莎士比亚和作品《罗密欧与朱丽叶》研究(英文版)7
William Shakespeare
1. Works: 154 sonnets, 38 plays, 2 long poems
Comedy :Merchant of Venice.
2. 4 great tragedies: Hamlet, Othello, King Lear, Macbeth
Each portrays some noble hero, who face the injustice of human fate is closely connected with the fate of the whole nation, each hero has his weakness of nature. Hamlet, the melancholic scholar-prince, faces the dilemma between action and mind: Othello’s i nner weakness is made use of by the outside evil force; the old King Lear who is unwilling to totally give up his power makes himself suffer, from treachery and infidelity; Macbeth’s lust for power stirs up his ambition and leads him to incessant crime.
3 Merchant of Venice
In this play, Shakespeare has created tension: ambiguity, a self conscious and self-delighting artifice that is at once intellectually existing and emotionally engaging . The sophistication derives in part from the play between high, outstanding romance and dark faces of negating and hate the traditional theme of the play is to praise the friendship between Antonio and Bassanio, to idealize Portia as a heroine of great beauty , wit and loyalty, and to explore insuitable greed and brutality of the Jew.
4 Hamlet.
The play has the qualities of a “blood-and-thunder” thriller and a philosophical exploration of life of life and death, the timeless appeal of his mighty drama lies in its combination of injustice, emotional conflict and searching philosophic melancholy. Hamlet is obliged to inhabit a shadow world , to live suspended between fact and fiction, language and action. His life is one of the constant role-playing examining the nature of acting only to deny its possibility. For such a figure, soliloquy is a natural medium, a necessary release of his anguish; and some of his questioning monologue posses surpassing power and insight. By revealing the power-seeking, the jostling for place , the hidden motives, the courteous superficialities that veil lust and guilty, Shakespeare condemns the hypocrisy and treachery and general religious corrupting at the royal count.
A. 创作生涯及作品
a. Apprenticeship period.
b. Highly individualized period.
c. Greatest tragedies and dark comedies perio
d. d. Romantic tragicomedies period.
B. 作品主题
a. Shakespeare’s history plays are mainly written under the principle that national unity under a mighty and just sovereign is a necessity.
b. In his romantic comedies, Shakespeare takes an optimistic attitude toward love and youth, and the romantic elements are brought into full play .
c. The tragedies: The play, though a tragedy, is permeated with optimistic spirit.
C. 四大悲剧(常考)
A). The common features:
Shakespeare’s greatest tragedies are: Hamlet, Othello, King Lea r, and Macbeth. They have some characteristics in common. Each portrays some noble hero, who faces the injustice of human life and is caught in a difficult situation and whose fate is closely connected with the fate of the whole nation.
B). The realistic spirits .
Along with the portrayal of the weakness or bias of the hero, we see the sharp conflicts between the individual and the evil force in the society, which shows that Shakespeare is a great realist in the true sense.
D. 艺术成就
A). The characters:
a. Shakespeare’s major characters are neither merely individual ones nor type ones.
b. By applying a psycho-analytical approach, Shakespeare succeeds in exploring the characters’ inner mind.
c. Shakespeare also portrays his characters in pairs. Contrasts are frequently used to bring vividness to his characters.
B). Construction:
a. Shakespeare’s plays are well-known for their adroit plot construction. He borrows them from some old plays or storybooks, or from ancient Greek and Roman sources.
b. He would shorten the time and intensify the story. There are usually several threads running through the play.
C). Language and style:
a. Irony is a good means of dramatic presentation. Disguise is also an important device to create dramatic irony, usually with woman disguised as man.
b. He has an amazing wealth of vocabulary and idiom. His influence on later writers is immeasurable. Almost all English writers after him have been influenced by him either in artistic point of view, in literary form or in language.
Language of Shakespeare
It could even be argued that Shakespeare invented a large part of the English language, and helped to amplify and develop its major qualities: its flexibility and potential for concrete imagery. There are innumerable expressions which have passed directly from Shakespeare's plays into everyday language. Here are just a few examples drawn from Hamlet.
There’s something rotten in the state of Denmark
Not a mouse stirring
Frailty, thy name is woman
More matter, with less art
Hold the mirror up to nature.
Shakespeare breaks with all of the rigid principles of the past; for him the world is not fixed, it changes constantly and language can only be the faithful reflection of all these transformations. His language is therefore characterised above all by its flexibility; it adapts itself to every circumstance and reflects every thought and emotion of the characters, from the most lofty to the most everyday. Nor does Shakespeare hesitate to pass from verse to prose, from an ultra literary language to one of the greatest vulgarity, often within the language of a single character and even within the same speech. This is particularly true of Hamlet, see for example the soliloquies and the sexual wordplay, puns and innuendoes.
Shakespeare’s inventiveness: of all the authors in the English language he is without doubt the one with the most extensive and richest vocabulary. He draws from all areas of language and from all registers. Nevertheless his language always has the tone and pace of the spoken word. Shakespeare never forgot that he was first of all a man of the theatre and that what he wrote on paper was to be spoken. From this arise unforgettable sound combinations; there are in the soliloquies of Hamlet passages which delight the ear. There are also miracles of simplicity and power: Descartes’ ‘I think, therefore I am’ convinces us; ‘To be or not to be, that is the question’ moves us.
The world of Shakespeare is the world transformed into images and metaphors; an object becomes a word which turns it into an idea or an emotion. There are also double meanings, puns and wordplay, at times ironic, often obscene, always witty, even in the greatest tragedies.
Shakespeare has survived all the ages: rooted in the Renaissance he survived the Enlightenment, Romanticism, realism, the Industrial Revolution; he has adapted to the computer age and is spreading throughout the Web. He endures, he is indestructible. He speaks to everyone; for some he is a Marxist, for others a misogynist; some say he is close to what we would nowadays call the far right, etc. Perhaps he has none of these characteristics, perhaps he is all these things at once, as we all are. He has wonderfully anticipated all the schools of psychology of the 19th and 20th centuries. He knows human nature, consequently he knows us, and consequently we recognise ourselves in his characters.
Themes of Romeo and Juliet
How does Romeo and Juliet apply to teenagers today? Well, first of all, it can be seen simply as an e ntertaining story. It’s a tragic love story between two teenagers. But, if you look into the themes of the play, you will see that there are many lessons we can learn from the two doomed lovers. Shakespeare Alive provides this teaching resource that shows how the play is applicable to teenagers today.
