1选读shakespeare

William Shakespeare
The first period dates from 1590 ----1600.
In this period he wrote most of his historical plays and comedies, and a few early tragedies, and these plays are imbued with an optimistic atmosphere of humanism. Among the best known of this period are Romeo and Juliet(1594) and the Merchant of Venice(1596).
The second period, from 1601 ---- 1608, includes chiefly his great tragedies: Hamlet(1601), Othello(1604), King Lear(1605), Macbeth(1605) and Timon of Athens(1609). The outstanding tragi-comedy Measure for Measure(1604) also belong to this period. In the above-mentioned plays are reflected the social contradictions of the age.
The third period dates from 1609----1612.
In this period Shakespeare chiefly wrote three tragi-comedies, of which The Tempest(1612) is the most significant. In these last plays we see Shakespeare’s optimistic faith in the future of humanity, at the same time we also see the dramatist’s Utopianism.
Shakespeare’s masterpiece s are as the following:
Four tragedies:
Hamlet, Prince of Denmark; Othello); King Lear; Macbeth）
Four comedies:
Twelfth night; A midsummer night's dream; The merchant of Venice; Much ado about nothing（人教版教材称As you like it）
Historical plays:
King Henry Ⅳ;The life of King Henry Ⅴ;The life and death of King Richard Ⅱ
The Sonnets;
Two long poems: The Rape of Lucrece鲁克丽丝失贞记Venus and Adonis 维纳斯和阿多尼斯
Ben Johnson’s comment on Shakespeare is ―He was not of an age, but for all time, 说他―不属于一个时代而属于千秋万代‖。

英国古典主义者德莱登(John Dryden，1631-1700) 认为―莎士比亚有一颗通天之心．能够了解一切人
物和激情。

‖
德国狂飙运动的先锋歌德（Johann Wolfgang von Goethe，1749—1832），说：―我读到他的第一页．就使我一生都属于他了；读完第一部，我就像一个生下来的盲人，一只奇异的手在瞬间使我的双眼看到了光明……感谢赐我智慧的神灵。

‖
19世纪的法国现实主义作家雨果（Victor Hugo，1802—1885），说―莎士比亚这种天才的降临．使得艺术、科学、哲学或者整个社会焕然一新。

他的光辉照耀着全人类，从时代的这一个尽头到那一个尽头。

‖在马克思(Karl Heinrich Marx，1818年5月5日－1883年3月14日) 的著作中，仅以数量来说，引用或谈到莎士比亚竟有三四百处之多。

所以有人说，莎士比亚是马克思科学研究过程中从始至终的最好伴侣。

他为马克思的科学理论提供例证、模型和历史内容．提供资本主义社会发展的雏形和趋势，也为革命理论提供了大量的形象论据。

甚至对人类未来的美好理想也是不谋而合．基本一致的。

恩格斯（Friedrich Von Engels，1820－1895）在青年时代写的《风景》一文中指出：―不管他剧本中的情节发生在什么地方——在意大利、法兰西还是那伐尔，——其实展现在我们面前的永远是他所描写的怪僻的平民、自作聪明的教书先生、可爱然而古怪的妇女们的故乡，merry England(英文：快乐的英国)；总之，你会看到这些情节只有在英国的天空下才能发生，只有几部喜剧——例如《仲夏夜之梦》——的人物性格，令人感到有南方和它的气候的影响，跟《罗密欧与朱丽叶》的人物的性格一样。

‖
Some quotations from Shakespeare:
A light heart lives long .豁达者长寿
Don’t gild the lily.不要给百合花镀金/画蛇添足。

