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《血菩萨》BLOOD BODHISATTVA

26 Monday Jan 2026

Posted by babylon crashing in Chinese, drama, Feminism, Translation

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2026, Blood Bodhisattva, Chinese translation, 血菩萨, ZJC

Translation and Notes by ZJC (2026)

DRAMATIS PERSONÆ

TIĀN MǓ ~ Elderly military commander.
DÀ LÁNG ~ Head of the Five Poisons Sect, whom Tiān Mǔ has been waging war against for decades.
SÀTǓN ~ Eldest daughter to the late Empress.
BÁI SĪ ~ Youngest daughter to the late Empress; in a power struggle with Sàtǔn for the throne.
TIĚ GŪ ~ Court official and Tiān Mǔ’s sister.
BǍ XĪ LĀ ~ European, Nestorian Christian missionary with a demonic appetite for destruction.
TIĀN YÒU ~ Scholar, poet and Tiān Mǔ’s son.
IRON MOUNTAIN BLADES ~ Tiān Mǔ’s personal guards.
TIĚ YĪNG, TIĚ LIÁN, TIĚ LÍNG and TIĚ XUÈ ~ Tiān Mǔ’s Daughters.
HUĪ DÚ, LÁN DÚ and HĒI DÚ ~ Dà Láng’s Daughters.
LǏGUĀN, YÙSHǏ and JINYIWEI ~ Imperial Court Officials.

֍

[第一幕·第一场]
[ACT I. SCENE I]

《铁碎骨,羽没血,双姝启神不可封之伤。》
[Iron grinds bone, feathers drown in blood, two sisters open the wound no god can close.]

[玉门国·千剑宫外。]
[Yumen Kingdom · Outside the Thousand Swords Palace.]

([战鼓裂云,幕启时,白思与萨囤对峙宫阶之上。铁牛、天鹤两派弟子于阶下血战。宫门处,礼官肃立,御史执笔,锦衣卫刀出半鞘,静若石雕。] / [War drums tear at the clouds as the curtain rises, BÁI SĪ and SÀTŪN stand frozen on the palace steps. Below, their Iron Ox and Heavenly Crane disciples wage war. At the gates, LǏGUĀN officers stand rigid, YÙSHǏ scribes clutch ink-brushes and JINYIWEI guards rest hands on half-drawn blades, silent as carved sentinels].)

SÀTŪN / 萨囤
([斩马刀啸空而过,尘暴如龙卷起。] / [Her Zhanmadao screams through air, whipping up a dust-whirlwind].)
铁牛门下!
Sons and daughters of the Iron Ox!
朕即凤诏,天命在刃!
I am the Phoenix’s living edict, the Mandate burns in my steel!
和我一起站起来,铸就历史的栋梁!
Stand with me and be forged into history’s pillars!
叛龙者……
Betray me …
([刀光一闪,宫灯齐灭。] / [A blade-flash—every palace lantern gutters out].)
… 九族诛尽,宫门悬颅!
… And I’ll hang your bloodline’s skulls from the palace gates!

BÁI SĪ / 白思
([双针剑作鹤翼式,冷笑。] / [Needle-swords flash into crane-wing stance, her sneer colder than moonlight].)
天命?([冷笑。] / [Laugh like cracking ice].)
The Mandate?
弑亲之血,也配称凤?
Can a kinslayer’s hands still clutch the Phoenix’s crown?
天鹤展翅!
Heavenly Crane spreads its wings!
([她的双剑如振翅之羽轻颤——鹤之优雅中藏蝎之毒。她的门人齐声高鸣,宛如绢帛被利刃撕裂的尖啸。] / [Her blades shiver like pinions mid-strike—the crane’s grace laced with scorpion’s venom. Her faction echoes with choral crane-cries, a sound like silk tearing on sword-edges].)
重器非在冠冕,而在德行。
True power lies not in crowns, but in virtue.
尔自比狂风?不过瘈狗吠日!
You call yourself a storm? A rabid dog barking at heaven!
([她的战士们的呐喊声响彻云霄——铁牛队伍摇摇晃晃,阵型散乱。] / [Her warriors’ cries pierce the air—the Iron Ox ranks stagger, their formation fraying].)

TIĚ GŪ / 铁姑
([持碧玉令,九节鞭缠腰。满场肃杀。] / [Enters with the Jade Scepter, her 9-section whip coiled around her hips. The air thickens, sharp as a guillotine’s edge].)
骨肉相残之座,未雪先倾。
The throne built on sister-blood collapses, before winter’s first snow can hide its sins.
今奉碎玉令,迎天母将军班师 …
By the Broken Jade Seal, I declare General Tiān Mǔ regent …
五毒教之役,当终今日。
Her war against the Five Poisons Sect ends now.
散!
Disperse!
… 否则御史以刻石指铭罪,鬼神同泣!
… Or the Yùshǐ’s Stone-Carving Finger will engrave your crimes so deep, even gods and ghosts will wail!
([御史的一击落地——指尖击碎了大理石地板,裂开了蜘蛛网,如同下了判决书一般。] / [The Yùshǐ’s strike lands—fingertips shatter the marble floor, cracks spider-webbing like a verdict].)

SÀTŪN / 萨囤
([见玉阶旁书生所留的砚台,冷笑。] / [Spots an inkstone left by a fleeing scholar, her lips curl].)
([脚踢翻,墨泼阶如血。] / [Her boot flips it, black ink gushes down the steps like a slit throat].)
刻啊!
Carve this!
让后世记得……
Let history remember …
([锦衣卫刀光映墨,凤鸣凄厉。] / [Jinyiwei blades gleam with reflected ink, their phoenix-cry a funeral dirge].)
([白思的鹤簪坠地,羽尖沾墨。] / [BÁI SĪ’s crane-hairpin clatters, its feather-tip staining black].)
……铁牛将军之妹执印却不敢执刃!
… the Iron General’s sister clutches seals, but flees from steel!

TIĚ GŪ / 铁姑
([举令,寒声。] / [Raising the Jade Order, her voice colder than a tomb’s breath].)
刻石遗臭,万古流秽。
Let stone etch your reek, let ten thousand generations gag on your name.
([玉阶震颤,如畏其言。] / [The jade steps tremble, as if fearing her decree].)
母皇遗诏刻于玉,非书于血。
The Empress’ will was carved in jade, not scribbled in traitors’ blood.
([锦衣卫刀锋低鸣,似凤泣先帝。] / [Jinyiwei blades hum, a phoenix weeping for the dead sovereign].)

BÁI SĪ / 白思
([凝视没羽,墨渍如泪,轻叹后扬声道。] / [Gazes at the drowned feather, ink seeping like tears, then her voice lifts, clear and cold].)
血缘始,血缘终。
By blood it began, by blood it ends.
([向铁姑鞠躬,腰如竹折而不断。] / [She bows to TIĚ GŪ, back bent like bamboo, unbroken].)
我臣服 …
I yield …
非顺汝刃,乃顺天佑。
Not to your blade, but to Heaven’s decree.
([白袍众退如雪崩,寂然无声。] / [Her disciples retreat like an avalanche in reverse, soundless, deliberate].)
愿鹤唳引慈母之手。
May the crane’s cry guide my Mother’s hand.
([此言如刃,悬于天下咽喉之上。] / [The words hang, a knife at the world’s throat].)
雪退散…
The snow withdraws…
([… 然寒入骨,千年不化。] / […but frost lingers in the bones and will not thaw for a thousand years].)

SÀTŪN / 萨囤
([斩马刀寒光隐现,似判决半出鞘。她目光灼烈,胜过大漠热风。] / [Her Zhanmadao gleams, a verdict half-unsheathed. Her gaze burns hotter than the desert wind].)
名铸剑出,不悔不归。
My name is forged in steel, my blade thirsts without remorse.
([铁牛派虽退,手不离刀。] / [The Iron Ox faction withdraws, but every finger still curls around cold steel].)
让玉门断壁 …
Let the ruins of the Jade Gate …
([刀锋划地,裂石如骨碎。] / [Her saber splits the earth, stone shatters like a spine].)
…由此断定,谁之血脉承载真凤天命!
… decide whose veins bear the Phoenix’s truth!

([众人退却之际,守卫扬起玉尘,五行阵于空中隐现旋转,倏然破散,恍若凤凰涅槃重生。] / [As factions retreat, guards raise jade-ash, the Wuxing symbols form then dissolve like a phoenix’s rebirth from the ash].)

([幕落,唯余 –] / [The curtains close on –])
萨囤之刀 [Sàtūn’s blade]
插于玉阶 [Embedded in jade steps]
白思之羽 [Bái Sī’s feather]
飘向冷月 [Drifting toward the icy moon]
铁姑的鞭 [Tiě Gū’s whip]
缠着半截断诏 [Coiled around a torn edict]
上书: [which reads:]
朕死之年…
The year I die…
…血菩萨现。
…the Blood Bodhisattva comes.

֍

[第一幕,第二场]
[ACT I. SCENE II]

[剑冢森森,魂灯荧荧]
[A forest of grave-swords; ghost-lanterns flicker blue.]

[祖剑堂 · 地宫]
[Ancestral Sword Hall · Underground Crypt.]

([战鼓渐歇,丧钟低鸣。地宫穹顶垂百剑,剑柄为碑。二十石台空置,待天母众女。青烟如蛇,盘绕尸骨未寒之刃。] / [War drums fade; funeral bells toll low. A cavern glows with yin-blue lanterns. From the ceiling hang a hundred swords, hilt-down, each a grave-marker. Twenty empty stone plinths await TIĀN MǓ’s fallen daughters. Incense coils like serpents around blades still slick with death].)

([铁链声响。铁链与铁翎押阵,铁山刀卫捧灵位与佩剑次入,后随铁英、铁血。天母戎装未卸,甲上犹带草原尘沙。大狼与其女[灰毒、蓝毒、黑毒]棘链缚身。末入巴悉拉,景教十字暗芒浮动。] / [Chains rattle. TIĚ LIÁN and TIĚ LÍNG march at the front, followed by Iron Mountain Blades bearing spirit tablets and sheathed swords. TIĚ YĪNG and TIĚ XUÈ come next. Then TIĀN MǓ, her armor still caked in steppe dust. Behind her, DÀ LÁNG and her daughters [HUĪ DÚ, LÁN DÚ, HĒI DÚ] shuffle forward, bound in barbed chains. Last enters BǍ XĪ LĀ, his Nestorian cross glinting like a hidden blade].)

([众人迫大狼一族跪于五眼蟾蜍铜魂炉前。] / [The prisoners are forced to kneel before a bronze soul-brazier shaped like a Five-Eyed Toad].)

TIĀN MǓ / 天母
([举碎玉令,诵咒如刃。] / [Raising her broken Jade Seal, chanting like a whetstone on steel].)
玄女兵主——
Xuánnǚ, Dark Mother of War—
开黄泉之扉。
Open the Yellow Springs’ gate.
([抚剑墙,声裂金石。] / [Her gauntlet scrapes the sword-walls; her voice splits metal and stone].)
吾女今与鬼同行。
My daughters walk with ghosts now.
以刃镇幽冥。
Let their swords guard the underworld’s edge.
([铁山刀卫置灵位于石台,朱砂名讳如血。无棺椁,以剑代尸。] / [The Iron Mountain Blades place spirit tablets upon the plinths, names written in blood-red cinnabar. No coffins. No corpses. Only swords to stand in their stead].)
([抚空台,甲缝渗沙。] / [Her armored fingers brush an empty plinth, steppe-dust sifting from the joints].)
祖剑冢啊…
O sacred crypt …
汝怀吾欢,亦纳吾悲。
You who cradle my joy and grief alike.
为何贪噬无厌?
Why must you gorge so ravenously?

TIĚ YĪNG / 铁英
([执刃穿魂幡,幡动如濒死之息。] / [A dagger-pierced soul-banner trembles in her grip like a death rattle].)
母亲,赐一囚破丹田。
Mother, grant us a prisoner to shatter.
以炁饲亡魂。
Let her qi feed the dead.
化其息为香。
Let her breath become their incense.

TIĀN MǓ / 天母
([戟指灰毒,甲上反光如狼瞳。] / [Her gauntlet points to HUĪ DÚ, armor-scratches glint like wolf-eyes].)
取可汗长女。
Then take the Da Khagan’s eldest.
草原狼种,正合燃薪。
a steppe-wolf’s whelp, fit kindling.

HUĪ DÚ / 灰毒
([颤声,气将断未断。] / [Her voice trembles, breath not yet broken].)
吾非薪。
I am not kindling.

DÀ LÁNG / 大狼
([锁链暴起,棘刺入肉。] / [Chains rattle as manacles bite into flesh].)
这也配称’道’?
You call this the Tao?
这不是道。
This is no Tao.
是屠宰场!
It is the abattoir!
([唾血] / [Spits blood].)
玉皇必降天罚——
The Jade Empress will curse your—

TIĀN MǓ / 天母
([抬手如闸,声寒于铁。] / [A raised hand silences like decapitation].)
天道不悯豺狼。
The Tao has no mercy for wolves.
汝女之息,当饲吾殇。
Your daughter’s breath will feed my dead.

TIĚ YĪNG / 铁英
([并指为鹤喙,点向灰毒后腰。] / [Fingers coiled like a crane’s beak, pressing to HUĪ DÚ’s spine].)
道予炁,道夺炁。
The Tao gives qi. The Tao takes it.
([三击如钟。] / [Three strikes toll like a funeral bell].)
命门。 [Mìngmén.]
([闷响,灰毒气息骤滞。] / [A dull thud—HUĪ DÚ’s breath seizes].)
脊中。 [Jǐzhōng.]
([玉裂之声,肌骨僵锁。] / [A crack like splitting jade, her body locks rigid].)
大椎。 [Dàzhùi.]
([折骨脆响,银炁自七窍喷涌,旋入魂炉。] / [A final snap, silver qi bursts from her seven apertures, swirling into the brazier].)

([炁凝’仇’字,瞬散。铁山刀卫置灰毒于碑前,形存神灭,永跪为鬼奴。] / [The qi forms the character 仇 《vengeance》before dissolving. HUĪ DÚ’s hollowed body is propped before the plinths; a living ghost forced to kneel for eternity].)

TIĀN YÒU / 天佑
([三叩入殿,额抵冷石。] / [Entering with three kowtows, forehead pressed to stone].)
母亲…
Mother…
([捧纸马,声颤。] / [Clutching paper effigies, voice trembling].)
儿带冥驹,助姊远行。
I bring paper horses for their journey.
([天佑一边吟诵诗歌,一边焚烧人像。] / [TIĀN YÒU begins burning the effigies while reciting poetry].)
双蛇缠…
Two snakes entwined …
([纸灰突燃碧火。] / [The ashes flare emerald].)
无首尾 …
Neither head nor tail …
([焚纸,灰烬化鹤形——白思之徽。] / [The ashes twist into a crane—BÁI SĪ’s crest].)
唯饥无宴。
Only hunger. Never feast.
([魂炉中五眼骤睁。] / [The Toad-brazier’s eyes snap open].)
([天佑退后,诗成谶言。] / [TIĀN YÒU staggers back, the poem now a curse spoken out loud].)

TIĀN MǓ / 天母
([捧子面,甲锈沾颊。] / [Cupping his face, her gauntlet leaves dried blood like tear-stains].)
吾儿…
My son…
男儿总被讥弱。
The world calls boys weak.
然你乃吾德所铸之身。
But you are my virtue made flesh.
([低语切齿。] / [A whisper like grinding steel].)
活得比我久。
Outlive me.
([按剑柄,刃吟如泣。] / [Her palm on a sword-hilt, the blade hums a mourner’s tune].)
安息吧,吾刃。
Rest, my blades.
未斩之恨,生者必断。
The living will cut what you could not.

([所有人都退场。] / [Everyone exits].)
([门阖。终余:灰毒游丝之息……与万剑饥鸣。] / [The doors seal. All that remains: HUĪ DÚ’s shallow breath … and the starving chorus of ten thousand blades].)

֍

[第一幕,第三场]
[ACT I. SCENE III]

[宫阙深似海,血誓染阶红]
[Palaces deeper than oceans; blood-oaths stain the steps.]

[玉门国 · 皇极殿。]
[Yumen Kingdom · Imperial Throne Hall.]

([天母携女将入殿,新袍未掩战尘;铁姑率御史、锦衣卫盛装迎驾。萨囤与白思随后,影如刀割。] / [TIĀN MǓ and her daughters enter in clean robes still smelling of battlefield ash. TIĚ GŪ leads the YÙSHǏ and Jinyiwei in court regalia. SÀTŪN and BÁI SĪ follow, their shadows sharp as unsheathed blades].)

TIĚ GŪ / 铁姑
([捧碎玉玺,单膝触地。] / [Kneeling with the broken Jade Seal].)
天母吾姊——
Tiān Mǔ, my sister—
万民乞您登极。
The people beg you to take the throne.
([拥抱时指甲陷其肩甲] / [Her fingers dig into TIĀN MǓ’s pauldrons during their embrace].)

TIĀN MǓ / 天母
([推玺如避毒。] / [Pushing the seal away like poisoned wine].)
民心若水,载舟覆舟。
The people’s hearts are water, they buoy empires or drown them.
老身只识马背,不解庙蛇之毒。
I am a creature of the saddle, not court-serpents’ venom.
([抚腰间断剑。] / [Touching her broken sword’s hilt].)
六百三十九女埋骨边关…
Six hundred thirty-nine daughters buried on the frontier…
赐我荣杖,非九鼎之重。
Grant me an honor-staff, not the weight of the Nine Tripods.

SÀTŪN / 萨囤
([突然拔剑抵天母喉。] / [A blade flashes to TIĀN MǓ’s throat].)
姊妹们!
Sisters!
为吾正名 …
Justify my name …
剑不出鞘,萨囤不休!
Sheathe no swords until I am crowned!

TIĀN MǓ / 天母
([无视颈间刃。] / [Ignoring the blade].)
礼官、御史、锦衣卫。
Lǐguān, Yùshǐ, Jinyiwei.
尔等可愿托命于天母?
Will you entrust your wills to me?
([举起染血军旗。] / [Raising a bloodstained banner].)
请立萨囤为帝——
Name Sàtūn Empress—
愿其德照玉门,如日临土。
May her virtue light the realm as the sun lights the land.

SÀTŪN / 萨囤
([突然执天佑手。] / [Seizing TIĀN YÒU’s wrist].)
为酬天母…
To honor Tiān Mǔ…
朕纳其子为君侍。
I take her son as Consort.
([贴近耳语。] / [Whispers in his ear].)
心榻之爱,非汝莫属。
No one else shall warm my bed.

TIĀN YÒU / 天佑
([面无波澜。] / [Face blank as jade].)
陛下隆恩,臣当结草以报。
This undeserved grace I’ll repay even in death.

BÁI SĪ / 白思
([拽回天佑。] / [Yanking him back].)
且慢!
Hold!
此子早与我盟誓连理。
He and I swore oaths years ago.
([亮出袖中婚书。] / [A marriage contract flutters from her sleeve].)

([混战爆发。天母剑光如电,直取白思咽喉——] / [Melee erupts. TIĀN MǓ’s sword flashes toward BÁI SĪ’s throat—].)
([铁翎旋身插入二人之间,剑刃贯胸而入。] / [TIĚ LÍNG pivots between them—the blade plunges into her chest].)

TIĚ LÍNG / 铁翎
([双手握剑刃,步步前趋。] / [Gripping the blade, stepping forward].)
母亲… ([咳血] / [Coughs blood].)
Mother…
([剑柄抵至胸前,金属摩擦骨声刺耳。] / [The hilt grinds against her sternum—bone screeches on steel].)
…这一剑若为军令…
…If this strike is your command…
([猛然将剑横向心脏。] / [Wrenches the blade sideways toward her heart].)
…该刺准些!
…then strike true!
([天母瞳孔骤缩,手颤如遭雷击。] / [TIĀN MǓ’s hands tremble, lightning-struck].)

SÀTŪN / 萨囤
([突然揽大狼入怀。] / [Abruptly pulling DÀ LÁNG into her arms].)
朕改主意了。
I’ve changed my mind.
([高声。] / [To the court].)
五毒可汗大狼——
Dà Láng of the Five Poisons—
才配为朕君侍!
Is fit to be my Consort!
([低声对大狼。] / [Whispering to DÀ LÁNG].)
做朕的刀,朕许你复仇。
Be my blade, and I’ll grant your vengeance.

DÀ LÁNG / 大狼
([跪吻萨囤靴。] / [Kissing SÀTŪN’s boot].)
臣妾愿为陛下爪牙。
This humble servant will be Your Majesty’s fangs.
([瞥向天母,眼藏毒光。] / [A venomous glance at TIĀN MǓ].)

([除田牧外,其余人员退场。] / [Everyone except TIĀN MǓ exits].)

TIĀN MǓ / 天母
([独留殿中,捶地泣血。] / [Alone, pounding the floor in rage].)
此朝无规,唯存野心!
This dynasty has no rules, only hunger!

֍

[第一幕,第四场]
[ACT I, SCENE IV]

玉门碎,朕为疆。
The Gate is Shattered, I Am the Frontier.

同夜,剑静室。
[Same night · The Sword-Quiet Room.]

([宫殿下方是一座寂静的石室。一排排尊贵的刀剑直立在漆架上。上方,祈祷卷轴如同褪色的皮肤般悬挂。一盏灯笼静静地停放在靠近中心的位置,没有亮起。] / [A silent stone chamber beneath the palace. Rows of honored blades rest upright in lacquered racks. Above, prayer-scrolls hang like faded skin. A single lantern sits unlit near the center].)

([场景开始,铁鹰点亮了灯笼。玉焰熊熊燃烧,在房间里投下怪异的阴影。铁凌的尸体躺在凸起的石台上,周围环绕着二十块未完成的剑坯。灯光将一切都笼罩在一种病态的绿色之中。] / [As the scene begins, TIĚ YĪNG lights the lantern. The jade flame flares to life, casting monstrous shadows across the room. TIĚ LÍNG’s body lies upon a raised stone plinth, surrounded by twenty unfinished sword blanks. The light bathes all in a sickly green hue].)

TIĚ YĪNG / 铁鹰
([拉开裹尸布,露出伤口。] / [Pulls back the shroud, revealing the wound].)
她应得英雄之葬。
She earned a hero’s rest.

TIĀN MǓ / 天母
([仍然握着从女儿身上拔出的剑。] / [Still holding the sword pulled from her daughter’s body].)
叛徒只配喂剑炉。
Traitors are only fit to be fed to the sword furnace.

([达朗默默地划开自己的手掌。她的鲜血滴落在剑坯上。每一滴都发出回响,在石头上发出尖锐的撞击声——] / [DÀ LÁNG silently slices her palm open. Her blood falls onto one of the sword blanks. Each drop echoes, sharp against stone—].)
滴——
滴——
滴——
([——在这种节奏之下,几乎难以察觉地,第二个声音响起:低沉的喉音’嘟嘟’声,就像记忆中井里蟾蜍的呼吸。] / [—and beneath that rhythm, almost imperceptibly, a second sound stirs: a low, guttural, a wet-throated rattle, like the memory of a toad’s breath buried in a well].)
([其他人没有反应。声音消失了。] / [The others do not react. The sound vanishes].)

DÀ LÁNG / 大狼
([低语。] / [Whispers].)
此血,是誓言。
This blood… is a vow.
用我血淬的刀…
A blade quenched in my blood…
…能杀神。
…Can kill gods.

([萨顿突然吻住她,咬着她的嘴唇。鲜血染红了两人的嘴唇。然后她转向其他人。] / [SÀTŪN pulls her into a sudden kiss, biting her lip. Blood touches both mouths. Then she turns to the others].)

SÀTŪN / 萨囤
朕宣布——
I declare—
明晨猎场完婚——神为证,血为誓。
At dawn, we wed in the hunt—blood-bound, with the gods as witness.

([其他人开始退场。灯笼噼啪作响,阴影伸展交错。唯有天佑一言不发。他跪在基座旁,将手指浸入妹妹的鲜血,在冰冷的石头上画出两条蛇。] / [The others begin to exit. The shadows stretch and tangle as the lantern sputters. Only TIĀN YÒU remains, silent. He kneels by the plinth, dips his fingers into his sister’s blood, and draws twin serpents on the cold stone].)

TIĀN YÒU / 天佑
雙蛇纏…
Two snakes entwined …

([血蛇荡漾,滑进地板的裂缝中。] / [The blood-snakes ripple, slither into the cracks of the floor].)
([灯笼闪烁…摇晃…熄灭——只剩下一颗发光的玉色余烬。] / [The lantern flickers… falters… dies—except one glowing jade ember].)
([余烬闪烁一次。然后熄灭。] / [The ember pulses once—like a heartbeat. Then dies].)
([黑暗。] / [Darkness].)

֍

第二幕,第一场
ACT II, SCENE I

发烧梦
FEVER DREAM.

《天如焦帛,血肉未忘所吞之誓。》
[The sky like scorched silk; the flesh has not forgotten the vows it was forced to swallow.]

[沙漠边缘,枯树下。]
[Edge of the desert, under a dead tree.]

LÁN DÚ / 蓝毒
昨日身陷桎梏……今日?
Yesterday, in chains … Today?
([她将手按向地面;大地发出痛苦的哀鸣。] / [She lays a hand against the ground; it cries in anguish].)
哈。连沙砾都畏惧我的触碰。
Hah. Even the sand recoils from my touch.

HĒI DÚ / 黑都
如今我们被抛弃了,母亲却在宫里舔着萨顿的靴子。
Now we are abandoned, and Mother licks Sàtǔn’s boots in the Palace.

([巴希拉从阴影中现身。] / [BǍ XĪ LĀ rises from out of the shadows].)

BǍ XĪ LĀ / 巴希拉
迷途的小蛇,你们和我一样饥肠辘辘吧?想尝尝神明的血肉么?
Lost little snakes, are you as hungry as I am? Do you want to taste the flesh and blood of the gods?
([巴希拉作势要拥抱蓝毒。她后退一步。] / [BǍ XĪ LĀ moves as if to embrace LÁN DÚ. She steps back].)

LÁN DÚ / 蓝毒
吻我,就是自取灭亡。
To kiss me is to destroy yourself.

HĒI DÚ / 黑都
你向一个无人得见的神明祈祷,但这救不了你。我们的贪欲……足以招致灭顶之灾。
You pray to a god no one can see, but it cannot save you. Our greed … is enough to bring disaster.

([巴希拉猛地拽过黑都,粗暴地吻住她。他的脸并未因她的毒液而溃烂……毫无异状。] / [BǍ XĪ LĀ suddenly grabs HĒI DÚ and roughly kisses her. Instead of his face melting from her poison … nothing happens].)

LÁN DÚ / 蓝毒
怎么可能?那绝非武学!那是……
How is that possible? That’s no martial art! That’s …

BǍ XĪ LĀ / 巴希拉
邪术?’那兽被赐予一张口,用以吐出狂言与亵渎之语。’
Deviltry? ‘And the beast was given a mouth to utter proud words and blasphemies.’

HĒI DÚ / 黑都
你为何跟踪我们?有何企图?
Why are you following us? What do you want?

BǍ XĪ LĀ / 巴希拉
小丫头,你的毒液连耶和华都要避让,而我,早已凌驾于耶和华之上。
Little girl, even Yahweh would shun your venom—but I have already surpassed Yahweh.