Theme 1- LOVE
Love plays an important role in Romeo and Juliet. Throughout the play, one can analyze the different types of love that Shakespeare explores. First, there is lustful love. This is basically love for the purpose of sexual pleasure. First shown in the conversation between Sampson and Gregory, this type of love is also illustrated by the Nurse and her comments to Juliet. The second type of love is infatuation. Romeo thinks he’s in love and moans o ver Rosaline. How many people can relate to that? Much of teenage love is simply in the head--- you think that you have found the "only one," when you’ve really only found an obsession. The third type of love is the one illustrated with Paris. In the play, this has to do with the fact that marriages were arranged. Paris is the guy that Juliet’s parents think is fit for her. In today’s society, Paris can be seen as the stereotypical guy (or girl). He/She seems perfect and your parents love him/her, but that isn’t love. Love is not an image; it’s a commitment.
Finally, we come to true, 100% pure love. When Romeo meets Juliet, he knows that she’s different. Love changes people. Romeo became a more passionate, eager person and Juliet became more independent. Most importantly, love lasts through hardships. Love is not just a feeling; it is something that a person is willing to do something for. In the extreme case of Romeo and Juliet, they were each willing to die for each other--- that is love. Their love was so strong that they were willing to go against years of hatred between their families and try to make things work.
Now the warning: don’t rush out and marry some guy/girl that you meet at a party. Don’t forget that Romeo and Juliet are dead. Romeo and Juliet is a story. But the lessons of love do hold true: love is not self-seeking, obsessive, or based on appearances. Love is shown through actions.
Theme 2- HATE
The role of hatred also plays an important role in Romeo and Juliet. The hatred between the Montagues and Capulets ends up killing their only two children. And what was this hate for? Nothing. It was just an ancient feud that no one bothered ending. If the two families had just stopped feuding earlier, the lives of the two lovers could have been saved. Hatred never leads up to any good. Shakespeare tells us that it is senseless in fighting with someone just for the sake of fighting. This is an everlasting lesson.
Theme 3- FATE
Romeo and Juliet were "star-crossed lovers," as the prologue at the start of the play indicated. They had fate against them. In that time, people were very wary of what the stars said. If two people’s stars were crossed in the sky, they would never remain together. Obviously, Romeo and Juliet didn’t live happily ever after, as their death in the end showed. But there were many unfortunate happenings that led up to their death. Fate was not on their side. First of all, Romeo only met Juliet by chance. Only because the Capulet servant was blind and unable to read the list of guests, Romeo was allowed into the ball. By unfortunate chance, Romeo and Juliet fell in love before they realized that they were from opposing families. After Romeo and Juliet’s marriage, Romeo did not want to fight Tybalt. But because Tybalt killed Mercutio, Romeo demanded revenge. Things still might have worked out between the two lovers. After enough time passed, Romeo and Juliet could tell their families what happened and Romeo could return to Verona. But, Juliet’s parents want her to marry Paris. The Friar concocts another plan. He gives Juliet a drug that will make her appear dead for 42 hours. However, fate is not on their side again. The letter sent by the Friar never reaches Romeo because of a quarantine. The Friar arrives too late to stop Romeo from killing himself. Juliet awakes only minutes after Romeo has died. The list is long, illustrating the power of fate in the case of Romeo and Juliet. Do we believe in fate today? Or do things happen because we cause them to? Some people believe that it is a combination of the two.
Literary Technique- FORESHADOWING
Basically, everyone can figure out what is going to happen to Romeo and Juliet. The prologue states that the "star-crossed lovers take their life." But as the play progresses, there are many subtle clues that confirm the fact that Romeo and Juliet will die. This is the literary device known as foreshadowing. Foreshadowing is the use of symbols to show what will happen in the f uture. Some examples:
Act 1, scene 4 Romeo gets a bad feeling before going to the Capulet ball.
I fear, too early: for my mind misgives
Some consequence yet hanging in the stars
Shall bitterly begin his fearful date
With this night's revels and expire the term
Of a despised life closed in my breast
By some vile forfeit of untimely death.
Act 2, scene 3 The Friar warns Romeo about rushing into things.
Wisely and slow; they stumble that run fast.
Act 3, scene 1 Mercutio is stabbed, insisting tha t he’s fine.
No, 'tis not so deep as a well, nor so wide as a
church-door; but 'tis enough,'twill serve: ask for
me to-morrow, and you shall find me a grave man.
Act 3, scene 5 Juliet looking down on Romeo from her bedroom
O God, I have an ill-divining soul!
Methinks I see thee, now thou art below,
As one dead in the bottom of a tomb:
Either my eyesight fails, or thou look'st pale.
Act 4, scene 3 Juliet is getting worries over the Friar’s plan. Should she take the drug? What if it be a poison, which the friar
Subtly hath minister'd to have me dead,
Lest in this marriage he should be dishonour'd,
Because he married me before to Romeo?
I fear it is: and yet, methinks, it should not,
For he hath still been tried a hol y man …
These are only a few examples of foreshadowing in Romeo and Juliet.
