Antigone is the heroine. She's the one who shows the way of the gods. She'sthe one, according to the Greek, who is made for love rather than for hate.In short, she is a really tender and charming little thing, if one is to believethe bidet-water commentary that is typical of the style used by those virtuouswriters who write about her.
安提贡尼是在位女英雄。她是显示众神之道的人。依照希腊人的说法,她是为爱而生,而不是为恨而生的。总之,她确实是一位温柔而迷人的尤物,假如我们想要相信那些品德的作家写到关于她所用的浮浅的评论的典型风格。
By way of introduction, I would just like to make a few remarks. And Iwill come right to the point in stating the term that is at the center of Antigone'swhole drama, a term that is repeated twenty times, and that given theshortness of the text, sounds like forty - which, of course, does not preventits not being read - άτη.
作为介绍,我仅是想要发表一些谈论。我将直接谈论这点,陈述作为安提贡尼的戏剧的中心的术语,这个术语曾经被重复二十次。考虑到文本的简短,它听起来像是四十次。当然,这并没有阻止它没有被阅读-- άτη.
It is an irreplaceable word. It designates the limit that human life can only briefly cross. The text of the Chorus is significant and insistent - εκτος άτας.Beyond this Ate, one can only spend a brief period of time, and that's whereAntigone wants to go. It's not a moving little journey at all. One learns fromAntigone's own mouth testimony on the point she has reached: she literallycannot stand it anymore. Her life is not worth living. She lives with thememory of the intolerable drama of the one whose descendence has just beendestroyed in the figures of her two brothers. She lives in the house of Creon;she is subject to his law; and that is something she cannot bear.
这是一个无可替代的字词。它指明这个限制,人类的生命仅能够简短地跨越。合唱队的文本很重要而是坚持--εκτος άτας。 超越这个法则之外,我们仅能够渡过一段简短的时期。那就是安提贡尼想要去的地方。那并不是感动人的小旅途。我们从安提贡尼到达的始刻,自己的嘴中证词获知:她实质上无法忍受它。她的生命是不值得活下去。她生活带着这个无法承受的戏剧的记忆,因为她的家族刚刚以她的两位兄弟的榜样被毁灭。她生活在克瑞恩的家中,她隶属于这个法则;那就是她无法忍受的东西。
She cannot bear, you tell yourselves, to live with someone whom she abhors.But why not after all? She is fed and housed, and in Sophocles, she isn'tmarried off like Giraudoux's Electra. Don't imagine by the way that Giraudouxinvented that. It was Euripides, but in his play she isn't married off tothe gardener. So that's the situation: Antigone cannot bear it, and it weighsdown on her in such a way as to explain the resolution, which is affirmedfrom the beginning in her dialogue with Ismene.
她无法承受。你告诉你自己,跟某位她憎恶的人生活在一块。但是毕竟有何不可呢?她养尊处优。在索福克利斯笔下,她并没有像基拉道的伊列克脱拉那样嫁出去。请你们不要顺便想象,基拉道杜撰那件事。那是尤里披底斯写的。但是在他的戏剧里,她并没有嫁给那个园丁。所以,就是那个情况。安提贡尼无法承受它。它沉重地压在她身上,以这样一种方式,以致于解释这个解决。从她开头跟艾斯民的对话,这种解决被证实。
This dialogue is of an exceptional harshness. Ismene points out that "Really,given our situation, we don't have much room to maneuver, so let's not makethings worse." Antigone jumps on her right away, saying, "Especially now,don't ever say that again, for even if you wanted to, I won't have anything todo with you." And the term εχϋρα, emnity, is used in connection with herrelationship with her sister and what she will find in the other life when shefinds her dead brother again. She who later on will say, "I am made for loverather than hate," is immediately introduced with the word emnity.In the course of events, when her sister comes back to her to share herfate, and even though she hasn't committed the forbidden deed, Atigonewill reject her also with a cruelty and a scorn that are consciously calculated.She says to Ismene, "Go back to your Creon, since you love him so."
这个对话属于特别的严酷。艾斯民指出,「确实地,假如考虑我们的情境,我们并没有很多可运作的空间。所以让我们不要将事情弄糟糕。」安提贡尼立即接续她说:「特别是现在,请你不要再说那个。因为即使你想要,我也不会跟你有任何牵连。」「敌意」这个术语被使用,关于她跟她的妹妹的关系,以及她将会发现的东西,当面临另外一种生活,在她再次找到她死去的兄长时。她后来将会说「我天生是为爱而活,而非为恨而活」。这句话随后立即介绍「敌意」这个字词。在事件的过程,当她的妹妹回到她,要跟她分担这个命运。即使她还没有犯上这个被禁止的行为,安提贡尼将会拒绝她,带着既残酷又嘲讽,那是特意算计好的。她对艾斯民说:「回去你的克瑞恩的家中,因为你如此爱他。」
This then is how the enigma of Antigone is presented to us: she is inhuman.But we shouldn't situate her at the level of the monstrous, for whatwould that mean from our point of view? That's all right for the Chorus,which is present throughout the whole story, and which at a certain momentafter one of those breath-taking lines that are typical of Antigone, cries out,"She is ωμός." We translate that as best we can by "inflexible." It literallymeans something uncivilized, something raw. And the word "raw" comesclosest, when it refers to eaters of raw flesh. That's the Chorus's point ofview. It doesn't understand anything. She is as ωμός as her father - that'swhat the Chorus says.
