本期作為Aristophanes喜劇Clouds的讀書復(fù)盤，我想把具有一定閱讀指導(dǎo)意義的Stephen Halliwell 譯本中的全書intro和Clouds的intro部分內(nèi)容進(jìn)行整理，從喜劇的孕育源頭初嘹、戲劇形式（Parabasis)并以Clouds 為例談?wù)勑抡J(rèn)識。
上周Carrie提醒我從戲劇的形式再做進(jìn)一步解讀，在這一部分略讀時只隱約留了個印象，之后再細(xì)讀全書Intro 的Satire and Seriousness 部分發(fā)現(xiàn)從這一角度理解的確可行走越。下面做一一解讀。
要理解Aristophanes的喜劇耻瑟，還得先從整個Old Comedy 的起源和發(fā)展特點(diǎn)來理解它的體裁特征旨指。
The plays of Aristophanes contain such frank and often extreme satirical elements precisely because they belong to a special genre of festival entertainment.
Athenian democracy had allowed comic drama to develop, however riskily, as a festively 'protected' oppotunity for scurrility without responsibility.
Old comedy enjoyed a peculiar freedom to break the taboos and contravene the norms which obtained in the social world at large, a freedom which expresses itself in obscenity as well as (and often at the same time as) satire.
What is so telling about this side of comedy is the 'irresponsibility' of its licence to ridicule, to lampoon, and to vilify.
Unlike the personal abusiveness which undoubtedly played a part in the rivalries of political life, comedy was not usually constrained by the posibility of legal reprisals, nor by the pressures involved in the persuading an audience to take a practical decision (other than the judges' voting of a prize to the best comedy) on a particular occasion.
a type and degree of liberty (of speech and thought) which was not avaliable in other contexts of public life.
Aristophanes作品 ( 舊喜劇）中反禁忌反傳統(tǒng)直白而甚至極端的大膽諷刺藝術(shù)元素都來源于節(jié)日娛樂（Dionysiac Festivity) 對它的允許和保護(hù)喳整。這一前提允許創(chuàng)作者隨意取材而沒有責(zé)任作出解釋谆构，沒有被報復(fù)的擔(dān)憂，更沒有引導(dǎo)大眾輿論的壓力框都。它直接表現(xiàn)為雅典其他社會生活所沒有的高度自由園地搬素。
其中，在這一“自由樂園”的形成中，有兩個因素至關(guān)重要：
One, the subliterary 'folk' roots of this variety of comic satire in old traditions of popular revelry; the other, the flourishing of Old Comedy during the period when Athenian democracy was actually most buoyant and prosperous (as well as confidently 'imperialist'), and therefore most comfortable about allowing elements of its world to be occasionally exposed to ridicule.
1熬尺、各種形式的喜劇諷刺是雅典人民狂歡作樂的民俗傳統(tǒng)
2摸屠、舊喜劇發(fā)展于雅典民主最繁榮強(qiáng)盛期
問題：那么在這樣一種創(chuàng)作氛圍中，喜劇作家會怎么融合與分配喜劇作品中的戲謔嘲諷與嚴(yán)肅思想呢粱哼？我們又如何去理解季二？
這里就提喜劇中的一個重要部分——Parabasis, 作為戲劇全場唯一與情節(jié)脫軌的部分，它最有可能直接表達(dá)或顯露了作家的觀點(diǎn)和傾向揭措。
然而譯者Stephen Halliwell是這么寫的：
But it is naive to suppose that any such passage offers us the direct or authentic voice of the poet himself. The parabasis, though always standing outside the progress of the dramatic action, is nonetheless a full part of the comic performance. Its elaborate formality(rhythmical, musical, and choreograhic), discussed in the previous section, provides a highly stylized routine which is a theatrical event in its own right. Moreover, the 'voice' of the poet in which the parabasis is sometimes delivered is a conventional fiction, an oppotunity for comedy to ape and burlesque the postures of public discourse which were familiar to Athenian audiences from the political Assembly, the adversarial contests of the law-courts, and other democratic institutions.
1胯舷、Parabasis 作為喜劇表演的一部分，不能抹掉它的喜劇效果而直接歸類為作家個人觀點(diǎn)绊含。它與精心安排的節(jié)奏韻律桑嘶，音樂和舞蹈融合一起構(gòu)建喜劇高度非寫實(shí)的一個部分。
2艺挪、Parabasis 中的演講有時只是模仿和戲謔一些對于雅典民眾非常熟悉的公眾演講
例子：
譯者以 Acharnians 阿卡奈人為例：Aristophanes 在其中說到各盟國的代表帶著貢品匆匆趕來雅典就是為了見到Aristophanes;另外不翩，更荒唐的是兵扬，波斯國王對詩人在雅典戰(zhàn)爭中作出的努力發(fā)表評論麻裳，而且，在這場劇中器钟，主人公簽訂了一個秘密和平條約津坑。
In short, there is nothing authoritative about anything said in the poet's name in a parabasis, since the poet's voice is part of not a detached commentary on, the theatrically artificial and inflated world of the play.
