推销员之死第二幕翻译与讲评分析解析
推销员之死 (2)
3. 译文对比
And I looked at the pen and said to myself, what the hell am I grabbing this for? Why am I trying to become what I don’t want to be? What am I doing in an office, making a contemptuous, begging fool of myself, when all I want is out there, waiting for me the minute I say I know who I am! Why can’t I say that, Willy?
《推销员之死》
Siri
1 戏剧翻译 2 《推销员之死》 3 译文对比 4 总结
CONTENTS
目 录
1.戏剧翻译
戏剧的特性
1. 戏剧是一种兼具文学性和舞台性的特殊艺术形式，戏剧翻译如 同戏剧创作一样， 译者既要保证剧本的文学性，又要考虑剧本的 舞台性
2. 戏剧艺术本身的“双重性”，即“可读性”（readability）与 “可表演性”（performability）。
威利，我一小时只能挣一美元！我跑了七个州，工资也没涨。 一个小时只能挣一美 元啊！ 你明白我的意思吗？ 我再也带不了任何奖回家了，你就断了我还能得奖的念 头吧！
1，戏剧翻译
戏剧翻译技巧
无法愈合的创伤——创伤理论视角下《推销员之死》中威利?洛曼死因 解读
无法愈合的创伤——创伤理论视角下《推销员之死》中威利?洛曼死因解读作者：毛俏张之燕来源：《名作欣赏·评论版》 2018年第12期摘要：《推销员之死》中，作者阿瑟·米勒运用丰富的戏剧手段再现了主人公威利·洛曼所遭受的一系列心理创伤，揭示了虚幻的美国梦背景下美国社会的普通人经受创伤后悲剧性的一生。
本文试图从创伤理论视角出发，分析《推销员之死》中主人公威利在经历创伤后的心理反应、造成其悲剧的创伤事件、创伤后应激障碍以及创伤修复失败后走上死亡之路的心路历程。
关键词：《推销员之死》阿瑟·米勒威利·洛曼创伤一、创伤理论渊源“创伤”一词起源于希腊语，指外力给人造成的物理性损伤。
同时，“创伤”也是弗洛伊德精神分析的重要概念。
他从病因、心理结构和治疗等方面都对创伤有所阐释，并从心理学角度提出了精神创伤是由创伤情景作用于创伤主体，经由条件过滤选择而形成的一种持久的痛苦反映。
a 之后，凯茜·卡鲁斯又将“创伤”定义为：“对于突如其来的灾难性事件的一种无法回避的经历，其中对于这一事件的反应往往是延宕的、无法控制的，并且通过幻觉或其他侵入的方式反复出现。
”鉴于创伤的延迟性和不可控性，遭受创伤的人无法提前和正确认知，创伤往往会通过某种方式延迟再现出来，例如闪回、噩梦以及幻觉。
b 这些会给受创者心理造成不可逆转的负面干扰，从而加重受创者的心理痛苦。
在《推销员之死》中，威利心中的深刻创伤无法愈合，而事后创伤修复的失败，将其推上了自杀的不归路。
二、创伤的累加产生米勒在《推销员之死》一书中以主人公威利所遭受的诸多创伤为出发点，小说中四重事件的接踵而至导致主人公的创伤不断累加，其日益累积的消极情绪最终将其推入了灰暗的深渊，极大的心理压力压垮了家庭顶梁柱。
1. 童年家庭创伤弗洛伊德认为，童年的经历就像影子一样徘徊在人性左右，在适当的时机里内心被压抑的意识会像地雷一样爆炸。
c 作者在剧中没有大篇幅地着墨威利的童年生活或者原生家庭背景，读者也只能从威利和本的只言片语中了解到在威利幼童时期，为生活计，父兄皆离家，留下威利和母亲相依为命，而后母亲过世。
推销员之死
这部戏剧不仅具有 深刻的社会意义， 也是一部极具艺术 价值的作品
它通过生动的人物 形象和紧张的剧情 设计，让观众深刻 地感受到了人生的 无常和社会的无情
同时，它也提醒我 们不要盲目追求所 谓的"成功"和"幸福 "，而是要思考自己 的人生价值和意义
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Thanks
谢谢您的观看
了困境，但他仍然保持着乐观的态度，相信自己能够重振旗鼓
在家庭生活中，威利与妻子琳达的关系日益紧张。琳达对威利的困境感到无助和无奈，而威利则因为
3
