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Hey there! I'm Mike Rugnetta, this is Crash Course Theater,
嘿 大家好 我是迈克·鲁格内塔 这里是“戏剧速成课堂”
And Yorick brought tissues today. because we are taking on a Sentimental Tragedy which is gonna make you cry.
约里克今天带了纸巾 因为今天我们要讲会让你哭的“感伤悲剧”
And we're also taking on Sentimental Comedy which will also make you cry.
以及一种同样会让你哭的“情感喜剧”
We are back in England too. And I'm sorry to tell you that after all that restoration smutty ness, the 18th century theater had a moral crisis.
我们又回到了英国 但是遗憾地告诉你 在对“淫秽”进行了一系列的整修之后 18世纪的戏剧又出现了道德危机
Good characters should be rewarded, they said. And bad characters should be punished, they claimed.
好的角色应该给予奖励 他们说。不好的角色应该受到惩罚 他们声称。
Adultery and venereal disease not cool, they griped. Also parliament was like, maybe what we need is a lot more censorship and fewer theaters.
通奸和性病神马的逊爆了 他们抱怨道。议会还说了 或许咱们应该建立更多的审查机构并减少剧院的数量
Have they learned nothing? well, it was lewd while it lasted, friends. Lights up.
这些年难道他们就没聪明一点儿吗？好吧 反正戏剧最后还是下流的 打灯！
Before we get to the really sad stuff, we're gonna look at Sentimental Comedy-the only kind of sad genre that replaced restoration comedy.
在我们讲真正伤感的东西之前 我们先来看看“情感喜剧” 即唯一一种取代了“复辟时期喜剧”的伤感型戏剧
Today sentimental means corny or sappy, overly emotional in a bad way.
在现在的今天 “伤感”是过时的、愚昧的 一种消极的过度情绪化
Eighteenth-century writers used it to mean "all of that same stuff, but in a good way".
十八世纪的作家们用这个词表达的意思也是如此 只不过他们认为“伤感”是“积极的”过度情绪化
By exciting emotions like pity or sorrow, playwrights thought that they could encourage an audience to make better moral choices.
他们认为 通过诸如怜悯或者悲伤等偏激的情绪 可以鼓励观众在道德上能够做出更好的选择
So, yeah, pretty different from restoration comedy which was witty, rascally and deeply cynical about human nature and society.
这和复辟时期的喜剧截然不同 复辟时期的喜剧诙谐、下流、对人性和社会冷嘲热讽
And I mean, when you've just come through an intensely horrible and bloody civil war, you might be feeling a wee bit disillusioned.
我的意思是 如果你刚刚经历一场可怕而残酷的内战 那么你可能会产生一丝的幻觉
But Sentimental Comedy is all about really illusionment, which illusions you might ask, well, I'm glad you did.
而“情感喜剧”讲述的都是真正的幻觉 你可能会问我是哪种幻觉 嗯 问得好
Sentimental Comedy promotes the Enlightenment idea that people are mostly good, unless they encounter bad influences.
“情感喜剧”促进了启蒙思想的发展 而启蒙思想的观点是：大部分的人都是好人 除非他们受到了某些坏的影响
In plays by Richard Steele and his contemporaries, good people triumph over adversity, and bad people get their comeuppance.
在理查德·斯梯尔及其同时代剧作家的戏剧作品里 好人战胜了逆境 坏人受到了应有的惩罚
Funny stuff is reserved for service. Marriage is once again the happy ending.
有趣的东西用于服务 婚姻则再次成为快乐的结局
The best-known Sentimental Comedy is Richard Steele's 1722 play The Conscious Lovers, which is based on a comedy of Terence.
最著名的“情感喜剧”是理查德·斯梯尔1722年的《有良知的情侣》 根据特伦斯的喜剧改编
I'm sure you are shocked to learn. In this comedy the poor but virtuous Indiana isn't able to marry the man she loves.
我想你被惊到了 在这部戏剧里 贫穷但善良的印第安纳不能嫁给自己爱的男人
Because she's a dowerless orphan. There are a lot of couples and a lot of complications and a lot of interfering relatives.
因为她是一个没有嫁妆的孤儿 有很多夫妻、很多混乱、很多干涉的亲戚
And then at the end Indiana drops a bracelet. And it turns out she's rich after all. Then it's conscious coupling for everyone.
后来印第安纳掉了一个手镯 所以印第安纳其实很有钱 之后大家又都认为他们是有良知的结合
So, okay. It's a comedy but is it funny? not really.
所以 那么 既然是喜剧 它搞笑吗 并不搞笑
Steele wrote in a preface that he wanted to create a pleasure to exquisite for laughter. How English.
斯梯尔在前言里写道：他想创造一种能让笑变得精致的快乐 英国人啊！
Also, for the record, Steele's own idea of pleasure included drinking and dueling. So maybe not the best dude to be writing for yucks.
而且 据记载 斯梯尔认为喝酒、决斗都是快乐的 所以或许他并不是写“喜剧”的最佳人选
Oliver Goldsmith would later criticize a Sentimental Comedy for not being fun enough.
后来 奥利弗·哥德史密斯批评了一部情感喜剧 说它不够有趣
But, still these plays allowed audiences to have a good cry and do some serious virtue signaling.