There is nothing either good or bad, but thinking makes it so
世间本无善恶，端看个人想法
All the world's a stage,
And all the men and women merely players,
They have their exits and entrances,
And one man in his time plays many parts.
What a piece of work is a man, How noble in reason, how infinite in faculties, in form仪表and moving举动, how express and admirable in action, how like an angel in apprehension, how like a god! The beauty of the world; the paragon of animals; and yet to me what is this quintessence of dust?
infinite ['infinit] 无限的, 无穷的, 无边无际的
faculty ['fækəlti] 能力, 才能
express [ɪk'sprɛs] 特快的, 高速的
apprehension [,æprɪ'henʃən]理解；领悟
paragon ['pærə,gɔn模范,典型,完美的人或物2十全十美的人；完美无缺的人
quintessence [kwɪn'tesəns] 典范,完美典型2精华,精髓
To be or not to be.That is a question.
生存还是毁灭，这是一个值得考虑的问题。

2B or not 2B, that is a ？
这是一种文字简化游戏。

O Romeo, Romeo! wherefore为什么art thou Romeo?
罗密欧啊，罗密欧！为什么你偏偏是罗密欧呢？
All the world's a stage,
And all the men and women merely players,
They have their exits and entrances,
And one man in his time plays many parts.
Shakespeare is one of the founders of the realism in world literature. He is a great master in writing plays and often uses the method of adoption in his dramatic creation. He is skilled in many poetic forms: the song, the sonnet, the couplet, and the dramatic blank verse. He is a great master of the English language at all its levels. He used about 16,000 words.
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(Galileo Galilei，1564-02-25—1642-01-08）。

同一年出生。

塞万提斯( Miguel de Cervantes Saavedra，1547年9月29日－1616年4月23日），汤显祖（1550—1616）也都是1616年去世。

The Sonnets
Shakespeare wrote his sonnets in London in the 1590's during an outbreak of plague that closed theaters and prevented playwrights from staging their dramas.
莎士比亚的《十四行诗集》大约创作于1590 年至1598 年之间，几百年来有关十四行诗的论著数量仅次于《哈姆莱特》。

诗歌以强烈的感情、深邃的思想、丰富的意象、优美的节奏和精妙的修辞等，在今天的莎学界引起了越来越多的兴趣和争论
Shakespeare's sonnets are very different from Shakespeare's plays, but they do contain dramatic elements and an overall sense of story. Each of the poems can be taken on its own or in relation to the poems around it. The sonnets have the feel of autobiographical poems, but we don't know whether they deal with real events or not, because no one knows enough about Shakespeare's life to be sure of their statements.
There are certainly a number of intriguing continuities throughout the poems. The first 126 of the sonnets seem to be addressed to an unnamed young nobleman, whom the speaker loves very much; the rest of the poems (except for the last two, which seem generally unconnected to the rest of the sequence) seem to be addressed to a mysterious woman, whom the speaker loves, hates, and lusts for simultaneously. The two addressees of the sonnets are usually referred to as the " The Fair Lord " and " The Dark Lady ". Within the two mini-sequences, there are a number of other discernible elements of "plot": the speaker urges the young man to have children; he is forced to endure a separation from him; he competes with a rival poet for the young man's patronage and affection. At two points in the sequence, it seems that the young man and the dark lady are actually lovers themselves--a state of affairs with which the speaker is none too happy. But while these continuities give the poems a narrative flow and a helpful frame of reference, they have been frustratingly hard for scholars and biographers to pin down. In Shakespeare's life, who were the young man and the dark lady?
整部诗集共154 首，内容很复杂，既具有连贯性，又可独立成篇。

英国莎学家马隆和斯蒂文斯在1780 年
提出了―朋友说‖和―黑女郎说‖，即: 诗集的前126 首，写给一位美貌的贵族男青年( The Fair Lord) ; 诗集的第127 －152 首，写给一位黑肤色女郎( The Dark Lady) ; 最后两首、中间个别几首与故事
无关。