HĒI DÚ / 黑都
‘耶和华?’
‘Yahweh’?

BǍ XĪ LĀ / 巴希拉
异族语言的异族词汇。我的舌头尝过你,滋味……妙不可言。
A foreign word from a foreign tongue. My tongue has tasted you, and the flavor … divine.

LÁN DÚ / 蓝毒
你究竟想要什么?
What exactly do you want?

BǍ XĪ LĀ / 巴希拉
《五毒女经》有云:’凡以腹匍匐者,皆为不洁。’我只要你们最珍视之物。
The Five Poisons Scripture says: ‘All that crawl on their bellies are an abomination.’ I want only what you hold most dear.

HĒI DÚ / 黑都
我们的贞洁岂容你玷污!
We won’t let you defile our chastity!

BǍ XĪ LĀ / 巴希拉
‘处女之身’?真古怪。不,小蛇们,我渴望的是你们丹田里盘绕的……你们毒液般的黑色莲花。
‘Chastity’? Quaint. No, little snakes, I desire the black lotus curled in your Dāntián … your venomous core.

LÁN DÚ / 蓝毒
我不明白。
I don’t understand.

BǍ XĪ LĀ / 巴希拉
当然。你、你母亲、宫里那群蠢货……无人知晓末日为何物,更不知它如何降临。
Of course you don’t. You, your mother, those fools in the Palace … none of you know what the end of days means, let alone how it arrives.

HĒI DÚ / 黑都
‘末日’?无稽之谈。
‘Doomsday’? Ridiculous.

LÁN DÚ / 蓝毒
你说话像打哑谜。
You speak in riddles.

BǍ XĪ LĀ / 巴希拉
唯有不信者才觉得晦涩。你们渴望不可得之物。只要忠于这份渴望,自会得偿所愿。
Only the faithless find it obscure. You hunger for what cannot be had. Stay loyal to that hunger—and it shall be fed.

LÁN DÚ / 蓝毒
‘有奖励吗?’
‘Rewarded’?

HĒI DÚ / 黑都
你岂知我们心中所想?
How do you know what lies in our hearts?

BǍ XĪ LĀ / 巴希拉
呵!我岂会不知?明日,我们尊贵的新皇后将携众人出宫透气。沙漠中有片绿洲时隐时现,人称诅咒之地……却有鹿群冒险饮水。
Hah! How could I not know? Tomorrow, our noble new empress will lead the court beyond the palace walls. There’s an oasis in the desert, a cursed place that comes and goes … yet the deer still dare drink from it.

LÁN DÚ / 蓝毒
然后呢?
Then what?

BǍ XĪ LĀ / 巴希拉
不仅仅是欲望。不仅仅是荣耀。你所追求的是……
Not just desire. Not just glory. What you seek is …

HĒI DÚ / 黑都
复仇。
Revenge.

BǍ XĪ LĀ / 巴希拉
为你妹妹。为你母亲。明日,那群蝇营狗苟之徒将散落在诅咒之水畔,浑然不觉……任人宰割。For your sister. For your mother. Tomorrow, those petty parasites will be spread along the banks of cursed waters, oblivious … ripe for slaughter.

LÁN DÚ / 蓝毒
([恍然] / [Suddenly])
便于我们……设伏。
It’ll make it easy for us … to set an ambush.

HĒI DÚ / 黑都
……如果我们自己去打猎的话!
… if we do a little hunting of our own!

BǍ XĪ LĀ / 巴希拉
正是。
Exactly.

LÁN DÚ / 蓝毒
巴希拉,妙极!初来时还以为你不过是母亲的玩物……没想到竟是五毒宗高人。
Bǎ Xī Lā, brilliant! When I arrived, I thought you were just Mother’s pet … but you’re a true master of the Five Poisons Sect.

HĒI DÚ / 黑都
姐姐,回宫!明日必有好戏。
Sister, let’s return to the Palace! Tomorrow, the real show begins.

([双胞胎离去,她们的残影如热浪中的蜃楼,缓缓消散。] / [The twins depart. Their afterimages shimmer like heat mirages and slowly vanish].)

BǍ XĪ LĀ / 巴希拉
快滚吧,小蜈蚣。你们五毒教终将覆灭。纵是耶和华也会骇然背过脸去。’……见有一匹灰色马,骑在马上的,名为死亡,阴府紧随其后。’
Run along, little centipedes. Your Five Poisons Sect will be destroyed. Even Yahweh would turn his face in horror. ‘And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him.’

֍

[第二幕,第二场]
[ACT II, SCENE II]

《无童之地传童笑,大地屏息忘自生。》
[When children laugh where none should be, the earth forgets to breathe.]

[努尔绿洲,塔克拉玛干沙漠某处。]
[Nur Oasis, somewhere in the Taklimakan Desert.]

([天母、铁影、铁血、铁炼上。] / [TIĀN MǓ, TIĚ YĪNG, TIĚ XUÈ, and TIĚ LIÁN enter].)

TIĚ YĪNG / 铁影
不对劲…
Something’s wrong…

TIĀN MǓ / 天母
……此地的风水已绝。我戎马半生,从未感受过这般死寂。连龙脉都凝滞不行。
…The feng shui of this place is dead. I have been a soldier half my life, and never have I felt such dead silence. Even the dragon veins are stagnant.

([铁血检查水池。] / [TIĚ XUÈ inspects the pool].)

TIĚ XUÈ / 铁血
绿洲将枯,无花果树亦干渴哀鸣。
The oasis is dying, and the fig trees cry out in thirst.

([铁影见一只蝎子从无花果树上窜下,自蜇而亡,死状痛苦。] / [TIĚ YĪNG sees a scorpion scurry down from a fig tree and sting itself, dying in agony].)

TIĚ YĪNG / 铁影
连蝎子都宁可自戕,也不愿困死于此。
Even the scorpion kills itself rather than be trapped here.

([一具鹿尸侧卧水边,似中毒而亡。秃鹫盘旋其上。] / [A deer carcass lies on its side near the water, as if poisoned. Vultures circle above].)

TIĚ XUÈ / 铁血
食腐的秃鹫盘旋不落,尽管…
The carrion birds circle, yet do not land, even though…
([铁血踢向鹿尸,尸身骤然翻涌出饥饿的蛆虫。] / [TIĚ XUÈ kicks the deer; the carcass erupts with ravenous maggots].)
…噁,尽是蛆虫!
…Disgusting—maggots everywhere!

TIĀN MǓ / 天母
唯有死神,方对这盛宴趋之若鹜。
Only the god of death is drawn to such a feast.

([天母、铁影、铁血、铁炼下。蝉鸣骤止。远处忽闻孩童笑声…然方圆数里,杳无人迹。蓝毒与黑毒自阴影中现身。] / [TIĀN MǓ, TIĚ YĪNG, TIĚ XUÈ, and TIĚ LIÁN exit. The cicadas fall silent. In the distance, a child’s laughter echoes… but for miles around, there is no one. From the shadows step LÁN DÚ and HĒI DÚ].)

LÁN DÚ / 蓝毒
姐姐,让他们逐鹿去吧。
Sister, let them chase deer if they wish.

HĒI DÚ / 黑都
猎人也终成猎物。瞧!
Even hunters become prey. Look!

([白丝与天佑自水池对侧上,浑然不觉周遭异样。二人未察双胞胎,旋即离去。] / [BÁI SĪ and TIĀN YÒU enter from the opposite side of the pool, oblivious to the strange aura. They do not see the Twins and quickly leave].)

LÁN DÚ / 蓝毒
是皇后那妹妹!
The Empress’s little sister!

HĒI DÚ / 黑都
还有那个迂腐的小诗人…
And that foolish little poet…

LÁN DÚ / 蓝毒
…写那首歪诗的家伙。
…the one who wrote that crooked poem.

HĒI DÚ / 黑都
‘双蛇交缠’……我记得是这句。
‘Two snakes entwined’… I remember the line.

LÁN DÚ / 蓝毒
如果我们用猩红色书写,听起来会不会更美丽?
Would it not be more beautiful, written in scarlet?

HĒI DÚ / 黑都
题在他胸口如何?
Perhaps carved into his chest?

([二人身影融入热浪。绿洲骤归死寂, 忽而无花果树泣泪。浓稠琥珀泪珠顺树皮滚落,在根部汇成诡谲形状。阴影中,童声再度响起,此番却成歌谣:] / [The Twins melt into the heat shimmer. The oasis is still once more, until the fig trees begin to weep. Thick amber tears roll down their bark and pool at the roots, forming strange shapes. From the shadows, the child’s voice returns, this time in rhyme:])

CHILD’S VOICE / 童声
金木水火土…
五行倒逆,
尸骨绽花。
Metal, wood, water, fire, earth…
The Five Elements invert,
Corpses bloom like flowers.

֍

[第二幕,第三场]
[ACT II. SCENE III]

《她跪如祭台,他灌她以诅咒、烈火与深渊之种。》
[She knelt like an altar; he filled her with curse, flame and the seed of the Abyss.]

[绿洲之心,一棵根系焦黑、枝干虬结的无花果树下。]
[The Oasis’s Heart, a gnarled fig tree with blackened roots.]

([巴希拉登场,手握一颗燃烧的人心,其中充盈着窃来的真气。他低语时,心脏搏动,血管中黑金光芒流转。] / [BǍ XĪ LĀ enters, holding a burning human heart he has been filling with stolen qi. It pulses as he talks to it, veins glowing black and gold].)

BǍ XĪ LĀ / 巴希拉
瘟疫啊!我一点一滴将你铸成——用幻象、谶语与邪咒。三十枚银币?犹大般的交易,换这一杯渎神的元气。
Pestilence! I fashioned you piece by piece—with visions, prophecies, and curses. Thirty pieces of silver? A Judas-like bargain for a cup of blasphemous spirit.

([一声异响。心脏骤冷,倏然生出蟹足般的附肢,钻入他的衣袍。] / [A noise. The heart cools. It sprout crab-like legs and scurries into his robes].)

BǍ XĪ LĀ / 巴希拉 (CONT’D)
啊,第十一灾, 蝗虫之母亲临。
Ah, here comes the Eleventh Plague, the Mother of Locusts herself.

DÀ LÁNG / 大狼
([大狼上。] / [Entering].)
爱人!终得独处。我对你的爱,如风将阴影缝入大地之肤,永不可解。
Lover! At last we are alone. My love for you is like the wind stitching shadows into the earth’s skin, it can never be undone.

BǍ XĪ LĀ / 巴希拉
好诗。我的爱人……渴求何物?
Pretty poetry … What does my love desire?

DÀ LÁNG / 大狼
将那蠢妇天母驱至我面前,听她子嗣的哀哭……
To drive that fool Tiān Mǔ before me and hear the lamentation of her children …
([大狼的手滑向他胸膛。] / [DÀ LÁNG’s hand slides down his chest].)
但首先,请让我把你的祈祷吞进喉咙……直到欲呕。
But first let me swallow your prayers down my throat … until I gag.

BǍ XĪ LĀ / 巴希拉
红鸾星指引你的欲望……利维坦的疯狂在我的血液中流淌。翡翠帝国今日必须覆灭,因为主只爱破碎的容器。
The Crimson Luan Star guides your lust … but the madness of Leviathan flows in my blood. Today the Jade Empire will shatter for the Lord loves a Broken Vessel.

DÀ LÁNG / 大狼
哦?
Oh?

BǍ XĪ LĀ / 巴希拉
([递信。] / [Hands her a letter].)
将此信呈予你的皇后。莫问。
Give this to your Empress. Ask nothing.

([二人接吻时,大狼血脉骤染漆黑。她狂喜战栗,巴希拉微笑如尸,目光死寂。大狼踉跄退场,神魂俱醉。] / [As they kiss DÀ LÁNG’s veins briefly turn black. She is in rapture. BǍ XĪ LĀ smiles like a corpse, his eyes dead. DÀ LÁNG staggers away, intoxicated].)

BǍ XĪ LĀ / 巴希拉 (CONT’D)
达朗,别祈求,耶和华早已注定你的结局。你真是个’破碎的器皿’。我的儿子会从你的腹中诞生……而’他必以铁杖击碎众生。’
Ask for nothing, Dà Láng, for Yahweh has already decreed your end. ‘Broken vessel’ indeed. From your womb alone my son will burst … and ‘He shall break them with a rod of iron’.
([下。] / [Exits].)

֍

[第二幕,第四场]
[ACT II. SCENE IV]

[被诅咒的绿洲另一隅。]
[Another corner of the cursed Oasis.]

([白丝与天佑上。此处的绿洲死寂——连风都凝滞。大狼自阴影中浮现,手中已无信笺。] / [BÁI SĪ and TIĀN YÒU enter. The Oasis here is too quiet—even the wind has died. DÀ LÁNG melts out of the shadows. She no longer carries the letter].)

BÁI SĪ / 白丝
([惊退] / [Startled].)
玉门妃……为何独行?你的狼群何在?
Consort of the Jade Gate… why are you walking alone? Where are your wolves?

DÀ LÁNG / 大狼
我独行无狼,而命运……悬于发丝。
I run with no wolves but my fate hangs from a hair’s breadth.

([黑毒与蓝毒现形——非自树间,而是从绿洲池水的倒影中渗出。] / [HĒI DÚ and LÁN DÚ emerge—not from the trees, but from reflections in the oasis pool].)

LÁN DÚ / 蓝毒
母亲,您燃如烈火。这些飞蛾……是否扑得太近了?
Mother, you burn like fire … Did these moths flutter too close?

DÀ LÁNG / 大狼
飞蛾?确实。这些恼人的小翅膀……该如何处置?
Moths? Yes, it is so … What do we do with irritating little wings?

HĒI DÚ / 黑都
碾碎便是。
We crush them.
([刺向白丝] / [She stabs BÁI SĪ].)

LÁN DÚ / 蓝毒
此乃孝道。
Our filial duty.
([同刺白丝] / [She also stabs BÁI SĪ].)

([白丝任脉如琵琶弦骤断,末音哽于喉间。她呕出尘土,气绝身亡。远处,萨屯的猎号声隐约可闻。] / [BÁI SĪ’s Ren meridian snaps like a lute string, the last note chokes in her throat. She vomits dust and dies. In the distance SÀTŪN’s hunting horn sounds].)

DÀ LÁNG / 大狼
命运发丝,已成谶语。够了。
A hair’s breadth of fate was prophetic. Enough.
([指向蜷缩的天佑。] / [Indicating the cowering TIĀN YÒU].)
扔去鸦雀不食之地。
Dump them both where even crows won’t peck.
([下。] / [Exits].)

([黑毒与蓝毒拖走天佑与白丝尸身。] / [HĒI DÚ and LÁN DÚ drag TIĀN YÒU and the body of BÁI SĪ away].)

֍

[第二幕,第五场]
[ACT II. SCENE V]

《道如腐果裂,众徒以人之残息哺养深渊。》
[The Tao split open like rotten fruit and from its guts they fed the pit with men’s torn breath.]

[绿洲另一隅——天启之渊。]
[Another part of the Oasis – Abyss of Revelation.]

([此坑非寻常洞穴,乃大地溃烂之创。空中蝇群嗡鸣,蓝黑肥躯振翅,声如丧钟哀歌。坑缘沙地染同心圆痕,层层淤黑,似地面自渗污血。] / [The pit isn’t just a hole—it’s a festering wound in the earth. The air hums with flies, their bodies fat and blue-black, their drone like a funeral dirge. The sand around the rim is stained in concentric rings—darker with each layer, as if the ground itself bleeds inward].)

([黑毒与蓝毒将白丝尸身掷入其中,复推天佑抵于无花果树。蓝毒挥刃刺穿其掌,将其钉于树干。] / [HĒI DÚ and LÁN DÚ dump BÁI SĪ’s body into the pit. They shove TIĀN YÒU against a fig tree. LÁN DÚ drives her blade through his palm, pinning him to the trunk].)

LÁN DÚ / 蓝毒
([以指甲描画其发黑血管。] / [Tracing the blackening veins with her nail].)
让我们以猩红墨汁……重谱你的诗篇。
Let’s rewrite your poetry… in scarlet ink.

([黑毒上前,钩剑泛着腐煞黑光。她精准刻下『逆』字于其胸。腐毒与其真气相触,字符处青烟嘶嘶。] / [HĒI DÚ steps forward, her hook-sword glowing dully with Black Rot. With surgical precision, she carves the character 逆 [Rebel] into his chest. Smoke hisses where the necrotic poison touches his qi].)

TIĀN YÒU / 天佑
([弓背痉挛。] / [Back arching].)
呃—!
Ai—!

([天佑惨叫惊起栖鸦,黑羽纷飞如风暴。其唇上黑筋盘曲,扭曲成诡笑。] / [TIĀN YÒU’s scream startles the nesting crows. They explode into flight, black feathers whipping like a storm. His lips, veined with black, curl into something grotesque].)

HĒI DÚ / 黑都
([模仿昔日对其姊妹所施之仪。] / [Mimicking the ritual once performed on their sister].)
道生一,
一生二,
二生三,
三生……尸骸。
The Tao begets One,
One begets Two,
Two begets Three,
Three begets… corpses.
([她的手指敲击——大杵,杵中,命门。] / [Her fingers strike—Dàzhùi, Jǐzhōng, Mìngmén].)
([每个穴位都破裂了。银色的气从天佑身上喷涌而出。] / [Each pressure point cracks. Silver qi erupts from TIĀN YÒU’s body].)
([以拔罐术吸取逸散真气。] / [Cupping the escaping qi].)
多刺耳的乐音啊…
Such ugly music…
([雾气凝成『仇恨』二字,复从其指间流散。] / [The mist shapes into the characters for ‘hatred’ [仇恨], then dissolves between her fingers].)
…配你这丑角,倒也相宜。
…for such an ugly boy.

([天佑昏死,手掌仍钉于树。黑血沿树纹淤积,汇成不可辨之咒纹。] / [TIĀN YÒU collapses unconscious, his hand still pinned to the tree. Black blood pools in the bark’s grooves, forming illegible curse-script].)

LÁN DÚ / 蓝毒
([踢其瘫躯。] / [Kicking his limp form].)
滚回家吧,小诗人。若有人问起谁将你’去势’……便以沉默代我等作答。
Run home, little poet. If anyone asks who castrated you… let silence speak for us.

([黑毒与蓝毒狞笑退场,独留天佑瘫于巨坑之畔。鸦群归来,默然盘旋,在其顶上结成黑冕。] / [Laughing, HĒI DÚ and LÁN DÚ exit, leaving TIĀN YÒU crumpled beside the yawning pit. The crows return—circling silently above, forming a cursed black crown over his head].)

֍

[第二幕,第六场]
[ACT II. SCENE VI]

《鲜血沿饥渴深渊滴落,古神舔唇欲动。》
[Where blood weeps down the hungry pit, the old gods lick their lips.]

([铁血与铁炼仍在狩猎,自空地另一端上。二人骤停,紧盯天启之渊,却未见天佑瘫倒树后。二人趋近渊缘,俯身窥视。蝇群嗡鸣。] / [Still part of the hunt, TIĚ XUÈ and TIĚ LIÁN enter from the opposite side of the clearing. They stop and stare at the sinkhole. They fail to see the motionless body of TIĀN YÒU, crumpled behind the tree. They approach the edge and cautiously peer down into it. The air buzzes with flies].)

TIĚ XUÈ / 铁血
([眯眼] / [Squinting].)
我看见……阴影蠕动。如蛆虫自渊底攀爬。([干呕] / [Retches].) 这腐臭——!
I see… shadows writhing. Like maggots crawling up from the bottom. The stench—!

([蝇群骤然散开,二女骇然失色。] / [Suddenly the cloud of flies parts. Both women recoil in horror].)

TIĚ LIÁN / 铁炼
狼母在上!是白丝!她双目尽失……蝇群正在她口中产卵!
Wolf Mother! It’s Bái Sī! Her eyes … gone! The flies, laying eggs in her mouth!

([铁血和铁炼惊恐地对视着。突然,铁血注意到了弟弟的尸体。] / [TIĚ XUÈ and TIĚ LIÁN stare at each other, sick with horror. Suddenly TIĚ XUÈ sees her brother’s lifeless body].)

TIĚ XUÈ / 铁血
不不不不不不!小弟弟!
No, no, no, no, no! Little brother!

([未及反应,萨屯与达朗率皇后亲卫冲入空地。] / [Before they can react, SÀTŪN and DÀ LÁNG rush in with the Empress’s Guards].)

SÀTŪN / 萨囤
([凝视深渊] / [Staring into the abyss].)
不,这不可能……白丝岂会……
No… this can’t be… Bái Sī would never…

DÀ LÁNG / 大狼
‘地狱之渊,地狱之行’——信中所言,分毫不差。
‘A hellish hole for a hellish deed’—exactly as the letter warned.

TIĚ XUÈ / 铁血
陛下,我们未曾——!方至此处——!
Your Majesty, we didn’t—! We only just arrived—!

DÀ LÁNG / 大狼
‘恶兽当自深渊崛起’……此信亦早有预警!
‘The beast shall rise from the pit’… That was in the warning, too!

SÀTŪN / 萨囤
([仍陷震骇] / [Still reeling].)
吾姐素恨沙漠……曾说风声如鬼魅咀嚼骨渣。她……
My sister hated the desert… said the wind there sounded like ghosts chewing bone shards. She…
([如初见般瞪视铁血二人。] / [She turns to TIĚ XUÈ and TIĚ LIÁN as if seeing them for the first time].)
尔等!天母之女!满口谎言!
You! Daughters of Tiān Mǔ! You speak nothing but lies!

([天母与铁影上,浑然未觉渊边异状。] / [TIĀN MǓ and TIĚ YĪNG enter, unaware of what has transpired by the pit].)

TIĀN MǓ / 天母
皇后陛下,闻号角声便速至。此绿洲每每移目即变……狩猎如何?可擒得猎物?
My Empress, I came at once upon hearing the horn. This oasis shifts each time I look away… How goes the hunt? Have you trapped the prey?

DÀ LÁNG / 大狼
‘绿洲变幻’?荒唐!老妪妄言,孰能信之!
‘The oasis shifts’? Nonsense! Mad talk from an old crone—who would believe it?

SÀTŪN / 萨囤
([暴怒] / [Exploding in fury].)
天母!汝竟敢现身于此!?
Tiān Mǔ! You dare show your face here!?

DÀ LÁNG / 大狼
待她与*([冷笑] / [sneering])* ‘铁刃’残杀白丝之后……
After she and her ‘Iron Blades’ butchered Bái Sī…

TIĀN MǓ / 天母
([惊颤] / [Shaken].)
‘谋杀’?
Murdered…?

DÀ LÁNG / 大狼
……偏等我们抵达,才故作悠哉现身,与信中所预言如出一辙。
…And now she waits to appear calm and composed—exactly as the letter foretold.

SÀTŪN / 萨囤
亲卫!此乃叛国弑君之罪!朕早知不该信尔等!
Guards! This is treason—regicide! I knew we should never have trusted you!

TIĀN MǓ / 天母
白丝夫人……已遭不测?
Madam Bái Sī… is truly gone?

DÀ LÁNG / 大狼
装傻!你再看看…… ([指着天佑] / [Points to TIĀN YÒU].) ……为了制造一个完美的不在场证明,她竟然折磨自己的儿子!
Feigning ignorance now, are you? Look again… To craft her perfect alibi, she tortured her own son!

([萨屯、天母、铁影俱震,望向天佑残躯。一时寂然。天母踉跄上前,双臂虚悬,面如槁木。] / [SÀTŪN, TIĀN MǓ, and TIĚ YĪNG all stare in stunned silence at TIĀN YÒU’s broken body. TIĀN MǓ staggers forward, arms trembling in the air, her face ashen and hollow].)

SÀTŪN / 萨囤
([怒极] / [Furious beyond reason].)
将这老狐孽种捆了!朕要亲创酷刑——天命昭昭,必令其痛彻神魂!
Bind these vixen whelps! I’ll invent tortures myself—by Heaven’s Mandate, they’ll suffer in soul and flesh!

([皇后的侍卫拖走铁雪和铁莲。寂静。天母踉跄地走向被绑在树上的天右。] / [The Empress’s Guards drag off TIĚ XUÈ and TIĚ LIÁN. Silence. TIĀN MǓ stumbles toward TIĀN YÒU, who still hangs from the tree].)

TIĀN MǓ / 天母
([跪下] / [Kneeling beside him].)
没有呼吸。
No breath.
没有声音。
No sound.
连疼痛都没有。
Not even pain.
([她将手靠近他的皮肤。空气一动不动。] / [She holds her hand close to his skin. The air does not move].)
([低语] / [Whispers].)
这死寂……
This stillness …
我曾见过。
I have known it before.
那年在雪地上,积雪不化。
Once, on a field where the snow would not melt.
五毒门斩断一名少年之气,任乌鸦来温他的骨。
Where the Five Poisons cut the qi from a boy and left him to warm the crows.
([她轻轻触碰伤口。] / [She gently touches the wounds].)
这沉默之中,有他们的歌。
A silence that sings of them.
([她将天右抱入怀中。] / [She gathers him in her arms].)
可这沉默太整齐,太冷静,
像是被人为剪断的呼吸。
像是恶意,刻意留下的空白。
——一封用静默写的信。
那就让我来读。
But this silence—it’s too neat, too calm,
like a breath cut by design.
Like malice, leaving behind a blank on purpose.
—A letter written in silence.
Then let me read it.

([她站起。众人随她而去。退场。] / [She rises. The others follow. Exits].)

([静场良久。五目蟾蜍上,体沾墓灰,喉间第五目——一道竖隙——搏动不止。其鸣三声同现:临终牧师的祷词、新娘喉间的窒泣、利齿碾骨的脆响。蟾蜍转目,锁定深渊。长舌突伸——节节畸长——舔舐渊缘白丝凝血,战栗欢愉。] / [A long silence. Then the Five-Eyed Toad enters, its skin dusted with tomb-ash. Its fifth eye— a vertical slit on its throat—pulses. It croaks, and three sounds emerge at once: — A priest’s final prayer — A bride’s strangled gasp — The crunch of bone between teeth. The toad’s eyes swivel, fixing on the sinkhole. Its tongue lashes out—jointed, grotesquely long—and tastes the blood BÁI SĪ left behind. It quivers in ecstasy].)

֍

[第三幕,第一场]
[ACT III. SCENE I]

([舞台空荡,唯中央一平台,上置两包裹,以朱绳捆缚的白布覆之。钟鸣一声,静默。天母着白色将袍上,铁骨与铁鹰随侧。她徐行至萨屯与皇室前,肃然跪地。] / [A single bell chimes. The stage is bare save for a platform, center, upon which rest two bundles, wrapped in white cloth tied with red ceremonial cord. The silence holds. TIĀN MǓ enters in white general’s robes, flanked by TIĚ GŪ and TIĚ YĪNG. She walks slowly, then kneels in front of SÀTŪN and the royal court].)

