First published in three volumes in 1815, Emma revolves around social status and marriage

於 1815 年以三冊首次出版，《艾瑪》的內容圍繞著社會地位和婚姻，

in a subtle satirization of English high society mores.

其中夾雜著英國上流社會風氣的微妙諷刺。

Contrary to Austen's belief about her unlikable heroine,

與奧斯汀本身認為女主角不討喜的看法相反，

Emma Woodhouse has been a beloved literary character for generations.

艾瑪伍德豪斯是幾世紀文學中備受喜愛的角色。

There have been over a dozen adaptations of Emma, from musicals to modern-day reimaginings,

艾瑪有許多的改編作品，從音樂劇到現代改編版都有。

so today, we'll take a look at four of the more recent traditional adaptations

而今天我們會欣賞四部對於這本迷人小說的

of this charming novel.

近期傳統改編版本。

This is Emma, by the book.

這是《艾瑪》的書籍

"Very dull in fact, I should be sure to say three very dull things as soon as I open my mouth, shan't I?"

「確實很無趣，我一開口就肯定會說三個無趣的事情，對吧？」

"That may be a difficulty."

「這大概會有困難。」

"I'm sure I never fail to say things very dull."

「我肯定我絕對能說出無聊的事情。」

"Yes dear, but you will be limited as to number, only three."

「沒錯，親愛的，但你得遵守數量限制，只能說三件。」

The '90s saw an increase in productions inspired by Jane Austen's works,

90 年代以珍奧斯汀作品為靈感改編的作品越來越多，

including this theatrical film adaptation of Emma released in 1996.

包含這部於 1996 年出品的電影改編作。

The picturesque visual effects enhance the fairy-tale aspect of the film,

栩栩如生的視覺效果強化了影片的童話色彩，

with the eponymous character herself glowing in each scene.

而與作品同名的角色本身在每個場景中都顯得容光煥發。

Although most of the plot remains intact, the film does not stress absolute fidelity

雖然大部分劇情未做更動，但影片並未強調會

to the source text.

完全忠於原著。

For instance, Harriet, described as pretty and good-tempered, lacks confidence,

例如哈麗葉被描述為漂亮好脾氣但缺乏自信的人，

but the film seems to emphasize her unsophistication

但影片似乎著重於她的天真質樸並

and depicts her as a one-dimensional contributor to Emma's development.

描繪她為對艾瑪成長中單方面的奉獻者。

"Miss Woodhouse, do talk and make me comfortable again!"

「伍德豪斯小姐，請再說些能讓我好過點的話。」

"I suppose this would not be the right time to mention that Mr Elton was engaged."

「我猜現在不是提到艾爾頓先生已經訂婚的好時機。」

This adaptation updates the tone of the narrative,

這版改編的旁白口吻更佳現代化，

imbuing more romance into the dialogue and action.

在對話和動作上賦予更多浪漫情懷。

The archery scene adds further symbolism to Emma and Knightley's discussion

射箭場景中，艾瑪和奈特利之間的談話為影片的整體感

as well as the film overall.

增添更多象徵意義。

Jane Austen's use of free indirect discourse as a narrative device

珍奧斯汀運用自由間接言談做為敘述手法

enables us to empathize with Emma through her point of view

讓我們能以艾瑪的視角來對她產生共鳴，

while also establishing an emotional distance.

同時也能建立情感距離。

The film endeavors to achieve the same ends through various letter writing scenes

影片常透過各種寫信場景來展現出艾瑪

that reveal Emma's self-deluded thinking.

自欺欺人的想法。

"Well, he loves me!"

「這個嘛，他愛我。」

With its romantic and comedic take on the perfectly imperfect heroine

以浪漫和喜劇的手法完美地講述了一個不完美的女主角

in an idyllic country village,

在田野鄉村的故事，

this adaptation of Emma aims to capture the hearts of the audience.

這版艾瑪的改編作力求捕捉到觀眾的心。

"I shall be sure to say three very dull things as soon as ever I open my mouth, shan't I?

「我一旦開口肯定能說出三件無聊的事情，對吧？

Do not you all think I shall?"

你們也覺得我能辦到吧？」

"But there may be a difficulty for you, Miss Bates.

「但對你而言恐怕有點困難，貝茲小姐

You'll be limited as to number--only three at once."