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莎士比亚戏剧赏析答案解析
智慧树《莎士比亚戏剧赏析》答案 第一章 1 【单选题】(5分) 已知莎士比亚创作的第一个剧本是B A. 《罗米欧与朱丽叶》 B. 《亨利六世》 C. 《理查三世》 D. 《亨利五世》 2 【单选题】(5分) 关于莎士比亚，以下说法哪一项是错误的？B A. 莎士比亚曾在家乡的文法学校读书。 B. 莎士比亚生活在维多利亚女王时代。 C. 莎士比亚所属剧团名叫“宫内大臣供奉剧团”。 D. 莎士比亚的家乡是英格兰沃里克郡埃文河畔的斯特拉福。 3 【单选题】(5分) 关于文艺复兴时期英国戏剧表述错误的是:D A. 在莎士比亚成名前，占据英国剧坛的是“大学才子派”。 B. 英国戏剧继承了古希腊罗马戏剧和中世纪道德剧的传统。 C. 文艺复兴早期的英国剧场设在客栈里。 D. 1576年在伦敦市郊建造的第一个公共剧院是环球剧院。 4 【单选题】(5分) 1608-1612年莎士比亚创作的第三个时期主要创作的戏剧类型是C A. 喜剧 B. 悲剧 C. 传奇剧 D. 历史剧
5 【单选题】(5分) 以下有关人文主义的表述不正确的是:D A. 人文主义思想是欧洲文艺复兴运动的主流思想 B. 人文主义思想并不反对世俗享乐和追求物质财富 C. 莎士比亚的戏剧表现了人文主义思想 D. 人本思想、民族意识、反基督教是人文主义思想的主要观念 第二章 1 【单选题】(5分) 关于莎士比亚，以下表述正确的是C A. 在莎士比亚时代，只有王公贵族才有资格看戏。 B. 莎士比亚创作戏剧不以商业盈利为目的。 C. “大学才子派”的戏剧对莎士比亚有重要影响。 D. 莎士比亚生于1566年，去世于1610年。 2 【单选题】(2分) 关于莎士比亚，以下表述错误的是D A. 由约翰·赫明斯和亨利?康德尔收集、编辑，1623年出版的“第一对开本”，收入莎剧36部。 B. 朱生豪、梁实秋、方平是莎剧中译本的优秀译者。 C. 莎士比亚在创作的第三时期转向传奇剧。 D. 莎士比亚在创作的第一时期没有写过悲剧。 3 【单选题】(2分) 关于莎士比亚，表述错误的是：C A. 莎士比亚由于生活所迫，才开始戏剧生涯。 B. 在《皆大欢喜》中，莎士比亚把人生比作戏剧、按照七幕来演出。 C. 莎士比亚属于“大学才子派”成员。 D. 在莎士比亚时代，职业剧团都会寻求大人物的庇护，受到庇护的剧团都会冠以庇护
莎士比亚名言英汉对照
◆爱比杀人重罪更难隐藏；爱情的黑夜有中午的阳光 ◆爱的力量是和平，从不顾理性、成规和荣辱， 它能使一切恐惧、震惊和痛苦在身受时化作甜蜜 ◆爱情是一朵生长在绝崖边缘的花，要想采摘它必须有勇气 ◆爱情不过是一种疯 ◆爱情里面要是搀杂了和它本身无关的算计，那就不是真的爱情 ◆不太热烈的爱情才会维持久远 ◆草率的婚姻少美满 ◆充实思想不在于言语的富丽莎士比亚的简介 ◆纯朴和忠诚所呈献的礼物，总是可取的 ◆毒药有时也能治病 ◆真正的爱情是不能用言语表达的，行为才是忠心的最好说明 ◆恋爱是盲目的，恋人们瞧不见他们自己所干的傻事 ◆爱比杀人重罪更难隐藏；爱情的黑夜有中午的阳光 ◆黑夜使眼睛失去它的作用，但却使耳朵的听觉更为灵敏，它虽然妨碍了视觉的活动，却给予了听觉加倍的补偿 ◆洪水可以从涓滴的细流中发生 ◆假如我必须死，我会把黑暗当作新娘，把它拥抱在我的怀里 ◆不太热烈的爱情才会维持久远 ◆当我们还买不起幸福的时候，我们绝不应该走得离橱窗太近，盯着幸福出神 ◆爱情不是花荫下的甜言，不是桃花源中的蜜语，不是轻绵的眼泪，更不是死硬的强迫，爱情是建立在共同语言的基础上的 ◆真实爱情的途径并不平坦 ◆忠诚的爱情充溢在我的心里，我无法估计自己享有的财富 ◆每一个被束缚的奴隶都可以凭着他自己的手挣脱他的锁链 ◆爱的力量是和平，从不顾理性、成规和荣辱， 它能使一切恐惧、震惊和痛苦在身受时化作甜蜜 ◆命运如娼妓，贫贱遭遗弃 ◆闪光的东西，并不都是金子，动听的语言，并不都是好话 ◆当爱情小船被浪掀翻时，让我们友好地说声再见 ◆起先的冷淡，将会使以后的恋爱更加热烈 ◆轻浮和虚荣是一个不知足的贪食者，它在吞噬一切之后，结果必然牺牲在自己的贪欲之下 ◆情欲犹如炭火，必须使它冷却，否则，那烈火会把心儿烧焦 ◆因为她生得美丽，所以被男人追求；因为她是女人，所以被男人俘获 ◆人生就象于段重复叙述的故事一般可厌 ◆白糖上面浇蜂蜜，蜂蜜上面盖白糖 ◆爱情的野心使人倍受痛苦 ◆境由爱造，还是爱逐境迁 ◆一个使性子的女人，就象翻腾的浊水，纵使口干舌燥，也不愿啜饮一口 ◆人心和岩石一样，也可以有被水滴穿的孔 ◆你甜蜜的爱，就是珍宝，我不屑把处境跟帝王对调 ◆诡计需要伪装，真理喜欢阳光莎士比亚名言 ◆人生如痴人说梦，充满着喧哗与骚动，却没有任何意义
莎士比亚简介 英文版
关于莎士比亚 莎士比亚的代表作有四大悲剧：《哈姆雷特》（英：Hamlet)、《奥赛罗》（英：Othello)、《李尔王》（英：King Lear）、《麦克白》（英：Macbeth）。四大喜剧：《仲夏夜之梦》、《威尼斯商人》、《第十二夜》、《皆大欢喜》（《As you like it》）。历史剧：《亨利四世》、《亨利五世》、《理查二世》等。还写过154首十四行诗，二首长诗。本·琼生称他为“时代的灵魂”，马克思称他和古希腊的埃斯库罗斯为“人类最伟大的戏剧天才”。虽然莎士比亚只用英文写作，但他却是世界著名作家。他的大部分作品都已被译成多种文字，其剧作也在许多国家上演。1616年4月23日病逝。莎士比亚和意大利著名数学家、物理学家、天文学家和哲学家、近代实验科学的先躯者伽利略同一年出生。 Shakespearean representative work has 4-big tragedy: "Hamlet" (UK: Hamlet), "Othello" is (UK: Othello), "King Lear " is (UK: King Lear), "Macbeth " is (UK: Macbeth). 4-big comedy: "A Midsummer Night's Dream ", "The Merchant of V enice " ", Twelfth Night " ", "As Y ou Like It" ("As you like it "). Historical play: "King Henry the Fourth Part 1 " ", King Henry the Fifth " ", King Richard II " and so on. Had written 154 sonnets , two leading cadre poems. Our · Jonson says he is "the times soul " , Max says he and Helladic Aisiku Ross are "the greatest human being drama genius ". Although Shakespeare uses English writing only,he is a famous writer of world but. Most work of him has all already been translated into various language , whose play performs also in the lot of country. Die of illness on April 23 , 1616. Body person Galileo is the same as Shakespeare and famous Italy mathematician , physicist , astrologer with the philosopher , experiment science the modern times first being born for 1 year.