TIĀN MǓ / 天母
太平之年,臣执此剑,以彰武德。
In times of peace, I held this sword with honor.
战乱之时,臣以血饲之。帝国之下——唯忠而已。
In war, I fed it blood. Under the empire, there is only loyalty.
今臣之忠义遭疑,剑锈心枯……
Now my loyalty is doubted, my sword is rusted and my heart is withered…
然若老朽一臂,可洗吾女之辱……
But if my old arm can still wash away the shame of my daughter…
则不必多言。
then there is no need to say more.
([她以盆净手,默然片刻。旋即拔剑,左手覆白鉢巻,抵地稳刃,断腕自戕。闷哼一声,断掌落盆,血水相融。她伏地叩首,额触砖石。] / [She washes her hands in the basin. A pause. Then, unsheathing her blade, she steadies it with one hand on the ground. She wraps her left wrist with white silk, braces and swiftly cuts off her own hand. A sharp exhale. The hand falls into the basin. Blood swirls in water. She bows forward, kowtows, forehead touching the floor].)
为帝国。
For the Empire.
为仁慈。
For Mercy.
为陛下。
For you, my Empress.

([萨屯起身,神色慵懒。她踱至台前,审视包裹,忽莞尔一笑。] / [SÀTŪN stands, slow and unbothered. She approaches the dais, examining the bundles. Then, with the barest smile, she speaks].)

SÀTŪN / 萨囤
一臂?将军,朕要的是忠心, 而非残羹。
Just one hand, General? I asked for loyalty, not leftovers.
([她做了个手势,一位侍从默默地解开一捆布。观众什么也没看到——只有田牧的脸。她的表情僵住了,然后破碎了。] / [She gestures, and an Attendant silently unties one of the cloth bundles. The audience sees nothing—only TIĀN MǓ’s face. Her expression freezes, then shatters].)
朕赐你双礼……合该感激才是。
I have given you two gifts… you should be grateful.
她们的头颅, 沉甸甸的,压着羞耻。
Their heads were heavy, weighed down with shame.
朕已为尔…… 轻如鸿毛。
I have made them… as light as a feather.

([天母凝望包裹,面色骤僵,形同槁木。腕间滴血无声。铁鹰缓步上前。] / [TIĀN MǓ says nothing. She does not scream. She does not move. Her severed wrist drips blood onto the floor. TIĚ YĪNG steps forward slowly].)

TIĚ YĪNG / 铁影
这就是帝国对待女儿的方式吗?
Is this how empire honors its daughters?

([萨屯不答,含笑携众退场。铁鹰跪于天母身侧,视血刃与朱绳包裹。] / [SÀTŪN does not respond. She smiles, turns, and exits with the Court, leaving the bundles behind. TIĚ YĪNG kneels beside TIĀN MǓ, who still kneels, broken. She looks to the blood, the sword, the silent cloth-covered heads].)

TIĚ YĪNG / 铁影 (CONT’D)
此地,已无吾立锥之所。
There is no place for me to stand here.
非陛下的宫阙,非宗庙,非沙场。
Not in your majesty’s palace, not in the ancestral temple, not on the battlefield.
母亲所授,儿当永志——
What my mother taught me, I will always remember ––
但绝非……为这般帝国。
but it is definitely not… for this empire.

([她拾起血刃,如抱婴孩,下。天母独跪,静默如渊。] / [She picks up the bloodied sword, cradles it like a child and exits. TIĀN MǓ remains kneeling in silence].)

֍

[第三幕・第二场]
[ACT III. SCENE II]
(This scene heading appears twice in the original, I will assume the first is Act III Scene II and the next one should be Act III Scene III. If this is incorrect, please let me know! For now, I will label them sequentially.)

[内宫秘殿。绢屏影绰,香烟如鬼萦绕。殿外:法锣沉沉,诵经隐隐——铁血与铁炼正赴黄泉。殿内:时间凝滞,寂静亵渎。巴悉拉跪坐冥想,身侧大狼仅着薄绸单衣,面泛潮红,眸含期待。青铜炉中紫焰幽曳,卷轴如舌展,朱砂墨溢地如血。]
[A private chamber in the inner palace. Shadowed silk screens. Incense drifts like ghosts. Outside: ritual gongs, muffled chanting—the execution of TIĚ XUÈ and TIĚ LIÁN proceeds without interruption. Inside: stillness, sacred and wrong. Time bends. A hush. BǍ XĪ LĀ kneels in meditation beside DÀ LÁNG, who wears only thin silken robes, flushed and expectant. A bronze brazier flickers with violet flame. Scrolls unfurl like tongues. A bowl of cinnabar ink bleeds across the floor.]

BǍ XĪ LĀ / 巴希拉
([轻语] / [Whispering])
此处唯你我。星宿亦阖目——
It’s just you and me here. The stars are also closed ––
似这九天十地……不敢窥伺。
just like the nine heavens and ten earths… dare not peek.

DÀ LÁNG / 大狼
苍天何曾容得……情人欢好?
How can heaven allow… lovers to enjoy each other?
([褪去外袍,仰卧祭坛,闭目] / [Slips off her robes, lies on the altar with her eyes closed])
快些,郎君。妾身……已难耐。
Hurry up, my love. I can’t wait anymore.

([长寂。她睁眼。巴悉拉伫立如石,唇动无声,诵念畸变经文——喉音沉浊,似古庙残碑之语。] / [Long silence. She opens her eyes. BǍ XĪ LĀ stands like stone, fully clothed, lips moving. The words are twisted scripture—glottal, guttural—spoken in a broken, holy tongue older than any temple].)

BǍ XĪ LĀ / 巴希拉
‘此妇当为吾怒之器,备以毁殁。’
‘She shall be for Me a vessel of wrath, prepared for destruction.’
([炉火骤燃。屏风影动,如逃如窜。] / [The brazier flares. Shadows crawl up the silk screens, as if fleeing].)
首当净器。
First, we anoint the vessel.
‘其额题名:奥秘哉,大巴比伦,娼妓与地上可憎物之母。’
‘And upon her forehead was a name written: Mystery, Babylon the Great, the Mother of Harlots and Abominations of the Earth.’
([他捧起朱砂墨碗,以颤指绘经咒于大狼肌肤——腹、胸、腿。字迹隐泛幽光。] / [He lifts the bowl of cinnabar ink. With trembling fingers, he paints sutras in black and rust-red across DÀ LÁNG’s skin—belly, breasts, thighs. They glow faintly].)
‘吾言岂非如火,亦如击磐之锤?’
‘Is not My word like fire, and like a hammer that breaks the rock in pieces?’
([他将一柄浸透腐煞的玉刃掷入火中。刃嘶鸣,泣血,渗黑。大狼喘息渐促——如堕幻境。] / [He places a jade dagger, black with corruption, into the flame. It hisses. Screams. Bleeds blackness. DÀ LÁNG’s breath quickens—entranced].)
([柔声,几近爱怜] / [Softly, almost tender].)
产门已闭。
The mouth of birth is closed.
‘地开口,吞没妇人与其神裔。’
‘The earth opened her mouth and swallowed up the woman and her seed.’
今吾当启新门。
Now I will open a new gate.

([未及她反应,刃已刺落。血肉绽裂声。血溅胸股祭石。她弓身痉挛,无欢愉呻吟,唯闻痛喘。忽其掌按她丹田,湿濡扭曲之声——如血肉自绽为花,裂作齿渊。腹开巨口,荧荧蠕噬,淫亵而饥。大狼惨嚎。] / [Before she can move, the dagger plunges. The sound of flesh bursting apart. Blood hisses onto her breasts, her thighs, the altar stone. Her body arches in shock. No moans of ecstasy, only pain. Then his palm presses to her navel. A twisting, wet sound——like flesh folding back upon itself. Her belly splits, not by blade nor wound, but like a flower blooming into teeth. A gaping, glowing maw opens, wet, obscene, hungry. DÀ LÁNG screams].)

BǍ XĪ LĀ / 巴希拉 (CONT’D)
‘彼倾魂至死……与罪同列。’
‘He poured out His soul unto death… and was numbered among the transgressors.’
([他从袍中取一燃烧之心——尚搏动,银脉盘错。倾入她体内渊口。殿外诵经声渐狂。待最后真气尽耗,心化灰烬。荧芒黯,渊口闭如沙漩。] / [From his robe, BǍ XĪ LĀ removes a burning heart—still pulsing, riddled with veins of silver qi. He pours it into her, into the maw. The chanting outside grows frantic. As the last of the qi is spent, the heart withers to ash. The glow dims. The
dentata closes like swirling sand in the desert].)
‘人将称其为可憎之母。彼将再孕,产兽。’
‘They will call her mother of abominations. She will conceive once more and it shall be a beast.’

([大狼瘫倒——汗濡身颤,血污狼藉,目眦欲裂。] / [DÀ LÁNG falls back—drenched in sweat, shaking, bleeding, terrified].)

DÀ LÁNG / 大狼
([喘促] / [Gasping].)
冷极——
It’s cold—
不——灼如焚……此为何物?
No—it burns … what is it?

([巴悉拉漠然掷袍掩其残躯。仪毕。他目中已无她。] / [Almost absently, BǍ XĪ LĀ tosses her robes across her ruined body. The ceremony is over. His eyes are empty of her now].)

BǍ XĪ LĀ / 巴希拉
([自语] / [To himself].)
‘彼已成魔居,聚万秽灵,囚诸不洁憎鸟之笼。’
‘She is become the habitation of devils, the hold of every foul spirit, and a cage of every unclean and hateful bird.’
([朗声] / [Aloud].)
盘绕之暗。
The coiled dark.
汝已成终焉之杯。
You are now the chalice of ending.

DÀ LÁNG / 大狼
([气若游丝] / [Barely above a whisper].)
妾觉……其已动。此刻便动。
I feel… it moving. Already.

BǍ XĪ LĀ / 巴希拉
待皇后啖女肉,
When the Empress eats the flesh of her daughters,
待尸月裂,
when the corpse-moon cracks,
待五毒蔽天——
when the heavens darken with five poisons—
其将破汝而出。
then it will crawl free.

([地底深处,古物蠢动。非肺所生之呻,无名之饥。] / [Far below, something ancient shifts in the roots of the earth. A moan not born of lungs. A hunger without name].)
([他走向殿门。他驻足,回望。] / [He walks to the door. He pauses. Looks back once].)

DÀ LÁNG / 大狼
([恍惚呢喃] / [Dazed, whispering].)
妾身……将为彼之母。
I … will be his mother.
吾儿。
Our son.
吾儿。
Our son.
吾儿。
Our son.

BǍ XĪ LĀ / 巴希拉
([低语] / [To himself].)
然。
Yes.
亦为……首飨。
And its first meal.

֍

[第三幕,第三场]
[ACT III. SCENE III]
(Previously Act III, Scene II – second instance)

《天转其面,唯有鬼魂凝视。》
[Heaven turns its face, only ghosts stay to watch.]

[天母府邸颓门前,阴风阵阵。大狼、蓝毒、黑毒戴破碎戏面登场,扮作血煞星、白无常、黑无常。衣袍浸透丧香与疯癫。手持仪杖,一杖悬绞索,一杖铸淫鬼铭文铜阳。大狼提滴落腐液的幽灯。空气弥漫灰烬与霉绸之气。]
[Before crumbling gate of TIĀN MǓ’s residence. A cold wind blows. DÀ LÁNG, LÁN DÚ and HĒI DÚ enter, masked as the god and judges of the dead: Xuè Shà Xīng, Bái Wúcháng and Hēi Wúchāng. Their costumes reek of funeral incense and madness. They wear cracked opera masks. They pound on the door with ceremonial staffs –– one with a noose, the other with a bronze yang inscribed with the inscription of a lustful ghost. DÀ LÁNG holds a black lantern dripping with putrid liquid. The air is filled with the smell of ash and moldy silk.]

TIĀN MǓ / 天母
([自高窗窥下。] / [Peering down from an upper window].)
何人叩门?血煞星?本将不需神明,我即复仇!
Who dares knock? Xuè Shà Xīng? I need no goddess. I am vengeance!
([铁链残腕铿然作响。] / [Rattles her stump-chain].)

DÀ LÁNG / 大狼
([覆面低语] / [Veiled].)
吾乃血煞星,踏血途而来。此二者,白无常与黑无常。
I am Xuè Shà Xīng, who walks the blood-red path. These are my judges: Bái and Hēi Wúchāng.

TIĀN MǓ / 天母
([眯眼] / [Squinting].)
倒也巧合。地府判官,竟生得像那蛇妇的孽种。
How convenient. The Judges of Hell, who just happen to look like the Viper’s whelps.

LÁN DÚ / 蓝毒
([扮白无常] / [As BÁI WÚCHÁNG].)
谁斩鹿首于少女之坛?
Who beheaded the deer on the altar of girlhood?

HĒI DÚ / 黑都
([扮黑无常] / [As HĒI WÚCHÁNG].)
谁碎珠门而听血之歌?
Who cracked the pearl-gate and laughed as the blood sang?

DÀ LÁNG / 大狼
谁以箫塞喉,却谓之合卺之乐?
Who silenced her with a flute and called it a wedding song?

TIĀN MǓ / 天母
([狂笑] / [Laughing].)
那便让本将赐尔等明镜——照见诸神所不屑之相。
Then let me show you mirrors—you’ll see what the gods turned away from.
([唾于黑毒铜阳杖上,嗤嗤作响] / [Spits, it lands on HĒI DÚ’s phallus staff. The metal hisses].)
要我下来?你们和那’慈悲’的巴希拉同是一丘之貉。
Come down? You are just like that kind-hearted, Bǎi Xī Lā.
([退场。] / [Exits].)

DÀ LÁNG / 大狼
([对女儿们] / [To her daughters].)
巴希拉?慈悲?哈!就这?这就是让老妇疯魔的手段。
Bǎi Xī Lā? Kind? Haha! This is how you drive an old woman crazy.

([天母从下方现身,绕三人行如狼影。大狼三人战栗。] / [TIĀN MǓ enters below. DÀ LÁNG, LÁN DÚ and HĒI DÚ shiver as she circles them like a wolf].)

LÁN DÚ / 蓝毒 & HĒI DÚ / 黑都
([齐声] / [In unison].)
吾等地府判官。
We are the Judges of Hell.

TIĀN MǓ / 天母
你们是来责罚我的阴魂?
Are you a spirit come to punish me?
([旁白] / [Aside].)
还是如今连妖魔也穿得如此劣绸?
Or do demons wear such cheap silk now?

LÁN DÚ / 蓝毒 & HĒI DÚ / 黑都
([齐声] / [In unison].)
诉尔罪孽,吾等必惩恶徒。
Tell us of a crime and we will punish the malefactors.

TIĀN MǓ / 天母
([抓住大狼] / [Grabbing DÀ LÁNG].)
血煞星,你的小穴怎么有鬼尿味儿?
Tell me, Xuè Shà Xīng, why does your flesh smell like ghost piss?

([天母猛吻大狼,撕破面纱,惊现真容一瞬。] / [TIĀN MǓ kisses DÀ LÁNG violently. DÀ LÁNG’s veil tears, revealing a glimpse of her face].)

DÀ LÁNG / 大狼
([慌乱] / [Flustered].)
你以为我是来羞辱你?
You think I’ve come to mock you?
([转为冷静] / [Recovering].)
我原欲赐你武者之终……如今看来,你早已疯癫。
I wanted to give you a warrior’s death… but now it seems that you have gone insane.

TIĀN MǓ / 天母
疯癫?对……这必是地狱。我……我定已疯魔。
Insane? Oh yes. Then … this must be Hell. I … I must be mad.
([旁白] / [Aside].)
疯到仍困此地,疯到仍见你等幻影。
Mad to still be here. Mad to see you.

LÁN DÚ / 蓝毒 & HĒI DÚ / 黑都
([齐声] / [In unison].)
被诅咒者无权评判法官。
The damned do not get to judge the Judges.

TIĀN MǓ / 天母
([跪地,哭声过大] / [Falling to her knees, sobbing a little too loudly].)
求你们!求你们!不要将我独留此处!空有悔恨!我一生心血付诸流水……让我向吾皇、玉门妃、与铁刃妹妹诀别……
Please! I beg you! Please … do not leave me here! Alone! Full of regrets! All my work undone!… Let me say goodbye to my Empress, her Consort, my sister, my Iron Mountain Blades …

LÁN DÚ / 蓝毒 & HĒI DÚ / 黑都
([齐声] / [In unison].)
被诅咒者没有权利——
The damned do not get —

DÀ LÁNG / 大狼
([打断] / [Interrupting].)
或许可破例。
Perhaps an exception can be made.
([对女儿们] / [To her daughters].)
看看她,真是可怜。这可比我想象中乏味多了。若在满朝文武前羞辱她,不更妙?说不定她还会吓得尿裤子!满殿皆笑!
Look at her, she’s pathetic. This isn’t as fun as I was hoping. Wouldn’t it be a whole lot more delicious to humiliate her in front of the whole Court? She might even piss herself in fright! Everyone will laugh at that.
([对天母] / [To TIĀN MǓ].)
可怜的魂灵,你愿以何物交换,换一次向皇后诀别的机会?
Miserable soul! What would you give to say goodbye to your Empress one last time?

TIĀN MǓ / 天母
([感激抬首] / [Looking up gratefully].)
只此一次?一切都行!我这只手!这双腿!我的灵魂!我的肉体!全归你……只求让我无悔而终!
One last time? Anything! My other hand! Both my legs! My soul! My flesh! They’re all yours … just don’t let me die with regrets!

DÀ LÁNG / 大狼
([对女儿们] / [To her daughters].)
姑娘们,意下如何?我去筹备一场终极盛宴,你们先照顾这位老妇人。
What do you say, girls? Can you babysit a crone while I go make preparations for a feast to end all feasts?

LÁN DÚ / 蓝毒
听起来有趣极了!
This will be fun!

HĒI DÚ / 黑都
去吧,母亲。我们这儿有玩具可供消遣……
Go, mother. We have our plaything and will amuse ourselves …

LÁN DÚ / 蓝毒
……还能趁机磨磨我们的爪子。
… by sharpening our claws.

DÀ LÁNG / 大狼
([对天母] / [To TIĀN MǓ].)
可怜的凡人!地狱的判官竟起恻隐之心,实属罕见。我将为你筹备一场盛宴,庆祝你的一生、你的英勇、你的伟业。届时,所有生者皆将受邀,所有先你堕入地狱的女儿魂魄亦将莅临。
Wretched mortal! The Judges of Hell are in a rare and kind mood. I will prepare a banquet to celebrate your life, your bravery, your accomplishments. I will invite all the living and all the souls of your daughters who have gone to Hell before you.

TIĀN MǓ / 天母
([伏地叩谢] / [Groveling on the floor].)
谢天!谢地!谢你们!
Thank you! Thank you! Thank you!
([呼喊] / [Calls].)
姐姐——快出来听我赐福!
Tiě Gū! Sister! Come out here and hear my blessing!

([铁姑进来,一脸震惊。她像看疯子一样看着大郎、蓝毒和黑毒,却什么也没说。] / [TIĚ GŪ enters, visibly stunned. She stares at DÀ LÁNG, LÁN DÚ, and HĒI DÚ as if they’ve lost their minds, but says nothing].)

TIĀN MǓ / 天母 (CONT’D)
([仍然跪着。] / [Still kneeling].)
看!看!我不用像个懦夫一样悲惨地死去了!谢谢你!
Look! Look! I won’t have to die like some wretched coward! Thank you!

([大郎微笑着退场。一阵长长沉默,房间里的气氛变得阴冷阴森。天牧站起身,缓缓转身,面对双胞胎。] / [DÀ LÁNG exits with a smile. A long silence settles; the air in the room turns cold and grim. TIĀN MǓ rises and slowly turns to face the Twins].)

TIĀN MǓ / 天母 (CONT’D)
([甜蜜地] / [Sweetly].)
现在,武昌姐妹……我们来讨论一下残害。
Now, Wúchāng Sisters… let’s discuss mutilation.

([天牧一拳打碎了蓝毒,打碎了她舌头遮盖的面具。铁骨一拳打碎了黑毒的面具,将他的面具从中间撕开。双胞胎倒地——喘息着,挥舞着。他们的手被丧葬绳绑着。天牧把他们像鹿一样倒吊在沾满鲜血的竹子上。他们的经脉被朱砂勾勒成一幅痛苦的地图。] / [TIĀN MǓ punches LÁN DÚ, whose mask flies off. TIĚ GŪ smashes HĒI DÚ’S mask, tearing it clean down the center. The Twins collapse—gasping, thrashing. Their hands are bound with funeral cord. TIĀN MǓ strings them up like butchered deer from blood-soaked bamboo. Their meridians are traced in cinnabar: a map of agony].)

LÁN DÚ / 蓝毒
傻瓜!我们才是法官——
Fool! We are the Judges of —

TIĚ GŪ / 铁姑
真的吗?([吐口水。] / [Spits].) 你们是白痴。
Really? You’re idiots.

HĒI DÚ / 黑都
([惊慌。] / [Urgently].)
我们是公主的女儿!
We’re the daughters of the Imperial Consort!

TIĀN MǓ / 天母
你是生肉。
You’re raw meat.

LÁN DÚ / 蓝毒
([惊慌失措,疯狂的盯着黑都。] / [Panicked and wide-eyed, staring at HĒI DÚ wildly].)
当我们出生时,助产士说——
When we were born, the midwife said—

HĒI DÚ / 黑都
‘两条蛇,来自同一个蛋。’
—’two snakes, from the same egg.’

TIĀN MǓ / 天母
不,这是我亲爱的儿子说的。你对他做的比杀了他还要糟糕。现在,他会审判你们俩。
No. That was what my beloved son said. What you did to him was worse than death. Now he will judge you both.

([天佑赤脚进来,一声不吭。他双眼朦胧,脸上刻满了禁灵符。他手里拿着一个宽大的铜盆,上面刻着周朝的刑罚。他的指甲染成了黑色,沾满了墓泥。] / [TIĀN YÒU enters barefoot and silent. His eyes are clouded, his face marked with spirit-binding talismans. He carries a wide bronze basin etched with Zhou Dynasty execution rites. His nails are stained black, crusted with grave-dirt].)

TIĀN YÒU / 天佑
([喉音呻吟。] / [Guttural moan].)

TIĀN MǓ / 天母
他不再能说话,但他的生命力记得……正义。
He no longer speaks, but his qi remembers … justice.

TIĚ GŪ / 铁姑
([模仿巴希拉] / [Speaking like BǍ XĪ LĀ].)
‘尔等当食亲生子。女肉,儿骨。’
‘You shall eat your own children. Daughters’ flesh, sons’ bones.’

([天牧引导天佑的手,将盆子捧在双胞胎身下,天佑如同木偶般服从。] / [TIĀN MǓ guides TIĀN YÒU’s hands to hold the basin beneath the Twins. He obeys like a puppet].)

TIĚ GŪ / 铁姑 (CONT’D)
地狱的审判官们受了审判,然后被打入地狱。真是讽刺。
The Judges of Hell being judged and sent to Hell. Ironic, really.

TIĀN MǓ / 天母
([对双胞胎。] / [To the Twins].)
这就是你们母亲的绝妙计划?掏空我子宫的女人的女儿?在我家人被屠杀时,她竟然还笑着?你们以为生于丝绸与毒药之中就能拯救你们吗?不。让孩子们的恐惧成为他们母亲现在的噤声。
This was your mother’s brilliant plan? The daughters of the woman who hollowed out my womb? Who smiled as my family was butchered? You thought being born into silk and poison would save you? No. Let your fear now be your mother’s silence.
([她举起杀戮之刃。空气变得凝重。雷声低沉。她的眼睛反射着微弱的血光。] / [She raises the killing blade. The air thickens. Thunder murmurs. Her eyes glow faintly with reflected bloodlight].)
仇…仇…仇…
Revenge… Revenge… Revenge…

([田牧割断了两个女孩的喉咙。鲜血从她们的脖子喷涌而出,染红了水盆、墙壁和地板。’复仇’二字鲜血淋漓,如同伤口般跳动。舞台外,一群幽灵般的女人一遍又一遍地低声念叨着这个词。] / [TIĀN MǓ slices both throats. Blood arcs from their necks, painting the basin, the walls, the floor in living strokes. The character ‘仇’ bleeds itself into being, pulsing like a wound. Somewhere offstage, a chorus of ghostly women whisper the word over and over].)

CHORUS / 合唱
仇…仇…仇…
Revenge… Revenge… Revenge…

֍

[第四幕,第一场]
[ACT IV. SCENE I]

[田母家的庭院如今已改建为仪式宴会场。华丽的旗帜在微风中轻轻飘扬。一张漆桌居中,摆满了美味佳肴——座位按严格的等级排列:萨顿居首,大郎与巴希拉分列左右,官员们位于下座。其后是一座高台,田母身穿沾满污渍的厨娘长袍伫立其上,铁骨如刀锋般站在她身旁。远处战鼓如垂死心脏般低沉跳动。]
[The courtyard of TIĀN MǓ’S house, now transformed into a ceremonial banquet ground. Ornate banners flap gently in the breeze. A lacquered table dominates, set with delicacies—yet the seats are arranged in strict hierarchy: SÀTŪN at the head, DÀ LÁNG and BǍ XĪ LĀ at her right and left, lesser officials below. Behind them, a dais where TIĀN MǓ stands, dressed in the stained robes of a cook. TIĚ GŪ looms beside her, a shadow sharp as a blade. Distant war drums pulse like a dying heart.]

([萨顿、达朗[面容憔悴,玉色肌肤上缠绕着黑色血管]、巴希拉[笑容过于灿烂]、朝臣与可汗使者依次入座。他们落座——不知不觉间重现了双胞胎的最后晚餐。] / [Enter SÀTŪN, DÀ LÁNG [Sickly, her jade-pale skin threaded with black veins], BǍ XĪ LĀ [smiling too wide], Courtiers, and the Khagan’s Envoy. They take their seats—unknowingly mirroring the Twins’ last supper].)

SÀTŪN / 萨囤
([冷笑] / [Sneering].)
泥土地上的盛宴?真是……粗鄙。伟大的天牧竟然把她的剑换成了一把勺子?
A feast in the dirt? How… rustic. Has the great Tiān Mǔ traded her sword for a ladle?

TIĚ GŪ / 铁姑
([冷冷地] / [Coldly].)
将军今晚提供的是款待,而不是荣耀。
The General serves hospitality tonight—not glory.

([巴希拉勉强地笑了笑。达朗摇摇晃晃地捂着腹部。仆人们端上热气腾腾的饺子,皮上沾满了浓汤。] / [BǍ XĪ LĀ chuckles nervously. DÀ LÁNG sways, clutching her stomach. Servants bring steaming dumplings, their skins glossy with broth].)

TIĀN MǓ / 天母
([鞠躬,声音如丧钟。] / [Bowing, voice like a funeral gong].)
这位卑微老妇感谢各位的到来。正如每场宴席中所言, 愿暴君之肉,从其骨上剥落。
This humble old woman thanks you for partaking. As they say at every feast, may the flesh of tyrants fall from their bones.

([客人们开始吃饭。巴希拉吃得很卖力。达朗脸色苍白,满头大汗,却一动不动。] / [The guests begin to eat. BǍ XĪ LĀ eats with forced gusto. DÀ LÁNG, pale and sweating, does not touch her plate].)

SÀTŪN / 萨囤
天牧,你为何乔装打扮?一个衣衫褴褛的将军?
Tiān Mǔ, why the disguise? A general in rags?

TIĀN MǓ / 天母
即便是将军,也需亲手沾泥,方可赢得荣誉。([停顿] / [Pause].) 皇后,你还记得孔雎将军的传说吗?那位未能替亲子复仇,却亲手掐死了孩子的母亲?
Even a general must soil their hands to win honor. Tell me, Empress: Do you remember the legend of General Kǒng Jū? How she smothered her own child after she failed to avenge her?