工作繁忙而无法给予她足够的关注。他们的儿子比夫和哈皮也对他们的生活感到不满。比夫因为学习 成绩优秀而受到孤立，哈皮则因为追求虚荣而陷入债务危机。威利和琳达试图找到解决问题的方法，
本剧的主人公，一个普通的推销员，对自己的事业充满热情， 但因为年老色衰和竞争激烈，业绩每况愈下。他一直抱着一 个美国梦，希望通过自己的努力工作换来幸福的生活
比夫·洛曼
威利的大儿子，一个学习成绩优秀但性格孤僻的孩子，对父 亲的事业不屑一顾
罗曼先生
威利的老板，一个注重业务效率的企业家，对员工的困境漠 不关心
Part 1
《推销员之死》 概述
《推销员之死》概述
01
《推销员之死》 是一部两幕剧， 以威利·洛曼的 人生经历为主线
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第一幕讲述了威 利在办公室的日 常生活，以及他 与家人和朋友的 互动
03
第二幕则着重描 绘了威利的内心 世界，展现了他 的梦想、困惑和 绝望
Part 2
角色介绍
角色介绍
威利·洛曼
20XX
《推销员之死》
演讲者：xxx
目录
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01 《推销员之死》概述 02 角色介绍 03 剧情梗概 04 结论
_左右为巫难_从_推销员之死_的两个译本谈翻译中的异化和归化
儿”， 他说尽管费了好大力气， 也“只能做到七八成， 其余的二三 更倾向于归化译法， 把原作中文化色彩太浓的部分化去。鲁迅
成非得等将来新语汇激增， 变成通用的口语才可以做到。”（ Ｐ３） 说 ：“如果还是翻译 ， 那 么 ， 首 先 的 目 的 ， 就 是 博 览 外 国 的 作 品 ，
这 个 ｓｋｉｄ，《新 英 汉 词 典》里 所 给 的 最 基 本 的 意 思 就 是“ 打 滑 ”， 不但移情， 也要 益 智 ， 至 少 是 知 道 何 时 何 地 ， 有 这 等 事 ， 和 旅 行
译剧中的对话 ， 就为这个缘故。”（ Ｐ３） 英若诚在序言里也指 出 ：
一
“《推销员之死》 用的是四十年代末纽约中下层社会的语言 ， 其
中不乏某些 土 语 ， 因 此 他 在 译 文 中 也“ 大 胆 的 用 了 不 少 相 应 的
美 国 剧 作 家 阿 瑟·密 勒（ １９１５－ ２００５） 的 代 表 作《推 销 员 之 北京土话。”（ Ｐ８）
钱 ， 可 是 Ｗｉｌｌｙ 就 是 抹 不 下 这 个 脸 ， Ｃｈａｒｌｅｙ 气 的 骂 他 ： Ｗｈｅｎ ｔｈｅ 面’， 意义虽很近似， 终觉张冠李戴， 非但不称而且非常滑稽。如
ｈｅｌｌ ａｒｅ ｙｏｕ ｇｏｉｎｇ ｔｏ ｇｒｏｗ ｕｐ？ 这一句浅显易懂的话， 姚先生 翻 译 果在舞台上表演 时 ， 剧 中 的 美 国 人 物 忽 然 念 起‘ 阿 弥 陀 佛 ’来 ，
制 得 多 。 如 ： Ｙｏｕ ｌｏｏｋ ｔｅｒｒｉｂｌｅ 他 译 作 “ 你 气 色 坏 透 了 ”，（ Ｐ９） 词， Ｌｏｎｇｍａｎ Ｄｉｃｔｉｏｎａｒｙ ｏｆ Ｃｏｎｔｅｍｐｏｒａｒｙ Ｅｎｇｌｉｓｈ （ Ｎｅｗ Ｅｄｉｔｉｏｎ） 的
Ｍａｙｂｅ ｉｔ ｗａｓ ｔｈｅ ｃｏｆｆｅｅ．译 作“ 说 不 定 就 是 那 杯 咖 啡 闹 的 ”，（ Ｐ９） 解 释 就 是 ｎｏｔ ｐｏｌｉｔｅ ｕｓｅｄ ｔｏ ｅｘｐｒｅｓｓ ａｎｇｅｒ， ｓｕｒｐｒｉｓｅ， ｏｒ ｓｈｏｃｋ． 后 面
推销员之死第二幕翻译与讲评分析解析
鲜活的口语
人物口语 译文 解说
①咖啡真棒。能顶一顿饭。
②我睡得好香啊，好几个月没 这么香了。 ③好样儿的！
威利的口语
威利的话语有些夸张，但 都是其真性情的流露。123 ④他妈妈的，我这回要动真格 表现威利的乐观开朗的一 面，45表现其认真，风趣 的了！ ⑤你不补袜子行不行？至少我 的一面。
在家的时候别补，我受不了。 没法儿说。我求求你。
①满屋子都是刮胡子膏 的香味儿，我真闻不够！ ②比夫今天早晨可变样 这里所列的是林达所说 了。他整个态度都好像 的话。划线处同样语言 有奔头了。 简练准确，切合情景， ③那身蓝西装。他穿上 从中可以看出林达热爱、 那套衣服可神气了。 关心与体贴家人的个性 ④坐地铁下楼梯的时候 特点。 要当心。
译者遣词用字既体现出鲜活的口语特色，又在传情达意上 生动、准确、精炼，并彰显人物形象。
威利：怎么没白花பைடு நூலகம்早晚来个素不相识 的人，搬进来，就是这么回事。要是比 夫肯要这所房，生儿育女......