诗集的主题描写时间、友谊、爱情、艺术( 具体为诗的艺术) 。

尤其是时间，成为贯穿整部诗集的一个重要概念和主题，Time 在诗集中出现过79 次，而且大多是以大写字母出现的。

无论是对男性青年( Fair Lord) 的友谊，还是对―黑女郎‖( Dark Lady) 的爱情，都主要是为了突出时间的残酷和无情。

美、友谊、爱情，这一切统统都要受到时间的制约，那么怎样去超越时间?这是困惑诗人的一个问题。

在诗集的第1 －14 首诗中，诗人似乎找到了答案，即生育繁衍。

但是，到了第15 首，他又觉得以结婚生育来抗衡时间的思想是那么苍白无力:
当我看到人类像草木一样滋长，
任同一个苍天随意褒贬抑扬，
少壮时神采飞动，盛极而渐衰，
往日的鼎盛貌逐步被人遗忘。

［2］
如果生命的下一代不能超越上一代人的生命，只是一轮轮生命的复制，是人类的重复性生产，这种繁衍尽管意义重大，却远远不够，它只是人类借助形体在空间的持续存在和运动，来实现外在美的延续，尤其是对于有思想有艺术天赋的诗人来说，是天资禀赋的极大浪费，他当然不会满足于此，他迫切地需要寻找新的与时间抗衡的方式。

经过勤奋的创作，诗人在获得人生自信的同时，终于找到了战胜时间的法宝，那就是诗歌。

诗歌既是诗人抗拒时间暴行的自我选择和自我超越，更是一种精神的长存，是人类许多生命的瞬间升华。

于是，诗人骄傲地宣称自己的诗篇能够记录青年的美，可以与时间抗衡。

而Sonnet．18 是表达文学艺术与时间抗衡这一思想的代表性诗篇。

Some statistics:
莎士比亚十四行诗集的各种不同译本琳琅满目, 迄今我所能够见到, 正式出版的该诗中译文就已多达14 种以上, 网上的译文更是不计其数.
由于在古英语和中古英语当中并没有特指/春天0 和/秋天0 的词汇, 所以在中世纪英语诗歌中, /春天0 这个概念大多是用其他词汇来代替的。

½现代英语中的/ spring0 (春天) 虽然是来自古英语, 但是古英语中的/ springan0 和中古英语中的/ springe0 都只是动词, 表示/跳跃0、/上升0 和/生长0。

正是因为这些特性跟万物复苏的春天有直接的关联, 才使得这个动词在早期现代英语中衍生出一个特指/ 春天0的名词。

与此相对应的是/ fa ll0 (落下)这个动词, 其古英语的形式为/ feallan0,中古英语为/ falle0。

因它常被用于表示秋季落叶的过程, 所以它也在早期现代英语衍生出一个特指/秋天0 的名词。

这个词由17世纪的清教徒带到了大西洋彼岸的新大陆, 所以直到现在, 美语中的/ 秋天,还是称作/ fall0。

正是由于中古英语中没有专门表示/ 春天0 和/ 秋天0 的名词, 所以/ summer0(一般拼写为/ sumer0 或/ somer0 )一词可兼指春夏, 而/ w inter0 一词往往兼指秋冬。