莎士比亚简介——英文
I. Introduction Any discussion of Shakespeare's life is bound to be loaded with superlatives. In the course of a quarter century, Shakespeare wrote some thirty-eight plays. Taken individually, several of them are among the world's finest written works; taken collectively, they establish Shakespeare as the foremost literary talent of his own Elizabethan Age and, even more impressively, as a genius whose creative achievement has never been surpassed in any age. In light of Shakespeare's stature and the passage of nearly four centuries since his death, it is not surprising that hundreds of Shakespeare biographies have been written in all of the world's major languages. Scanning this panorama, most accounts of the Bard's life (and certainly the majority of modern studies) are contextual in the sense that they place the figure of Shakespeare against the rich tapestry of his "Age" or "Times" or "Society." This characteristic approach to Shakespeare biography is actually a matter of necessity, for without such fleshing out into historical, social, and literary settings, the skeletal character of what we know about Shakespeare from primary sources would make for slim and, ironically, boring books. As part of this embellishment process, serious scholars continue to mine for hard facts about the nature of Shakespeare's world. The interpretation of their meaning necessarily varies, often according to the particular school or ideology of the author. Whatever the differences of opinion, valid or at least plausible views about Shakespeare, his character and his personal experience continue to be advanced. Yet even among modern Shakespeare biographies, in addition to outlandish interpretations of the available facts, there persists (and grows) a body of traditions about such matters as Shakespeare's marriage, his move to London, the circumstances of his death and the like. The result of all this is that there is now a huge tapestry of descriptive, critical, and analytical work about Shakespeare in existence, much of it reasonable, some of it outlandish, and some of it hogwash. II. Three important points about Shakespeare In examining Shakespeare's life, three broad points should be kept in mind from the start. First, despite the frustration of Shakespeare biographers with the absence of a primary source of information written during (or even shortly after) his death on 23 April 1616 (his fifty-second birthday), Shakespeare's life is not obscure. In fact, we know more about Shakespeare's life, its main events and contours, than we know about most famous Elizabethans outside of the royal court itself. Shakespeare's life is unusually well-documented: there are well over 100 references to Shakespeare and his immediate family in local parish, municipal, and commercial archives and we also have at least fifty observations about Shakespeare's plays (and through them, his life) from his contemporaries. The structure of Shakespeare's life is remarkably sound; it is the flesh of his personal experience, his motives, and the like that have no firm basis and it is, of course, this descriptive content in which we are most interested. Second, the appeal of seeing an autobiographical basis in Shakespeare's plays and poetry must be tempered by what the bulk of the evidence has to say about him. Although there are fanciful