SÀTŪN / 萨囤
([漫不经心地] / [Casually].)
当然。失败就要承担后果。一个连自己孩子都保护不好的母亲,简直就是一头野兽。
Of course. Failure demands consequence. A mother who cannot protect her own is little more than a beast.

TIĀN MǓ / 天母
我同意。
I agree.

([天牧鼓掌。两名侍从半拖着天佑的尸体进来,天佑奄奄一息,脸上和胸口贴着束缚气功的符箓。他的四肢怪异地抽搐。人群中传来阵阵喘息声。] / [TIĀN MǓ claps. Two attendants enter, half-dragging the body of TIĀN YÒU, barely alive, with qi-binding talismans plastered to his face and chest. His limbs twitch grotesquely. Gasps ripple through the crowd].)

TIĀN MǓ / 天母 (CONT’D)
([轻声] / [Softly].)
我的儿子,我唯一的儿子。灵魂和筋骨都被玷污了,而我们——我——却什么也没做。
My son, my only boy. Defiled in soul and sinew and we—I—did nothing.

([客人们继续吃饭。达朗犹豫了一下,咬了一口……然后干呕起来,筷子发出咔哒咔哒的声音。] / [The guests resume eating. DÀ LÁNG hesitates, takes a bite … then gags, her chopsticks clattering].)

DÀ LÁNG / 大狼
这味道——!
This taste—!

TIĀN MǓ / 天母
([微笑] / [Smiling].)
公主,您认得它吗?
Do you recognize it, Princess?

([倒吸一口气。皇后僵住了,半嚼的饺子从她的嘴唇上滴落下来。] / [Gasps. The Empress freezes, a half-chewed dumpling dripping from her lips].)

DÀ LÁNG / 大狼
([不是问题。] / [Not a question].)
我的女儿们——
My daughters—

TIĀN MǓ / 天母
([平静地] / [Calmly].)
母亲应该知道自己血液的味道。
A mother should know the taste of her own blood.

SÀTŪN / 萨囤
([吐食物。] / [Spitting food].)
亵渎!这是……亵渎!
Blasphemy! This is… desecration!

DÀ LÁNG / 大狼
([喘着气,紧紧抓住桌子。] / [Gasping, gripping the table].)
里面……有东西……在动……!
It… hurts… inside… something… moving…!

SÀTŪN / 萨囤
([惊慌地转过身] / [Turning in alarm].)
坚持住,我们会得到帮助的!
Hold on, we’ll get help!

TIĀN MǓ / 天母
哦,是的,正义即将到来。
Oh yes, justice is coming.

([一片混乱。群臣呕吐。可汗使者哀号。达朗尖叫起来,腹部膨胀、破裂,流出腐烂和焦黑的内脏。她在哀号中死去,尸体仍在咀嚼自己的舌头。天牧转身对着巴希拉吐口水。] / [Chaos erupts. Courtiers vomit. The Khagan’s envoy wails. DÀ LÁNG screams as her belly swells, splits— spilling corruption and blackened viscera. She dies mid-wail, her corpse still chewing its own tongue. TIĀN MǓ turns and spits on BǍ XĪ LĀ].)

BǍ XĪ LĀ / 巴希拉
([干呕着,向后退去] / [Retching, scrambling back].)
不——不,这不是——!我才不——!
No—no, this isn’t—! I never—!

([巴希拉转身逃离了院子。他的十字架掉在地上,摔得粉碎。没有人阻止他。] / [BǍ XĪ LĀ turns and flees from the courtyard. His cross clatters to the ground—shattering. No one stops him].)

TIĀN MǓ / 天母
([在他身后喊道] / [Calling after him].)
快跑,神父。你的末日已经把你抛弃在你的盛宴残渣里了!
Run, priest. Your apocalypse has abandoned you in the crumbs of your feast!

([铁古向前迈步,拔出刀子跟随,但天牧举起了一只手。] / [TIĚ GŪ steps forward, drawing her blade to follow, but TIĀN MǓ raises a hand].)

TIĀN MǓ / 天母 (CONT’D)
不,让他跑吧……现在。
No. Let him run … for now.

([天母走到儿子身边,轻轻摸了摸他的额头,然后撕下符箓。天佑的尸体发出一声叹息,如万只死蟋蟀同时低鸣,随即化为尘土,随风而散。] / [TIĀN MǓ walks to her son. Gently, she touches his brow. Then she tears the talismans free. TIĀN YÒU’S corpse exhales—a sigh like a thousand dead crickets—then crumbles to dust. The wind carries him away].)

SÀTŪN / 萨囤
([站起来,气得浑身发抖] / [Rises, trembling with rage].)
你以为这样就能证明你正义?你不过是这腐败世界中另一团腐肉!
You think this proves you are righteous? You are just another piece of rotten meat in this corrupt world!

([随着达朗腐烂的尸体最后一次抽搐,庭院中一片寂静。随后,从墙外传来号角声、马蹄声和战鼓声。铁鹰虽然血迹斑斑,但却取得了胜利,身后跟着一队蒙古战士和叛逆的边防将领。] / [A beat of silence falls over the courtyard as DÀ LÁNG’S corrupted corpse twitches one last time. Then, from beyond the walls: a cry of horns. The sound of hooves. War drums. TIĚ YĪNG enters, bloodied but victorious, followed by a battalion of Mongol Warriors and Rogue Border Generals].)

TIĚ YĪNG / 铁英
城门敞开。天命已然在此腐朽。我们不征服——我们只是扫荡。
The city gates lie open. The Mandate of Heaven has rotted here. We do not conquer—we scour.

SÀTŪN / 萨囤
([挑衅地] / [Defiant].)
你竟敢把外国狗带进我的宫里?
You dare bring foreign dogs into my court?

TIĚ YĪNG / 铁英
狗?也许吧。但我们还是会咬人。
Dogs? Perhaps. But we still bite.

([萨顿咆哮着,猛扑过去——但一支蒙古长矛刺穿了她的喉咙。她在咯咯的笑声中死去,鲜血溅满了宴会桌。她的身体倒在达朗身边。] / [SÀTŪN snarls, lunging—but a Mongol spear pierces her throat. She dies gurgling laughter, her blood splattering the banquet table. Her body collapses beside DÀ LÁNG].)

TIĚ YĪNG / 铁英 (CONT’D)
暴君已死,唯有风暴残存。而风暴,从不请求许可。
The tyrant is dead and only the storm remains. And storms do not ask permission.
([铁引望向巴希拉逃出的宫门。] / [TIĚ YĪNG looks toward the palace gates where BǍ XĪ LĀ fled].)

TIĀN MǓ / 天母
我还有一道菜要上。
I have one more course to serve.
([天牧甩开围裙,拔出武器,用一只好手将残链绑在手腕上。] / [TIĀN MǓ tosses aside her apron and draws out her weapon. Her one good hand straps her stump-chain to her wrist].)
([平静地] / [Quietly].)
让甜点成为判断。
Let the dessert be judgment.

([天牧走进了燃烧的夜色中。] / [TIĀN MǓ walks off into the burning night].)

֍

[第四幕,第二场]
[ACT IV. SCENE II]

[漆黑天幕下的诅咒绿洲。星辰寒冷刺骨,悬得近乎压人。枯树如骸骨,枝桠扭曲,如亡魂向天哀求赦免。沙地发出嘶嘶声响,风如骨骼摩擦般低语。水池泛着病态而诡异的光芒。池边裂开一道深渊——那是天佑气息破碎之地。深渊之下,某种可怖之物潜伏等待。]
[The cursed desert oasis under a black sky. The stars hang too close, too cold. The trees are skeletal, clawing upward like the dead begging absolution. The sand hisses. The wind whispers like shifting bones. The pool glows with a sickly, unnatural light. A dark pit yawns beside it—the place where TIĀN YÒU’S qi was shattered. Something waits beneath.]

([巴西拉上场。] / [BǍ XĪ LĀ enters].)
([他原本华贵的传教士长袍如今破烂不堪、污秽不洁。他紧紧捂着胸口,那是他十字架原本所在的位置——如今空空如也。他踉跄而入,气喘如牛,满脸惊恐。] / [His fine missionary robes are torn and filthy. He clutches his chest where a cross once hung—now gone. He staggers, panting in terror].)

BǍ XĪ LĀ / 巴希拉
([惊恐] / [Terrified].)
不……不不不……不能是这里!别是这里!
No…no no no…not here! Not here!
([跌倒在地,手在沙里乱抓] / [Falls to the ground, clawing in the sand].)
这不可能……他们向我承诺过!皇后听我说了!
This can’t be…they promised me! The Empress heard me!
([带着狂乱的祈求] / [With frantic pleading].)
大郎!大郎!她明明……我明明已得教皇恩宠!圣印!火舌的赐福!
Da’lang! She… I still have the Pope’s favor! The Seal! The blessing of the Tongue of Fire!
([仰望天空] / [Looking up at the sky].)
他们都说我会赢!我信仰的神是真理!他不会抛弃我……
They all said I would win! The God I believe in is the truth! He will not abandon me…

([隐约传来金属刮地的拖行声,低沉而节奏分明。巴西拉骤然僵住。从漆黑扭曲的树影中,天母缓缓现身。] / [A faint, metallic dragging begins, low and rhythmic. He freezes. From the trees, TIĀN MǓ enters].)
([她步伐缓慢,链条拴在断臂上,拖曳沙地。她看上去更老,更疲惫,身体微微颤抖。然而,空气却因她的到来而沉寂无声。] / [She moves slowly, dragging her chain-bound stump through the sand. She looks older, wearier, trembling. Yet the air stills around her].)

TIĀN MǓ / 天母
([嗓音低沉如石碾] / [Low, raspy].)
这片土地的神灵,没你想象的那么容易消亡,巴西拉。
The spirits of this land are not so easily dismissed, Bǎ Xī Lā.
它的神明……还在饥饿。
And its gods…they hunger.
你以为你会死在教堂里,香气缭绕?
Did you think you’d die in a chapel, perfumed with incense?
衣冠整齐,沐光而逝,被你的主亲吻接引?
Righteous and clean, kissed by your god?
([缓步前行,链条拖行声刺入耳中] / [She takes another slow step, the chain dragging].)
不。
No.
你会死在这里。死在你播下恶果之地的泥土与污秽中。
You will die here. In this filth where you sowed your evil.

BǍ XĪ LĀ / 巴希拉
([惊恐倒退,注意到她的状态] / [Startled, defensive].)
是你!你追我到这?你流血了……你连站都站不稳了……
You! You followed me? You’re bleeding. You’re… barely standing …
([突现疯狂之光,拔剑] / [He draws his sword—erratic confidence flaring].)
我还有胜算!我主与我同在!击倒你这妖女!
I still have the edge! My God is with me! He will strike you down, witch!

TIĀN MǓ / 天母
([发出干涩冷笑] / [Chuckling, dry as sand].)
你的主……遥不可及。
Your god seems… distant.
而我的神们……近在咫尺。
Mine, however, are very near.
来吧。来夺你所谓的’优势’吧,传教士。
Come then. Take your ‘edge,’ priest.

([他们开战。] / [They fight].)
([巴西拉怒吼着猛冲,剑势狂乱,全凭蛮力毫无章法。天母不与他硬碰,只巧妙闪避。一息之距,一旋之差,一转之间——他的剑只斩中衣角、风声与寂静。铿然一声——她用链条挡下他的劈砍,火花四溅。一甩之间,链头缠住他的脚踝。他踉跄后退,一树枝猛然刺破他的衣袖。] / [BǍ XĪ LĀ charges—his blade slashes wildly, strength without technique. TIĀN MǓ does not counter—she evades. A breath’s lean, a pivot, a turn—his sword cuts only cloth, wind, silence. CLANG. Her chain blocks a direct strike. Sparks hiss. A flick—his ankle is caught. He stumbles. A tree limb spears his sleeve].)

BǍ XĪ LĀ / 巴希拉
([喘息着,兴奋] / [Panting, excited].)
看见了吗?你那虚假的力量正在衰退!
See? Your false power is fading!
你那魔鬼的法术失效了!
Your devilish spells are failing!
你不过是个女人,一个老寡妇!
You are only a woman, an old widow!
一个在神脚下爬行的野兽!你那些泥胎木偶的伪神祇早就该死!
A beast crawling at the feet of God! Your clay puppet gods should have died long ago!

TIĀN MǓ / 天母
那么就和我一起流血吧,牧师。
Then bleed with me, priest.
([她动了。起初很慢——然后越来越快。铁链划出一道弧线,在空中轰鸣。他猛扑过去——她不在。他转身——太迟了。链风啸过——大腿。回扫——侧腹。反劈——后背。] / [She moves now. Slowly at first—then faster. The chain arcs in figure-eights, whispering through the air. He lunges—she’s not there. He turns—too late. The chain whistles – hits his thigh. Sweeps his flank. Counter-slash across his back].)
([水池仿佛叹息一声,荡起层层涟漪,幽光乍现。他气喘吁吁地退入池边,眼神迷茫。] / [The pool sighs. Ripples flash with ghostlight. He backs into it, panting, uncertain].)
([枯树虬曲,幻象骤生——他竟见天佑缚于树下,泣血哀嚎。] / [The dead tree suddenly twists and a hallucination appears – he sees TIĀN YÒU tied to it, crying and wailing].)

BǍ XĪ LĀ / 巴希拉
([低语,带颤] / [Voice thin, broken].)
这……这里……那个男孩……
This… here… that boy…
那对孪生姐妹……把他带到……这里……
The Twins… brought him… here…

TIĀN MǓ / 天母
([声音骤变,如冰刃] / [Voice suddenly changes, like an ice blade].)
没错。
Yes.
([她挺直腰身,气息归稳,目光如刃] / [She straightens her back, her breath becomes steady, her eyes are like blades].)
你将我儿的魂魄在此撕裂。你将他奉献给那地狱之口。
You tore my son’s soul apart here. You offered him to the mouth of hell.
([她挺直身躯,不再衰弱,不再疲惫。风停了。沙也安静地倾听。她高举链条,此刻,它不再是负担,而是利刃。] / [She straightens. No longer frail. No longer tired. The wind stills. The sand listens. She raises her chain—not as burden, but as a blade].)
斩魂之缚——斩断灵魂的束缚。([一位母亲的复仇,被炼化为武学。] / [A mother’s vengeance perfected into technique].)
The Binding That Severs the Soul.
([她旋身一转,链光如电。他斩出一剑——却扑了空。她已绕到他身后——啪!右脸一道血痕。啪!左脸又一道。血如对称的面具,在他脸上浮现。] / [She spins once. The chain flickers. He slashes—she is gone. Behind him— Whip—his right cheek. Whip—his left. Twin lines of blood. A mask].)
([语气如鞭] / [Tongue like a whip].)
你曾许诺报偿。你谈过天恩。
You promised rewards. You talked about grace.
那你来——用金银收买我吧,传教士。
Then come on—buy me with gold and silver, missionary.
你的命换财宝。公平的交易,不是么?
Your life for treasure. A fair deal, isn’t it?

BǍ XĪ LĀ / 巴希拉
([捂脸,语无伦次] / [Sobbing, babbling].)
是!金子!银子!
Yes! Gold! Silver!
在聂斯脱里那边藏着的财宝!西方来的珠宝!都给你!
Nestorian gold! Jewels from the West! All for you!
([链条轻弹,右脸一痕血线。] / [The chain flicks, a streak of blood runs down the right side of his face].)

TIĀN MǓ / 天母
([冷笑] / [Coldly amused].)
你来吧。承诺我一个天堂的位置。你们常说的,在你主的右边,永远的荣耀。
Then promise me salvation. Place me next to your god, at his right hand. For eternity.
([链条再次飞出,死死缠住他的脖子。他挣扎窒息,踉跄着退到深渊边缘,脚下沙土不断崩塌。] / [The chain lashes again, coiling his neck. He chokes. He stumbles—teetering at the pit’s edge].)
([倾身靠近,愤怒地低语] / [Leaning close, whispering with wrath].)
巴希拉,请满足我的一切愿望吧。
Offer me everything I ask for, Bǎ Xī Lā.
一切。
Everything.
像你这样的灵魂,要付出什么代价?
What is the price for a soul like yours?

BǍ XĪ LĀ / 巴希拉
([哽咽、挣扎] / [Gurgling].)
什么都行!我命也给你!
Anything! I’ll give you my life!
我做你奴仆都行……
I’ll be your slave…

TIĀN MǓ / 天母
([怒啸,声震天地] / [Suddenly roaring, voice quaking of grief].)
我要把我的孩子们还回来,你这个狗杂种!
I WANT MY CHILDREN BACK, YOU SON-OF-A-DOG!
我要我的手!
I WANT MY HAND!
我要你凭那邪信窃走的一切!
I WANT EVERYTHING YOU STOLE WITH YOUR CURSED FAITH!
([她缓缓地,从断臂上解下链条。动作坚定而冷静。链落。人坠。四野寂静无声。] / [She unbuckles the chain from her stump. A single, deliberate motion. It falls. He falls. Silence].)
([没有冲击。没有尖叫。只有消失。] / [No impact. No scream. Just absence].)
([她孑然而立。抬头望向冷漠无情的星辰。她低头看向自己的断臂,看向深渊,然后转身望向东方——城市的方向。] / [She stands alone. The stars stare down—distant, indifferent. She looks at her stump. At the pit. Then to the east—toward the city].)
([低语] / [Quiet].)
我已一无所有。没有喜悦。没有够甜的复仇。
No joy. No vengeance sweet enough.
但,我的孩子……天佑……我的女儿们……你们可以安息了。
But my children… Tiān Yòu… My daughters… You can now rest.
([她转身,独自踏上归途。形单影只,却终得完整。] / [She turns. Begins walking. Alone, but complete].)

֍

[尾声]
[EPILOGUE]

祖剑堂密室
Ancestral Sword Hall Crypt.

([大殿幽暗,空气凝滞。石骆驼沉睡于尘埃之下。祖剑微微泛光。新香在祭坛上袅袅燃起。铁鹰、铁姑与天母缓步而出,立于城门前。他们身后,立着一块崭新的纪念碑。碑上刻着:「天佑之碑」] / [The hall is dark, the air still. Stone camels sleep beneath layers of dust. The ancestral swords gleam faintly. New incense burns at the altar. TIĚ YĪNG, TIĚ GŪ, and TIĀN MǓ exit and stand before the City Gates. Behind them stands a fresh memorial stone. Carved upon it: The Tablet of TIĀN YÒU].)

TIĀN MǓ / 天母
铁家之子。
Son of the House of Iron.
他身负母伤,
He bore the wound of his mother,
以我之苦书写预言。
and wrote my pain into prophecy.

TIĚ GŪ / 铁姑
他从未举过刀——
He never lifted a blade—
却也让他在此与姐妹们安眠。
And yet let him sleep here with his sisters.

TIĚ YĪNG / 铁英
([低声] / [Quietly].)
他不需要剑。
He didn’t need a sword.
但他无需剑也勇敢。
But was brave without one.

([风起,呜咽如哭。] / [The wind begins to howl].)

TIĚ GŪ / 铁姑
([轻轻地] / [Lightly].)
都城那边……有人在议论。
There’s talk … in the capital.
说我该戴上凤冠。
That I should wear the Phoenix crown.

TIĚ YĪNG / 铁英
我会在你右手而骑。
I’ll ride at your right hand.
但你需要的不只是将军。你需要一个记得我们失去过什么的朝廷。
But you’ll need more than a general. You’ll need a Court who remembers what we lost.

TIĀN MǓ / 天母
([淡淡一笑] / [Smiling faintly].)
那就去建一个吧。
Then make one.
([顿。] / [Beat].)
我已完成了我的部分。
I’ve finished my part.

([风势渐强。远方沙暴翻卷,吞噬地平线。] / [The wind grows louder. A sandstorm curls along the horizon].)

TIĚ YĪNG / 铁英
([焦急] / [Concerned].)
城门——
The gates—
我们该关上它。
We should close them.

([天母越过他们,走出门槛。] / [TIĀN MǓ steps out ahead of them, across the threshold].)

TIĀN MǓ / 天母
敞着吧。让死者有一道门。
Leave them open. The dead should have a door.
他们也需要这样的地方。
They’ll need a place like this.

([天母回首。铁鹰与铁姑仍立于城中,肩并肩,立于昏光之下。天母抬手一挥,又放下。沙暴渐渐吞没苍穹。] / [TIĀN MǓ turns. TIĚ YĪNG and TIĚ GŪ remain in the city, standing side by side in the muted light. TIĀN MǓ lifts her hand once, then lowers it. The sandstorm begins to swallow the sky].)

TIĀN MǓ / 天母 (CONT’D)
([低语] / [Softly].)
唤我之名——我之魂必应。
Speak my name—and my spirit will answer.

([她步入风暴。身影渐隐,足迹无痕。无尸,无葬,唯有其传。] / [She walks out into the storm. Her figure fades. Her footsteps leave no mark. There will be no bones, no burial. Only the story].)

[结束]
[END]

֍

GLOSSARY OF TERMS

Bái Sī [白丝]: Literally “White Silk.” Youngest daughter to the late Empress.

Bái Wúcháng [白无常]: “White Impermanence.” One of the two Heibai Wuchang, deities in Chinese folk religion responsible for escorting spirits of the dead to the underworld. Often depicted in white robes.

Bǎ Xī Lā [巴悉拉]: The Chinese transliteration for “Basilas” or a similar European name; in this play, an evil Nestorian Christian missionary.

Dà Láng [大狼]: Literally “Big Wolf.” Head of the Five Poisons Sect.

Dāntián [丹田]: “Cinnabar field” or “Elixir field.” Energy centers in the body, crucial in traditional Chinese medicine, martial arts, and meditation for the cultivation and storage of Qi. Often refers to a point in the lower abdomen.

Dàzhùi [大椎]: “Great Hammer.” An acupressure point on the spine, considered a vital point.

Feng Shui [风水]: Literally “Wind-Water.” A traditional Chinese practice of arranging spaces to achieve harmony with the natural world and harness positive energy flows (Qi).

Five Poisons Sect [五毒教]: A fictional martial arts sect common in wuxia, specializing in poisons and often portrayed as villainous. The “Five Poisons” traditionally refer to the centipede, snake, scorpion, toad, and spider.

Five-Eyed Toad [五眼蟾蜍]: A mythical toad, often associated with poisons, dark magic, or wealth in Chinese folklore. The “five eyes” imply heightened perception or a connection to the five elements.

Hēi Dú [黑毒]: Literally “Black Poison.” One of Dà Láng’s daughters.

Hēi Wúcháng [黑无常]: “Black Impermanence.” One of the two Heibai Wuchang, deities in Chinese folk religion responsible for escorting spirits of the dead to the underworld. Often depicted in black robes.

Huī Dú [灰毒]: Literally “Grey Poison.” One of Dà Láng’s daughters.

Jade Empress [玉皇]: Often refers to the Jade Emperor (玉皇大帝, Yù Huáng Dà Dì), a supreme deity in Chinese folk religion and Taoism. Here, potentially gender-bent or a specific title.

Jade Gate [玉门]: Yumen, a historical frontier pass in Gansu province, China, marking an entrance to the Western Regions on the Silk Road. Symbolically, a gateway or border.

Jade Scepter / Jade Order [碧玉令 / 玉令]: A symbol of authority or imperial decree, made of precious jade.

Jǐzhōng [脊中]: “Center of the Spine.” An acupressure point on the spine, considered a vital point.

Jinyiwei [锦衣卫]: “Brocade-Clad Guard.” Imperial secret police and bodyguards during the Ming Dynasty in China, known for their power and often feared.

Kowtow [叩首]: The act of deep respect shown by kneeling and bowing so low as to touch one’s head to the ground.

Lán Dú [蓝毒]: Literally “Blue Poison.” One of Dà Láng’s daughters.

Leviathan [利维坦]: A biblical sea monster, here used by Bǎ Xī Lā to invoke a sense of monstrous, chaotic power.

Lǐguān [礼官]: “Officials of Rites.” Court officials responsible for ceremonies, protocol, and rituals.

Mandate of Heaven [天命]: An ancient Chinese political and religious doctrine used to justify the rule of the Emperor. Heaven grants the emperor the right to rule, but this mandate can be lost if the ruler becomes unjust or ineffective.

Mìngmén [命门]: “Gate of Life.” A crucial acupressure point on the lower back, considered a vital center of Qi.

Nestorian [景教]: An early branch of Christianity that spread along the Silk Road and reached China (where it was known as Jǐngjiào, 景教).

Nine Tripods [九鼎]: Legendary bronze cauldrons said to have been cast by Yu the Great of the Xia dynasty, symbolizing the sovereignty and unity of ancient China. Possessing them signified legitimate rule.

Paper Effigies [纸马 / 人像]: Paper representations of objects (like horses, servants, money) burned as offerings to the dead in traditional Chinese funerary rites, believed to provide for the deceased in the afterlife.

Phoenix [凤]: A mythical bird in Chinese mythology, symbolizing virtue, grace, and often associated with the Empress or auspicious occasions.

Qi [炁]: “Vital energy,” “life force,” or “spiritual breath.” A fundamental concept in Chinese philosophy, medicine, and martial arts, believed to flow through all living things. Its destruction can lead to death or a zombie-like state.

Ren Meridian [任脉]: The “Conception Vessel,” one of the extraordinary meridians in traditional Chinese medicine, running along the front midline of the body.

Sàtǔn [萨吞]: Eldest daughter to the late Empress, her name might be a transliteration or a chosen powerful-sounding name.

Spirit Tablet [灵位]: A plaque inscribed with the name of a deceased person, used in ancestral worship to house the spirit of the ancestor.

Tao [道]: “The Way” or “The Path.” A fundamental concept in Chinese philosophy, particularly Taoism, referring to the natural order of the universe, the underlying principle of existence.

Tiān Mǔ [天母]: Literally “Heavenly Mother” or “Sky Mother.” An elderly female general, the protagonist.

Tiān Yòu [天佑]: Literally “Heaven’s Blessing” or “Protected by Heaven.” Tiān Mǔ’s son.

Tiě Gū [铁姑]: Literally “Iron Aunt.” Court official and Tiān Mǔ’s sister.

Tiě Líng [铁翎], Tiě Lián [铁链], Tiě Xuè [铁血], Tiě Yīng [铁英]: Daughters of Tiān Mǔ. Their names often incorporate “Tiě” (Iron) and another character: Líng (Feather/Plume), Lián (Chain), Xuè (Blood), Yīng (Eagle/Hero).

Wuxing [五行]: The Five Elements or Five Phases (Wood, Fire, Earth, Metal, Water). A conceptual scheme in traditional Chinese thought used to explain a wide array of phenomena, from cosmic cycles to interactions within the human body.

Xuánnǚ [玄女]: The “Mysterious Woman” or “Dark Woman.” A Chinese goddess of war, sex, and longevity, often credited with aiding historical figures in battle.

Xuè Shà Xīng [血煞星]: “Blood Fiend Star” or “Star of Baleful Blood.” A malevolent deity or astrological influence associated with bloodshed and disaster.

Yahweh [耶和华]: The Hebrew name for God in the Old Testament, used by Bǎ Xī Lā.

Yellow Springs [黄泉]: The Chinese mythological underworld or realm of the dead.