Sonnet 18
Shall I compare thee to a summer's day ?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance, or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou ow'st;
Nor shall Death brag thou wand'rest in his shade,
When in eternal lines to time thou grow'st.
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
In the world literature，the sonnets by Shakespeare are referred to as a peak in terms of sonnet composition，of which sonnet 18 is considered as a model by scholars and the readers all the time.
This sonnet has three quatrains and a concluding couplet, rhyming abab, cdcd, efef, gg. The rhythm is iambic pentameter. Each line of this poem has ten syllables, the last two lines having ten monosyllabic words.
The first line of the first quatrain is a question; "Shall I compare thee to a summer's day?" This question arouses some associative thinking: who is "thee"? It may stand for an ideal or an ideal image. No matter what ―thee‖ refers to, surely it represents anything that Shakespeare values. It is true that summer is often regarded as the best season in Britain, but according to the poet, summer also has some demerits: it is not so "lovely" and "temperate " as "thee" because summer has rough winds which may hurt the darling flowers and summer lasts quite short.
A poem beginning with a question tends to arouse the attention of the reader. Some other examples as ―T he Lamb‖ by William Blake, ― Little Lamb, who made thee?‖, ―The Banks O’Doon‖ by Robert Burns ―Ye Banks and braes o’bonie Doon, How can you bloom sae fresh and fair?‖; ― I’m Nobody‖ by Emily Dickenson ―I’m no body! Who ar e you?‖ ―Dream Deferred‖ by Langston Hughes ― What happens to a dream deferre d?‖
In the second quatrain, Shakespeare is writing on about summer’s limitation. In summer, sometimes the sunshine is too hot for people to bear and sometimes there are dim clouds in the sky. Natural beauty is too fragile to last forever as it is controlled by chance or natural laws. So there is no permanent physical
beauty.
In form the first quatrain and the second quatrain can be separated relatively, but in meaning the two quatrains should be regarded as a whole.
In the third quatrain, the poet explains why his beloved is different from the summer: His beauty shall last forever and even death cannot do anything about his beauty. Why? The speaker’s beloved beauty lies in the poe t’s eternal lines.
In the concluding couplet , the speaker reinforces his argument that his beloved's beauty will not perish because it is preserved in the poem, which will last forever; it will live "as long as men can breathe or eyes can see."
By praising highly the magic power of poetry，the speaker both conveys his love for his friend and shows his confidence in his own poems，which greatly expanded its theme: nature is more powerful than human beings in that human beings can live only in limited time and space while the natural world can enjoy longer time and more expansive space in spite of human beings’ youth and charm，but the wisdom of human being is greater，as its reflection，literature( poetry) ，can go beyond nature，beyond time and space，and hence eternal．
As for its diction, Shakespeare used some common terms which are familiar to the reader, such as "summer", "fair", "chance", "death " and "life", but simple words convey rich implications. The language is comparatively unadorned for the sonnets as the poem is not heavy with alliteration or assonance, and nearly every line is its own self-contained clause------almost every line ends with some punctuation, which effects a pause. But readers may sense the philosophical meaning of life: Natural life wo n’t last forever, while poetry’s charm is beyond the physical world.
The poet employs some figures of speech in this poem. To be specific: in the first line ―Shall I compare thee to a summer's day‖; the poet compares his friend with the summer, the most agreeable season in England. This comparison presents the image of England’s summer full of fragrance of flowers and the pleasing twittering of birds in the readers’ imagination, however, this sentence is just a basic tone-setting line; The key lies in the second sentence: The result of the comparison is that ―Thou art more lovely and more temperate‖. In the third line ―Rough winds do shake the darling buds of May,‖ the rhetorical device personification is used. Generally speaking, ―darling‖ this term is us ed to address a person, but here, the poet uses it to modify ―buds‖. Hence, bud is treated as a person, that is to say, personified.。