林达：没有我，就你们爷儿仨。他们要 请你吃一顿大餐！ 威利：没想到！谁的主意？
译者从认知语境的关联性角度，对原文进行了超文字，超文本的处 理，文从字顺，情理达意，交际意图明晰切情切景。
生动的语气
frank?schophouse弗兰克餐厅法兰克餐厅相较之下姚克译本有许多不足选词不够精炼语境关联性不强人物形象构造不够突出很多地方采用直译不利于演员表演和观众理解
推销员之死（第二幕）
——翻译与讲评
•平稳的节奏 •鲜活的口语 •精炼的措辞 •语境的关联性 •生动的语气 •形象的构建 •译文比读
平稳的节奏
威利：我睡得好香啊，好 自我感受美好，强烈。 几个月没这么香了。
WILLY: ...all I'd need would 威利：......我只要点木料， be a little lumber and 语气肯定，目标明确。 再就是心里别老这么乱。 some peace of mind.
浅析《推销员之死》中哈皮的男性气质
文学评论·影视文学浅析《推销员之死》中哈皮的男性气质李云龙 西安外国语大学摘 要：《推销员之死》是美国剧作家阿瑟•米勒的一部两幕剧本。
主人公威利携妻子以及儿子比夫、哈皮在大萧条时期的美国，幻想通过商品销售获得名利，实现美国梦，终归失败自杀。
威利盲目追求美国梦的，误导比夫和哈皮形成了不切合实际的价值观。
本文意在用R. W.康奈尔的男性气质来探究哈皮的男性气质，研究是否存在第五种男性气质。
关键词：R.W.康奈尔；男性气质；哈皮；美国梦作者简介：李云龙（1990-），女，汉族，河南省驻马店市人，西安外国语大学2017级在读研究生，研究方向为英国文学。
[中图分类号]：J8 [文献标识码]：A[文章编号]：1002-2139(2019)-23-148-01阿瑟•米勒（1915-2005）是二十世纪美国最重要的戏剧家之一，被誉为“美国戏剧的良心”。
他的《推销员之死》（1949）刻画了大萧条时期小人物对美国梦的盲目追求，而在以往对该作品的分析中，多分析威利、琳达以及比夫的形象，本文则从男性身体、男性恋母情结、男性性欲、男性对运动的兴趣和男性所处的社会阶层来探究哈皮的男性气质。
一、男性的身体与男性气质R.W康奈尔《男性气质》“真正的男性气质几乎总是被认为是从男人身体内产生的——它内在于男性身体或者是表达出男性身体的某些东西。
要么是身体引起和指导着行动，要么是身体限制行动”（柳莉等译，2003：127）。
哈皮出场时身形高大、看起来孔武有力，具有支配性男性力量的先决条件；在男权社会里，身体强壮象征进攻性、男性要掌控女性，而哈皮被设定成一个具有支配力量的男性、能从男权社会中获益—女性已发现他身上散发出的诱人性欲。
阿瑟•米勒把他设定成身体上具有支配力量的男性，但在男权社会中却未能实现他的男性力量，所以变得困惑、盲目和偏激。
二、男性的恋母情结与男性气质R. W.康奈尔《男性气质》“发生在童年中期被称为‘恋母情结’的情感纠葛是性和性别发展中的重要阶段，它涉及到 儿童对父母一方的性可望及对另一方的敌意”(柳莉等译，2003：11）。
评_推销员之死_中的表现主义
洪增流 张玉红评《推销员之死》中的表现主义 美国著名戏剧家阿瑟・米勒的经典剧作《推销员之死》自1949年问世以来,一直在美国乃至世界上其他国家的舞台上上演不衰。
该剧以一个普通美国人的家庭为基础,表现了一个遭到失败的中年人的回忆、愿望和梦想,演绎了一部现代美国的悲剧:剧中的主人公旅行推销员威利・洛曼笃信依靠个人的魅力和不懈的努力便可获得成功。
然而事与愿违,他为老板辛苦一生,不但没有发财,反而因年老体弱、推销不力而遭解雇。