莎士比亚作品语言特点
阅读莎士比亚的作品分析语言的特点 莎士比亚被后人称为是语言大师，这不当因为其用的词汇量多，还在于它在作品中运用了许多的语言艺术手法。 一、戏剧语言注重诗意 19世纪末之前的西方戏剧大都是以诗歌写成的，剧作家十分讲究语言文字的精练优美，注重语言的韵律和节奏。例如莎士比亚的剧作《奥赛罗》中的一段台词是用无韵体诗写成的，短短的几行文字便细腻生动地刻画出奥赛罗在杀妻前爱恨交织的复杂情感，叩人心扉，感人至深。 二、戏剧语言讲究修辞 1.讽刺 讽刺意味着字面意义是所想表达的意义的反面，旨在嘲笑讽刺或者幽默。一般的可以分为词语反讽，戏剧反讽和情景反讽三种。这里我们从《朱利叶斯·恺撒》巾选一例为证，当布一托斯杀死了朱利叶斯·恺撤后，他允许·安乐尼面对凯撒的尸体做一祭文，安乐尼很好的把握这次千被难逢的机会，煽动大众情绪，发生了惊天逆转，当布鲁托斯出去时，人们还拥戴他为英雄，安东尼演讲后，他被罗马民众赶出了城。但是安东尼所佐证的事实却反映的是反面的情况，所以慢慢的听众就发现恺撒是一个诚实的人，而布鲁托斯则证明是野心勃勃的。最后就出现了戏剧性的变化，大出布鲁托斯和读者想象，从这个例我们也可以看出演讲的神奇力，有时真的是如赞巧舌，胜过雄兵百万。 2.大量使用双关，创造出无比幽默的效果 在他的作品中使用双关的频率很高，这里就举一个作品《哈姆雷特》里的例子： 国王：好好利用你的时间，雷欧提斯，尽情发挥你的才能吧!可是，来，我的侄儿哈姆莱特，我的孩子——哈姆莱特：(旁白)超乎寻常的亲族，漠不相干的路人。 国王：为什么愁云依旧笼罩在你的身上? 哈姆莱特：不，陛下：我已经在太阳里晒得太久了。
新王克罗迪斯，哈姆雷特的叔叔，现在的继父，问哈姆雷特为什么如此的不开心?哈姆雷特很有讽刺意味的说道：“我已经在太阳里晒得太久了”，含义既是皇家的恩泽我已沐浴的太久了，又是我做你的儿子已经够了，在这个对话中，莎士比亚还巧妙的运用克罗迪斯称呼哈姆雷特儿子，做了一个文字游戏，哈姆雷特旁白道：超乎寻常的亲族，漠不相干的路人。 3.巧妙的运用矛盾修辞 矛盾修辞是一种将表面矛盾的词汇放在一起以产生一种寓言隽语的效果。即”莎士比亚经常将互相矛盾的一些词放置在一起来表达人物的非常复杂的心情。我们来看下作品《罗密欧与朱丽叶.》中的一段话。 朱丽叶：啊，花一样的面庞里藏着蛇一样的心!那一条恶龙曾经栖息在这样清雅的洞府里?美丽的暴君!天使般的魔鬼!披着白鸽羽毛的乌鸦!豺狼一样残忍的羔羊!圣洁的外表包覆 着丑恶的实质!你的内心刚巧和你的形状相反，一个万恶的圣人，一个庄严的奸徒! 这里是当罗密欧不小心在斗殴中杀死朱利叶的表兄时，朱利叶所说的一段话。作者将那么多的互相矛盾的词语放在一起，生动的表达了朱利叶当时对她的爱人爱恨交织的感情。 三、语体特色、 莎士比亚是英语语言的大师，他运用英语是如此的轻松自如。莎士比亚的戏剧中刻画了几百个人物形象，上自国王、王后、王子，下至盗贼、小丑、掘墓人。每个人物的语言都有自己的特点，基本上所有的话语都适合人物的身份，并且每一个人在不同场合说话也不一样。莎士比亚有时运用优雅正式的语言，因为说话者来自社会的上层并且是处在正式场合，有时也有来自社会下层的戏谑甚至使用俚语，有时甚至不惜破坏禁忌，这是为了适应普通观众的娱乐品味。所以这就很好理解为什么哈姆雷特的语言和掘墓人的语言截然不同。在剧本中我们能发现很多类似的例子，比如鲍西娅和夏洛克，亨利四世和福尔斯塔福，这个特别的肥肥的“骑士”一定以他的幽默和恶作剧给读者和观众留下了深刻的印象。 最后，没有人会否认莎士比亚是英语语言的大师，他以自己的行动大大丰富了英语词汇。在当时社会和英语语言处于大变动的时期，莎士比亚作为一个伟大的作家，积极回应了时代和社会的召唤，并且以自己的努力，在这个变革时期，做出了自己的贡献。没有人会否认莎士比亚是英语语言的大师，他以自己的行动大大丰富了英语词汇。在当时社会和英语语言处
莎士比亚——第十二夜作品分析
《第十二夜》作品分析 12软件技术1（软件测试）施琪 莎士比亚的作品很多，但在喜剧中我觉得《第十二夜》尤为好。首先从作品的表达上来说，《第十二夜》是一部体现莎士比亚喜剧才能和精神的典范之作。再从内容情节上，该戏剧主要讲述了伊利里亚公爵奥西诺、奥丽维娅、薇奥拉和哥哥西巴斯辛这四个人之间发生的一系列的爱情故事。故事情节中穿插着两条主线，一条明线——薇奥拉在公爵府的所作所为，一条暗线——前部分一直未曾露面的孪生兄长，两条线穿插剧中，使该戏剧变得生动。而且在剧中，由明线还串联着三个恶作剧般的喜剧性情节，分别是薇奥拉的女扮男装，托比、玛利娅及小丑对马伏里奥的戏弄，托比对安德鲁的蒙骗。这三个故意但并无恶意的情节在结构上环环相扣，丰富曲折的为我们呈现了一个狂欢化了的世界。 戏剧讲述了伊利里亚公爵奥西诺向奥丽维娅小姐求爱，但屡遭拒绝。同时，一对孪生兄妹航海到伊利里亚，在附近海上遇难。妹妹薇奥拉便改扮男装投身奥西诺公爵家中做侍童，并充当了代他向奥丽维娅小姐求爱的使者。奥丽维娅对偷偷爱着公爵女扮男装的薇奥拉一见钟情，后来，奥丽维娅碰巧遇上薇奥拉的孪生兄长西巴斯辛，两人鬼使神差地结成夫妇，而公爵也最终被薇奥拉的品貌感动了，全剧以兄妹相聚，有情人终成眷属而告终。在我看来这是一部以圆满结尾而告终的一部不同于《阿姆雷特》风格的戏剧，是莎士比亚戏剧的才能另一种体现。 剧中薇奥拉的女扮男装是贯穿全剧的重要线索，虽然薇奥拉并非是存心而为，只是在听从了老船长的美好劝告，又没有机会侍奉奥丽维娅的情况下做出的选择，但是它却引起了一系列的矛盾。首先，女扮男装的薇奥拉无法说出对公爵的爱情，还得作为公爵的侍从担起替公爵向奥丽维娅表白的使者之职。正如在第一幕第四场中薇奥拉的无奈旁白，“我愿意尽力去向您的爱人求婚，唉，怨只怨多阻碍的前程，但我一定要做他的夫人。”这显示出薇奥拉是一个心地善良富有自我牺牲精神又聪明自主的人。她一方面代表公爵尽职尽责地向奥丽维娅求爱，大公无私地愿意成全公爵和其他的女子的爱情，牺牲自己的幸福，但在奥丽维娅小姐一直拒绝的情况下，薇奥拉也在试着努力争取自己的爱情，她一次次向公爵暗示自己的爱慕之情。如第二幕第四场中，当公爵问起薇奥拉是否曾喜欢过什么人时，她回答“和您相貌差不多、和您的年纪差不多”“假如有一位姑娘——也许真有那么一个人——也像您爱着奥丽维娅一样痛苦地爱着您”“我的父亲有一个女儿，她爱上了一个男人，正像假如我是个女人也许会爱上了您殿下一样”“我父亲的女儿只有我一个，儿子也只有我一个”等等剧中的台词，只可惜这一系列的暗示却并未起到什么明显的作用。其次，奥丽维娅小姐居然对既是公爵的使者又是女人的薇奥拉一见钟情，这是一件十足滑稽悲哀的事。可是也由于薇奥拉女扮男装和西萨里奥的身份，使得奥丽维娅小姐爱上“他”又成了合乎情理的事情。这一情节也体现了既矛盾又喜剧性的特点。再次是孪生兄妹—薇奥拉和西巴斯辛的错认。除了在开始时从薇奥拉的口中知道他有孪生哥哥外，一直对此没有描述，直到第一次的误会发生在第三幕第四场，安东尼奥错把薇奥拉当成了西巴斯辛，责怪他忘恩负义，这条副线才开始浮出水面，但是误会并没有时间和机会去解除，反而随着小丑错把西巴斯辛当成了薇奥拉，硬是拉他去见了奥丽维娅小姐，奥丽维娅小姐也把对薇奥拉的爱