你有數量限制，只能說三件。」

"Yes, to be sure."

「是的，確實。」

Towards the end of 1996, a television film version of Emma

1996 年底，電視電影版的艾瑪先後在

aired on ITV and later A&E.

ITV 和 A+E 電視台播出。

Filmed on a smaller scale, this adaptation presents a more believable look at the characters

這版改編作以較小規模拍攝，以更可信的方式呈現了居住在海伯里角色的形象，

inhabiting Highbury, with reminders of the era's class divisions scattered throughout.

同时也讓人聯想到當時代的階級劃分。

Scenes of the servants and lower classes provide social context

透過僕人和下層階級的場景來了解社會脈絡

all the while still minimizingthe mention of poverty.

同時也能降低提及貧困的部分。

What also sets this adaptation apart are the scenes that bring Emma's fantasies to life.

讓這部改編作變得與眾不同的地方還有艾瑪對人生幻想的場面。

The film's dream sequences add an imaginative touch and reveal her romantically naive nature.

影片的想像片段增加了幻想中的接觸，並透露出她天真浪漫的性格。

"Miss Woodhouse, we meet at last."

「伍德豪斯小姐，我們終於見面了。」

The focus on conveying psychological nuance

對於傳達心理上細微差別的著重讓我們

allows us to get a fuller picture of Emma's personality

能更全面的了解艾瑪的個性，

and how she matures with compassion and kindness.

以及她的熱情與親切是如何更加成熟的。

Viewers are able to see the social cues that Emma misses,

觀眾能看到艾瑪未能注意到的社交線索，

emphasizing how appearances can be deceiving in such a well-mannered society.

這強調了在如此彬彬有禮的社會中，表象是能騙人的。

In this version, Emma not only undergoes a self-transformation

在這個版本中，艾瑪不只經歷了自我的轉變，

but also becomes socially conscious in an invented harvest supper at the end of the film.

同時也在影片結尾處虛構的豐收晚餐中產生社會意識。

"And I hope that you will come and visit us soon at Hartfield,

「我希望你會來哈特菲爾德拜訪我們，

with your sister, of course, and Miss Smith."

當然還有你妹妹和史密斯小姐。」

Nonetheless, this version takes care to include small details of etiquette

然而此版改編作對於定義當時代環境下至關重要的

that are crucial to defining the environment of the time,

禮節上的枝微末節非常謹慎，

resulting in an understated adaptation of this well-loved novel.

這使得這本有名的愛情小說改編作顯得較保守。

"Well then, I shall do very well at your game, Miss Woodhouse,

「那麼你的遊戲我肯定能玩得很出色，伍德豪斯小姐，

three things very dull indeed.

三件非常無聊的事。

That would be tailor-made for me, you know,

那可是為我量身訂做的，你懂得，

I can be relied upon to say three dull things as soon as I open my mouth, shan't I?"

我一開口肯定能說出三件無聊的事，對吧？」

"Oh, but there is a difficulty.

「喔，但會有個困難，

You will be limited as to number--only three at once."

你有數量限制，一次只能說三件。」

This four-part BBC TV series was created with the contemporary audience in mind,

這部四集的 BBC 電視影集是根據當代觀眾的看法而創作的，

to the extent that the adaptation attempts to be simultaneously modern

為了拓展觀眾群，此版改編作試圖現代化同時也忠於當時代

and yet faithful to its Regency setting.

攝政時期的背景設定。

The result is an energetic retelling that eschews the rules

最終以熱情蓬勃的方式重現故事，它捨棄了

of 19th century manners and propriety.

十九世紀禮節舉止的規範。

"I'm sick of England.

「我對英國厭倦極了。

I'd leave tomorrow if I could."

如果可以我明天就要離開。」

"Sick of being rich and prosperous?

「對於富有繁榮感到厭倦？

Sick of indulgence?"

厭倦了放縱自由？」

The adaptation starts off with a Dickensian montage,

改編的開場就以狄更斯的蒙太奇手法拍攝，

replacing Austen's famous first line with a mournful omniscient narrator.

取代奧斯汀開頭著名的哀傷全知敘述者。

Rather than meeting Emma as a carefree young woman,

觀眾初見的艾瑪並非無憂無慮的年輕女子，

the viewer sees the unfortunate events that link Emma, Jane Fairfax, and Frank Churchill

而是透過艾瑪、珍菲爾費克斯和法蘭克邱吉爾童年的不幸事件

through their childhoods.