In the fourth line, ―And summer’s lease hath all too short a date‖. Metaphor id adopted here. On the one hand, the summer is short, this is a natural phenomena, on the other hand the line suggests the time being young is also short.
―Sometime too hot the eye of heaven shines; And often is his gold complexion dimm'd;‖ in these two lines, personification is also used. ― The eye of heavens‖ ― his golden complexion, both refer to the sun, so here sun is personified.
―And every fair from fair some time declines,‖ in this line a pun is used. The first fair means the beautiful
person or things, the second ―fair‖ means the abstract concept beauty, the line’s order is in this way: And every fair some time declines from fair‖
―By chance, or nature's changing course untrimm'd;‖ in this line, alliteration and assonance is used:
―chance‖ and ―changing‖ both begin with ―ch‖, and they both have the vowel letter ― a‖. And the line order is ― untrimmed ( deprived of the beauty by chance, or nature’s changing course.‖ So in a sense, in the two lines also use the figure of speech of inversion.
―But thy eternal summer shall not fade‖ in this line, the word ― eternal ― is used, it is a hyperbole. In a logical sense, nothing is eternal, so those sentences in writing with ― eternal ― can be labeled as exaggeration. It’s the same with the line ―When in eternal lines to time thou grow'st.‖
Obviously repetition is used in this poem in many places: ―two ― Nor‖ lines: Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wand'rest in his shade.‖More examples are two ―too‖ in the line And summer's lease hath all too short a date: sometime too hot the eye of heaven shines,‖; two ―so long‖ in the lines So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.‖And two ― sometime‖ in the lines ―sometime too hot the eye of heaven shines‖ And every fair from f air sometime declines‖ and two ― eternal ― as mentioned in the above lines.
Of course in the line ―Nor shall Death brag thou wand'rest in his shade‖ personification is used too. Here ― death‖ is personified.
The force and beauty of this poem are also reflected by its imagery. The imagery of this sonnet stresses the contrast between the extreme frailty of physical beauty and the evanescence of summer and the immortality of literary value. So ― but‖ this term is very charming. Some other examples are citied here: Fire and Ice
Robert Frost
Some say the world will end in fire,
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.
He that Loves a Rosy Cheek
Thomas Carew1595—1654
He that loves a rosy cheek
Or a coral lip admires,
Or from star-like eyes doth seek
Fuel to maintain his fires；
As old Time makes these decay,
So his flames must waste away.
But a smooth and steadfast mind,
Gentle thoughts, and calm desires,
Hearts with equal love combined,
Kindle never-dying fires：---
Where these are not, I despise
Lovely cheeks or lips or eyes．
④The Bravest Soldier
Walt Whitman
Brave, brave were the soldiers ( high named to-day) who lived through the fight;
But the bravest press’d to the front and fell, unnamed, unknown.
国内外学者认为此诗，表达的主题思想是―唯有文学可以同时间抗衡‖［3］93，―人的美质只有反映在人的创作( 艺术、文学、诗) 中，才能成为不朽。

‖［4］这正如《左传襄公》中所言:―太上有立德，其次有立功，其次有立言，虽久不废，此之谓不朽‖。

建功立业，固然流芳千古, 然文采横溢，亦传百世，从莎士比亚这首十四行诗中我们便可窥―立言‖价值之一斑:
People with virtues:
伯夷、叔齐是商末孤竹君的两个儿子。

相传其父遗命要立次子叔齐为继承人。

孤竹君死后，叔齐让位给伯夷，伯夷不受，叔齐也不愿登位，先后都逃到周国。

周武王伐纣，二人叩马谏阻。

武王灭商后，他们耻食周粟，采薇而食，饿死于首阳山。

（见《吕氏春秋．诚廉》﹑《史记．伯夷列传》）
周恩来，焦裕录; 孔繁生
粗暴长官（胜利之星）-----朱可夫（苏）
抗战军人之魂-----张自忠（中）
独眼将军----刘伯承（中）
北国雄狮----赵尚志（中）
民国武松----赵登禹（中）
People to be immortal with words‖
Shakespeare, Milton; Cao Vueqing
Shakespeare is one of the representatives of renaissance. So the keynote of humanism in renaissance also influences Shakespeare a lot. And his sonnets is also the product of such influence. His interest in human beings’ immortality shows clearly his standpoint in his writing. 正如莎士比亚通过哈姆莱特之口对人类的赞颂: ―人类是一件多么了不起的杰作! 多么高贵的理性! 多么伟大的力量! 多么优美的仪表! 多么文雅的举动! 在行动上多么像一个天使! 在智慧上多么像一个天神! 宇宙的精华! 万物的灵长!
―文学既是人所创造的业绩，因此这就也是宣告人的伟大与不朽。

‖［3］93人人与自然相比，自然是伟大的，自然会销蚀人的美丽，然而人的智慧却更伟大，智慧的结晶———文学( 诗歌) ，可以超越自然，超越时空而达到永恒。

莎士比亚十四行诗第18 首，梁宗岱译诗如下:
我怎么能够把你来比作夏天?
你不独比它可爱也比它温婉:
狂风把五月宠爱的嫩蕊作践，
夏天出赁的期限又未免太短:
天上的眼睛有时照得太酷烈，
它那炳耀的金颜又常遭掩蔽:
被机缘或无常的天道所摧折，
没有芳艳不终于凋残或销毁。

