易卜生:把體面家庭的祕密搬上舞台的人 Henrik Ibsen: The Playwright Who Staged the Secrets of Respectable Households

易卜生:把體面家庭的祕密搬上舞台的人 Henrik Ibsen: The Playwright Who Staged the Secrets of Respectable Households

● 字源與歷史概念

drama(戲劇)源自希臘文 drama,意為「行動、所做之事」,來自動詞 dran(做),所以戲劇字面上是「被做出來的事」。respectable(體面的)源自拉丁文 respectare,由 re-(回)加 spectare(看)構成,字面是「回頭看」,引申為「值得被尊重」。refuge(避難所)源自拉丁文 refugium,由 re-(回)加 fugere(逃)構成。secret(祕密)源自拉丁文 secretus,由 se-(分開)加 cernere(篩、分辨)構成,字面是「被分開藏起來的」。expose(揭露)源自拉丁文 exponere,由 ex-(出)加 ponere(放置)構成,字面是「放到外面」。outrage(激怒)源自古法語 outrage,來自 outre(超出、過度),與 rage(憤怒)無關,只是後來字形相近而被聯想在一起。

背景: 亨里克·易卜生(Henrik Ibsen)1828 年生於挪威希恩(Skien),1906 年在奧斯陸(當時稱克里斯蒂安尼亞)去世。他早年在卑爾根與奧斯陸的劇院工作,1864 年離開挪威,在義大利與德國住了約二十七年,1891 年才返國定居。他在國外寫成詩劇《布蘭德》(1866)與《培爾·金特》(1867),奠定名聲,之後轉向散文體的社會問題劇。

主要作品: 《玩偶之家》(1879)、《群鬼》(1881)、《人民公敵》(1882)、《野鴨》(1884)、《海達·蓋布勒》(1890)、《建築師》(1892)。《玩偶之家》結尾娜拉離家出走,引起廣泛爭議;《群鬼》涉及遺傳疾病與偽善,出版後遭到許多劇院拒演。

核心概念:

Social problem play(社會問題劇): 把婚姻、金錢、名譽等現實問題放進客廳場景,以對話推進衝突。

Hidden secrets(隱藏的祕密): 劇情常由一個被掩蓋的過去逐步揭開,表面的和諧隨之崩塌。

Individual vs. convention(個人與成規): 人物在誠實與體面之間被迫選擇。

Father of modern drama(現代戲劇之父): 後人常用的稱號,蕭伯納 1891 年的《易卜生主義的精髓》是早期的重要推介,也與前面幾題的蕭伯納脈絡相連。

同源與核心詞彙: drama(戲劇)、respectable(體面的)、refuge(避難所)、secret(祕密)、expose(揭露)、outrage(激怒)

● 全新例句(94 字)

Born in Skien in 1828, Ibsen, who left Norway in 1864 and did not settle there again for twenty-seven years, made his name with the verse dramas Brand and Peer Gynt before turning to the prose plays, among them A Doll's House and Ghosts, in which respectable households, so far from being the refuge they pretend to be, prove to rest on secrets that, once exposed, no one in them can live with, a discovery that outraged many audiences, yet one on which his later reputation as the father of modern drama largely rests.

● 排列為比較容易閱讀的方式

Born in Skien in 1828,

Ibsen,

　who left Norway in 1864

　and did not settle there again for twenty-seven years,

made his name with the verse dramas Brand and Peer Gynt

　before turning to the prose plays,

　　among them A Doll's House and Ghosts,

　　in which respectable households,

　　　so far from being the refuge they pretend to be,

　　prove to rest on secrets

　　　that,

　　　　once exposed,

　　　no one in them can live with,

a discovery that outraged many audiences,

yet one on which his later reputation

　as the father of modern drama

　largely rests.

● 分解為原初的短小句

Ibsen was born in Skien in 1828.

(過去分詞構句 Born 的還原。)

Ibsen left Norway in 1864.

(who 子句前半。)

He did not settle there again for twenty-seven years.

(who 子句後半,否定加期間。)

Ibsen made his name with the verse dramas Brand and Peer Gynt.

(主幹。)

He then turned to the prose plays.

(before turning 的還原。)

A Doll's House and Ghosts are among those plays.