將三人連結在一起。

In doing so, we see more of Emma as a spoiled, self-centered child

透過這種方法，我們能看出艾瑪是個被寵壞、自我中心的小孩，

who grows into a willful and mischievous young woman.

她長大成為一名恣意妄為和淘氣的年輕女子。

Additional scenes and dialogue are used for these extended backstories

額外增加的場景和對話是用來延伸故事背景的，

and to further flesh out secondary and minor characters.

並讓配角和其他小角色更飽滿。

"I congratulate you on your choice." "Harriet."

「我以你自己的選擇而恭喜你。」「哈麗葉。」

This vision of Emma focuses on demonstrating the relatability of this 200-year-old story

此版艾瑪的視角重點是要展現這兩百多年前的故事和

for a younger audience.

年輕觀眾的共鳴。

The way that the characters act and speak, despite their surroundings,

撇除周遭環境，這促使我們以現代的視角來看

prompt us to see them through a modern lens.

角色言行舉止的方式。

"Three things very dull indeed.

「要三件很無聊的事情，

That will do just for me.

這非常的適合我。

I shall be sure to say three dull things as soon as I open my mouth."

我一開口肯定能說出三件無聊的事。」

"Ah, now there is the difficulty. When have you stop at three?"

「但有個困難，你何時只講三件事呢？」

The bold, highly aestheticised look of the film uses delectable backdrops

電影大膽、高度美感的時尚運用精美的背景和

and a playful musical score to create its own heightened world.

俏皮的樂曲創造出它自身強烈的世界感。

Remaining largely faithful to the original source material,

電影大部分都是忠於原著的，

the film leaves sections of the dialogue untouched

在對話上沒有做什麼更改，

but also includes unexpected additions to the story.

但也添加一些額外的故事內容。

Reminiscent of the screwball comedies popular in the '30s and '40s,

電影以肢體喜劇和舞蹈設計的結合為特色，

the film features a blend of physical comedy and choreography.

這讓人想起於三、四十年代流行的脫線喜劇。

The fashion is historically accurate for the Regency period and changes throughout the seasons,

在攝政時期的時裝樣式上是很考究的，且跟著四季在變化，

reflecting the passing of time and growth of the characters.

反映出時間的流逝和角色的成長。

As with previous adaptations, Emma's transformation also includes taking actions

跟前版改編作相同，艾瑪的改變也包含了在階級意識較不強烈的社會中

that would be more acceptable in a less class-conscious society.

採取一些較容易被接納的舉動。

"He comes to Highbury next week on purpose to meet with me."

「他下週來海伯里是為了見我。」

"Then I hope you will bring him to Hartfield."

「那我希望你會帶他到哈特菲爾德。」

Modern in spite of its Regency trappings, the adaptation presents a new interpretation

儘管捕捉到了攝政時期的現代感，但改編後的劇情卻對這個最初冷淡但善良的

of the initially unsympathetic, yet well-meaning antihero.

非正統派主角有了全新詮釋。

As readers continue to gravitate towards the novel's authenticity and wit,

當讀者不斷地被小說的考究度和趣味性吸引時，

filmmakers have demonstrated that there is no single approach to adapting this iconic story.

電影製作人已顯示出在改編這類知名故事上並不僅限於一種手法。

Emma's flaws and gradual character arc are what make her

艾瑪的缺點和漸進的角色發展促使她成為

such a compelling and realistic protagonist.

如此具有吸引力和真實感的主角。

The novel is unique in that the style of narration allows the reader to see

這本小說的獨特之處在於它的敘事風格讓讀者看見

Emma's failures of perception and the observations of the limited world around her.

艾瑪觀念上的錯誤和她對周遭有限的視野上的觀察。

In their discovery of new perspectives on love and society,

在發現愛情和社會上的新視野中，

Jane Austen's rich characters teach lessons that are still valuable today.

珍奧斯汀豐富的角色直到今日依舊讓我們上了富有價值的一課。

Which adaptation of Emma is your favorite?

哪部艾瑪的改編作是你的最愛呢？

Thanks for watching!

謝謝收看。