但是你的长夏永远不会凋落，
也不会损失你这皎洁的红芳，
或死神夸口你在他影里漂泊，
当你在不朽的诗里与时同长。

只要一天有人类，或人有眼睛，
这诗将长存，并且赐给你生命。

梁宗岱（1903年-1983年），广东新会人，中国现代诗人、翻译家、文学评论家。

所译莎士比亚十四行诗被余光中誉为“最佳翻译”。

论莎士比亚十四行诗的时间主题
吴笛浙江大学世界文学与比较文学研究所教授,
内容提要时间是莎士比亚十四行诗集中一个不可忽略的主题。

单纯歌颂美貌以及友谊和爱情并非这部作品的本意, 在十四行诗集中, 无论是美还是友谊和爱情, 都受到时间的制约。

莎士比亚力图通过对艺术、爱情等超越时间之物的探寻, 来超越人的生命隶属于时间的被动地位。

因此, 面对时间的惶恐, 与时间妥协和抗衡但又无法摆脱时间的无情吞噬, 是导致莎士比亚在创作中思想和情绪从乐观自信向悲观乃至失望转变的一个重要因素。

关键词莎士比亚时间主题悲观主义
莎士比亚的十四行诗是作者思想和艺术高度凝练的结晶, 历来受人重视, 特别是20 世纪以来, 研究十四行诗的论著, 其数量仅次于《哈姆莱特》。

关于这部诗集的中心内容和主题, 传统的观点认为是歌颂真善美以及友谊和爱情, 从而表现人文主义思想。

也有专家认为“《十四行诗集》按内容可以分为三类:歌颂美的诗, 以友谊为题的诗, 以爱情为题的诗”。

①国外的学者大多也持这种观点, 一些教材甚至把这部诗集当成“爱情十四行诗”来看待。

但这种观点似乎有些牵强附会, 如果我们能够结合莎士比亚整个的创作生涯来研究, 也许会得出比较客观的评价。

莎士比亚的十四行诗集创作于16 世纪末和17 世纪初, 正是他的戏剧创作从喜剧向悲剧过渡的时期。

而十四行诗集所反映的情绪恰恰是从乐观向悲观乃至失望的转变。

导致这种情绪转变的一个重要因素, 是时间这一概念。

笔者认为, 在莎士比亚这部十四行诗集中, 无论是美, 还是友谊和爱情, 都因受到时间的无情吞噬而弥漫着强烈的悲观情调。

在这部作品中, 始终贯穿着与时间抗衡和妥协的思想以及面对时间而表现出的茫然和困惑。

这种困惑正是16 世纪末和17 世纪初人文主义者对时代感到困惑的一个反映。

一、美和艺术与时间的妥协和抗衡
二、友谊与爱情的“时间”审视
三、时间主题的悲剧意识
综上所述, 时间是莎士比亚十四行诗集中一个不可忽略的重要主题。

单纯歌颂友谊和爱情或歌颂真善美并非莎士比亚这部作品的本意。

在这部十四行诗集中, 无论是美还是友谊和爱情, 都受到时间的制约。

莎士比亚力图通过对艺术、爱情等可以超越时间之物的探寻, 来超越人的生命隶属于时间的被动地位, 尽管他的这种探求只能加深他的困惑。

我们考察莎士比亚十四行诗中的时间主题, 既能使我们从一个侧面加深对他戏剧创作从喜剧向悲剧转换的理解, 同时也更能加深我们对文艺复兴时期人文主义作家世界观的理解, 尤其能加深我们对人文主义者强调现时生活意义的理解。

莎士比亚与时间妥协和抗衡, 但又无法摆脱时间的无情吞噬, 其中表现出来的大胆揭露的精神和悲观的情绪, 使他的诗作超越了时空, 有了普遍
的意
义, 成了“时代的灵魂” , 从而“不属于一个时代而属于所有的世纪”。