在奧托的塑造中崩壞三的編劇引用了尼采，他們還很喜歡引用莎士比亞。奧托的臺詞里面也引用過很多莎士比亞戲劇里面的臺詞。甚至可以懷疑他本人很喜歡莎士比亞。

而引用最多的是莎士比亞戲劇《麥克白》里面的臺詞。如大家都知道的：

原文節(jié)選：麥克白遲早總是要死的，總要有聽到這個噩耗的一天。明天，明天，再一個明天，一天接著一天地躡步前進，直到最后一秒鐘的時間。我們所有的昨天，不過替傻子們照亮了到死亡的土壤中去的路。熄滅了吧，熄滅了吧。短促的燭光！人生不過是一個行走的影子，一個在舞臺上指手劃腳的拙劣的伶人，登場片刻，就在無聲無息中悄然退下；它是一個愚人所講的故事，充滿著喧嘩和騷動，卻找不到一點意義?！保?］ “如果用莎士比亞的戲劇來打比方，他不單單是一個‘凱撒’，不單單是一個‘麥克白’……他也是‘克勞狄烏斯’，是‘奧賽羅’，甚至是‘哈姆雷特’?！?幽蘭黛爾 奧托不是莎士比亞戲劇里面的任何一個主角的化身或者是映射，而是一個集結(jié)體。而如果結(jié)合尼采評《麥克白》來理解，奧托或許可能是一名最合格的理解了莎士比亞和莎士比亞戲劇的人。 “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] “舞臺上的道德。——誰要是以為莎士比亞戲劇有道德作用，看了《麥克白》就會救人于野心之水火，他就錯了；

若他還以為莎士比亞本人也是這樣想的，他就更錯了。

真正受強烈野心支配的人會興高采烈地觀看他的這一肖像，而看到主角毀于自己的激情，不啻給這盆興高采烈的熱湯加上了最刺激的佐料。詩人自己就感覺不同嗎？從犯下大罪的那一刻起，他的這位野心家主角就在舞臺上高視闊步，沒有半點流氓無賴的樣子！正是從那時起，他的形象突然明亮起來，散發(fā)出“魔力”，吸引心性相似的人去模仿他；

他的魔力恰恰在于：違背利益和生命，順從思想和沖動。

你們是否以為，《特里斯坦和伊索爾德》用兩位主人公毀于通奸一事提供了一個反對通奸的教訓？這可完全顛倒了詩人的用意：

詩人，尤其是莎士比亞這樣的詩人，珍愛自己的激情，同樣也珍愛自己準備赴死的心境——他們的心靈之依附于生命并不比一滴水之依附玻璃杯更執(zhí)著。

不把罪惡及其不幸結(jié)局放在心上，莎士比亞是這樣，寫下《埃阿斯》《菲羅克忒忒斯》《俄狄浦斯》的索?？死账挂彩沁@樣。在這些劇本中，他們本來可以很容易地把罪惡當作全劇的杠桿，但他們卻仔細地避免了。悲劇詩人同樣不愿通過他所描繪的生命的形象反對生命！相反，他們喊道：?

“這是刺激中的刺激！這令人興奮的、變化無常的、充滿危險的、陰云密布但也常常陽光普照的人生！生活就是一場冒險——無論你們躲到什么地方，你都不可能躲開冒險！"

——這是一個不安分的旺盛活躍時代的聲音，一個因為熱情洋溢和精力充沛而忘乎所以的時代的聲音——這是一個比我們的時代更惡的時代的聲音

，因此，我們發(fā)現(xiàn)，我們必須把一部莎士比亞戲劇意圖弄得合宜而公正，也就是說，必須誤解它，才能心安。

”［3］ 所以，奧托.阿波卡利斯，一個奉行著尼采哲學的莎士比亞式戲劇主角？ ［1]?《麥克白》 作者：?[英]威廉·莎士比亞 出版社：譯林出版社 ［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