Yùshǐ [御史]: Censor or Imperial Inspector. High-ranking officials in imperial China responsible for investigating and impeaching other officials, maintaining discipline and protocol.

Zhanmadao [斩马刀]: “Horse-Chopping Saber.” A type of long, single-edged Chinese sword, often wielded with two hands, known for its power.

《欢愉乐园》The Convent of Pleasure

18 Sunday Jan 2026

Posted by babylon crashing in Chinese, drama, Feminism, Script, Translation

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1668, 玛格丽特·卡文迪什, Margaret Cavendish, quote unquote, The Convent of Pleasure, translation

作者:玛格丽特·卡文迪什(1668)
By Margaret Cavendish (1668)
第一幕 · 第一场
ACT I · SCENE I
(三位绅士上场,游手好闲地踱步。他们年轻、时髦、且只顾自己。)
(Enter three Gentlemen, walking idly. They are young, fashionable, and concerned only with themselves.)
绅士甲
汤姆!你这副模样,活像刚吃了一场败仗。你这是哪儿去了?
FIRST GENTLEMAN
Tom! You look as if you had just lost a battle. Where have you been?
绅士乙(汤姆)
方才从福图内特勋爵的葬礼回来。他把所有家产都留给了独生女——快乐小姐。如今可是富得惊人了。
SECOND GENTLEMAN (Tom)
I have just come from the funeral of Lord Fortunate. He has left all his estate to his only daughter, Mistress Pleasure. She is now exceedingly rich.
绅士甲
好,号角一响。城里但凡能喘气的单身汉,都得把家底败光在意大利华服、法国马车和一大群跟班身上,就为了追她。
FIRST GENTLEMAN
Well then, the trumpet is sounded. Every bachelor in town that can draw breath will waste his estate on Italian clothes, French coaches, and a troop of attendants, all to court her.
绅士丙
要是追求者都像咱们似的,是些次子——没地、没爵位,只有一张巧嘴和一屁股债——那咱们就是拿白日梦把自己送进破产的深渊。不过汤姆,她至少长得漂亮吧?
THIRD GENTLEMAN
If her suitors are like us—mere younger sons, with no land, no title, nothing but smooth tongues and heavy debts—we shall ruin ourselves upon dreams alone. But tell me, Tom: is she at least handsome?
绅士乙(汤姆)
漂亮。年轻。有钱。而且据说……品行端庄。
SECOND GENTLEMAN (Tom)
Handsome. Young. Rich. And, as they say… virtuous.
绅士甲
说真的,好事全让一个人占了。这未免太贪得无厌。
FIRST GENTLEMAN
In truth, she has too much good fortune for one person. It is an excess.
绅士乙(汤姆)
要是她能归你,你就不会这么说了。
SECOND GENTLEMAN (Tom)
If she were yours, you would not think it so.
绅士甲
不,我倒不嫌多——我担得起。我是说,这对其他任何男人来说都太多了。
FIRST GENTLEMAN
No, for my part I should not complain—I could bear it well. I mean only that it is too much for any other man.
(他们退场,已然开始盘算。)
(Exeunt, already deep in calculation.)

第一幕 · 第二场
ACT I · SCENE II
(场景:海皮小姐的房间。海皮小姐心意已决,显得光彩照人。一名仆人忧心忡忡地站在一旁。)
(Scene: Lady Happy’s chamber. Lady Happy appears resolved and radiant. A Servant stands by, anxiously attentive.)
仆人
小姐……您年轻、貌美、富有,而且德行高尚。我真心希望您不会把这些天赋——这些来自自然、命运和上天的馈赠——白白浪费在一个根本配不上您的男人身上。
SERVANT
Madam, you are young, beautiful, rich, and virtuous. I sincerely hope you will not squander these gifts—bestowed by Nature, Fortune, and Heaven—upon a man wholly unworthy of you.
海皮小姐
让我告诉你。财富该施予穷人,青春该赠予老者,美貌该赋予丑陋之人,而德行该送给恶徒。所以,若我遵循这套逻辑,去正确地安置我的天赋……我就得嫁给一个穷困潦倒、老态龙钟、面目可憎,且彻底堕落的男人才对。
LADY HAPPY
Hear me then. Riches should be given to the poor, youth bestowed upon the aged, beauty upon the ugly, and virtue upon the vicious. Therefore, if I were to distribute my gifts according to this rule, I should marry a man that is poor, old, deformed, and utterly corrupt.
仆人
天理难容啊!
SERVANT
Heaven forbid!
海皮小姐
不,别这么说。上天不仅容许——简直是要求我们如此。难道我们没被教导要施予匮乏之人吗?
LADY HAPPY
No, say not so. Heaven not only permits it, but commands it. Are we not taught to give to those who lack?
(调解夫人上场。她是世俗常规观念的代言人。)
(Enter the Mediatrix, a spokesperson for worldly custom.)
调解夫人
小姐,您这说的……不会是认真的吧?您不会真打算去做这种事吧?
THE MEDIATRIX
Madam, surely you cannot be serious in this? You do not truly intend such a course?
海皮小姐
我的言语与我的意图,步调完全一致。我向你保证。
LADY HAPPY
My words and my intentions keep equal pace, I assure you.
调解夫人
可您总不能真要把自己锁在修道院里吧!
THE MEDIATRIX
But surely you do not mean to shut yourself up in a convent!
海皮小姐
为何不能?那个所谓的“公共世界”究竟有什么,能对我产生如此不可抗拒的吸引力?
LADY HAPPY
And why not? What is there in the so-called public world that should so irresistibly draw me?
调解夫人
总比自我放逐要强!
THE MEDIATRIX
It is better than self-banishment!
海皮小姐
让我们来审视一下。假设我嫁给了最好的男人——如果这种东西真的存在的话。即便如此,婚姻带来的心碎与束缚,也远多于快乐或自由。对于一个有灵魂的女人来说,婚姻是比任何修道院都更严酷的牢笼。
LADY HAPPY
Let us examine it. Suppose I were to marry the best of men—if such a thing exists. Even then, marriage brings more heartbreak and bondage than joy or liberty. To a woman with a soul, marriage is a stricter prison than any convent.
或者,也许我该享受被追求者簇拥的乐趣?让他们凝视我的脸庞,赞美我的聪慧?但我能从他们的眼神里得到什么?从他们的言语里得到什么?言语转瞬即逝,目光空无一物。而我因为他们的造访所损失的名誉,将远多于从他们的奉承中获得的。
Or perhaps I should delight in being courted?
Let them gaze upon my face, applaud my wit. But what gain I from their looks? What from their words? Words vanish, looks contain nothing; and the reputation I lose by their visits outweighs whatever pleasure I receive from their flattery.
真相是,女人忍受这个公共世界,仅仅是为了迎合男人。既然男人充满了愚蠢、虚荣和虚伪……我们又何苦为他们烦心?我的“退隐”,并非要将生活拒之门外……唯独要将男人拒之门外。
The truth is this: women endure the public world only to please men. And since men are full of folly, vanity, and hypocrisy, why should we trouble ourselves for them? My retreat is not to exclude life itself—only to exclude men.
调解夫人
噢,可那是将一切都拒之门外了!所有世俗的享乐都化为乌有了!
THE MEDIATRIX
Oh, but that is to exclude everything! All worldly pleasures would be lost!
海皮小姐
那只能说明,世人享乐的方式做错了。
LADY HAPPY
Then it proves only that the world mistakes the nature of pleasure.
调解夫人
您是说古往今来的圣徒都是傻瓜?他们受苦是为了上帝!
THE MEDIATRIX
Do you mean to say that all saints of former ages were fools? They suffered for God!
海皮小姐
不,他们是为了活在别人的评价里。任何有理性的人会相信,上帝是以我们的痛苦为乐的吗?上帝赋予我们感官,难道就是为了折磨它们吗?
LADY HAPPY
No—they suffered to live in the opinions of others. Can any rational person believe that God delights in our misery? Did God give us senses merely to torment them?
让人们穿粗毛衬衣、鞭笞皮肤、忍饥挨饿、睡在石头上,这对神明有何益处?莫非是上帝缺了上好的亚麻与美食,而我们在囤积不成?难道上帝竟在与自然为敌,所以凡是令自然痛苦的事,就能取悦上帝?
What benefit has God from hair shirts, scourged flesh, hunger, or stone beds? Does God lack fine linen or rich food, that we hoard them? Or is God at war with Nature, that whatever pains Nature must please Heaven?
调解夫人
当事情是为上帝而做时,自然中的痛苦便升华为神圣。
THE MEDIATRIX
When actions are done for God, the pains of nature become sacred.
海皮小姐
如果一件事既不能给上帝带来快乐,也不能带来益处,它就不可能神圣。人们如此受苦并非为了上帝,而是为了他们自己——为了感觉自己神圣,为了被世人看作神圣。
LADY HAPPY
If an action brings neither pleasure nor benefit to God, it cannot be sacred. People suffer not for God, but for themselves—to feel holy, and to be thought holy.
我相信上帝更喜悦欢乐的赞颂,而非饥饿的肚腹。当身体因斋戒而虚弱,精神因守夜而疲惫,整个生活充满痛苦时,灵魂几乎没有意愿去崇拜。
I believe God delights more in joyful praise than in empty stomachs. When bodies are weakened by fasting and minds exhausted by vigils, when life itself is pain, the soul scarcely wishes to worship.
那样的奉献是强迫的。他们的祈祷不过是流经排水沟的污秽雨水——而非从心底涌出的清泉。
Such devotion is forced. Their prayers are foul rain running through gutters, not clear springs rising from the heart.
如果众神是残酷的,我将侍奉自然。但众神是慷慨的,他们赐予一切美好之物,并吩咐我们在最适合的事物中,自由地取悦自己。
If the gods were cruel, I would serve Nature instead. But the gods are generous: they give all good things, and command us to take pleasure freely in what best suits us.
调解夫人
可如果您把自己关起来,又如何享受男人的陪伴呢?那被认为是人生最大的乐趣。
THE MEDIATRIX
But if you shut yourself away, how will you enjoy the company of men? That is thought the greatest pleasure of life.
海皮小姐
男人是女人唯一的麻烦制造者!正是他们阻挠我们的欢乐,破坏我们的安宁。他们将我们的性别变为奴隶。我绝不接受奴役。我将彻底从他们的陪伴中退出。
LADY HAPPY
Men are the only disturbers of women’s happiness! They obstruct our pleasures and destroy our peace. They enslave our sex. I will not submit to bondage. I will wholly withdraw from their company.
为此,我将召集志同道合的高贵女子。我的“快活庵”将不是束缚之地,而是自由之地;不是折磨感官,而是取悦感官。
Therefore, I will gather noble ladies of like mind. My Convent of Pleasure shall be not a place of restraint, but of liberty; not to mortify the senses, but to delight them.
(她的愿景满溢而出,化为歌唱,语调转为狂喜而感官的宣告。)
(Her vision overflows into song, her tone turning ecstatic and sensual.)
【歌】
[Song]
让感官尽享每一分欢愉,
愿此生满溢着欣喜。
心神在极乐中徜徉,
远避那琐碎与忧伤。
Let every sense take its full delight,
And let our lives be filled with joy;
Let minds in perfect pleasure move,
Far from all petty cares and grief.
大地与深海是我们的粮官,
为我们搜罗山珍与海产;
麦田金黄,鲜果低垂,
丰裕之角献上无尽的盛筵。
The earth and sea our stewards are,
They bring us treasures from field and wave;
Golden corn and bending fruit,
And plenty’s horn pours endless feasts.
我们将身着最柔软的丝绸,
亚麻细密,洁白如乳。
画作斑斓愉悦双眼,
馥郁芬芳萦绕鼻尖。
We shall wear the softest silks,
Fine linen white as milk;
Paintings shall delight our eyes,
Sweet perfumes please the sense of smell.
乐音悠扬,如梦如幻,
珍馐美馔,唇齿流连。
变化将滋养每一种感官,
并在其中催生新的渴盼。
Music shall charm the listening ear,
Rich meats delight the taste;
Variety shall feed each sense,
And still beget new appetite.
在这“快活庵”中,我
将与欢愉同在,至死方休。
And in this Convent of Pleasure,
I shall live with delight until death.
(海皮小姐退场,容光焕发。调解夫人和仆人留在原地,目瞪口呆。)
(Exit Lady Happy, radiant. The Mediatrix and the Servant remain, astonished.)

第一幕 · 第三场
ACT I · SCENE III
(场景:街道或公共场所。寻欢先生上场,他是一个纨绔子弟般的追求者,正对着镜子顾影自怜。他的仆人迪克在一旁冷眼观察。)
(Scene: A street or public place. Enter Monsieur Seek-Pleasure, a foppish suitor, admiring himself in a mirror. His servant Dick stands aside, observing with dry contempt.)
寻欢先生
怎么样,迪克?我看上去够格吗?
MONSIEUR SEEK-PLEASURE
Well, Dick? Do I look fit for the task?
迪克
老爷,您看上去简直像只掉进绸缎庄的孔雀。您这身派头,全凭羽毛、缎带和那些赊来的账单堆砌而成。
DICK
Sir, you look like a peacock fallen into a silk shop. Your grandeur is built entirely of feathers, ribbons, and unpaid bills.
寻欢先生
你觉得我能赢得海皮小姐的芳心吗?
MONSIEUR SEEK-PLEASURE
Do you think I might win Lady Happy’s heart?
迪克
如果她还想保留那个“海皮”(快乐)的名号,那肯定赢不了。
DICK
If she means to keep the name “Happy,” then no, sir.
寻欢先生
为什么?
MONSIEUR SEEK-PLEASURE
Why not?
迪克
因为她要是嫁给您,就成了“寻欢夫人”。妻子得随夫姓,她得放弃自己的姓氏和快乐。
DICK
Because if she married you, she would become Madam Seek-Pleasure. A wife must take her husband’s name — and she would lose both her own name and her happiness.
寻欢先生
说真的,迪克,我要是有了她的财富,我就真的快乐了。
MONSIEUR SEEK-PLEASURE
In truth, Dick, if I had her fortune, I should be truly happy.
迪克
那得看您怎么花。不过凭良心说,您有了她的钱,会比她有了您,要快活得多。
DICK
That depends how you spent it. But honestly, sir, you would be far happier with her money than she would be with you.
寻欢先生
你为什么这么说?
MONSIEUR SEEK-PLEASURE
Why do you say so?
迪克
因为女人在婚姻中从未真正快乐过。
DICK
Because women have never truly been happy in marriage.
寻欢先生
你错了。女人在结婚前才是痛苦的。
MONSIEUR SEEK-PLEASURE
You are mistaken. Women suffer most before they are married.
迪克
真相是,老爷,女人们在婚前和婚后的想法里都得不到快乐。婚前,她们以为自己痛苦是因为缺少一个丈夫;婚后,她们才发现自己痛苦是因为有了一个丈夫。
DICK
The truth is, sir, women find no happiness either before or after marriage. Before, they think they suffer for want of a husband; after, they discover they suffer because they have one.
寻欢先生
也许当妻子的会这样吧,并非所有女人都如此。
MONSIEUR SEEK-PLEASURE
That may be true of wives — but not of all women.
(另外两位追求者上场:易劝先生和谋士先生。他们同样为了求爱而过度打扮,显得滑稽可笑。)
(Enter two more suitors, Monsieur Persuasion and Monsieur Counsel, equally over-adorned and ridiculous.)
寻欢先生(续)
先生们!我看你们也为这场“狩猎”披挂整齐了。
MONSIEUR SEEK-PLEASURE
Gentlemen! I see you are well armed for the hunt.
易劝先生
正是。我们已准备好成为职业求爱者。但谁引荐我们去见那位小姐呢?
MONSIEUR PERSUASION
Indeed. We are prepared to make court our profession. But who shall introduce us to the lady?
谋士先生
我们只好厚着脸皮,自我引荐了。
MONSIEUR COUNSEL
We must recommend ourselves.
寻欢先生
我可不会拿我的希望去换一笔微薄的财富。
MONSIEUR SEEK-PLEASURE
I would not exchange my hopes for a small fortune.
易劝先生
我也是。
MONSIEUR PERSUASION
Nor I.
谋士先生
说实话,我们现在都塞满了希望,就像枕头塞满了羽毛。
MONSIEUR COUNSEL
In truth, we are stuffed with hope, like pillows full of feathers.
(考特利先生慌慌张张地上场。)
(Enter Monsieur Courtly, in haste.)
考特利先生
先生们!我们完了。彻底完蛋了!
MONSIEUR COURTLY
Gentlemen! We are undone — utterly undone!
谋士先生
什么?出了什么事?
MONSIEUR COUNSEL
What? What has happened?
考特利先生
海皮小姐!她……把自己关进修道院了。还带了另外二十位女士一起。
MONSIEUR COURTLY
Lady Happy! She has shut herself up in a convent — with twenty other ladies.
谋士先生
真是见了鬼了!
MONSIEUR COUNSEL
The devil take it!
易劝先生
上帝不容啊!
MONSIEUR PERSUASION
God forbid!
考特利先生
究竟是魔鬼还是上帝说服了她,我说不清。但她已经进去了。木已成舟。
MONSIEUR COURTLY
Whether it was the Devil or God that persuaded her, I cannot say — but she is in, and there is no remedy.
寻欢先生
这大概只是一时虔诚的热病。会退烧的。这种事常有。
MONSIEUR SEEK-PLEASURE
It is but a sudden fit of devotion. It will pass. Such things often do.
(调解夫人上场,面露倦容。)
(Enter the Mediatrix, weary.)
寻欢先生
调解夫人!我们完了!海皮小姐把自己锁起来了!
MONSIEUR SEEK-PLEASURE
L’Mediatrix! We are undone! Lady Happy has locked herself away!
调解夫人
是的,先生们。真是可惜。
THE MEDIATRIX
Yes, gentlemen. It is much to be lamented.
谋士先生
难道没希望了吗?
MONSIEUR COUNSEL
Is there no hope?
调解夫人
坦白说,希望渺茫。
THE MEDIATRIX
In plain terms, very little.
易劝先生
我们必须收买神职人员!让他们劝她出来——为了国家的利益!
MONSIEUR PERSUASION
We must bribe the clergy to persuade her out — for the good of the state!
调解夫人
唉,先生们!神职人员在这儿没用。她不是上帝的虔信者,她是自然的虔信者。
THE MEDIATRIX
Alas, gentlemen, the clergy have no power here. She is not a devotee of God, but of Nature.
考特利先生
既然她是自然的虔信者,那您就该当女院长!这样您就能用您的权威,让我们……时不时地去拜访拜访您的修女们。
MONSIEUR COURTLY
If she serves Nature, then you should be abbess! Then you could use your authority to allow us — from time to time — to visit your nuns.
调解夫人
只能隔着栅栏!除非她们在修房子或者生病了。不过话说回来,海皮小姐自己就是院长。她不允许任何男性进入,连栅栏都不设一道。她压根不打算安装。
她有女医师、女外科医生、女药剂师。她自己就是首席忏悔师,随意发放赎罪券和赦免。她的宅邸——那个“快活庵”——宏伟壮观,坚固如堡垒,根本不需要任何修缮。
她围墙内的园地……大得足以容纳花园、果园、步道、小树林、凉亭、池塘、喷泉……还有足够的土地自给自足。每一个职位都由女性担任。她身边虽然只有二十位女士,但她有一支由女仆组成的军队。她根本用不着男人。
THE MEDIATRIX
Only through a grate — and only if they were building or ill. But in truth, Lady Happy herself is abbess. She allows no men entry, nor even a grate. She has no intention of installing one.
She has women physicians, women surgeons, women apothecaries. She herself is chief confessor, granting penance and absolution at will. Her house — the Convent of Pleasure — is magnificent, strong as a fortress, needing no repair.
Within her walls lie gardens, orchards, walks, groves, arbours, ponds, and fountains — with land enough to sustain them all. Every office is held by women. Though she has but twenty ladies, she commands an army of women servants. She has no need of men.
寻欢先生
如果有这么多女人,那才更需要男人呢!等等,让我搞清楚。您说她是自然的虔信者。如果她侍奉自然,那她就必须是……男人的情妇。这才是自然之道。
MONSIEUR SEEK-PLEASURE
If there are so many women, then surely men are needed all the more! But stay — you say she serves Nature. If she serves Nature, then she must be… a man’s mistress. That is Nature’s way.
调解夫人
恕我直言,先生。她宣称自己退隐,正是为了避开男人,以便享受自然提供的各种欢愉。她说男人是阻碍者。他们带来的不是快乐,而是痛苦;不是幸福,而是悲惨。为此,她已永久放逐了男性的陪伴。
THE MEDIATRIX
With respect, sir, she declares that her retreat is precisely to avoid men, so that she may enjoy the pleasures Nature offers. She says men are impediments: they bring not happiness, but pain; not felicity, but misery. Therefore, she has banished the company of men forever.
谋士先生
这都是异端邪说!绝不容忍!她的学说必须被谴责!她应当受到男性议会的审讯和惩罚——要么给她配一个严厉的丈夫,要么用一个放荡的丈夫来折磨她!
MONSIEUR COUNSEL
This is heresy — intolerable! Her doctrine must be condemned! She must be tried and punished by a council of men — either given a severe husband, or tormented with a lewd one!
调解夫人
先生们,最好的办法是正式提出申诉。向国家请愿,要求纠正。
THE MEDIATRIX
Gentlemen, the best course is to make a formal complaint. Petition the state for redress.
考特利先生
好主意。
MONSIEUR COURTLY
A sound plan.
易劝先生
我们这就照办。马上去起草请愿书!
MONSIEUR PERSUASION
We shall do so at once. To the petition!
(他们全部退场。留下一片愤慨的丝绸与受伤的自尊。)
(Exeunt all, leaving behind a litter of offended silk and wounded pride.)

第二幕 · 第三场
ACT II · SCENE III
(场景:一间客厅,位于庵堂之外。两位女士上场:钟情夫人和贞洁夫人。)
(Scene: A lodging-room outside the Convent. Enter two Ladies: Madam Amorous and The Chaste Governess.)
钟情夫人
亲爱的,你近来可好……自从婚礼之后?
MADAM AMOROUS
My dear, how do you fare of late… since your marriage?
贞洁夫人
(带着礼貌、熟练且轻松的口吻)
很好,谢谢你。
THE CHASTE GOVERNESS
(With practiced ease and courtesy)
Very well, I thank you.
钟情夫人
(发出一声真心实意的叹息)
我却没有自己预想的那样好。
MADAM AMOROUS
(With a sincere sigh)
I cannot say the same.
(调解夫人上场,带着她那一贯的热切与忙碌劲儿。)
(Enter the Mediatrix, bustling as ever.)
调解夫人
女士们!你们听说那个大新闻了吗?
THE MEDIATRIX
Ladies! Have you heard the great news?
贞洁夫人
什么新闻?
THE CHASTE GOVERNESS
What news?
调解夫人
一位尊贵的外国公主驾临了!她听说了关于“快活庵”的种种传闻,特意赶来加入她们,也要成为一名“自然的虔信者”。
THE MEDIATRIX
A noble foreign Princess has arrived! She has heard of the Convent of Pleasure and has come expressly to join them — to become, as they say, a devotee of Nature.
钟情夫人
她是怎样一个人?
MADAM AMOROUS
What manner of woman is she?
调解夫人
这无可置疑:她极具王者风范,且勇敢不凡。她身上有一种……非常阳刚的气概。
THE MEDIATRIX
Without question, she is princely and bold. There is about her a certain… masculine spirit.
贞洁夫人
请如实告诉我,调解夫人——她们的生活真的像您说的那样快乐吗?
她们愿意接纳您这样一位寡妇,却不接纳我们……仅仅因为我们是别人的妻子。
THE CHASTE GOVERNESS
Tell me honestly, Mediatrix — are their lives truly as happy as you describe?
They admit a widow such as yourself, yet refuse us… merely because we are wives.
调解夫人
她们所享有的快乐,恐怕比这庵堂出现之前的自然界所能知晓的还要多。
就我个人而言,我宁愿做那里的一个居民,也不愿做全世界的女皇。
那里的每一位女士都像绝对的君主一样享有快乐——却不必背负王权的烦忧与操劳。
秘诀就在于:除非过着这种远离尘世烦恼的退隐生活,否则无人能真正领略这种欢愉。
THE MEDIATRIX
The pleasures they enjoy are greater, I believe, than Nature herself ever knew before that place existed.
For my own part, I would rather be one inhabitant there than Empress of the whole world.
Each lady lives in absolute pleasure like a sovereign — yet without the cares and labours of rule.
The secret is this: unless one lives in such a retreat, free from worldly vexations, one can never truly know such pleasure.
贞洁夫人
我多希望能亲眼看看,好了解真相。她们究竟能拥有什么样的欢愉呢?
THE CHASTE GOVERNESS
I long to see it with my own eyes, to know the truth.
What kind of pleasures can they truly possess?
调解夫人
即使你住在那里,恐怕也无法在短时间内学完她们所有的乐趣。
那里的生活丰富多样,需要用一生去领会。
她们的活动永远在变——欢愉随季节流转。
在季节的交替与每个季节内部的无穷变化中……
仅仅是学习这套生活的“艺术”,就得耗费一辈子的时间。
THE MEDIATRIX
Even if you lived there, you could not learn all their pleasures in a short time.
Their life is so full and various that it requires a lifetime to understand.
Their occupations are ever changing — pleasures shift with the seasons.
In the turning of the year, and the endless variety within each season…
to learn the very art of living there would take one’s whole life.
贞洁夫人
(带着一种安静而克制的渴望)
我真的非常想亲眼看看……那究竟是何等的光景。
THE CHASTE GOVERNESS
(With quiet longing)
I greatly desire to see it… to know what manner of place it is.
调解夫人
这个嘛,或许你可以如愿。
THE MEDIATRIX
Well then… perhaps you may.
(她们退场。贞洁夫人陷入沉思,钟情夫人郁郁不乐,而调解夫人则露出一副心知肚明的神情。)
(Exeunt. The Chaste Governess thoughtful, Madam Amorous discontented, the Mediatrix knowingly pleased.)