莎士比亚名言中英文
莎士比亚名言中英文 【篇一：莎士比亚名言中英文】 名人名言：莎士比亚经典语录50句（中英文对照）线话英语|2012-04-05 10:57:26 由提供 1、some rise by sin, and some by virtue fall. (measure for measure 2.1) 有些人因罪恶而升迁，有些人因德行而没落。 《一报还一报》 2、o, it is excellent to have a giant s strength; but it is tyrannous to use it like a giant. (measure for measure 2.1) 有巨人的力量固然好，但像巨人那样滥用力量就是一种残暴行为。《一报还一报》 3、i ll pray a thousand prayers for thy death but no word to save thee. (measure for measure 3.1) 我要千遍祷告让你死，也不祈求一字救你命。 《一报还一报》 4、o, what may man within him hide, though angel on the outward side! (measure for measure 3.2) 唉!一个人外表可以装得像天使，但却可能把自己掩藏在内心深处! 《一报还一报》 5、since the little wit that fools have was silenc d, the little foolery that wise men have makes a great show. (as you like it, 1.2) 自从傻子小小的聪明被压制得无声无息，聪明人小小的傻气显得更吸引眼球了。 《皆大欢喜》 6、beauty provoketh thieves sooner than gold. (as you like it, 1.3) 美貌比金银更容易引起歹心。 《皆大欢喜》 7、sweet are the uses of adversity. (as you like it, 2.1) 逆境和厄运自有妙处。 《皆大欢喜》 8、do you not know i am a woman? when i think, i must speak. (as you like it, 3.2)
莎士比亚简介
莎士比亚简介 威廉·莎士比亚是英国文艺复兴时期的一位伟大的剧作家、 诗人。威廉·莎士比亚于1564年4月23日生于英国中部瓦维克 郡埃文河畔斯特拉特福的一位富裕的市民家庭。其父约翰·莎士 比亚是经营羊毛、皮革制造及谷物生意的杂货商，1565年任镇民 政官，3年后被选为镇长。莎士比亚七岁时被送到当地的一个文法 学校念书，在那里读了六年的书，掌握了写作的基本技巧与较丰 富的知识，除此之外，他还学过拉丁语和希腊语。但因他的父亲 破产，未能毕业就走上独自谋生之路。1577年被父亲从学校接回， 不得已帮他父亲做了一段时间的生意。他当过肉店学徒，也曾在乡村学校教过书，还干过其他各种职业，这使他增长了许多社会阅历。 莎士比亚的戏剧大都取材于旧有剧本、小说、编年史或民间传说，但在改写中注入了自己的思想，给旧题材赋予新颖、丰富、深刻的内容。在艺术表现上，他继承古代希腊罗马、中世纪英国和文艺复兴时期欧洲戏剧的三大传统并加以发展，从内容到形式进行了创造性革新。他的戏剧不受三一律束缚，突破悲剧、喜剧界限，努力反映生活的本来面目，深入探索人物内心奥秘，从而能够塑造出众多性格复杂多样、形象真实生动的人物典型，描绘了广阔的、五光十色的社会生活图景，并以其博大、深刻、富于诗意和哲理著称。 故此，威廉?莎士比亚（William Shakespeare，1564－1616）成为了欧洲文艺复兴时期最重要的作家，杰出的戏剧家和诗人，他在欧洲文学史上占有特殊的地位，被喻为“人类文学奥林匹克山上的宙斯”。他亦跟古希腊三大悲剧家埃斯库勒斯(Aeschylus)、索福克里斯(Sophocles)及欧里庇得斯(Euripides)合称戏剧史上四大悲剧家。
莎士比亚作品评述
歌德首经说过：莎士比亚是用生动的字眼来感染人的。作为文艺复兴时代英国文坛上的戏剧巨子，莎士比亚使中世纪的典雅华丽语盲特色与都铎王朝以来聚积的新语言相结合，一切生活范围内的丰富语言在他的作品中都有突出的表现，精致入微地描绘了适合于剧情的人物性格和诗歌中奔放而又细腻的情感特征。 劳允栋认为莎士比亚作品中比较典型的语言现象，表现为词类转换，即古英语中屈折词尾已经大量消失，，词在意义上的绝对化，使原有的性质概念转化成具有这种性质的事物的概念；性质形容词主、被动意义的自由转化；莎氏作品中常见的混合式形容词；副词作形容凤或取代形容词；形容词的级、名词、代词、关系代词、动词、独立分词、虚拟语气、介词、句子等18 个方面指出了莎士比亚语言与现代英语的差异之处。比喻、夸张不一定有形象，甚至很可能完全没有形象。莎士比亚作品中的语言形象早期静态为多，后期动力性为多；早期堆砌排列为多．后期以形象流为多；早期妆饰级贯穿形象多，后期象征性贯穿形象为多；早期形象语言开展速度缓慢，后期开展急促，甚至跳跃。莎士比亚运用圣经典故，突出人物性格某一特征，表现剧中人物在特定环境氛围下的情绪和心理状态，起咒骂或讽刺作用，表达作者对剧中人物的态度。莎士比亚作品语言生动、细致、酣畅，富于生活气息，拥有极大的词汇量，在用词方面大胆巧妙；在运用书面语言和口语的同时，广泛采用民间谚语、侄语，注意吸收各类新词，创造性地使用某些已经存在的词表示以前没有过的崭新意思；从民间语言、古代语言和其它语言中汲取营养精华；把某个词性的词作为另外的词性来使用，赋予语言以新鲜活力和变化；把语源不同的词结合使用，刻划场景与人物性格。《哈姆莱特＞中的摹仿讽刺语有几种形式；机智语的运用，将表面上互不相关的想法联系在一起，产生一种幽默可笑的感觉；双关语同其他喜的语言修辞手段一起被广泛、大量地运用；似非而是语通过表面荒诞不经、自相矛盾，而实际上却内含了一般真理的语言修辞手段；反讽语总能在揭露和嘲讽对手的同时表现出说话者幽默的精神面貌，激起观众和读者心理上的喜悦；哈姆莱特的夸张语通过对事实的夸大、过分陈述、词藻堆砌渲染和强调了原因和结果；粗俗语的使用，表明了哈姆莱特对丑恶世界的冷嘲热讽。莎剧中引用圣经词汇、典故500 处，经过莎氏的精心加工、巧妙运用，在刻画人物性格、增强喜剧、悲剧气氛等方面产生了良好的艺术效果。莎剧的语言是典型的戏剧语言。因为，它是富于行动性的语言；最后，是富有诗意的语言。莎氏的双关语，常涉狠裹，多不雅驯，这是当时的市并习气风俗世情使然。