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And you know what else Shakespeare loved. Dirty jokes.
大家知道莎士比亚还喜欢什么吗？下流的玩笑。
Comedy of Errors has a fart joke and many of his plays are lousy with bits about naughty bits.
《错误的喜剧》有一个关于放屁的笑话，他的许多戏剧都充斥着一些顽皮的片段。
And Shakespeare pretty much invents the Your Mom joke
诸如“您的母亲”之类的也差不多是他发明的
when a wronged son says to Aaron the Moor, "Thou hast undone our mother,"
当一个受委屈的儿子对摩尔人亚伦说：“你把我们的母亲毁了，”
and Aaron says "Villain, I have done thy mother." Daaang. Insert super hot fire here.
亚伦说：“混蛋，我干你母亲。”火气蹭蹭蹭。
But just because a play has jokes doesn't make it a comedy.
但是仅仅因为一部戏中有笑话并不意味着它就是一部喜剧。
That Your Mom joke is from Titus Andronicus which is not a knee-slapper. And the flip is also true.
“您的母亲”笑话出自《圣诗复仇》，这不是喜剧。反之亦然。
Just because a play is a comedy doesn't mean it's full of jokes.
这部剧是喜剧也并不意味着其中有很多笑话。
Shakespeare's comedies also include plays we now call the problem plays and the romances.
莎士比亚的喜剧也包括我们现在所说的问题剧和爱情剧。
There isn't universal agreement on which plays belong in which category but let's start with problem play,
关于戏剧属于哪一类并没有普遍的共识，但让我们从问题剧开始吧。
a term invented in the late 19th century and inspired by the works of Henrik Ibsen.
问题剧是19世纪末发明的一个术语，其灵感来自亨里克·易卜生的作品。
Problem plays take on a social problem and are sort of stuck between comedy and tragedy.
问题剧反映的是一个社会问题，介于喜剧和悲剧之间。
Plays like Measure for Measure, All's Well that Ends Well and the Merchant of Venice are problem plays.
像《以牙还牙》，《皆大欢喜》和《威尼斯商人》都是问题剧。
They have happy endings at least on paper and often end with a marriage just like a classic comedy.
他们至少表面上拥有幸福的结局，通常以一场经典喜剧般的婚姻结束。
But the resolutions aren't satisfying and the conclusions can feel sour,
但结局并不让人满意
like how Measure for Measure ends with a marriage proposal that goes unanswered.
比如《以牙还牙》以一场没有回应的求婚为结尾。
The romances also mix tragedy and comedy but the melding of genres is softer,
爱情剧也混杂着悲和喜，但是体裁的融合更加柔和，
The approach to time and space is looser. The plays usually begin as tragedies--
对时间和空间的处理较为松散。戏剧通常以悲剧开始——
along the lines of Othello or King Lear. But they don't end that way.
类似于《奥赛罗》或《李尔王》的情节。但结尾却不是。
In tragedies, people act hastily, thoughtlessly, selfishly;
在悲剧中，人们行动匆忙、考虑不周且自私；
in the romances, people exercise patience and forgiveness so the conclusions are happier.
在爱情剧中，人们学着耐心和宽恕，所以结局会更令人满意。
In The Winter's Tale and The Tempest, what's last returns, what's broken is mended mostly.
在《冬天的故事》和《暴风雨》中，事情失而复得、破镜重圆。
In the problem plays, the happy endings feel wrong; in the romances, they feel right.
在问题剧中，幸福的结局让人感觉是错的；在爱情故事里，才是对的。
The endings are unlikely sure but they're also deeply satisfying.
结局虽然不太确定，但也让人非常满意。
Characters have changed and matured in a way that they just aren't able to in the tragedies
角色在某种程度上已经改变和成熟，这是在悲剧中无法做到的
but there's a greater sense of weight and of disaster narrowly averted than in the comedies.
但与喜剧相比，它有更大的重量感和侥幸躲过灾难的感觉。
To explore the romances, let's look at one of the wilder ones, Cymbeline.
为了探究爱情剧，我们从《辛白林》开始。
First produced in 1611, Cymbeline concludes with one of the all-time great recognition scenes.
《辛白林》首次制作于1611年，它的结尾是史上最受认可的场景之一。
Help us out Thought Bubble. Cymbeline is king of ancient Britain, his two sons were stolen a long time ago
辛白林是一位古英国国王，在很多年前，他的两个儿子被偷走了，
and his only daughter Imogen has just eloped with Posthumus which is not good
他唯一的女儿伊莫金和波塞摩斯私奔了，这可不太好
because Posthumus is of a lower social status. Also he's named Posthumus.
因为波塞摩斯社会地位较低。他的名字也叫波塞摩斯。
Posthumus is banished to Italy and the Queen plots to have Imogen married to her blockhead son Cloten.
波塞摩斯被流放到意大利，皇后密谋让伊莫金嫁给她的笨蛋儿子克洛顿。
She also tries to murder Imogen just to cover all the baddie bases.