第二幕 · 第四场
ACT II · SCENE IV
(场景:庵堂高墙外的街道或酒馆门前。四位追求者聚在一起,正借酒发泄他们的挫败与怨恨。)
(Scene: A street or tavern-door outside the high walls of the Convent. Enter four Suitors, drinking and venting their frustration.)
考特利先生
那么,难道真的就没点办法,把那些女士从她们的小天堂里弄出来了?
SIR COURTLY
Is there truly no way to draw those ladies out of their little paradise?
谋士先生
没办法。除非我们放一把火,把那地方烧个精光。
MR. STRATEGIST
None — unless we set the place on fire and burn it to the ground.
寻欢先生
老天在上,就这么干!咱们每人拿个火把!
SIR PLEASURE
By heaven, let us do it! A torch for every man!
考特利先生
对,就像熏蜜蜂一样,把她们全都熏出来。
SIR COURTLY
Yes — smoke them out like bees from a hive.
易劝先生
现在就去!
MR. PERSUASION
At once!
谋士先生
等等。现在里面可住着一位外国公主。
MR. STRATEGIST
Hold — there is now a foreign Princess lodged within.
寻欢先生
没错。但等她一走,我们就动手。一定。
SIR PLEASURE
True. But once she departs, we strike — without fail.
谋士先生
然后呢?因为纵火罪被送上绞刑架吗?
MR. STRATEGIST
And then? We swing for arson?
寻欢先生
那可算不上恶行!我们这是在“为自然效劳”。
SIR PLEASURE
That would be no crime! We act in service of Nature.
谋士先生
哦,就像我们“为自然效劳”搞大侍女的肚子那样?即便如此,民法照样会惩罚我们。
MR. STRATEGIST
Ah — as when we “serve Nature” by getting maids with child?
Even then, civil law punishes us.
考特利先生
惩罚情人的法律是不文明的!
SIR COURTLY
Laws that punish lovers are uncivil!
谋士先生
惩罚私通者的法律才是文明的。
MR. STRATEGIST
Laws that punish adultery are civilization.
考特利先生
把爱情说成私通,那是野蛮!
SIR COURTLY
To call love adultery is barbarous!
谋士先生
不,把私通叫作爱情,那才是真正的野蛮!
MR. STRATEGIST
No — to call adultery love is the true barbarism!
易劝先生
够了!管它爱情还是私通!她们就是群蠢女人,成天用她们那种……所谓的“退隐”来烦我们。
MR. PERSUASION
Enough! Love or adultery — what care I!
They are but foolish women, forever vexing us with their so‑called “retirement.”
谋士先生
你们知道吗,先生们,尽管我们在这儿抱怨……
如果我有海皮小姐那样的财富,我也会建一座自己的庵堂。
我敢打赌,你们所有人都会争先恐后地,按同样的条件把自己关进来陪我。
MR. STRATEGIST
You know, gentlemen — for all our complaints —
were I possessed of Lady Happy’s fortune, I would build myself a convent too.
And I warrant you would all rush to shut yourselves in with me on the same terms.
寻欢先生
除非你的庵堂里也藏着女人。
SIR PLEASURE
Not unless your convent housed women as well.
谋士先生
啊,但是不!既然女人可以放弃男人的欢愉,
我们男人也大可以放弃女人的麻烦。
MR. STRATEGIST
Ah, but no! If women may renounce the pleasures of men,
men may likewise renounce the troubles of women.
考特利先生
难道墙上就没个裂缝?没个能偷窥的孔?
SIR COURTLY
Is there no crack in the wall? No peeping-hole?
谋士先生
没有。没有栅栏窗,只有实打实的砖石,足有一码厚。
MR. STRATEGIST
None. No grated windows — only solid brick, a full yard thick.
易劝先生
那我们就撬掉一块砖!挖开一块石头!
MR. PERSUASION
Then pry out a brick! Dig through the stone!
谋士先生
不可能。
MR. STRATEGIST
Impossible.
易劝先生
有志者事竟成!
MR. PERSUASION
Where there’s a will, there’s a way!
谋士先生
我的心当然有志向,但我的理智告诉我这是徒劳。我绝不白费力气。
MR. STRATEGIST
My heart may will it, but my reason tells me it is vain.
I will not squander my labour.
寻欢先生
我有主意了!我们扮成女人。乔装改扮,混进去!
SIR PLEASURE
I have it! We’ll disguise ourselves as women — dress and slip inside!
谋士先生
我们一进去就会被识破。
MR. STRATEGIST
We should be discovered the moment we enter.
寻欢先生
被谁?
SIR PLEASURE
By whom?
谋士先生
被我们自己。看看我们的举止,听听我们的声音!
我们穿上裙子行屈膝礼的样子,
准会像贵妇人穿上马裤鞠躬一样笨拙。
把嗓子提到女高音?那比让她们降到男低音还难。
我们永远也学不会那种娇羞做作的神态,
还有那种漂亮的假笑。
MR. STRATEGIST
By ourselves. Look at our gestures — listen to our voices!
We would curtsey in petticoats as awkwardly
as a fine lady would bow in breeches.
To raise our voices to treble? Harder than forcing them to bass.
We shall never master that coy affectation,
nor those graceful counterfeit smiles.
考特利先生
那我们可以扮成强壮、粗野的乡下丫头!
就说是来找活干的!厨娘、洗衣女工、挤奶女工……
SIR COURTLY
Then let us be stout, coarse country wenches!
Come seeking work — cooks, laundresses, milkmaids—
易劝先生
说真的,我觉得我能当个还凑合的厨子。
但洗衣?挤奶?
我既不会挤奶,也不会给领子上浆……
不过,洗女士们的那些贴身衣物,
我倒是愿意对付。
MR. PERSUASION
In truth, I think I might make a passable cook.
But washing? Milking?
I can neither milk nor starch collars —
yet washing the ladies’ linen…
that I would willingly undertake.
寻欢先生
她们什么差事都起用女人!
园艺、酿酒、烘焙,她们甚至还自己养猪!
这类活计少说也有二十种,我们正合适。
SIR PLEASURE
They employ women for every task —
gardening, brewing, baking — they even keep their own swine!
There must be twenty such employments, and we fit them well.
易劝先生
哦,养猪肯定得是男人的活。
记得《浪子回头》吧?那是男人干的。
MR. PERSUASION
Swineherding must be men’s work.
Remember the Prodigal Son — that was a man.
谋士先生
以我们挥霍的本事来看,我们确实都够格当猪倌。
MR. STRATEGIST
Given our habits of waste, we are all fit to tend swine.
考特利先生
我们还能干园艺!挖土、栽种、播种!
SIR COURTLY
We can garden too — dig, plant, sow!
寻欢先生
而且我们非常擅长酿酒!
SIR PLEASURE
And we are excellent brewers!
谋士先生
我们更擅长喝酒。
我能喝光啤酒,却酿不出一滴能入口的。
MR. STRATEGIST
We are better drinkers.
I can drain ale, but never brew a swallowable drop.
易劝先生
得了吧!总会有办法的!
只要能进去,我们愿意学,愿意勤快!
她们一定会对我们满意的!
走!付诸行动!
MR. PERSUASION
Come, come! We’ll find a way!
Once inside, we’ll learn, we’ll labour!
They must be pleased with us!
Come — let us act!
考特利先生
对!同意!
SIR COURTLY
Aye! Agreed!
谋士先生
(长长一叹)
不。不,看在上帝的份上。别自找麻烦。
这一切都是徒劳。
MR. STRATEGIST
(With a long weary sigh)
No. No — for God’s sake, seek no more trouble.
All this is in vain.
(他们灰溜溜地退场,那些宏大的计划还没开始就已经泄了气。)
(Exeunt, their grand schemes deflated before they begin.)

第三幕 · 第一场
ACT III · SCENE I
(场景:庵堂内的大厅。公主——仪态威严、中性且充满魅力——正与海皮小姐并肩而立。其他女士簇拥在她们周围,形成一个专注而优雅的圆圈。)
(Scene: The hall of the Convent. The Princess — stately, androgynous, and captivating — stands beside Lady Happy. Other ladies form a focused and elegant circle around them.)
海皮小姐
殿下,您真是让我受宠若惊。您竟愿意离开那个辉煌的大千世界,来到我们这简陋退隐的庵堂。
LADY HAPPY
Your Highness, you honor me beyond measure. To leave the splendor of the world and come to our modest retreat is astonishing.
公主
亲爱的海皮小姐,历史上从不乏放弃王冠与权力、转而选择清苦生活的人。
那么,若能离开充满烦忧的宫廷,来到这样一座“欢愉乐园”,岂不是更明智的选择?
但我能在此获得的最大快乐……莫过于您的友谊。
PRINCESS
Dear Lady Happy, history is full of those who renounced crowns and power for a life of simplicity.
And if one may leave a court so full of cares for such a Convent of Pleasure, is it not the wiser choice?
Yet the greatest joy I find here… is your friendship.
海皮小姐
若不愿与您为友,我便是忘恩负义;我愿做您谦卑的仆人。
LADY HAPPY
Were I not to be your friend, I would be ungrateful; I am ready to be your humble servant.
公主
不。我渴望您做我的女主人,而由我来做您的仆人。
基于这份友谊的约定……我有一个请求。
PRINCESS
No. I desire you as my mistress, and I shall be your servant.
And upon the covenant of this friendship… I have a request.
海皮小姐
凡是我力所能及的,无不从命。
LADY HAPPY
Whatever lies within my power shall be yours.
公主
我观察到,在您的娱乐活动中……您的一些女士会身着男装,扮演恋人的角色。
我恳求您,允许我也能这般装扮……并由我来扮演您那位最忠实的仆人。
PRINCESS
I have observed that, in your diversions, some ladies dress as men to play the lover.
I beseech you, allow me likewise to assume such guise… and to act as your most devoted servant.
海皮小姐
(停顿片刻。一种轻柔而深刻的领悟掠过她的脸庞)
我将永不再渴望任何其他的忠实仆人……唯有您。
LADY HAPPY
(Pausing — a soft and profound realization crossing her face)
I shall never desire any other loyal servant… but you.
公主
(深情地凝视着她)
我也永不再渴望任何其他的女主人……唯有您。
PRINCESS
(Gazing deeply at her)
Nor shall I ever desire any other mistress… but you.
(一阵充满张力的静默。随后,她们的情感溢出了散文的边界,化为正式的诗行,仿佛这情感需要一种更严整、更神圣的语言来承载。)
(A silence charged with tension. Then their feelings spill beyond prose into formal verse, as if requiring a more disciplined, sacred language.)
海皮小姐
世间再无更纯洁的爱侣,
胜过我这位尊贵的爱人……即便她本是女儿身。
LADY HAPPY
No love on earth is purer than this esteemed lover of mine…
Even though she is of a woman’s form.
公主
也从未有庵堂能给予这般欢愉,
能让爱人与她的女主人朝夕同居。
PRINCESS
Nor has any convent ever offered such pleasure,
That lover and mistress dwell together day by day.
(一位女士上场,行屈膝礼,轻轻打破了这一瞬间的魔咒。)
(Enter a Lady, curtseying, gently breaking the spell of the moment.)
女士
殿下,戏剧已经准备就绪,恭请您移步赏光。
LADY
Your Highness, the play is prepared; we humbly invite you to witness it.

第三幕 · 第二场
ACT III · SCENE II — THE MASQUE
(场景:庵堂大厅。内设一舞台,灯光聚焦。海皮小姐与公主并坐于荣誉席,众女士围坐。)
(Scene: The hall of the Convent. A stage is set, lights focused. Lady Happy and the Princess sit in the place of honor, surrounded by the other ladies.)
(莫尔·卡特普斯上场,身着男装,腰挎短剑,神态不羁。她向台下致辞。)
(Enter Moll Cutpurse, dressed in men’s clothing, short sword at her waist, audacious demeanor. She addresses the audience.)
莫尔·卡特普斯(开场白)
尊贵的看官们!今晚诸位将看到一出戏。它或许乏味——但好在短小。既然我们的机智无法取悦诸位的耳朵,至少不会让诸位的屁股坐得生疼。
MOLL CUTPURSE (Prologue)
Honored spectators! Tonight you shall witness a play.
It may be dull — yet at least it is brief.
And if our wit cannot delight your ears, it shall not make your behinds sore.
(莫尔退场。内舞台灯光转换,一连串关于婚姻与世俗生活的讽刺悲剧快速上演。)
(Moll exits. Stage lights change, and a rapid sequence of satirical tragedies about marriage and worldly life is performed.)
第一场:贫贱夫妻
SCENE I: THE POOR COUPLE
妇女甲
邻居!你上哪儿去了?
WOMAN I
Neighbor! Where have you been?
妇女乙
刚去安慰鞋匠老婆。她男人跟补锅匠的情人跑了。
WOMAN II
Just to comfort the shoemaker’s wife. Her husband ran off with the tinker’s mistress.
妇女甲
我倒求上帝让我男人也跑了算了!他成天泡酒馆,回家就揍得我青一块紫一块,孩子们还在挨饿。
WOMAN I
I pray God my husband would do the same! He drinks all day, beats me black and blue, and leaves the children starving.
妇女乙
谁说不是呢?我男人不仅花光工钱,连我辛苦挣的血汗钱也拿去灌黄汤。
WOMAN II
Indeed! My man squanders not only his wages but even the hard-earned money I sweat for.
第二场:苦涩的果实
SCENE II: BITTER FRUIT
小姐
哦,我觉得恶心……
YOUNG LADY
Oh, I feel sick…
家庭教师
纠正一下,小姐:您这是“有喜”了。
TUTOR
Correction, Miss — you are with child.
小姐
自从他……把那东西放进来,哪怕只有那一瞬间……我就再没一刻舒坦过!
YOUNG LADY
Since he… inserted that thing, even for a moment… I have known no comfort!
第三场:贵妇的哀歌
SCENE III: THE NOBLEWOMAN’S LAMENT
贵妇甲
你哭什么?
LADY I
Why do you cry?
贵妇乙
我丈夫在赌桌上把家产输了个精光。
LADY II
My husband lost the entire estate at cards.
贵妇甲
我家那位倒是不赌,他把钱全砸在妓女身上了,还把她们领进家门,俨然成了女主人。
LADY I
Mine does not gamble; he throws all the money on prostitutes and admits them into the house as if they were mistresses.
贵妇乙
倘若所有妻子都这般不幸,婚姻便是一桩诅咒。
LADY II
If all wives suffer so, marriage is surely a curse.
第四场:丧子之痛
SCENE IV: THE LOSS OF A CHILD
(一名披头散发的夫人狂奔过场)
(A disheveled Lady runs across the stage.)
夫人
我的孩子死了!谁能有耐心失去唯一的孩子?!我要疯了!
LADY
My child is dead! Who could bear the loss of an only child?! I shall go mad!
第五场:酒馆里的沦陷
SCENE V: TAVERN’S COLLAPSE
市民妻
先生们,我那疏忽职守的丈夫在这儿吗?听说他跟个“支撑者”跑了?
CITIZEN’S WIFE
Gentlemen, is my negligent husband here? I hear he ran off with some “protector”?
绅士
是个女招待。来吧,夫人,别气了,喝杯酒消消愁。
GENTLEMAN
A barmaid, madam. Come, drink and ease your grief.
市民妻
(犹豫后坐下)好吧……美酒或许能安抚我这火辣辣的肝火。
CITIZEN’S WIFE
(After hesitation, sits) Very well… perhaps a drink will soothe my fiery temper.
第六场:产床即坟墓
SCENE VI: THE BED OF BIRTH IS A GRAVE
贵妇
哦!我的腰要断了!解脱我吧!
NOBLEWOMAN
Oh! My back shall break! Deliver me!
产婆
(慌乱)真正的产婆在另一家,那家夫人生了个死胎,已经熬了三天,快没命了!
FALSE MIDWIFE
(Flustered) The real midwife is elsewhere — that woman has labored a dead child three days, nearly at death’s door!
第七场:晚年的灾祸
SCENE VII: MISFORTUNE IN OLD AGE
老妇甲
我千辛万苦养大的儿子,如今要因为杀人被绞死了。
OLD WOMAN I
My son, whom I raised with toil, shall be hanged for murder.
老妇乙
我大女儿未婚先孕,小女儿跟管家私奔了。
OLD WOMAN II
My eldest daughter bears a child out of wedlock; the youngest elopes with the steward.
老妇甲
既然如此,谁还想要孩子呢?
OLD WOMAN I
In that case, who would want children?
第八场:最后的决绝
SCENE VIII: FINAL RESOLVE
绅士
爵爷说他离了你就活不下去。
GENTLEMAN
The gentleman says he cannot live without divorcing you.
淑女
他可以活下去,只要别跟我同床。
LADY
He may live, so long as he shares no bed with me.
绅士
他会为了你离婚。
GENTLEMAN
He shall divorce for your sake.
淑女
我绝不拆散他人家庭。告诉他,我明天给答复。
(绅士退场后)我必须在毁灭前逃离,今晚我就去女修道院,把这邪恶的世界抛在脑后。
LADY
I will not break another’s household. Tell him I shall answer tomorrow.
(After the Gentleman exits) I must flee before ruin — tonight I go to the Convent, leaving this wicked world behind.
(内舞台灯光暗下。莫尔·卡特普斯重新上场。)
(Stage lights dim. Moll Cutpurse returns.)
莫尔·卡特普斯(收场白)
婚姻是桩诅咒,我们已看清,
尤其对女人,苦海难前行。
从鞋匠之妻,到贵妇名媛,
剥开那画皮,无一不悲惨。
MOLL CUTPURSE (Epilogue)
Marriage is a curse, as we have seen,
Especially for women, a bitter sea indeed.
From the shoemaker’s wife to the noble lady,
Beneath the painted veneer, none are happy.
(假面剧结束。灯光亮起,照在海皮小姐和公主身上。)
(The Masque ends. Lights shine upon Lady Happy and the Princess.)
海皮小姐
(轻声地,带着几分试探)
那么,我的“仆人”……你觉得我们的戏演得如何?
LADY HAPPY
(Softly, tentatively)
So, my “servant”… how do you think our play fared?
公主
我甜蜜的女主人……凭良心说,我无法完全赞同。
因为尽管有人在婚姻中不幸,却也有人幸福得不愿交换。
PRINCESS
My sweet mistress… in truth, I cannot wholly agree.
For though some suffer in marriage, others are so happy they would not trade places.
海皮小姐
哦,仆人。我担心你正在变成一个“叛教者”。
LADY HAPPY
Ah, my servant. I fear you are becoming a “turncoat.”
公主
(眼神深邃)对这庵堂或许会,但对您,我永不叛教。
PRINCESS
(Eyes deep with feeling) Perhaps to this Convent, yes — but to you, I shall never be an apostate.
(她们一同退场。戏中戏的悲凉与现实中的暧昧在空气中交织。)
(They exit together. The Masque’s sorrow and the play’s real-world intimacy mingle in the air.)

第三幕 · 第十一场(间奏)
Act III · Scene XI (Interlude)
(场景:庵堂外的街道。第一幕中的那三位绅士再次聚首,神色比此前更加严峻。)
(Scene: Outside the Convent, on the street. The Three Gentlemen from Act I gather again, looking more grave than before.)
绅士甲
这么说,难道真的就没希望解散这个……所谓的“快活庵”了?
GENTLEMAN I
So, then, is there truly no hope of dissolving this… so-called “Convent of Pleasure”?
绅士乙(汤姆)
我看不到任何希望。
GENTLEMAN II (Tom)
I see no hope at all.
绅士丙
我们现在完全可以确信,它永远不会解散了。
现在那地方得到了一位尊贵公主的加持,甚至因她的加入而声名远扬。
我真正害怕的是:要是每一个富有的女继承人都开始效仿,去办什么自己的庵堂怎么办?
要是所有的年轻佳丽都开始成群结队地加入她们,那又该怎么办?
GENTLEMAN III
We can now be certain: it shall never be dissolved.
The place has been blessed by a noble princess, its fame spread by her presence.
What truly terrifies me is this: if every wealthy heiress begins to follow suit, founding her own Convent, what then?
If all young beauties flock to join them, what will become of us?
绅士甲
你说得极有道理,真是令人不安。
看来,我们必须赶快努力娶到妻子了……趁她们还没被那些庵堂全部“收割”走之前。
GENTLEMAN I
You speak truly, it is most alarming.
It seems we must hasten to secure wives… before these Convents sweep them all away.
(他们匆匆退场,步伐中带着一种前所未有的、恐慌的紧迫感。)
(They exit hurriedly, their steps carrying an unprecedented sense of panic and urgency.)

第四幕 · 第一场
ACT IV · SCENE I
(场景:庵堂内,一处幽僻的花园。海皮小姐作牧羊女打扮上场,神情带着淡淡的忧郁。)
(Scene: A secluded garden within the Convent. Lady Happy enters dressed as a Shepherdess, a faint melancholy upon her face.)
海皮小姐
我的名字本是“海皮”(快乐),我的境遇也曾名副其实……直到我遇见了这位公主。
如今,我恐怕要成为这世上最不快乐的少女了。
(她停下脚步,陷入激烈的自省)
但是为何?为何我不能以同样的情意、同样的激情去爱一个女人,就像我可以爱一个男人那样?
LADY HAPPY
My name was once “Happy,” and my fortunes matched it… until I met this Princess.
Now, I fear I may be the unhappiest maiden in the world.
(Pauses, lost in fierce introspection)
But why? Why cannot I love a woman with the same feeling, the same passion, as I can love a man?
[唱]
不,不,自然便是自然,
千万载永恒如斯;
她亘古不变,
自万物肇始。
[SONG]
No, no — nature is nature,
Everlasting through endless ages;
Immutable, eternal,
Since the very birth of all things.
(公主上场,身着华丽的男性牧羊人服装,英气逼人,宛如田园诗中走出的化身。)
(Enter the Princess, dressed as a magnificent male Shepherd, noble and commanding, as if stepping from a pastoral poem.)
公主
我最亲爱的女主人,您是在刻意回避我的陪伴吗?
难道您的仆人已成了您眼中的冒犯?
PRINCESS
My dearest mistress, are you deliberately avoiding my company?
Has your servant become, in your eyes, an offense?
海皮小姐
不,仆人!你的存在于我而言,比自然女神本身的降临更令我心悦。
正因如此……我担心女神会惩罚我。
因为我爱你,已超过了礼法所容许的程度。
LADY HAPPY
No, my servant! Your presence delights me more than the coming of Nature herself.
And yet… I fear the Goddess may punish me,
For I love you beyond what decorum allows.
公主
情人之间,难道爱也会“过量”吗?
PRINCESS
Among lovers, can love ever be “too much”?
海皮小姐
会的,若他们爱得不合时宜。
LADY HAPPY
It can, if the love is ill-timed.
公主
可世间还有哪种爱,能比我们的爱更贞洁、更天真、更无害?
PRINCESS
Yet what love in the world could be more chaste, more innocent, more harmless than ours?
海皮小姐
我希望如此。
LADY HAPPY
I hope it is so.
公主
那么,就让我们像那些无害的恋人一样,尽情取悦彼此吧。
PRINCESS
Then let us, like harmless lovers, delight each other fully.
海皮小姐
无害的恋人们是如何取悦彼此的?
LADY HAPPY
How do harmless lovers delight each other?
公主
很简单。通过倾心的交谈,通过……拥抱与亲吻,让灵魂交融。
PRINCESS
Simply. Through heartfelt conversation, through… embraces and kisses, letting our souls mingle.
海皮小姐
但天真的恋人是不接吻的。
LADY HAPPY
But innocent lovers do not kiss.
公主
在我们女人之间,亲吻是最寻常不过的举动。
不,如果友谊中的亲吻也是罪……那就让我们证明自己是“堕落”的吧。
PRINCESS
Among us women, kisses are the most ordinary of acts.
No — and if even friendship’s kiss is sin… then let us prove ourselves “fallen.”
(她们紧紧拥抱,彼此相拥,交换了一个温柔、热烈且漫长的吻。)
(They embrace tightly, sharing a tender, ardent, and lingering kiss.)
公主
(在海皮小姐耳边低语)
我的这些拥抱,虽属女儿之身,其炽热却绝不亚于任何阳刚之心。
PRINCESS
(Whispers in Lady Happy’s ear)
Though these embraces are of a daughter’s form, their ardor rivals any masculine heart.
(背景转换:展现出一片点缀着羊群和五月柱的青翠原野。她们进入了“戏中戏”的田园角色。另一位牧羊人上场,向海皮小姐求爱。)
(The backdrop transforms: a verdant meadow with sheep and maypoles. They enter a pastoral “play-within-a-play.” Another Shepherd enters, wooing Lady Happy.)
另一位牧羊人
[唱] 美丽的牧羊女,莫拒我所求,莫让我为爱消瘦!
怜悯我的羊群,救救牧羊人的命,做我的妻,共度此生。
ANOTHER SHEPHERD
[Song]
Fair Shepherdess, deny me not,
Let not love make me lean and frail!
Pity my flocks, save the shepherd’s life,
Be my wife, share all my days.
海皮小姐
[唱] 我怎能应允每一个人的祈求?
牧羊人的纠缠令我不得安休;
愿狂风将他们尽数吹远,再无求爱之声入我耳畔。
LADY HAPPY
[Song]
How can I grant each one’s request?
The Shepherds’ entreaties give me no peace;
May the wild wind carry them all away,
And let no plea for love reach my ears again.
(调解夫人上场,亦着牧羊女装,扮演“母亲”的角色。)
(Enter the Mediatrix, also dressed as a Shepherdess, playing the “Mother” role.)
另一位牧羊人
[对调解夫人唱] 好夫人,请为我说句好话!
劝她应允我做您的女婿!
我会为您放猪、牵牛、耕种土地,秋天为您采摘鲜果。
只要您美言,我什么都肯做。
ANOTHER SHEPHERD
[Song, to the Mediatrix]
Good Madam, speak a word in my favor!
Persuade her to be your daughter-in-law!
I will tend your pigs, drive your cattle, till the fields,
And harvest autumn fruits for you.
Say the word, and I shall do all.
调解夫人
[唱] 我女儿已立誓独身,永不做人妻;
她宁愿守着羊群,以羊儿为伴侣。
THE MEDIATRIX
[Song]
My daughter has sworn to remain single,
Never to take a husband;
She would rather tend her flocks,
With sheep for her companions.
(公主转向海皮小姐,两人开始了一段跨越时空的玄学二重唱。)
(The Princess turns to Lady Happy; they begin a transcendent, time-defying duet.)
公主
[唱] 我的牧羊女,你的才智高飞,
直入苍穹,窥见天堂之门;
你看行星运转,看恒星排列,
你降临大地,观察万物生息;
你甚至沉入地心,探寻死者长眠的秘密。
你的智慧,揭示了自然想要隐藏的奇迹。
PRINCESS
[Song]
My Shepherdess, your wit soars high,
Into the heavens, glimpsing heaven’s gate;
You watch the planets, trace the stars,
Descend to earth, observe life in all its forms;
You even delve beneath the ground, seeking secrets of the dead.
Your wisdom unveils the miracles nature would hide.
海皮小姐
[唱和] 我的牧羊人,生者皆知你天生便是诗人。
你的才智探索人类的身与心,
辨明灵魂如何寓于躯体,如君王统御大脑。
肉体会腐朽,才智却永存,
在世界的记忆中,你将永恒闪耀。
LADY HAPPY
[Duet]
My Shepherd, all the living know you are born a poet.
Your wit explores human body and mind,
Discerns how the soul resides in the flesh, as a king rules his brain.
The body may decay, yet intellect endures;
In the world’s memory, you shall shine eternally.
(歌声止息,两人紧紧依偎。)
(The song ends. They cling tightly to one another.)
公主
(热烈地口白)
能活在你的恩宠中,拥有你的爱与你的人身……这便是我野心的终点。
PRINCESS
(Passionately, in spoken word)
To live in your favor, to have your love and your person… this is the summit of my ambition.
海皮小姐
(完全陷落)
我既无法拒绝你的爱,也无法拒绝我的人身。
LADY HAPPY
(Completely overcome)
I cannot refuse your love, nor can I refuse my own body.
公主
[轻唱] 我们未曾以俗套的诗句求爱,不似寻常恋人的姿态。
PRINCESS
[Softly singing]
We have courted not with trite verse, unlike ordinary lovers.
海皮小姐
[唱] 这表明我们将更加忠贞,在未来的生活中也更和谐。
LADY HAPPY
[Song]
This proves our fidelity shall grow, and our future life be harmonious.
公主
[唱] 我们将和谐,因真爱合二为一,成为神圣的灵在。
PRINCESS
[Song]
We shall be harmonious, for true love unites as one, a holy spirit embodied.
(田园庆典开始。众人围绕五月柱起舞。公主与海皮小姐被加冕为牧羊人之王与后。)
(The pastoral celebration begins. All dance around the maypole. The Princess and Lady Happy are crowned Shepherd King and Queen.)
牧羊人三
[唱] 你们赢得了奖赏,理所应当;
为我们的王与后献上敬意。愿你们长寿安康!
SHEPHERD III
[Song]
You have won your reward, as is right;
We offer homage to our King and Queen!
May you live long and well!
(众人传递祝酒杯。另一位牧羊人唱起更戏谑的收场歌。)
(Drinking cups are passed. Another Shepherd sings a playful closing song.)
牧羊人四
[唱] 快唱起祝酒歌,苹果沉入麦酒浆……
成双结对把家还,遵循律法结姻缘!
SHEPHERD IV
[Song]
Raise the toast-song! Let apples sink in beer…
Pair off and return home, follow the law, and wed!
(场景在众人的欢庆与海皮小姐、公主的缱绻中渐渐落幕。)
(The scene fades amidst celebration and the tender intimacy of Lady Happy and the Princess.)