(among them 的還原。)

Respectable households appear in those plays.

(in which 的還原。)

Such households pretend to be a refuge.

(they pretend to be 的還原。)

They are not really a refuge.

(so far from being 的語意還原。)

They prove to rest on secrets.

(主動詞 prove to rest。)

The secrets are exposed.

(once exposed 的還原。)

No one in the households can live with the secrets.

(that 子句的還原,live with 的受詞是先行詞。)

The plays make this discovery.

(同位語 a discovery 的還原。)

The discovery outraged many audiences.

(that 子句的還原。)

His later reputation as the father of modern drama largely rests on the discovery.

(yet one on which 的還原。)

● 全新文法解析

過去分詞構句 Born + 非限定 who 子句 + and did not

句型:過去分詞 + in + 地點 + in + 年份, + 主詞, + who + 過去式動詞 + 受詞 + in + 年份 + and + did not + 原形動詞 + 副詞 + for + 期間, + 主要動詞

作用:Born in Skien in 1828 是被動分詞構句,省略了 Being,隱含主詞是 Ibsen。who 子句裡 left 與 did not settle 並列,前者肯定、後者否定,把「離開」與「長期不回」兩個事實放在同一個子句。for twenty-seven years 是期間副詞片語,與否定句搭配,表示「整整二十七年都沒有」。主要動詞 made 被推遲到第 21 個字才出現。

關鍵詞彙:born in(生於)、settle(定居)、for + 期間(長達)

make one's name with + before + 動名詞

句型:made + 所有格 + name + with + 名詞, + before + V-ing + to + 名詞

作用:make one's name 是慣用語,意思是「成名」,with 引出成名的憑藉。before turning 的 before 在這裡是介系詞,後接動名詞,表示「在轉向……之前」,這樣不必重複主詞,也不必另起子句。turn to 表示「轉向」,to 是介系詞,所以後面接名詞 the prose plays。

關鍵詞彙:make one's name(成名)、verse drama(詩劇)、before V-ing(在……之前)、turn to(轉向)

among them 插入 + in which 接續

句型:名詞, + among them + 名詞 + and + 名詞, + in + which + 主詞, + 動詞

作用:among them 是插入語,用來舉例,them 指 the prose plays,所以不必再說 including。緊接著的 in which 的 which 指同一個 plays,介系詞 in 前置,語氣正式。這個「先舉例、再用關係子句描述共同特徵」的做法,讓兩部作品被當作整體處理。

關鍵詞彙:among them(其中包括)、in which(在其中)、prose play(散文體戲劇)

so far from being + 省略受格關係詞

句型:so far from + V-ing + 名詞 + 主詞 + 動詞

作用:so far from being 的意思是「絕不是……,遠非……」,後接動名詞 being,語氣比 not 強。the refuge they pretend to be 省略了關係代名詞 that,完整形式是 the refuge that they pretend to be,be 的補語就是先行詞 refuge,所以後面不再放名詞。這個片語插在主詞 households 與動詞 prove 之間,先否定表象,再給出內幕。

關鍵詞彙:so far from(遠非)、refuge(避難所)、pretend to be(假裝是)

prove to rest on + that 子句 + once 省略 + live with

句型:prove + to + 動詞 + on + 名詞 + that, + once + 過去分詞, + 主詞 + can + 動詞 + with

作用:prove to rest on 是「結果發現是建立在……之上」,比 rest on 多了「被揭示」的語氣。once exposed 是省略了 they are 的條件子句,表示「一旦被揭露」,插在 that 與 no one 之間。live with 是片語動詞,意思是「與……共處、容忍」,with 的受詞就是先行詞 secrets,所以 with 位於句末也不須再接名詞,這種「介系詞懸掛」是英文關係子句的典型特徵。

關鍵詞彙:prove to(結果證明是)、rest on(建立在……之上)、once exposed(一旦被揭露)、live with(容忍)

同位語 a discovery + yet one on which

句型:, + a + 名詞 + that + 動詞 + 受詞, + yet + one + on + which + 主詞 + 動詞

作用:a discovery 是同位語,回頭概括前面整段情節。that outraged many audiences 是限定子句,說明它引起的反應。yet one on which...rests 中,one 代替前面的 discovery,避免重複;on which 的介系詞前置,對應 rest on。這兩層構成「引起公憤,卻成為聲譽基礎」的轉折,yet 負責轉折。