她还试图谋杀伊莫金只为掩盖所有的罪恶。
While Posthumus is in Italy, he meets this guy lachimo and he makes a bet
当波塞摩斯在意大利的时候，他遇到了亚基莫，他打赌说
that lachimo can't seduce Imogen which is not what you do if you love and trust your wife.
亚基莫勾引不到伊莫金，如果你爱你的妻子，信任她，你就不会这么做。
lachimo fails but he hides out in her room and does enough spying and stealing to make it seem like he succeeds
亚基莫失败了，但他躲在她的房间里，在里边做间谍并偷窃，让人觉得他成功了
Posthumus again not the greatest now plans to kill Imogen but a servant warns Imogen and because she's brave and awesome,
波塞摩斯计划杀死伊莫金，但是一位仆人给她提了醒，并且因为她很勇敢
she escapes dressed as a boy named Fidele. Cloten finds out where Imogen is going;
她装扮成男孩子逃走了，化名菲代尔。克洛顿发现了伊莫金的行踪；
He figures he'll head there and rape Imogen and then marry her because Cloten is even worse than Posthumus somehow,
他计划去那里强暴伊莫金并逼迫她结婚，因为克洛顿比波塞摩斯更可恶。
Cloten puts on Posthumus' clothes and heads off but then gets his head off literally by a mountain man that he insults
克洛顿穿上了波塞摩斯的衣服假扮他，然后他被一个他羞辱过的人砍掉了头
and this is where it starts to get complicated.
从这一刻开始，事情变得更加复杂。
Turns out that the mountain man Polidor is actually Imogen's long-lost brother Guiderius.
结果，这个人是珀里德，他其实是伊莫金失散已久的兄弟圭德里乌斯。
He and Codwall, actually Arviragus and also another long-lost brother have already, by chance, taken in a disguised Imogen
他和Codwall，实际上是Arviragus——另一个失踪已久的兄弟， 让伪装的伊莫金
who has accidentally taken a sleeping potion. Imogen wakes up sees what looks like a dead Posthumus and flips out.
误食一剂迷睡药。伊莫金醒来后看到了好像是波塞摩斯的尸体 ，然后就翻了出来。
She then somehow joins the invading Roman army as a pageboy. Why not?
后来，她不知怎么地加入了入侵的罗马军队，成为一名听差。为什么不呢？
Meanwhile, the Roman hordes have invaded and Cymbeline is about to execute Posthumus and Fideli
与此同时，罗马部落入侵，辛白林准备处决波塞缪斯和菲德利
but then Posthumus reveals himself and Imogen reveals herself and the kidnapper reveals himself
但是波塞摩斯表明真实身份，伊莫金也告知真实身份，绑架者也现身了
and the long-lost sons discover their real parentage and Cymbeline agrees to pay tribute to Rome
两个失散已久儿子发现他们真正的出身，并且两国恢复和平。
Also the queen is dead. The end. Thank you, Thought Bubble.
还有王后死了。全剧结束。谢谢。
Okay, so that recognition scene is a little extra but in Cymbeline,
所以这个场景有点多余但在《辛白林》中，
you can see how beautifully Shakespeare combines tragedy and comedy.
你可以看到莎士比亚将悲剧和喜剧完美地结合在一起。
We have the jealousy plot borrowed from Othello, the cross-dressing borrowed from the comedies
该剧借鉴了《奥赛罗》的嫉妒情节、喜剧中的反串情节
and enough time and care to make sure that everything works out all right in the end, even for the Romans
有足够的时间和精力确保最后一切顺利，即使对罗马人来说也是如此
And we have a woman who is way more ingenious than her husband. Girl, you could do a lot better.
剧中的女主比她的丈夫更加聪慧。姑娘们，你们可以做得更好。
At least get you a man who looks at you the way Paris looks at Juliet when he doesn't think Romeo is looking at him.
至少那个男人，他看着你的眼神就像帕丽斯看着朱丽叶的眼神一样，而实际上他并不认为罗密欧在看他。
It's time to say goodbye to Shakespeare and continue on to Jacobean Drama and Caroline Court Masks.
是时候跟莎士比亚道别，并继续讲解Jacobean Drama和Caroline Court Mask
By way of farewell, I'm gonna leave you with Ben Johnson's words on Shakespeare.
作为告别，我将以本·约翰逊对莎士比亚的评价来结束今天的节目。
I loved the man... He was honest. And of an open and free nature. Had an excellent fancy, brave notions and gentle expressions.
我爱这个男人......他很诚实，他有着开放和自由的天性，他有绝妙的想象力，勇敢的想法和温和的表情。
Wherein he flowed with that facility that sometimes it was necessary he should be stopped
他在这方面很有技巧，有时他必须被制止，
but there was ever more in him to be praised than to be pardoned.
但在他身上，更多的是值得赞扬而不是宽恕的。
So pardon gentles all and until next time. Curtain.
所以请原谅所有人，下次见。窗帘。