第四幕 · 第二场
ACT IV · SCENE II
(场景:田园幻境消逝。公主独自一人,回到庵堂内一处更具中性美感的空间。她踱步深思,随后停下,低头审视着自己的衣装。)
(Scene: The pastoral illusion fades. The Princess is alone, returning to a more gender-neutral space within the Convent. She paces thoughtfully, then stops to inspect her attire.)
公主
什么?我还穿着这些碍事的衬裙?
(她仿佛对着虚空中的战神马尔斯诉说)
啊,马尔斯!战神啊,请宽恕我的怠惰。
但请记住——你也曾坠入情网,我亦如是。
但我听见你在说,我的王国需要我。
不仅需要我去统治,更需要我去捍卫。
(一股桀骜不群的英雄气概涌上心头)
但是,一个王国……比起一位美丽绝伦的女主人,又算得了什么?
(她挥手甩掉这个念头)
卑下的杂念,飞散吧!我绝不回去。
就让整个世界——而不仅仅是一个王国——都去渴望我的归来吧。
PRINCESS
What? I am still wearing these cumbersome petticoats?
(She speaks as if to Mars, the god of war, unseen.)
Ah, Mars! God of War, forgive my idleness.
But remember — you too have fallen in love, as have I.
Yet I hear you saying, my kingdom needs me,
Not only to rule, but to defend.
(A surge of heroic defiance rises in her heart)
But a kingdom… compared to a most exquisite mistress, what is it worth?
(She dismisses the thought with a wave)
Vile distractions, be gone! I shall not return.
Let the whole world — not merely a kingdom — long for my return.
(公主心意已决,迈步退场。海皮小姐上场,孤身一人,神色忧郁。片刻静默后,她低声唱起一首充满困扰的哀歌。)
(The Princess, resolved, exits. Lady Happy enters, alone, melancholy in expression. After a brief silence, she softly sings a troubled lament.)
海皮小姐
[唱] 哦,自然女神,哦,天上的众神,
莫让我堕入情网而沉沦;
我宁愿在此刻魂归离恨,
强过蒙受羞辱,失却名分。
LADY HAPPY
[Song]
O Goddess of Nature, O gods of the skies,
Let me not fall, ensnared by love’s ties;
I would rather my soul depart in sorrow now,
Than endure shame, and lose my station.
(调解夫人上场,在暗处观察着她。)
(The Mediatrix enters, observing from the shadows.)
调解夫人
海皮小姐?形单影只?独自一人?
沉思的样子……活脱脱像个失意的恋人?
THE MEDIATRIX
Lady Happy? Alone? Solitary?
Pensive… you resemble a lovesick maiden in despair.
海皮小姐
(吃了一惊,带着防御的姿态)
不。我是在冥想神圣之事。
LADY HAPPY
(Startled, defensive)
No. I am contemplating sacred matters.
调解夫人
神圣之事?哪种神圣之事?
THE MEDIATRIX
Sacred matters? What sacred matters?
海皮小姐
诸如……众神本身那般神圣的事。
LADY HAPPY
Such as… the sacred matters of the gods themselves.
调解夫人
说真的,不管您是在思索众神还是男人,自从我上次见到您,您变得苍白而消瘦了。
THE MEDIATRIX
Truly, whether you ponder gods or men, since I last saw you, you have grown pale and lean.
(公主重新上场,她容光焕发,目光四下寻觅。)
(The Princess re-enters, radiant, her eyes scanning the space.)
公主
来,我甜蜜的女主人!我们是否该去进行我们的运动与游乐了?
PRINCESS
Come, my sweet mistress! Shall we proceed with our exercises and amusements?
调解夫人
(带着刻意伪装的关切)
哎呀,殿下。我恐怕您已经……“游玩”得太过头了。
THE MEDIATRIX
(Feigning concern)
Ah, Your Highness. I fear you may have… indulged in your “recreation” a bit too much.
公主
您为何这么说,调解夫人?
PRINCESS
And why say so, l’Mediatrix?
调解夫人
因为海皮小姐气色不佳。她脸色苍白,身形消瘦。
THE MEDIATRIX
Because Lady Happy looks ill. Her face is pale, her form thin.
公主
(冷静而充满保护欲地)
调解夫人,看来您的眼睛已被时光磨损了。
因为我甜蜜的女主人所散发的光辉,足以令光明之神也相形见绌。
PRINCESS
(Calm, protective)
L’Mediatrix, it seems your eyes have grown dull with age.
For the radiance of my sweet mistress would outshine even the God of Light.
调解夫人
(站稳立场,寸步不让)
尽管您是尊贵的公主,但容我直言:我还没老到那个地步,也没瞎到那个地步,以至于看不出您……对她表现得实在“太过”体贴了。
THE MEDIATRIX
(Standing firm)
Though you are a noble Princess, allow me to speak plainly: I am not so aged, nor so blind, that I cannot see… that your attentions to her are rather… excessive.
公主
(一个外交式但坚定的回击)
很好。等我们娱乐归来,我将为您眼力不济的冒犯请求原谅……
只要您也为您说我女主人气色不佳的冒犯而向我致歉。
PRINCESS
(Diplomatic yet firm)
Very well. Upon our return from our amusements, I shall forgive your lapse in judgment…
Provided that you, in turn, apologize for your offense in declaring my mistress’s complexion unwell.
(公主挽起海皮小姐的手臂,两人亲昵地一同退场,留下调解夫人独自一人,忧心忡忡地留在原地。)
(The Princess links arms with Lady Happy, and they exit intimately, leaving the Mediatrix alone, worried, behind.)

第四幕 · 第三场:海洋假面剧
ACT IV · SCENE III: The Ocean Masque
(场景变幻:一块巨大的、雕琢般的岩石自舞台中央升起,仿佛破浪而出的海中孤岛。公主扮作海神尼普顿,海皮小姐扮作海洋女神,两人并肩端坐于岩石之巅。众女士身着海绿色轻纱,宛如水中的仙子位列下方。整个舞台充满了流动的、梦幻般的蔚蓝光影。)
(Scene shifts: A massive sculpted rock rises from center stage, like a lone island breaking through the waves. The Princess appears as Neptune, Lady Happy as a sea goddess, seated together atop the rock. The ladies below wear sea-green veils, like nymphs of the water. The stage is bathed in flowing, dreamlike blue light.)
公主(作为尼普顿)
[唱] 我乃七海之王,万物之主,
一切水族皆为我仆。
服从我的威权,我的指令,
从陆地为我源源不断地献上贡品。
海水敞开它深邃的大门,
迎送那些由命运遣来的航船——
命运如晨露般,岁岁年年
从秘鲁的矿脉为我献上赤金!
风与潮汐从每一个国度,
将满载财富的舟船向我呈递;
船舰、货物、生灵——一切所有,
皆沉入我的深渊,化作祭献。
这大地的供奉如江河入海,
昭示我的权柄何等恢弘。
我王国的财富,容我向世人宣告,
早已超越了陆地的尘埃与群星的闪耀。
PRINCESS (as NEPTUNE)
[Song] I am king of the seven seas, master of all,
All aquatic beings serve as my subjects.
Obey my authority, heed my commands,
And from the land, bring offerings without end.
The ocean opens its deep gates,
Welcoming ships sent by fate—
Fate as dew, year after year,
Bearing Peru’s gold into my hands!
Wind and tide from every shore
Deliver vessels laden with treasure;
Ships, cargo, living creatures—everything,
Sinks into my abyss as sacrifice.
The earth’s offerings flow like rivers to the sea,
Revealing the grandeur of my dominion.
The wealth of my kingdom, I declare to all,
Surpasses both dust of land and stars’ bright thrall.
海皮小姐(作为海洋女神)
[唱] 我哺育着太阳,赐予它万丈光芒,
令它在那最深的黑夜中亦能闪亮。
我胸中升腾起湿润的雾气,
被它吮吸,由我培育,
否则它的烈焰将熄灭消亡,
世界或将焦灼,或将永堕凄凉。
LADY HAPPY (as SEA GODDESS)
[Song] I nurture the sun, granting it radiant light,
So it may shine even in the darkest night.
Mist rises from my breast,
Drawn in, nurtured by me,
Or else its blaze would fade and die,
And the world burn, or fall to endless woe.
公主(作为尼普顿)
[唱] 试问陆上生灵,谁能与我比肩,
享有如此纯粹的伟力与威严?
我的宫殿是坚固的礁岩,
出自自然之手,而非凡人指尖。
任何卑劣、虚伪与欺诈的伎俩,
在此都无处遁形,无一席之光。
在我辽阔的王国里,自然是唯一的向导,
她为我备好珍馐,满足我一切所需与所好。
PRINCESS (as NEPTUNE)
[Song] Tell me, mortals of the land, who can match me,
And possess such pure power and majesty?
My palace is steadfast rock,
Crafted by nature, not by mortal hands.
All deceit, fraud, and trickery
Find no refuge here, no single hiding place.
In my vast kingdom, nature is my sole guide,
Providing delicacies to fulfill my every need and desire.
海皮小姐(作为海洋女神)
[唱] 我的橱柜是斑斓的牡蛎之壳,
其中珍藏着我那东方明珠。
我借助潮汐开启它们——
那潮汐便是转动巨锁的钥匙。
我取出珍珠,缀成灿烂的冠冕;
我佩戴着那羞涩的红珊瑚,
它一触碰空气便会赧然。
我坐于银色的波浪上放声歌唱,
众鱼侧耳聆听,海面沉静安详。
而后,我端坐于岩石的宝座,
用细白的鱼骨梳理我的卷发。
当阿波罗挥洒出他的万道金光,
正为我烘干那带水的长发。
光辉釉亮了水波的容颜,
使这浩瀚海洋成了我的镜鉴。
当我在高高的海面上游弋,
我能看见自己那滑行的身姿。
但当烈日开始灼烧,
我便向那深水的巢穴归去,
潜入那极低的底渊。
于是水流在我头顶回旋,
化作卷曲的波浪与圆环;
我就这样,头戴一顶水之冠。
LADY HAPPY (as SEA GODDESS)
[Song] My cabinet is made of vibrant oyster shells,
Within lie my Oriental pearls.
I unlock them with the tide—
The tide itself the key to the great lock.
I take the pearls, crafting a radiant crown;
I wear the bashful red coral,
Blushing at the touch of air.
I sit atop silver waves singing aloud,
Fish bend attentive ears, the sea calm and still.
Then I sit upon my rock throne,
Combing my curls with fine white fishbones.
When Apollo casts his thousand golden rays,
They dry my water-laden locks.
Light gilds the waves’ faces,
Turning the vast ocean into my mirror.
As I glide over the high seas,
I see my own form in motion.
But when the scorching sun rises,
I return to my deep-water nest,
Diving into the lowest abyss.
The waters spiral above my head,
Transforming into curling waves and rings;
Thus I wear my crown of the sea.
公主(作为尼普顿)
[唱] 在幽暗深邃的水中央,
我在空心的岩穴里设立朝堂。
龙涎香制成我那芬芳的床榻,
供我柔弱的肢体安放。
我在那里休憩;当我沉睡时,
整个大海都在为我守卫安危。
而当我从睡梦中醒来,
必有一艘满载的船作为贡礼献来。
世上没有哪位君主拥有更多扈从,
亦没有哪座宫廷拥有更多仆从。
PRINCESS (as NEPTUNE)
[Song] In the dark, profound waters,
I hold court within a hollow rock.
Dragon’s amber forms my fragrant bed,
For my tender limbs to repose.
There I rest; as I sleep,
The entire ocean guards my safety.
And when I awaken,
A laden ship arrives as tribute.
No monarch on earth commands more attendants,
Nor palace holds more servants.
(人鱼侍女在侧侍奉, 人鱼男子随侍在身:有的身为参议官,为我料理一切军国重担;在我的水之王国,他们指引航向,辅佐江山。)
(Mermaid attendants serve, merman aides stand by: some are senators, managing all military and civil duties; in my aquatic kingdom, they chart the seas and guide the realm.)
(一位海中仙子上前,唱起欢庆的颂歌。)
(A sea nymph steps forward, singing a celebratory hymn.)
海中仙子
[唱] 我们水中仙子欢欣歌唱,
赞美海神尼普顿,我们的海洋之王;
身着海绿裙裳,我们翩翩起舞,
愿打动神心,得他垂青眷顾。
他以三叉戟平息了汹涌怒涛的纷争。
当他凯旋时阔步前行,
那驯服的海豚便是他的坐骑。
他所有的海之子民,从巨鲸到鳞介,
皆以欢呼簇拥着他,
祈求那繁荣的财富永世传下。
SEA NYMPH
[Song] We water-nymphs sing with joy,
Praising Neptune, our king of the seas;
In sea-green gowns, we dance lightly,
Hoping to touch his favoring heart.
With his trident he calms the raging waves.
When he triumphs, he strides forth,
The tamed dolphin becomes his mount.
All his ocean subjects, from whale to shell,
Gather to cheer, praying that prosperity
Endures through all generations.
(假面剧圆满结束。灯光渐暗,参与者缓缓退场。宏大的海洋幻象在迷雾中消散。)
(The masque concludes. Lights dim, participants slowly exit. The grand illusion of the ocean dissipates into mist.)

第五幕 · 第一场
ACT V · SCENE I
(场景:一间为舞会准备的华丽大厅。公主与海皮小姐上场。公主身着全套华贵的男性礼服,英姿飒爽。两人亲密地低语片刻。接着,在一个充满深切柔情与象征意义的举动中,海皮小姐从自己臂上取下一根缎带,赠予公主;公主亦回赠一根自己的缎带,并深情地亲吻了她的手。一个属于恋人的誓言,就此封缄。)
(Scene: A lavish hall prepared for a ball. The Princess and Lady Happy enter. The Princess wears full ceremonial male attire, striking and elegant. They exchange intimate whispers. In a gesture heavy with affection and symbolism, Lady Happy removes a ribbon from her arm and presents it to the Princess; the Princess reciprocates, gifting a ribbon in return and kissing her hand tenderly. A lovers’ vow is thus sealed.)
(她们短暂退场。全体人员上场准备起舞,音乐响起。众人正欲组队起舞,就在这时,调解夫人惊慌失措地冲了进来。)
(They briefly exit. All the attendants enter to dance; music begins. Just as couples are about to form, the Mediatrix bursts in, panic-stricken.)
调解夫人
女士们!女士们!你们全都被背叛了!全完了!
有一个男人——一个乔装改扮的男人——就混在庵堂里!
搜,只要搜一下,你们就能把他揪出来!
THE MEDIATRIX
Ladies! Ladies! You have all been betrayed! All is lost!
There is a man—a man in disguise—within the Convent!
Search! Just search, and you can root him out!
(现场陷入恐慌。女士们四散开来,惊惶地互相跳开,眼神中满是猜疑。唯有公主与海皮小姐岿然不动,她们并肩而立,如同一道坚不可摧的统一战线。)
(The hall erupts in panic. Ladies scatter, jumping aside in alarm, eyes filled with suspicion. Only the Princess and Lady Happy remain steadfast, standing side by side, a united, unbreakable front.)
公主
您可以尽管搜查,调解夫人。
但事后,我相信您定会请求我的原谅。
PRINCESS
Search if you will, Mediatrix.
But afterward, I trust you will ask my pardon.
调解夫人
凭我的信仰,我绝不!因为您就是这儿最可疑的一个!
THE MEDIATRIX
By my faith, I shall not! For you are the most suspicious here!
公主
但您刚才说,那个男人是假扮成女人的。
而我此刻身着的……可是男装。
PRINCESS
Yet you just said that man is disguised as a woman.
And now I wear… male attire.
调解夫人
胡扯!这根本无关紧要!
THE MEDIATRIX
Nonsense! It matters not at all!
(就在对峙即将升级时,一位衣着华贵的大使阔步入场。他无视旁人,径直走向公主并屈膝跪下。公主示意他起身。外部世界的秩序此刻已强行闯入了这座世外桃源。)
(As the confrontation threatens to escalate, a richly-attired Ambassador strides in. He ignores all others, approaching the Princess to kneel. The Prin(cess) gestures for him to rise. The order of the outside world has forcibly intruded into this secluded paradise.)
亲王
你为何而来?
PRIN(CESS)
Why have you come?
大使
殿下,您的议会长老们特派我前来。
您的臣民对您的长期缺席极为不满,如果您不尽快启程回国,他们将不惜入侵此邦——因为他们听闻您就在此处。
坊间甚至有传言,说您正遭到囚禁。
AMBASSADOR
Your Highness, your council elders have sent me.
Your subjects are deeply displeased with your prolonged absence.
If you do not return soon, they will not hesitate to invade this land—having heard you are here.
Rumor even claims you are held captive.
亲王
我确实是个囚徒。但并非为任何国家所囚,
而是为这位美丽的女士所囚。
(他紧紧握住海皮小姐的手)
从今往后,她便是你们的女王。
PRIN(CESS)
I am indeed a prisoner. But not of any nation—
I am held by this beautiful lady.
(S/he grips Lady Happy’s hand firmly.)
From now on, she shall be your queen.
(大使毫不犹豫,立即跪下亲吻了海皮小姐的手。她的新地位瞬间获得了政治承认。)
(The Ambassador kneels without hesitation and kisses Lady Happy’s hand. Her new status is immediately recognized politically.)
亲王
既然我的行踪已经暴露……
你且去往本国的议事会,告知他们我的所在以及其中原由。
告诉他们,我正式请求他们准许我迎娶这位女士。
(他停顿片刻,眼神中透出钢铁般的决心)
否则,就告诉他们,我将不惜动用武力来夺取她。
PRIN(CESS)
Since my whereabouts are now known…
Go to my council at home and tell them where I am and why.
Tell them I formally request permission to wed this lady.
(He pauses, eyes steely with resolve.)
If not, tell them I will take her by force.
(大使鞠躬退出。战争的威胁——既是浪漫的,也是政治的——瞬间笼罩在庵堂上空。)
(The Ambassador bows and exits. The threat of war—both romantic and political—instantly hangs over the Convent.)
调解夫人
哦,天哪!您……您该不会带一支军队过来,把这里所有的女人都抢走吧,会吗?
THE MEDIATRIX
Oh, heavens! You… you wouldn’t bring an army to seize all the women here, would you?
亲王
不,调解夫人。我们会唯独把您留下的。
PRIN(CESS)
No, l’Mediatrix. We shall leave only you behind.
(亲王与海皮小姐在众人的注视下并肩退场。他们是这场风暴的中心,留下其余人在困惑与沉默中面面相觑。)
(The Prin(cess) and Lady Happy exit together, side by side, under the gaze of all. They are the center of the storm, leaving the others staring at each other in confusion and silence.)

第五幕 · 第二场
Act V · Scene II
(场景:街头或某公共场所。调解夫人状极夸张地上场,用手帕捂着脸,发出一阵阵哀哀的哭号。)
(Scene: A street or public square. The Mediatrix enters in exaggerated distress, hiding her face with a handkerchief, wailing dramatically.)
调解夫人
哦,先生们!我真恨不得自己从未出生!我们都完了!全毁了!
THE MEDIATRIX
Oh, gentlemen! I wish I had never been born! We are ruined! All is lost!
谋士先生
怎么了?出了什么事?
COUNSELOR
What is the matter? What has happened?
调解夫人
怎么了?不,不,绝不——恐怕我有太多的“怎么了”要说了!
THE MEDIATRIX
What has happened? No, no, absolutely not—I fear I have far too many “what has happened” to recount!
谋士先生
到底是怎么回事?
COUNSELOR
What on earth is it?
调解夫人
怎么回事?天大的误会!我们把一个男人……给当成了女人!
THE MEDIATRIX
What is it? A tremendous mistake! We mistook a man… for a woman!
谋士先生
这个嘛,男人本来就是给女人准备的……
COUNSELOR
Well, men were made for women, after all…
调解夫人
胡扯!这我当然知道!
但是,有一个年轻男人穿着女装,堂而皇之地进了我们的庵堂!
天知道他背地里都干了些什么!
他长得英俊极了——这对“德行”来说简直是巨大的诱惑——
虽然我希望一切尚好,但这邪恶的世界什么脏水都往外泼!
我真担心我那些甜蜜的小鸟儿们全都……毁了。愿众神保佑她们。
THE MEDIATRIX
Nonsense! That I know very well!
But a young man, dressed as a woman, boldly entered our Convent!
Heavens alone know what he did in secret!
He is remarkably handsome—a tremendous temptation for virtue itself—
Though I hope all remains well, the wicked world drowns everything in filth!
I truly fear for my sweet little birds… may the gods protect them.
考特利先生
难道您就从未察觉?毫无蛛丝马迹吗?
MR. COURTLY
Surely you noticed something? Not the slightest clue?
调解夫人
只有那么一回……我亲眼瞧见他亲吻了海皮小姐。
你们是知道的,女人和女人亲嘴,这本身就……有点儿不合常理。
可当时我觉得,她们亲吻的那股劲头……比寻常女人要热切得多,
带着那么点儿……撩人的意味。简直太带劲了。
THE MEDIATRIX
Only once… I saw him kiss Lady Happy.
You know, a woman kissing a woman is… somewhat unusual.
But then I thought, the passion with which they kissed—far more fervent than ordinary women—
with a touch of… seduction. It was exhilarating!
谋士先生
既然如此,您当时为什么不查个究竟?!
COUNSELOR
If so, why did you not investigate immediately?!
调解夫人
她们会说我是个老糊涂、是个嫉妒的傻瓜!
她们会嘲笑我的!
但“经验”是很重要的。要不是众神慈悲……
那个男人可能就朝我扑过来了。
THE MEDIATRIX
They would call me a dotard, a jealous fool!
They would laugh at me!
But “experience” is crucial. Were it not for the gods’ mercy…
that man might have leapt upon me.
考特利先生
扑向您?那又能怎样?
MR. COURTLY
Leap upon you? And what then?
调解夫人
不,不,绝不!
就算他扑过来,我也根本不在乎。
我蔑视肉欲,如同我唾弃魔鬼!
但如果我能拯救我那些甜蜜的年轻贞女,
我情愿为她们牺牲我的身体!
我们生来不是为了自己,而是为了他人!
THE MEDIATRIX
No, no, absolutely not!
Even if he leapt, I would not care.
I despise lust as I spurn the devil!
But if I can save my sweet young virgins,
I would sacrifice my own body for them!
We are born not for ourselves, but for others!
谋士先生
这真是……虔诚至极的言辞。充满了爱心与仁慈。
COUNSELOR
Truly… words of utmost piety. Filled with love and compassion.
调解夫人
不,不,绝不。我读过《虔行实践》。
但还有一件事——他们说他其实是位外国亲王。
而且据说……他们两人表现得非常、非常热情。
THE MEDIATRIX
No, no, absolutely not. I have read Practice of Piety.
But there is yet another matter—they say he is a foreign prince.
And it is said… they behaved with extraordinary, extraordinary ardor.
考特利先生
您可是“调解夫人”啊!您得去调解,去促成友谊!
MR. COURTLY
But you are La Mediatrix! You must reconcile, foster friendship!
调解夫人
老天爷,您在胡说什么?调解?我怕他们已经是“太好”的朋友了!
这事会传遍整个宫廷、城镇和乡野!
会出现在私信里,登在公报上,甚至会被编成那些可恶的歌谣!
我们会被那些自命不凡的才子们嘲笑至死的!
但是先生们——请保守这个秘密!千万别说是我说的!
虽然你们很快就会听到满城的议论。
THE MEDIATRIX
Heavens! What nonsense is that? Reconcile? I fear they are already “too good” friends!
This news will travel through court, town, and countryside!
It will appear in private letters, in gazettes, even set to those detestable ballads!
We will be laughed to death by self-important poets!
But gentlemen—please keep this secret! Do not say it came from me!
Though you shall soon hear the whole city buzzing.
谋士先生
调解夫人,这已经不是秘密了。全城的人都知道了。
国家正在准备盛大的宴席来款待那位亲王。
COUNSELOR
L’Mediatrix, it is no longer a secret. The whole city knows.
The state is preparing a grand feast to honor the prince.
调解夫人
主啊!瞧瞧坏消息传得有多快!
THE MEDIATRIX
Lord! How swiftly ill news spreads!
考特利先生
对我们这些追求者来说,这确实是天大的坏消息……
MR. COURTLY
For us suitors, indeed, this is most grievous news…
谋士先生
算了吧,我们之前也不过是在想象中追求,从未触及现实。
COUNSELOR
Let it be. Previously, we only pursued in imagination, never in reality.
调解夫人
但你们确实都曾抱有希望。
THE MEDIATRIX
Yet you did all harbor hope.
谋士先生
确实。但最终是那位亲王摘取了果实。
据说亲王已与她定下婚约。
国家也乐见其成——朝廷视此为荣耀,正指望着能从中大获裨益呢。
COUNSELOR
Indeed. But in the end, the prince claimed the prize.
It is said he is betrothed to her.
The state welcomes it—the court sees it as an honor, hoping to profit greatly.
调解夫人
是啊,是啊。但有个古老而真实的谚语:‘杯已到唇边,尚可能失手。’(意指煮熟的鸭子也可能飞了)
THE MEDIATRIX
Yes, yes. Yet an old and true saying remains: “Even when the cup reaches the lips, it may still slip.” (Meaning: the cooked duck may yet fly away.)
(他们各怀心思地退场。男人们显得一败涂地,调解夫人则陶醉在自己这个悲剧性的“见证者”角色中。)
(They exit, each lost in thought. The men appear utterly defeated, while the Mediatrix luxuriates in her role as tragic “witness.”)