關鍵詞彙:discovery(發現)、outrage(激怒)、yet(然而)、reputation(聲譽)、rest on(依賴)

● 參考翻譯

易卜生 1828 年生於希恩,1864 年離開挪威,此後二十七年沒有再回去定居。他以詩劇《布蘭德》與《培爾·金特》成名,之後轉向散文體戲劇,其中包括《玩偶之家》與《群鬼》。在這些劇中,體面的家庭遠不是它們假裝的避風港,反而被證明建立在一些祕密之上,一旦被揭穿,沒有人能與之共處。這個發現激怒了許多觀眾,但他後來「現代戲劇之父」的聲譽,卻主要建立在這上面。

● 逆向工程(請嘗試不看原文,還原長句)

Ibsen was born in Skien in 1828.

Ibsen left Norway in 1864.

He did not settle there again for twenty-seven years.

Ibsen made his name with the verse dramas Brand and Peer Gynt.

He then turned to the prose plays.

A Doll's House and Ghosts are among those plays.

Respectable households appear in those plays.

Such households pretend to be a refuge.

They are not really a refuge.

They prove to rest on secrets.

The secrets are exposed.

No one in the households can live with the secrets.

The plays make this discovery.

The discovery outraged many audiences.

His later reputation as the father of modern drama largely rests on the discovery.

對照完整句子:

Born in Skien in 1828, Ibsen, who left Norway in 1864 and did not settle there again for twenty-seven years, made his name with the verse dramas Brand and Peer Gynt before turning to the prose plays, among them A Doll's House and Ghosts, in which respectable households, so far from being the refuge they pretend to be, prove to rest on secrets that, once exposed, no one in them can live with, a discovery that outraged many audiences, yet one on which his later reputation as the father of modern drama largely rests.

補充說明: 全句逐字核算為 94 字(1828、1864 各以一字計,twenty-seven 以連字號合計一字,Doll's 以一字計),落在約 80 至 110 字的範圍內。文法解析共 6 點,句型採用「過去分詞構句加 who 子句加 and did not、make one's name 加 before V-ing、among them 插入加 in which、so far from being 加省略關係詞、prove to rest on 加 once 省略加 live with、同位語加 yet one on which」,與前面各句不重複。我這次沒有上網核對,以下全憑記憶,請當作需要查證的內容。

● 後記

年代與作品年份請核對。 生卒年、1864 年離開挪威、1891 年返國、各劇的首演或出版年份,是我記憶中的通行說法。《玩偶之家》1879 年出版並在哥本哈根首演,《群鬼》1881 年出版,但首演與出版常常差一兩年,引用時請以你手邊的年表為準。

「二十七年」是概數。 他在國外的時間大致是這個長度,但期間他曾短暫回過挪威,所以句中寫 did not settle there again(沒有再定居),不寫「沒有回去過」。

「《群鬼》被許多劇院拒演」是我的記憶。 我記得它出版後引起強烈反彈、許多劇院不願上演,但具體數字與劇院名單我沒有核對,句中因此沒有寫入。《人民公敵》是否算他對這場風波的直接回應,通常的說法是如此,但屬於傳記詮釋,句中也沒有寫。

「現代戲劇之父」是後人的稱號,不是史實。 這個說法很常見,但「誰是現代戲劇之父」並無定論,契訶夫、斯特林堡等人也常被放進這個討論。句中寫成 his later reputation as...,是描述聲譽,不是下判斷。

不要把易卜生讀成單一立場的代言人。 《玩偶之家》常被當成女權主義的象徵,但就我的記憶,他本人曾表示自己關心的是更廣泛的人性問題,並不願被歸入某個運動。這點我沒有核對出處,所以句中只寫「祕密與家庭」,不寫「女權」。

把史實、作品內容與詮釋分開。 生卒年、旅居國外、作品名稱,屬於史實。「體面家庭建立在祕密之上」是對他劇作主題的概括,不適用於每一部作品。「這個發現是他聲譽的基礎」則是詮釋,讀者可以不同意。