (32)Eugene Waith,The Pattern of Tragicomedy in Beaumont and Fletcher,New Haven:Yale University Press,1952,p.122. (33)Eugene Waith,The Pattern of Tragicomedy in Beaumont and Fletcher,p.122. (34)George Orwell,"Politics and the English Language",in Sonia Orwell and Ian Angus,eds.,The Collected Essays,Journalism and Letters of George Orwell,vol.4,London:Penguin Books,1968,p.166. (35)Ivo Kamps,"Possible Pasts:Historiography and Legitimation in Henry VIII",in College English,58(1996),p.211. (36)例如，《亨利八世》牛津单行本的编者便提出，“考虑到此剧很有可能是为进宫演出所编”，这一段“描绘圣君仁政”可能是为了敦促“现任君主詹姆斯一世以此为鉴”(Jay L.Halio,Introduction,in Henry VIII,by William Shakespeare and John Fletcher,Jay L.Halio,ed.,Oxford:Oxford University Press,1999,p.37)。 (37)Maurice Hunt,"Shakespeare's King Henry VIII and the Triumph of the Word",in English Studies,75(2008),p.228. (38)笔者自译。 (39)Peter Rudnysthy,"Henry VIII and the Deconstruction of History",p.46. (40)Anita Gilman Sherman,Skepticism and Memory in Shakespeare and Donne,New York:Palgrave Macmillan,2007,p.126. (41)Alexander Leggatt,Shakespeare's Political Drama:The History Plays and the Roman Plays,London and New York:Routledge,1988,p.233. (42)Maurice Hunt,Shakespeare's Romance of the Word,London and Toronto:Associated University Press,1990,p.13. (43)Ivo Kamps,Historiography and Ideology in Stuart Drama,Cambridge:Cambridge University Press,1996,p.2.后文出自同一著作的引文，将随文标出该著名称首词和引文出处页码，不再另注。 (44)See Ivo Kamps,"The Writing of History in Shakespeare's England",pp.4-25; see also Irving Ribner,"The Tudor History Play:An Essay in Definition",pp.591-609. (45)Johann P.Sommerville,Introduction,in Johann P.Sommerville,ed.,King James VI and I:Political Writings,Cambridge:Cambridge University Press,1994,p.xvii. (46)Leonard Tennenhouse,"Strategies of State and Political Plays:A Midsummer Night's Dream,Henry IV,Henry V,Henry VIII",in Jonathan Dollimore and Alan Sinfield,eds.,Political Shakespeare:Essays in Cultural Materialism,Manchester:Manchester University Press,1994,p.119. (47)See R.A.Foakes,"Shakespeare's Other Historical Plays",in Michael Hattaway,ed.,The Cambridge Companion to Shakespeare's History Plays,pp.214- 228. (48)Cordon McMullan,Introduction,in Henry VIII(All Is True),p.2. (49)Anita Gilman Sherman,Skepticism and Memory in Shakespeare and Donne,p.126. (责任编辑：admin) |