於是,这就是安提贡尼的谜团被呈现给于我们的样子。她是个怪胎。但是我们不应该将她定位在这个怪胎的层次,因为从我们的观点,那将意味着什么?对于合唱队,那是适合的,故事从头到尾,合唱队都在那里。在某个时刻,在其中一段令人惊心动魄的安提贡尼的典型台词,她喊叫着「她是ωμός。」我们尽快那将它翻译为「不屈不桡」。它实质上意味着某件不文明的东西,某件粗野的东西。那就是合唱队的观点。它什么都不了解。她像她的父亲一样都是不屈不桡ωμός。那就是合唱队说的。
What does it mean to us if Antigone goes beyond the limits of the human?What does it mean if not that her desire aims at the following - the beyondof Ate?
假如安提贡那跨越作为人的这个限制,那对于我们意味着什么?它的意思难道不就是她的欲望目标朝着以下:悲惨命运Ate 的超越?
That same word Ate is to be found in "atrocious." That's what is involvedhere, and that's what the Chorus repeats at a given moment in its speech with an emphasis that is technical. One does or does not approach Ate, and when one approaches it, it is because of something that is linked to a beginning and a chain of events, namely, that of the misfortune of the Labdacides family.
悲惨命运Ate 相同的这个字,在「残酷atrocious」这个字被发现。「那是在此牵涉的东西。那是合唱队重复的东西,在某特时刻,在它跟技术性的强调的言词。我们确实接近或没有接近「悲惨命运Ate」。当我们接近它时,那是因为某件东西跟开始与一连锁的事件息息相关,换句话说,跟拉达西底斯家族的不悲惨命运息息相关。
As one starts to come close to it, things come together in a great hurry, andwhat one finds at the bottom of everything that goes on at every level in thisfamily, the text tells us, is a μέριμνα, which is almost the same word asμνήμη, with an emphasis on "resentment." But it is very wrong to translateit thus, for "resentment" is a psychological notion, whereas μέριμνα is oneof those ambiguous words that are between the subjective and the objective,and that properly speaking give us the terms of signifying speech. The μέριμναof the Labdacides is that which drives Antigone to the border of Ate.
如同我们开始接近它,事情匆促地汇集在一块。我们所发现的,在这个家庭的每个层次进行的一切。文本告诉我们,这是一个μέριμνα 那跟 μνήμη 几乎是相同的字词。强调「怨恨」。但是这是错误的,将它这样翻译。因为「怨恨」是一个心理的观念,而μέριμνα 则是其中一个模糊暧昧的字词,处于主观与客观之间。适当来说,它们给予我们能指化的言说的术语。拉达西底斯的家族的Μέριμνα 就是驱使安提贡尼到达悲惨命运Ate的边界。
One can no doubt translate Ate by "misfortune," but it doesn't have anythingto do with misfortune. It is this meaning that is assigned by doubtlessimplacable gods, as she might say, which renders her pitiless and fearless. Itis also this that, so as to have her appear in the course of carrying out her act,causes the poet to create the following fascinating image, namely, that firstoccasion when during the night she goes and covers her brother's body witha fine layer of dust, so that it is disguised enough to be hidden from view.One cannot, of course, expose to the eyes of the world that carrion fleshvisited by dogs and birds, who come to tear off strips and carry them away,as the text says, only to leave them on the altars in town centers where theypromote horror and pestilence.
无可置疑地,我们能够将Ate翻译为「悲惨命运」。但是它跟悲惨命运并没有丝毫关系。这个意义无可置疑是受到无情的众神所指定。如她所说,这让她变得没有同情心与没有恐惧。也就是这个,引起诗人创造以下的迷人的意象,为了让她出现在实践她的行为的过程。换句话说,在夜晚她前去用一层泥土掩埋她的兄长的过程,那第一个场合。这个场合被足够伪装,被隐藏无法看见。当然,我们无法将野狗与鸟食噬的尸体腐肉,暴露在众人的眼前,因为它们已经被撕裂叼走,。如同文本所说,仅是被留置在城邦中心广场的祭坛,让人产生恐惧与瘟疫。
Thus Antigone carries out the deed the first time. But what goes beyond agiven limit must not be seen. The messenger goes and tells Creon what hashappened, assuring him that no trace has been found, that there is no way ofknowing who did it. The order is given to scatter the dust once again. Butthis time Antigone is caught in the act. Upon his return the messenger describeswhat happened in the following terms: first, they removed the dust that wascovering the body, and then, they placed themselves up-wind so as to avoidthe awful smells, because it stank. But a strong wind began to blow, and thedust started to fill the air and even, the text tells us, the heavens themselves.And at the very moment when everyone tries to escape, to cover their headswith their arms, and to go to earth at the spectacle of the change in nature,little Antigone appears at the height of the total darkness, of the cataclysmicmoment. She appears once more beside the corpse, emitting moans, the textsays, like a bird that has just lost its young.
因此,安提贡尼首次实践这样的行为。但是超越某个特定的东西,一定不要被看见。这个信差前去告诉克瑞恩,曾经发生什么事,让他确定,没有痕迹曾经被发现。不可能知道是谁幹的。这个秩序被给予,为了再次散开这些泥土。但是这次,安提贡尼在从事的时候被逮住。当信差回来时,他描述所发生的事情,用以下的术语:首先,他们清开掩埋尸体的泥土,然后,他们迅速离开,为了避免那些可怕的恶臭。因为它发出臭味。但是一阵强风开始吹,泥灰开始飘散空中,文本甚至告诉我们,飘到天庭。就在这个时刻,当每个人尝试逃避,用双手臂盖住他们的头颅,然后去挖掘自然改变的景象,小安提贡尼出现在完全黑暗的高度,在灾难时刻的颠峰。她再次出现在尸体的旁边,发出哀嚎,文本说,就像一隻刚刚散失它的幼雛的母鸟。