評論
打印
John was looking at the playbook．
約翰正在翻閱劇本。
You see this bit here，Toby，he said．
托比，你瞧這段話，他說道，
Will's writing about his son，isn't he？
威爾分明在寫他的兒子，是嗎？
I read the words slowly，and remembered Will's empty eyes that day in August．
我細細地回味這段話，眼前又浮現出八月那天威爾一雙失神的眼睛。
Grief fills the room up of my absent child，
悲哀填滿了我那不在跟前的孩子的房間，
Lies in his bed，walks up and down with me，
躺在他的床上，陪著我到東到西，
Puts on his pretty looks，repeats his words…
裝扮出他美妙的神情，復述著他的言語…
Richard Burbage said once that Will's writing changed after Hamnet's death．
理查·白貝芝也曾講過。哈姆奈特死后，威爾的創作風格迥然不同。
Will still laughed at people in his plays，
威爾照樣在劇本上譏諷世人，
but he also felt sorry for them—sorry for all the world，good and bad，rich and poor，young and old．And his people were real．
但也對人們寄予無限的同情—同情全世界的人，不論好與壞、貧與富、長與幼。他塑造的人物是真實的。
No one was all good， or all bad．
世上本無十全十美的好人，也無十惡不赦的壞人。
There was a man called Shylock in his play The Merchant of Venice．
《威尼斯商人》一劇就是最好的例證。
This Shylock was a money-lender and a cruel man—everyone hated him．
劇中的夏洛克是個殘忍無情的高利貸者—每個人都憎恨他，
But in the end，when Shylock lost everything，you had to feel sorry for him．
但故事最終，當夏洛克傾家蕩產之后，你又不得不起惻隱之心。
He was just a sad old man．
他畢竟只是個可悲的老頭。
Perhaps Richard was right．And if anyone understood Will，it was Richard Burbage．
或許理查說得對，要說世上還有誰了解威爾，也就是理查·白貝芝了。