不过 这些戏剧会让观众们大哭一场并接收到某种深刻的美德暗示
If you were moved, it meant that you had a good and tender heart. People with good and tender hearts. Don't giggle.
如果你被感动了 那就意味着你有一颗善良温柔的内心 某些有着善良温柔内心的人 请不要傻笑
Sentimental plays aren't hilarious, though some of the funny is restored when Sentimental Comedy evolves into
情感剧并不幽默 尽管后来在情感喜剧演变成奥利弗·哥德史密斯和理查德·布林斯莱·谢立丹
the Laughing Comedies or the Comedies of Manners that Oliver Goldsmith and Richard Brinsley Sheridan wrote.
创作的“爆笑戏剧”或者叫“风尚喜剧”时 多了一些幽默的成分
You want to know what was even less funny than a pleasure to exquisite for laughter? Bourgeois Tragedy.
你想知道比“能让笑变得精致的快乐的戏剧”还要“不搞笑”的戏剧吗 那就是“中产阶级悲剧”
The sad ending version of Sentimental Comedy.
它是“情感喜剧”的“悲伤结局”版本
Greek tragedy and Shakespearean tragedy weren't all that invested in teaching moral lessons,
希腊悲剧和莎士比亚悲剧并没有完全在进行道德教化
unless those lessons are that the universe is cruel and players gonna play. So just get on with it, Hamlet.
除非什么“宇宙是残酷的 玩玩就好”也属于道德教化的范畴 所以 好好玩 哈姆雷特
Bourgeois Tragedy is all about using recognizable characters and situations to school the audience in appropriate behavior.
而“中产阶级悲剧”利用可辨识的人物和情境来教育观众行为举止要适当
Mostly by showing them that inappropriate behavior. Gets you hanging.
主要的方式就是向他们展示一些不适当的行为 把那些人绞死
Bourgeois Tragedy did this by encouraging the audience to identify with the tragic hero,
“中产阶级悲剧”通过鼓励观众认同悲剧英雄来做到这一点
as Adam Smith writes in the 1759 Theory of Moral Sentiments.
正如亚当·斯密在1759年的《道德情操论》中所写：
My thesis is that our fellow feeling for the misery of others comes from our imaginatively changing places with the sufferer,
我的论点是：我们通过想象中的角色互换的方式来体会他人的悲痛
thereby coming to conceive what he feels or even to feel what he feels.
以此来设想他人的感受甚至切身体会他人的感受
The audience was urged to imaginatively change places with the sufferer and feel all of his difficult feelings.
要求观众要想象自己和受难者互换了角色 感受受难者那种无助的情绪
This move would prompt the audience to make better moral choices, avoiding miserable feelings in real life.
这样将促使观众能在道德方面做出更好的选择 避免这些痛苦在现实中真实发生
To help with the place changing, writers of sentimental tragedies often looked to newspapers and ballads instead of myths and legends.
为了促进这种转变 情感悲剧的剧作家们通常以报纸或者民谣为原型来进行创作 而不是基于神话或者传说
They wanted their tragedies to relate directly to the middle-class people watching them.
他们希望自己的悲剧能和观看他们的中产阶级人群直接相关
So they wrote about contemporary merchants and tradesmen instead of ancient nobles and gods.
所以他们笔下的人物都是当代的商人 而不是古代的贵族和神
The playwright George Lilo defended this choice which was controversial at the time, saying:
剧作家乔治·里奥为该具有争议的选择做过辩护 他说：
it is more truly great to be the instrument of good to many who stand in need of our assistance than to a very small part of that number.
比起帮助少部分人 能够帮助更多需要我们帮助的人才是真正伟大的事情
Let's look at Lilo's most famous tragedy—the 1731 play The London Merchant.
我们来看看里奥最著名的一部悲剧——1731年的《伦敦商人》
Lilo based his play on a real 17th century murder which had become the subject of a popular ballad.
该剧是里奥根据17世纪的一件真实发生、并且已经成为一首流行民谣主题的谋杀案进行的改编
On opening night, the crowd was like, writing a tragedy based on a ballad about an apprentice? So lame.
首映当晚 观众的反应是 一部基于一首关于某个学徒的民谣创作的悲剧？逊爆了！
They came to laugh at his play, but by the end they were in tears. Get your tissues ready, at the thought bubble.
他们开始嘲笑这部戏剧 但是后来他们都看哭了 准备好你们的纸巾 咱们来看思想泡泡
George Barnwell is an apprentice to Thorogood, a London merchant. He falls under the sway of Millwood, an evil prostitute.
乔治·巴恩韦尔是伦敦商人索罗古德的学徒 他受到了邪恶妓女米尔伍德的引诱
She invites him to dinner and then tells him that because of their dinner she's being evicted.
妓女邀请他吃晚饭 后来又告诉他因为晚饭那件事她被驱逐了
So George steals a bunch of money from his master to pay her rent.
所以乔治从主人那里偷了一大笔钱来付妓女的房租
Because George is a good guy when he's not being led astray by evil prostitutes. He confesses and runs away.
因为乔治在被邪恶的妓女引诱之前是个好人 所以后来他向主人坦白之后逃跑了