第五幕 · 第三场:婚礼与收场白
Act V · Scene III: The Wedding & Epilogue
(场景:盛大的行进队列。亲王身着华丽的男性婚服,与身着新娘礼服的海皮公主手牵手,走在由随从高举的华盖下。城市长官领头,随后是双簧管乐手和众宾客。他们入场,仿佛直接从神圣的婚礼殿堂归来,空气中弥漫着公开且被认可的胜利氛围。)
(Scene: A grand procession. The Prin(cess), dressed in splendid male attire, walks hand in hand with Lady Happy, wearing her bridal gown, under a canopy carried by attendants. City officials lead, followed by oboists and guests. They enter as though returning directly from a sacred wedding hall, the air suffused with recognized triumph.)
(众人纷纷向这对新婚夫妇道贺,亲王与公主含笑致谢。)
(Guests congratulate the newlyweds, who smile and thank them.)
调解夫人
(迫不及待地挤到人群最前面)
尽管殿下您即将离去,但恳请您在临走前,再为我们跳一支舞吧!
THE MEDIATRIX
(Eagerly pushing to the front)
Though Your Highness is about to depart, I beg you, dance once more for us before you go!
亲王
在离开之前,我们不仅要跳舞,还要尽情宴饮。
(深情地对海皮公主说)
来,我的爱人,让我们再舞一曲……权当是为了取悦这位调解夫人。
PRIN(CESS)
Before leaving, we shall not only dance but feast to our heart’s content.
(S/he addresses Lady Happy with affection)
Come, my love, let us dance once more… for the pleasure of this Mediatrix.
(亲王与海皮公主跳起一支正式而优美的舞蹈。这是她们作为新婚夫妇的第一次公开亮相。一曲终了,众人鼓掌。)
(The Prin(cess) and Lady Happy perform a formal, elegant dance—their first public appearance as newlyweds. At its conclusion, the crowd applauds.)
亲王
现在,尊贵的朋友们,请各位尽情起舞。公主与我将稍事休息。
PRIN(CESS)
Now, dear friends, dance freely. The Princess and I shall rest briefly.
(宾客们开始跳舞。海皮公主在人群中注意到了贞洁夫人,以及一直跟在她身边的弄臣米米克。)
(The guests begin dancing. Lady Happy notices the Chaste Governess and the jester Mimick, who has remained nearby.)
海皮公主
(对贞洁夫人说)
贞洁夫人,我看您还留着米米克呢。
(转向亲王)
这就是我曾向您提过的那个米米克。
(对米米克)
米米克,你可愿离开你的女主人,随我而去?
LADY HAPPY
(To the Chaste Governess)
Governess, I see you have kept Mimick close.
(To the Prin(cess))
This is the Mimick I mentioned.
(To Mimick)
Mimick, will you leave your mistress and come with me?
米米克
哎呀,我可是个结了婚的人啦!
我娶了我女主人的女仆楠(Nan)。她会把我死死地拴在家里,任凭我有天大的能耐也施展不开。
不过,您现在已经有了属于您自己的“模仿者”啦——因为亲王殿下不是早就已经完美地“模仿”过女人了吗?
MIMICK
Ah, I am a married man!
I wed my mistress’s maid Nan. She keeps me tightly bound at home, no matter my abilities.
Yet now, you have your own “imitator”—for the Prin(cess) has already perfectly “imitated” a woman, hasn’t she?
海皮公主
你这无赖!你是在暗示我是个傻瓜吗?
LADY HAPPY
You scoundrel! Are you implying I am a fool?
米米克
小人不敢,殿下!除非……这天底下的女人全都是傻瓜。
MIMICK
I dare not, Your Highness! Unless… all women in the world are fools.
亲王
那么,你的妻子也是傻瓜吗?
PRIN(CESS)
Then is your wife a fool as well?
米米克
常言道,丈夫加妻子,合起来也只能凑成一个傻瓜。
(他戏剧性地跪倒在地)
小人有一桩卑微的请求,呈予殿下。
MIMICK
As the saying goes, husband and wife together barely make a fool.
(He kneels dramatically)
I have a humble request to present to Your Highness.
亲王
平身吧。所求何事?
PRIN(CESS)
Rise. What is it you ask?
米米克
恳请您将那座“庵堂”平分为二:
一半分给天下的傻瓜,另一半分给天下的已婚男子——
就权当是分给疯子吧。
MIMICK
I beg you to divide the Convent in two:
Half to the world’s fools, the other half to all married men—
or, let us call it a gift to the lunatics.
亲王
我更愿意将它分给处女与寡妇。
PRIN(CESS)
I would rather give it to virgins and widows.
米米克
那它倒真会成为名副其实的“快活庵”了!
可惜她们永远无法和睦相处……尤其是如果其中还混进了一个乔装打扮的亲王。
不,依我看,您最好把它赐给那些年老体衰、长年卧床的妇人们。
那样,或许可以称之为“慈善庵”……如果实在没法叫它“贞洁庵”的话。
MIMICK
Then it would truly be a “Convent of Pleasure”!
Alas, they could never coexist peacefully… especially with a prince in disguise among them.
No, in my view, it is best given to elderly, infirm, long-bedridden women.
Then perhaps it could be called a “Charity Convent”… if it cannot properly be the “Convent of Chastity.”
亲王
(被逗乐了)
好吧,为了彰显我的仁慈,也为了保全你妻子的贞洁,我将赏赐你一笔财富。
但有一个条件:由你来念本剧的收场白。
(对众人宣告)
来吧,尊贵的朋友们!让我们在分别前尽情地宴饮庆祝!
PRIN(CESS)
(Amused)
Very well, to demonstrate my mercy, and preserve your wife’s chastity, I will grant you a fortune.
But on one condition: you shall deliver the play’s epilogue.
(To all)
Come, dear friends! Let us celebrate and feast before parting!
(婚礼行列在乐声中退场。米米克被独自留在舞台中央,显得有些不知所措。)
(The wedding procession exits to music. Mimick remains center stage, looking flustered.)
米米克
收场白?他说让我念收场白?我哪儿来的什么收场白!
让我想想……
(他焦躁地踱步,自言自语)
有了,有了……不,老实说,我根本没有。我撒谎了。我说我没有。呸,米米克,你竟然要撒谎吗?是的,米米克,只要我乐意,我就要撒谎!
但我得说,它不见了。什么不见了?收场白。你什么时候有过它?我从未有过。
那你就不算丢了它。虽然这是一回事,但我必须念它,尽管我从未拥有过它。
你如何能念出你从未拥有的东西?哎呀,这倒真是个哲学问题。
但既然言语本是虚无,那么收场白自然也是虚无,所以我大可以念一段“虚无”。
那么……“虚无”便是我的致辞!
MIMICK
The epilogue? He said I must deliver the epilogue? Where do I even have an epilogue!
Let me think…
(He paces anxiously, muttering to himself)
Ah, yes, no, truthfully, I have none. I lied. I said I had none. Bah, Mimick, are you to lie? Yes, Mimick, if I wish, I will lie!
But I must say it is lost. What is lost? The epilogue. When did you ever have it? Never.
Then it cannot be lost. True, but I must recite it, though I never had it.
How can one speak of what one never possessed? Ah, truly a philosophical puzzle.
But since words themselves are naught, the epilogue is naught too, so I may speak a “nothing.”
Then… “Nothing” shall be my address!
(米米克在一片荒诞而喜剧性的僵局中退场。片刻后,莫尔·卡特普斯大摇大摆地重新上场,她依旧身着男装,准备为全剧画上真正的句号。)
(Mimick exits amidst absurd, comedic confusion. Moments later, Moll Cutpurse strides back on stage, still in male attire, ready to deliver the true finale.)
莫尔·卡特普斯(收场白二)
[唱]
尊贵的看官,借着这点微弱的烛光,
我不知该说些什么,只能先道声晚安。
我不敢厚着脸皮乞求掌声——
否则我们的女诗人,定会勃然大怒,用她的笔尖将我刺穿;
因为她根本不在乎,也从来毫无畏惧——
纵使你们不喜欢这戏,她也全不在意!
但我仍会哭泣,我内心的无尽悲伤,
会化作泪水之河,从我的双眼中流淌。
可怜的米米克,他会因为这寂静悲痛而亡。
到那时,出于怜悯,你们或许也会哭上一场。
但如果你们愿意,可以为他赐下一剂良方,
那便是由诸位的赞美调制而成——好让他能活得久长。
(莫尔·卡特普斯帅气地深深一鞠躬。全剧终。)
MOLL CUTPURSE (Final Epilogue)
[singing]
Honored audience, by this faint candlelight,
I know not what to say, so I bid you good night.
I dare not shamelessly beg for applause—
Else our lady poet would strike me with her pen in wrath;
For she cares not at all, and fears nothing—
Though you dislike this play, she is unmoved!
Yet I shall weep, my endless sorrow,
Turning to rivers of tears flowing from my eyes.
Poor Mimick, he shall perish from silent grief.
Then, in mercy, perhaps you too shall shed a tear.
And if you will, grant him a remedy,
A draught composed from your praises—so that he may live long.
(Moll Cutpurse bows gracefully. The End.)

THE FOOL [0] Soul of the Stukhtra

05 Thursday Jan 2023

Posted by babylon crashing in Feminism, Illustration and art, Tarot

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quote unquote, Syssk, Tarot of Syssk, the fool

Far out in the uncharted backwaters of the unfashionable end of the Western Spiral arm of the Galaxy lies a small unregarded yellow sun. Orbiting this at a distance of roughly ninety-eight million miles is an utterly insignificant little blue-green planet whose ape-descended life forms are so amazingly primitive that they still think digital watches are a pretty neat idea. This planet has – or rather had – a problem, which was this: most of the people living on it were unhappy for pretty much all of the time. Many solutions were suggested for this problem, but most of these were largely concerned with the movement of small green pieces of paper, which was odd because on the whole it wasn’t the small green pieces of paper that were unhappy. And so the problem remained; lots of people were mean and most of them were miserable, even the ones with digital watches. ~ Douglas Adams

All stories must start somewhere.

In your grandmother’s Tarot deck the Fool is the ultimate free spirit, that proto-Flower Child who is the embodiment of beginnings, innocence and spontaneity. It is the first and last card since Zero is liminal, being both everything and nothing. We like to remind ourselves that, “We are stardust, we are golden/ We are billion-year-old carbon.” All this is true, and yet the gendered essentialism found in so much of that Tarot deck will only take us so far. Perhaps to the cliff for you, but certainly not over it for me. For that we need to find something else. As Nancy Baker puts it:

There’s a strong streak of anti-essentialism in Feminism, just as there is in Buddhism. It is the understanding that something like gender is not fixed or absolute, that not all women or men have some masculine or feminine essence that defines them. To put it in Buddhist terms, gender has no “self-nature.”

Western Pop Culture likes to claim that Buddhism is logical, agnostic and liberal in matters of gender and sexuality, conveniently overlooking all the misogynist views that the Buddha himself had about women, “of all the scents that can enslave a man none is more lethal than that of a woman.” For those of us who refuse or attempt to transcend such man-made concepts this critique is important because what we are searching for is liberation. There is nothing “enlightened” in any social structure that clings to ideas of rigid sexual morality and assigns half the world a secondary role simply by existing.

“Do not go where the path may lead,” Ralph Waldo Emerson reminds us, “go instead where there is no path and leave a trail.”

How Syssk found herself marooned in ancient Japan, surrounded by folks who consider her unenlightened simply by existing is unimportant. The question isn’t whether she is capable of spiritual growth, we are all capable of that, the question is what are the forces attempting to block her and you from that growth? Discard everything that gets in your way and The Way (The Tao) opens before you.

This is Syssk’s path and so it will be ours as well.

[an earlier version of the fool; the design of the xenomorph was much closer to h.r. giger’s original vision, though the blue figure was taken directly from robbie morrison’s shakara (2012) … always cite the sources that you purloin]

NOTES ON NOTES:

I have been told that my handwriting is almost illegible, so I will reproduce my notes here:

Sibylline Xenomorphia

In almost all the riddle-like koan the striking characteristic is the illogical or absurd act or word. A monk once asked, “What is Buddha?” The master replied, “Three pounds of flax.” Or a Zen master remarked, “When both hands are clapped a sound is produced; listen to the sound of one hand.” ~ Heinrich Dumoulin

I alone seem to have lost everything. Mine is indeed the mind of a very idiot. So dull am I. The world is full of people that shine; I alone am dark. ~ Tao Te Ching

Chaos is the Formless Void but the Void is not Chaotic.

My soul is a black maelstrom, a great madness spinning about a vacuum, the swirling of a vast ocean around a hole in the void, and in the waters, more like whirlwinds than waters, float images of all I ever saw or heard in the world: houses, faces, books, boxes, snatches of music and fragments of voices, all caught up in a sinister, bottomless whirlpool. ~ Fernando Pessoa

Giving birth to nothingness/ Giving birth to death/ Such terrible words/ I heard on the border/ Between dream and reality ~ Yosano Akiko

because I don’t have spit/ because I don’t have rubbish/ because I don’t have dust/ because I don’t have that which is in air/ because I am air/ let me try you with my magic power ~ Anne Waldman

enthralls

09 Thursday Jul 2020

Posted by babylon crashing in Erotic, Feminism, Poetry, sonnet

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conversations with imaginary sisters, enthralls, erotic poetry, make it vulgar, poem, radical change, sex positive feminism, sonnet

After class you lingered, interested if
I’d help with your homework on pro-sex

feminism? –– back home? –– over a spliff
and witch wine? Liberation is complex.

You peeled out of your dress. We fucked; ragdolls
smeared with cum. Sexual freedom is rare ––

but we have choices –– and lust that enthralls;
lust that saves radical change from nightmare.

Affair without nightmare. Broken fuck toys
healing. “No, here,” you say, guiding my cock

to your ass’ gaped O –– “Make it vulgar.”
Vulgar pleases. We make fuck-slushy noise.

We laugh. Others will call this porn and schlock.
This bliss is what others want to censure.

Image

moxie

01 Friday Nov 2019

Tags

atlas, certain physiques, men's myth, moxie, poem, Poetry, sonnet, why I need Feminism

First I drew her muscles. She had obliques
that would make titans sigh. Her broad shoulders

carried the weight. There are certain physiques
only found in men’s myth, though the daughters

of the gods come in all sizes. I drew
her as she held the world aloft. It’s odd

to call Atlas male. The one that I knew
had no machismo … just mortal, no god,

no false ennui. At her feet I drew her
sisters. That’s who she carried this for, with

a horned-moon on her forehead, storms above
her hips. — I’ve never had a big sister

like what I drew; one made not from men’s myth
but her own common muscles, common love.

Posted by babylon crashing | Filed under Feminism, Poetry, sonnet

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blue-fox acid

03 Tuesday Sep 2019

Posted by babylon crashing in Feminism, Poetry, sonnet

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ars poetica, blood of witch and nerd, blue-fox acid, gnostic libation, poem, Poetry, seraphic truth, sonnet

All my sisters are feminists; all my
mothers gods. But, like in Recovery,

there are three passions that I still deny
I do: 1) Of the tricksters, that foxy

blue-fox acid drove all my low gnostic
thoughts. 2) Once cum was our libation;

now it’s sacrifice. 3) I was shaman
for you, infidel. Back when seraphic

truths felt down and dirty, I thought constant
carnal acts could free us, since chastity

was a curse. I was wrong both times, clearly.
Odd. These days there’s no talk of cock or cunt,

and though I have the blood of witch and nerd,
somehow, “lechery,” is just one more word.

fucktard

11 Wednesday Jul 2018

Posted by babylon crashing in Feminism, Poetry, self-portrait, sonnet

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fucktard, poem, Poetry, queer love, sonnet, stay classy, we love, we rise, words always matter

We are swine, wild boars among the bluegrass

and salt-stained rocks. We are bitches, each teat

 

engorged, each rump distended. We are sass

and rage. Each foul word you use to mistreat

 

others — fucktard, ignoramus, nitwit —

that is us, too. Why does liberation

 

for you crave vile behavior? I’m unfit

to judge, clearly. Still, I love my cousin

 

even if my cousin doesn’t love me.

Today’s rebel is tomorrow’s tyrant

 

without this connection, without these ties

to each other that make us family.

 

We own the words that you use: faggot, cunt,

‘tard. So we defy you. We love. We rise.

ch’iu chin: i die unfulfilled

11 Wednesday Oct 2017

Posted by babylon crashing in Chinese, Feminism, Historic Research, Poetry, Translation

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ch'iu chin, Chinese translation, 秋风秋雨愁煞人, essay, i die unfulfilled, Poetry, Qiu Jin, translation

autumn rain/ autumn wind/ i die unfulfilled

Poetry translation is never an exact science. Taking a concept, rich with metaphors, from one language and somehow then discovering a similar meaning in another has challenges. How does one find that original essence – the core of what the poet was trying to say – in an alien tongue? I have always found translation to be a synthesis of everything that has been done before my attempt and then a smoothing out of all the rough bits into something that sings to me. If there was a philosophy to this it’d go: be illiterate in all languages, just resonate with the soul of what is being said. I suppose that is the difference between professionals and amateurs. I will always be an amateur. To misquote the Japanese haiku poet Issa: “there will always be farmers/ laboring in the fields/ I don’t feel guilty.”

Today I turn my attention to the Chinese radical feminist, revolutionary and martyr, Ch’iu Chin (better known through modern translation as Qiu Jin). If you’ve never heard her name before just know this: she was a lesbian poet who tried to overthrow the Qing dynasty in 1907 and then was executed, beheaded. One day someone will translate all her poetry, essays and speeches into English and that will be a blessing. Just now I am only looking at her last words, her death poem. They’re simple, they look like this:

秋风秋雨愁煞人

Technology fails us. According to Google Translate we get, “Autumn autumn rain sad people.” which are at least English words strung together in some sort of order. And yet they fail to capture any meaning of these words. First let me reprint the best translation that I’ve found:

Autumn rain, autumn wind/ I die of sorrow.
[from the documentary, Autumn Gem]

Now let me tell you why this is so good. Ch’iu Chin’s name literally translates into, “Autumn Gem,” and the ‘autumn’ is the metaphor that works in this poem. By the time of her capture she was burned out, depressed and had realized that her revolutionary goals would never happen. She let herself be captured and executed so that she could become one of the Chinese heroines of myth who rose up to fight for women during times of oppression.

As one says, there are no bad translations, just different interpretations. I point out these simply because they were faithful to the words on the page but the translators did not seem to know why the words were written:

O Autumn Winds chilly, O Autumn Rains chilly, (Why you are spilling)
Frank C Yue

Autumn wind autumn rain makes one gloomy
Lu Yin, from Imagining Sisterhood in Modern Chinese Texts, 1890–1937

For whom does the autumn rain and wind lament?
Sjcma

All of which, out of context, still works. Getting executed would make one gloomy. Then there is the fact that Ch’iu Chin became a symbol for the 1911 Revolution and her words were used to express the woes of other people, and thus we get the royal ‘we’

Autumn wind and rain have brought overwhelming grief to many
Albert Chan

The sorrow of autumn wind and autumn rain kills
China Heritage Quarterly

Again, this is all just a matter of interpretation of what comes before. Like I said, I can’t read Chinese, I can just guesstimate from the works of others. If I’m wrong … then I’m wrong and this was just a curious post won’t mean anything. Still, I love the poetry of Qiu Jin and if I can be part of helping her find an English audience then my day is good. Two translations that I think are kind of marvelous:

Autumn wind and autumn rain often bring forth unbearable sorrow
Alan Cykok

The autumn wind and autumn rain agonize me so much.
Badass Women of Asia

Quote

book review: a history of Armenian women

22 Monday Feb 2016

Posted by babylon crashing in Armenia, Feminism, quote unquote

≈ Comments Off on book review: a history of Armenian women

Tags

Anahit Harutyunyan, Anet Shamirian, Armenian feminism, pinkarmenia, reblog, The Century of Outstanding Women

taken from the website, PINKArmenia:

History shows, that Armenian women have long taken part in public life. During different centuries women’s participation in public life was expressed in various ways. Armenian women, indeed, have left their trace on the course of Armenian history, and, despite the statement that Armenian is a revered nation, today we don’t know about the outstanding women of our own history.

Do they do not deserve to be mentioned? Were these women not influential enough? Why don’t we know about them?

For centuries many of our intellectuals have referred to women’s issues, and have followed their political and social activities. The situation differs now. Few of our intellectuals refer to women’s activities, but, nevertheless, there are still those who are trying to revive long-forgotten history of our women intellectuals, politicians and public figures, artists and other influential individuals.

Anahit Harutyunyan had a great contribution in the process of introducing to us our ancestress. She is the author of the book “Century of Outstanding Women”, which covers notable Armenian women’s social activities at 19th and 20th the beginning of centuries.

Based on historical facts, it becomes clear, that men and women were equal in Armenian society. In our history women didn’t have a subordinate position nor did they have the stereotype that a man should rule over his wife. In fact, this model, which dates back centuries, is quite unfounded.

This book creates a clear picture of an old, traditional family. The book describes the role of men and women not only in the family, but also in social and political spheres. It is important to mention that in Europe, until the 20th century, women were fighting for their right to vote, while in Armenia, during the establishment of the First Republic (1918), the question didn’t even arise whether women can vote or not? Armenian women both voted and were elected. In Parliament of First Armenian Republic, there were three women: Katarine Zalyan-Manukyan, Varvara Sahakyan, Perchuhi Partizpanyan-Barseghyan. Throughout the end of the 19th century and the beginning of 20th century women’s issues dominated in Armenian media.

Women’s involvement in social sphere was also great. After working out the struggle of National Liberation, the problem of enlightenment arose, without which it would be impossible to unite the nation. It was decided that women could best solve the issue of education, so, at first, it was determined that women needed to be educated. All Around Eastern and Western Armenia schools for girls were opened. That was a powerful movement which was justified. After leaving schools, girls were founding organizations, 90 percent of which were in charge of educational affairs. These women left a huge trace on the history of education.

“The Century of Outstanding Women” breaks many stereotypes about Armenian women and female-male relationships, which have existed in our society for centuries. It browses dusty pages of our history: we can’t read this history in any textbook and there are few who are able to recount these stories. Unfortunately, we don’t recognize our outstanding women and, as long as we remain uninformed moving forward will be much slower and more difficult. It is time to learn and share the prominent Armenian women’s in history.

In the original Armenian:

Պատմությունը վկայում է, որ հասարակական ակտիվ գործունեություն ծավալելը երբեք էլ օտար չի եղել հայ կանանց համար: Տարբեր դարաշրջաններում կանանց մասնակցությունը հասարակական կյանքին տարբեր ձևերով է արտահայտվել: Հայ կանայք, միանշանակ, իրենց հետքն են թողել հայոց պատմության ընթացքի վրա, և, չնայած այն պնդմանը, որ հայ ազգը կնամեծար է, այսօր մենք չգիտենք մեր իսկ պատմության երևելի կանանց:

Մի՞թե այդ կանայք արժանի չեն հիշատակվելու, մի՞թե այդ կանայք բավականաչափ ազդեցիկ չեն եղել, ինչու՞ մենք չենք ճանաչում նրանց:

Դարեր շարունակ մեր մտավորականներից շատերն են անդրադարձել կանանց հարցին, հետևել կանանց քաղաքական և հասարակական գործունեությանը: Այսօր պատկերն այլ է. մեր մտավորականների շրջանում քչերն են անդրադառնում կանանց գործունեությանը, բայց, այնուամենայնիվ, կան դեռ այնպիսիք, ովքեր փորձում են վերակենդանացնել պատմության էջերում վաղուց մոռացված մեր կին մտավորականներին, քաղաքական և հասարակական գործիչներին, արվեստագետներին և այլ ազդեցիկ դեմքերին:

Անահիտ Հարությունյանը մեծ ներդրում ունի մեր նախամայրերի հետ մեզ ներկայացնելու գործում: Նա «Երևելի տիկնանց դարը» գրքի հեղինակն է, որտեղ լուսաբանում է 19-րդ դարի և 20-րդ դարասկզբի երևելի հայ կանանց հասարակական գործունեությունը:

Պատմական փաստերի հիման վրա պարզ է դառնում, որ հայ հասարկությունում կանայք և տղամարդիկ եղել են հավասար: Մեր պատմությունում կինը ստորադաս դիրք երբևէ չի ունեցել, և այն կարծրատիպացած պնդումը, թե տղամարդը պետք է իշխի կնոջը, և թե այս մոդելը դարերի պատմություն ունի, միանգամայն անհիմն է:

Այս գիրքը հին հայկական ավանդական ընտանիքի հստակ պատկեր է ստեղծում: Գրքում հստակ նկարագրված է կնոջ և տղամարդու դերաբաշխումը ոչ միայն ընտանիքում, այլ նաև քաղաքական և հասարակական ոլորտներում: Հարկ է նշել այն փաստը, որ Եվրոպայում կանայք մինչև 20-րդ դար պայքարել են ընտրական իրավունքի համար, մինչդեռ Հայաստանում առաջին հանրապետության ստեղծման ժամանակ (1918 թ.) նույնիսկ հարց չի ծագել` կանայք ունե՞ն ընտրելու իրավունք, թե՞ ոչ: Հայ կանայք և՛ ընտրել են, և՛ ընտրվել: Հայաստանի առաջին հանրապետության խորհրդարանում 3 կին պատգամավոր կար` Կատարինե Զալյան-Մանուկյան, Վարվառա Սահակյան, Պերճուհի Պարտիզպանյան-Բարսեղյան: Ամբողջ 19-րդ դարի վերջում և 20-րդ դարի սկզբում հայկական մամուլում գերակա էր կանանց հարցը:

Հասարակական ոլորտում կանանց ներգրավվածությունը նույնպես մեծ էր: Ազգային-ազատագրական պայքարի ծրագիրը մշակելուն պես` առաջ եկավ լուսավորության խնդիրը, առանց որի հնարավոր չէր լինի համախմբել ազգը: Որոշվեց, որ կրթության հարցը լավագույնս կարող են լուծել կանայք, ուստի առաջին հերթին որոշում կայացվեց կրթել կանանց: Արևմտյան և Արևելյան Հայաստանի ամբողջ տարածքում սկսեցին բացվել օրիորդաց դպրոցներ: Դա մի հզոր շարժում էր, որն արդարացրեց իրեն: Աղջիկները դպրոցն ավարտելուն պես կազմակերպություններ էին հիմնում, որոնց 90 տոկոսը զբաղվում էր կրթական հարցերով: Այդ կանայք կրթության պատմության մեջ խոր հետք են թողել:

«Երևելի տիկնանց դարը» գիրքը շատ կարծրատիպեր է կոտրում հայ կանանց և կին -տղամարդ հարաբերությունների մասին, որոնք մեր հասարակությունում գոյություն ունեն դարեր շարունակ: Այն թերթում է մեր պատմության փոշոտված էջերը. այս պատմությունը չենք կարող կարդալ ոչ մի դասագրքում, և ոչ ոք մեզ չի պատմի դրա մասին: Ցավոք, մենք չենք ճանաչում մեր կարկառուն կանանց և, քանի դեռ տեղեկացված չենք, առաջ շարժվելը շատ ավելի դանդաղ և դժվար կլինի: Ժամանակն է իմանալ և տարածել երևելի հայ կանանց պատմությունը:

wet charcoal

04 Friday Sep 2015

Posted by babylon crashing in Feminism, Poetry, sonnet

≈ Comments Off on wet charcoal

Tags

crone, don't get cocky, maiden, mother, poem, Poetry, slashed bole, sonnet, wet charcoal

Don’t get cocky — Everything can get blown
apart. There’s no help the way I’m wired.

Vast sky: I am small. Mother, Maiden, Crone:
be with me as I drift — I’m still tired.

My name sounds rough in your tongue. This slashed bole
of a stump means that there’s no way I can

cling tight, I’ll just leave smears like wet charcoal.
I’ve read the Bible, Torah and Koran:

all man-made laws that restrict my sisters
restrict me — When they came for the sissies

and the butches I was high strung enough
to stand my ground, though there are some horrors

you can’t beat — how do I love these slashes
or find a name that doesn’t sound rough —

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