莎作中的双关语是莎氏精湛非凡的语言艺术的一个组成部分，是莎剧的显著语言特色之一。 第一个公开谈论莎士比亚的人是“大学才子”派的罗伯特格林。由于像莎士比亚这样来自剧团的人越来越受欢迎，而“大学才子”日益失去剧院的影响，所以他仇恨莎士比亚，他临死前警告他的同行，要警惕，“因为有一个暴发户似的乌鸦，以我们的羽毛为装饰，将他那老虎的心隐藏在演员的皮毛之内，妄自认定他自己也能乱写一首素体诗，像你们中间最好的诗人一样，他是一个打杂的人，居然自信他是国内唯一的舞台震撼者（Shake-scene)”。这从反面说明当时莎剧已引人注目。 莎士比亚死后，他的戏剧界的朋友搜集他的作品，在1623年编印出莎士比亚的第一个戏剧集，收36个剧本，即所谓“第一对折本”。当时的戏剧家本琼生为它写了篇题词，对莎士比亚极力称赞，说他是“时代的灵魂”，“它不属于一个时代而属于所有的世纪”。17~18世纪间，由于古典主义理论的兴盛，人们对莎士比亚的评论一般是平衡的，既承认莎士比亚的伟大，又指出他的不足。如英国的约翰孙，他称赞莎士比亚是自然的诗人，他的人物既有普遍性，又有个性。同时，他认为莎士比亚牺牲美德，重视给读者以快感而忽略给读者以教导，写作没有任何道德目的；悲剧差，其雄辩和演说多半枯燥沉闷，语言浮夸而冗长，不重视情节的安排。古典主义莎评在法国的代表人物是伏尔泰，他认为莎士比亚是伟大的，又是卑鄙的，它对莎士比亚肯定的少，否定的多。他从古典主义的高雅趣味出发，认为莎剧粗野卑鄙，缺乏理性，毫无规则，毫无礼仪，称莎士比亚是一个“天才的野蛮人”。 18世纪末19世纪初，浪漫主义思潮兴起。浪漫派莎评表现出两种特征：①失去了古典主义的平衡,一味地赞赏莎士比亚,从而形成对莎士比亚的崇拜。②强调感受，强调热情，注重对莎士比亚人物的内心世界的探索。 与浪漫派把莎士比亚创作看作是浪漫的不同，19世纪的俄国莎评则强调莎士比亚的现实主义特征。俄国评论家如别林斯基、车尔尼雪夫斯基、杜勃罗留波夫，多是大力赞扬莎士比亚的。托尔斯泰队莎士比亚却是那样的不理解，那样的不客气。他力反对莎士比亚的推崇，认为莎士比亚不是艺术家，不会塑造人物，他的作品也不是艺术品，是他抄袭的，而且把原来的给彻底糟蹋了。
莎士比亚作品特色探索
莎士比亚作品特色探索 作者：徐文君单位：河南工程学院 英语的学习基于英美文化，只有准确地理解英语文化，才能更准确地运用英语，否则会因为文化差异而引起误会和冲突。英国文学源远流长，从中世纪文学到维多利亚文学，经历了复杂、长远的演变。而文艺复兴时期的文学大师莎士比亚是英国文学史上最负盛名的文学家。故本文以莎士比亚作品为例来探讨英语文学教育。 一、莎士比亚作品特色 （一）注重人物性格塑造人物性格的塑造可以说是任何文学作品的精髓，可以使作品蒙上一层淡淡的艺术色彩。现对莎士比亚作品中的几个典型人物进行分析。 １．夏洛克 《威尼斯商人》是莎士比亚早期喜剧作品之一。其将夏洛克塑造成一个贪婪、爱钱、自私、残暴的反面人物。但也曾有人质疑夏洛克是否还带有正面色彩即对女儿的关爱，对民族矛盾的抗议。首先，对女儿的关爱，笔者认为没有。他的这种亲情早已被金钱冲得无影无踪。他在女儿带着财产私奔的时候，撕心裂肺地喊：“我的女儿呀、我的钱呀！”此时他呼喊的只能是他女儿带走的金钱，而女儿在他的心里充其量和那些钱平等。而在后文中夏洛克对好友杜拔尔的一番话中，他宁愿女儿死在他的脚下，而那些钱还全部在女儿身上，这足以说明夏洛克把金钱看得比女儿重要。其次，对民族矛盾的抗议，也是根本不存在的。夏洛克高举民族至上的招牌，实质上是为了谋取个人利益。
他在眉飞色舞地盘算着要割掉安东尼奥一磅肉时，说了一些愤激的、俨然要为犹太人“声张正义”的话，但这不是因为民族矛盾，而是商人利益之间的争夺。因为安东尼奥放贷的时候是不收利息的，这势必影响了他的利益，所以他想借民族矛盾除掉安东尼奥。虽然他在口口声声地“鸣不平”，但他的行为并不符合人民的要求。所以笔者认为，莎士比亚不仅仅直接描写了夏洛克的吝啬、残酷，还通过他对待女儿的态度，为犹太人“鸣不平”的行为反衬他的反面特征。可见，莎士比亚将夏洛克这个反面人物描绘得淋漓尽致、塑造得活灵活现！ ２．哈姆雷特 《哈姆雷特》是莎士比亚中期四大悲剧作品之一。有人说：“一千个读者就有一千个哈姆雷特。”笔者认为，在文章中莎士比亚要塑造一个懦弱、多疑、优柔寡断的人。他因父亲的鬼魂而决定复仇，但在复仇过程中，他担心泄露心事，也害怕鬼魂说的是假话，还要为复仇找借口，因此错失了很多良机。比如第三幕中，哈姆雷特就放过了正在独自祷告的克劳狄斯，他认为需要等待更残酷的机会。莎士比亚故意将哈姆雷特塑造成这样一个人物，将他的复仇上升到哲学的高度。即哈姆雷特在复仇过程中一直思考的一个问题：Ｔｏｂｅｏｒｎｏｔｔｏｂｅ，ｔｈａｔｉｓｔｈｅｑｕｅｓ－ｔｉｏｎ！可最终因能力、人物性格而导致悲剧。但故事的悲剧性不能归根于哈姆雷特的这些特征，莎士比亚表面上塑造的是一个懦弱、多疑、不果断的哈姆雷特，实际是要表现出新旧接替时尖锐的社会矛盾。哈姆雷特孤军奋战、寡不敌众，故事的悲剧可以上升到整个时代的悲剧。
莎士比亚作品赏析
莎士比亚生平创作年表 1564年4月23日威廉·莎士比亚生于艾汶河畔的斯特拉福镇Stratford-upon-Avon，Henley Street.一个富裕的市民家中，于此度过童年和少年时代。七岁起在文法学校读书，十四岁辍学。 1582年10月28日十八岁和安尼·哈瑟维Anne Hathaway结婚。 1583年5月26日女儿珊娜Susanna受洗。 1585年2月2日儿子哈姆涅特Hamnet和女儿裘迪斯Judith受洗。 1586年离开家乡，奔赴伦敦 1590年《亨利六世》中篇、下篇Henry VI 1591年《亨利六世》上篇 1590年—1592年《亨利六世》公演。 1592年《错误的喜剧》The Comedy of Errors 《理查三世》The Tragedy of King Richard III 1592—1598年十四行诗Sonnets 1593年《泰特斯·安德洛尼克斯》Titus Andronicus 《驯悍记》The Taming of The Shrew 长诗《维纳斯与安东尼斯》Venus and Andonis刊印 1594年长诗《鲁克丽丝受辱记》The Rape of Lucrece刊印。 《泰特斯·安德洛尼克斯》公演 《维洛那二绅士》The Two Gentlemen of Verona 《爱的徒劳》Love’s Labour’s Lost 《罗密欧与朱丽叶》Romeo and Juliet 加入“宫大臣供奉”剧团， 后创建“环球剧场”Globe Theater 1595年《理查二世》King Richard II 《仲夏夜之梦》A Midsummer Night’s Dream 1596年《约翰王》King John、 《威尼斯商人》The Merchant of Venice 儿子哈姆涅特夭亡 1597年《亨利四世》上篇、下篇Henry IV 1598年《无事生非》Much ado About Nothing、 《亨利五世》King Henry V 《温莎的风流娘儿们》The Merry Wives of Windsor 1599年《裘力斯·凯撒》Julius Caesar、 《皆大欢喜》As You Like It 修建“环球”剧院 1600年《第十二夜》Twelfth Night 1601年《哈姆雷特》Hamlet 1602年《特洛伊勒斯和克瑞西达》Troilus and Cressida 《终成眷属》All’s Well That Ends Well 1603年女王伊利莎白Queen Elizabeth I 去世， 詹姆斯一世登基。