有了這個作者可以在真真假假，戲謔嚴(yán)肅中隨意切換的背景條件傲霸，我們再回到 云Clouds 一劇中來看它帶給我們的許多理解困境（ambiguity)
Aritophanes 在云的Parabasis 中直白地寫道：
It was because i believed you sophisticated spectators And took this comedy to be the cleverest of all my plays That i deemed it right for you to be the first to savour a work? That caused me so much effort. Yet i left the theatre defeated
Nor do I try to cheat you by staging the same stuff agian and again, but i always display my cleverness by bringing you new forms of humour Not two of which are the same- and they're so sophisticated.
Aristophanes在這里強(qiáng)調(diào) Clouds 是他最聰明而且新穎的作品疆瑰，因此對于觀眾的篩選也是相當(dāng)嚴(yán)格的（這也正說明劇本高能吧...）
come on a quest in search of such clever spectators
but if it's me and my comic inventions which give you delight, You'll always be thought to have high standars of judgement.
那么作為現(xiàn)代觀眾的我們，我們又是否能撥開作者營造的sphere of ambiguity成為一個clever spectators?
在思考中昙啄，我們討論其中一個核心的問題是：Aristophanes 是否在 Clouds 中攻擊了蘇格拉底穆役？Aristophanes是否在他的創(chuàng)作中偏袒了哪一方？
從內(nèi)容上看梳凛，Clouds的人物思想沖突都是復(fù)雜而不連貫的耿币，這是造成ambiguity的重要一點(diǎn)，主要體現(xiàn)在：
1韧拒、Intellectuals of Thinking Institute 與 Immoral 的不連貫 （前者追求清苦的禁欲生活淹接；后者追求放縱享樂——warm baths,drinking parties,sexual indulgence；另外前者從未提到應(yīng)如何教授青年的問題）
2叛溢、Strepsiades 與 Moral 的不一致?? （前者的最初動機(jī)是出于不道德的野心【不還債】塑悼；前者在承認(rèn)欺騙債主的錯誤后馬上又去放火損害他人財產(chǎn)；前者絲毫不承認(rèn)自己自私地把兒子送去學(xué)習(xí)言辭操縱術(shù)的責(zé)任楷掉，反而責(zé)怪蘇格拉底）
3厢蒜、Pheidippides 的人物矛盾?????????? （當(dāng)Strepsiades 叫兒子和他一起去攻擊學(xué)校時,'I‘m not prepared to wrong [or 'do injustice to'] my former teacher', states Pheidippides 【just moments after advocating beating up his own parents】——as though, preposterously, he still had a traditional sense of right and wrong!）
4、代表傳統(tǒng)道德的Chorus并不支持Strepsiades???? ( But far more tellingly, the chorus itself, despite revealing their 'true' and previously disguised identity as defenders of traditional piety, do not utter a word of guidance or encouragement to Strepsiades.）
If there are many elements in Clouds which mock the pretensions of intellectuals( including the abstruseness and pointless of abstract forms of speculative thought), there are at least as many passages which mock Strepsiades' utter dimwittedness and lack of sophistication. It is this factor which produces the play's recurrent ambiguity? in relation to the two main characters and to the opposing extremes of airy intellectualism and crass obtuseness which they embody. In short, the comic dynamic of Clouds cannot be aligned one sidelly with the satire or mockery of just one of these extremes: it depends on its audience's ability to savour the interlocking absurdities of both.
小結(jié)思考
因此，Clouds 并沒有給我們呈現(xiàn)任何一個被批判的一體連貫的形象郭怪，也沒有任何明確證據(jù)表明Aristophanes 對哪一方的偏袒支示。我想，在自由的創(chuàng)作氛圍中鄙才，作者更像是以社會蘊(yùn)存的思想為底料颂鸿，以想象事物的任何發(fā)展可能性和對立面為輔料，現(xiàn)實(shí)與想象融合攒庵，展現(xiàn)萬花筒似的各種人物思想嘴纺、動機(jī)以及作者個人的思考，以人物自身的矛盾嘲諷自身浓冒。是否真實(shí)反射社會大概并不重要栽渴，它本身就是一種民主文化形式的體現(xiàn), 也包含了希臘當(dāng)時可能存在的思想氛圍，而Clouds 就是Aristophanes 在尋找一種【聰明稳懒，新穎】的創(chuàng)作可能性時的產(chǎn)物闲擦，即使并不成功。
All humour tends to some extent towards the dissolution of sense, and the characteristic modes of Old Comedy do so to an exceptional degree. Aristophanes' theatrical strength lies in his multifarious talent for manipulating images and ideas into surprising yet satisfying scenarios. But anyone who looks to him for clear or deep insights into Athenian society is likely to be ultimately disappointed.
