尼采评《麦克白》-奥托.阿波卡利斯塑造相关
在奥托的塑造中崩坏三的编剧引用了尼采，他们还很喜欢引用莎士比亚。奥托的台词里面也引用过很多莎士比亚戏剧里面的台词。甚至可以怀疑他本人很喜欢莎士比亚。
而引用最多的是莎士比亚戏剧《麦克白》里面的台词。如大家都知道的：
原文节选：麦克白迟早总是要死的，总要有听到这个噩耗的一天。明天，明天，再一个明天，一天接着一天地蹑步前进，直到最后一秒钟的时间。我们所有的昨天，不过替傻子们照亮了到死亡的土壤中去的路。熄灭了吧，熄灭了吧。短促的烛光！人生不过是一个行走的影子，一个在舞台上指手划脚的拙劣的伶人，登场片刻，就在无声无息中悄然退下；它是一个愚人所讲的故事，充满着喧哗和骚动，却找不到一点意义。”［1］ “如果用莎士比亚的戏剧来打比方，他不单单是一个‘凯撒’，不单单是一个‘麦克白’……他也是‘克劳狄乌斯’，是‘奥赛罗’，甚至是‘哈姆雷特’。” 幽兰黛尔 奥托不是莎士比亚戏剧里面的任何一个主角的化身或者是映射，而是一个集结体。而如果结合尼采评《麦克白》来理解，奥托或许可能是一名最合格的理解了莎士比亚和莎士比亚戏剧的人。 “On the morality of the stage.— Whoever thinks that Shakespeare's theater has a moral effect, and that the sight of Macbeth irresistibly repels one from the evil of ambition, is in error: and he is again in error if he thinks Shakespeare himself felt as he feels. He who is really possessed by raging ambition beholds this its image with joy;and if the hero perishes by his passion this precisely is the sharpest spice in the hot draught of this joy. Can the poet have felt otherwise? How royally, and not at all like a rogue, does his ambitious man pursue his course from the moment of his great crime! Only from then on does he exercise "demonic" attraction and excite similar natures to emulation—demonic means here: in defiance against life and advantage for the sake of a drive and idea. Do you suppose that Tristan and Isolde are preaching against adultery when they both perish by it? This would be to stand the poets on their head: they, and especially Shakespeare, are enamored of the passions as such and not least of their death welcoming moods—those moods in which the heart adheres to life no more firmly than does a drop of water to a glass. It is not the guilt and its evil outcome they have at heart,Shakespeare as little as Sophocles (in Ajax, Philoctetes, Oedipus): as easy as it would have been in these instances to make guilt the lever of the drama, just as surely has this been avoided. The tragic poet has just as little desire to take sides against life with his image of life! He cries rather: "it is the stimulant of stimulants, this exciting, changing, dangerous, gloomy and often sun-drenched existence! It is an adventure to live—espouse what party in it you will, it will always retain this character!"— He speaks thus out of a restless, vigorous age which is half-drunk and stupefied by its excess of blood and energy—out of a wickeder age than ours is: which is why we need first to adjust and justify the goal of a Shakespearean drama,that is to say, not to understand it.”［2] “舞台上的道德。——谁要是以为莎士比亚戏剧有道德作用，看了《麦克白》就会救人于野心之水火，他就错了；
若他还以为莎士比亚本人也是这样想的，他就更错了。
真正受强烈野心支配的人会兴高采烈地观看他的这一肖像，而看到主角毁于自己的激情，不啻给这盆兴高采烈的热汤加上了最刺激的佐料。诗人自己就感觉不同吗？从犯下大罪的那一刻起，他的这位野心家主角就在舞台上高视阔步，没有半点流氓无赖的样子！正是从那时起，他的形象突然明亮起来，散发出“魔力”，吸引心性相似的人去模仿他；
他的魔力恰恰在于：违背利益和生命，顺从思想和冲动。
你们是否以为，《特里斯坦和伊索尔德》用两位主人公毁于通奸一事提供了一个反对通奸的教训？这可完全颠倒了诗人的用意：
诗人，尤其是莎士比亚这样的诗人，珍爱自己的激情，同样也珍爱自己准备赴死的心境——他们的心灵之依附于生命并不比一滴水之依附玻璃杯更执着。
不把罪恶及其不幸结局放在心上，莎士比亚是这样，写下《埃阿斯》《菲罗克忒忒斯》《俄狄浦斯》的索福克勒斯也是这样。在这些剧本中，他们本来可以很容易地把罪恶当作全剧的杠杆，但他们却仔细地避免了。悲剧诗人同样不愿通过他所描绘的生命的形象反对生命！相反，他们喊道：
“这是刺激中的刺激！这令人兴奋的、变化无常的、充满危险的、阴云密布但也常常阳光普照的人生！生活就是一场冒险——无论你们躲到什么地方，你都不可能躲开冒险！"
——这是一个不安分的旺盛活跃时代的声音，一个因为热情洋溢和精力充沛而忘乎所以的时代的声音——这是一个比我们的时代更恶的时代的声音
，因此，我们发现，我们必须把一部莎士比亚戏剧意图弄得合宜而公正，也就是说，必须误解它，才能心安。
”［3］ 所以，奥托.阿波卡利斯，一个奉行着尼采哲学的莎士比亚式戏剧主角？ ［1] 《麦克白》 作者： [英]威廉·莎士比亚 出版社：译林出版社 ［2] Friedrich Nietzsche - Daybreak Book IV - Aphorism # 240 ［3] 《朝霞》 作者： [德]弗里德里希·尼采 出版社：上海人民出版社