莎士比亚(牛津书虫中英文双版本)
简介 1578年艾汶河畔的斯特拉福镇。有位男孩坐在书桌旁专心地学习，他认真听课、拼命看书。可他在想些什么呢？ 1587年伦敦。一位年轻人首次到伦敦谋生。他听着闹市的喧嚣声，看看伦敦塔雄伟的大墙，望着泰晤士河的淙淙流水。“静谧的泰晤士河，潺潺地流淌，直到我唱完心中的歌。” 1601年伦敦。泰晤士河上的船夫对人群大声喊着：“快来，快来，快来呀！‘环球剧院’快挤满人啦！”2000多观众渡过河，前来观看莎士比亚的最新一部戏剧——《哈姆雷特》。 这本讲述莎士比亚生平故事的书是由托比叙述的。托比不是一个真实的人物——或许莎士比亚也曾有过这样一位朋友，不过，我们无法确知。但是书中的其他人物历史上确有其人。他们非常熟悉这位演员、诗人兼剧作家莎士比亚。他们称他“莎士比亚缙绅”，都认为他是英国最杰出的诗人。他的朋友本·琼生曾这样写道： “他不属于一个时代，而是属于所有的时代。” 本书作者詹妮弗·芭斯特是位资历很深的教师和作家。她生活在英国西南的德文郡。 1 Toby remembers My name is Toby．I'm an old man，eighty-three this spring．My house is right in the middle of Stratford-upon-Avon，and I can watch the street market from my window．But I live very quietly now．I'm just an old man，sitting in a chair． I once knew the greatest man in England．For thirty years I was his friend．I worked with him in the theatre，through the good times and the
莎士比亚戏剧赏析
莎士比亚戏剧赏析之《罗密欧与朱丽叶》 《罗密欧与朱丽叶》是莎士比亚的代表作之一，在青年人群体中更是备受欢迎，自1595年问世以来，曾被多次改编，这部戏剧也成为戏剧作品中的经典。 戏剧讲述了两位青年男女相恋，却因家族仇恨而遭不幸，最后导致两家和好的故事。首先，故事发生的背景就极为矛盾，故事的男女主人公的家族是世代夙敌，在这样的背景下两个人相恋必会受到重重阻碍。正是因为这样，故事情节必定波澜起伏。后来遭遇很多打击的考验，但这并没有破坏他们牢固的感情，他们原本可以在一起，但却造化弄人，朱丽叶假装自杀，罗密欧以为朱丽叶已死，自己也不会苟活，于是服毒自杀，朱丽叶醒来后发现罗密欧自杀，自己拔剑自杀，原本两人可以在一起，却因为命运的捉弄，却永眠于地底。最终，两个家族也因此和好。 整个剧本里，关于罗密欧与朱丽叶的情感波动的描写很少，说明他们的感情十分稳定，但这个故事却又不得不是悲剧结尾。原因在于，在这个大环境下，他们的爱情是不会有善终的。结合莎士比亚创作的社会背景来看，当时教会统治者人心，资本主义萌芽渐渐发展，开始追求人在现实生活中的享受，但在时代的大背景下，他们并不能直接表达出来，而是把这种追求寄托在作品里，期望在黑暗里点亮一盏灯。故事的结局是两家认识到自己的错误，和好。这里我认为也是莎士比亚对资本主义发展的一种向往，能够用这小小的灯，改变当时人们的思想。所以，罗密欧与朱丽叶为了爱情悲惨地死去了，但他们的爱情是纯洁的，他们的爱情终于战胜了封建压迫和偏见，彰显了人文精神。它强调要以人为“主体”和中心，要求尊重人的本质、人的利益、人的需求以及人的多种创造和发展的可能性。 在整个作品中，给我留下深刻印象的一句话是：新的火焰可以把旧的火焰扑灭，大的苦痛可以使小的苦痛减轻；头晕目眩的时候，只要转身向后；一桩绝望的忧伤，也可以用另一桩烦恼把它驱除。给你的眼睛找一个新的迷惑，你的原来的痼疾就可以霍然脱体。这句话告诉我们看待事物要辩证，不管是看待幸福与痛苦一样。就是你老是觉得自己不幸福，可你还有饭吃，相对那些非洲吃不饱的人来说，你就觉得你的痛苦微不足道。所以任何事务都有相对性，我们所要做的就是看破它，用智慧去抉择。 《罗密欧与朱丽叶》不仅仅是一部悲情的爱情戏剧，而是莎士比亚的戏剧是世界文化殿堂中一颗璀璨的明珠，不止是《罗密欧与朱丽叶》，还有更多更好的作品值得我们去鉴赏和体会。
莎士比亚的中英文介绍
莎士比亚的中英文介绍 威廉?莎士比亚 人物简介 莎士比亚(W. William Shakespeare;1564,1616)英国文艺复兴时期伟大的剧作家、诗人，欧洲文艺复兴时期人文主义文学的集大成者。 中文名:威廉 ?莎士比亚逝世日W. William 1616年5月3日外文名: 期: Shakespeare 职业: 剧作家，诗人，演员国籍: 英国 英格兰沃里克郡斯特出生地: 代表作四大悲剧《哈姆雷特》《奥赛罗》《李拉福镇品: 尔王》《麦克白》出生日1564年4月23日期: William Shakespeare(1564-1616) is one of the most remarkable playwrights and poets the world has ever known. With his 38 plays,154 sonnets and 2 long poems, he has established his giant position in world literature. He has also been given the highest praises by various scholars and critics the world over. In the past four hundred years or so, books and essays on Shakespeare and his works have kept coming out in large quantities. Shakekspeare went to London which afforded a wonderful enviroment for the development of drama. Shakespeare worked both as actor and playwright. He acted and wrote for the Lord Chamberlain's Men, which was later renamed the King's Men. Shakespeare established himself so well as a playwright that Robert Greene, one of the “University Wits”, resentfully declared him to be 'an upstart crow'.