他生活拮据,负债累累,精神恍惚,进退维谷。
尽管如此,他仍天真地相信,通过自杀的手段可以给儿子留下一笔人寿保险金,以供其开办一家体育用品商店,实现自己的梦想。
于是,威利终于撞车自尽。
这是一个普通美国人被“人人都能成功”的梦想所戕害的悲剧。
剧作家取材于现实生活中所发生的事件,并尽可能客观真实地将日常生活搬上舞台,从而使该剧具有深刻的社会意义。
在创作手法上,虽然该剧应用了久经考验的、传统的舞台方法,即恪守正常的时间顺序,同时还把地点局限于惯用的家庭和办公环境,从而去描写威利・洛曼在从周一晚上回家到周二晚上自杀这最后一段时间里的活动,但是,阿瑟・米勒采用了室内外交替的布景,以一天两夜的时间集中地反映了威利・洛曼作为旅行推销员的一生,在现实主义戏剧的框架内局部地糅进了表现主义的手法,用那些著名的、不断穿插进来的、代表着萦绕在洛曼心头的往事的倒叙片断打破了严格的情节限制以及想象与现实、过去与现在的界限,并通过人物复杂的心理活动来反映比较广阔的社会生活。
因而“表现主义”是该剧有别于其它戏剧的鲜明特征。
“表现主义”最早出现于法国,是绘画艺术中与印象主义相对立的一种流派。
1910年,表现主义被介绍到德国,并影响到文学艺术的各个领域。
在表现主义者看来,根本的真实只有在人的内部———他的精神、灵魂、欲望、幻想中才能找到,因此他们强调揭示人物内心世界,表现人物的强烈情绪。
鉴于表现主义的出发点是精神,它感兴趣的是展示人・38・物的内心世界,由此便产生了与之相适应的表现手法和艺术特征:人物的心理活动突破了情节的框架,成为作品的中心内容;采用“多重自我”的表现方法,通过对“自我”多层次复杂结构的分析,在舞台上再现人物的心理状态;用梦幻表现人的潜在意识。
推销员之死中文分析
作者简介：阿瑟·密勒（1915—）美国剧作家。
出生在纽约一个富裕的制造商家庭，父亲在大萧条时期破产。
密勒1932年中学毕业后就外出谋生，在汽车零件仓库干过活。
1934年入密执安大学，开始戏剧创作，并得过戏剧协会的奖。
1944年，他的《鸿运高照的人》在百老汇上演，未获成功。
他的成名作是1947年上演的《全是我的儿子》获纽约剧评奖。
此剧讲一个不负责任的制造商把不及格的飞机零件卖给空军，导至飞机失事，21名飞行员（包括他的幼子）死亡，别人因此坐牢，他却逃过了法律制裁。
后来，他的儿子提出要娶弟弟的未婚妻，那个为他父亲坐了牢的人的女儿，终于使他受到良心谴责，认识到那些丧命的飞行员“全是我的儿子”，于是自杀。
1949年上演的《推销员之死》是密勒的杰作，获纽约剧评奖和普列策奖。
1953年上演的历史剧《炼狱》，影射当时麦卡锡主义对左翼人士的迫害。
密勒本人在1950年曾受非美活动委员会传讯并被判藐视国会罪。
1958年才由最高法院撤销这一罪名。
他的其他剧作有《两个星期一的回忆》，反映他本人早期在汽车零件仓库工作的一些经历；《桥头眺望》反映意大利非法移民在美国的悲惨遭遇。
密勒曾和好莱坞红星玛丽莲·梦露结婚，为她写过电影剧本《不合时宜的人》，1961年密勒和梦露离婚后，再娶奥地利籍摄影师英吉保丽·莫拉斯，这段经历反映在剧作《堕落以后》中。
另外，他还写了《维希事件》和《代价》、《美国时钟》及大量戏剧评论。
密勒最爱写人的负罪感和良心发现。
他一贯反对纯娱乐性的庸俗戏剧，提倡严肃戏剧。
内容概要：威利·洛曼是个巡回推销员，他一直相信讨人喜欢和坚持是事业和主活成功的关键。
他的偶像是推销员大卫·辛格曼。
他活到84岁，只要在旅馆里拨个电话，就能做成交易，死后在新英格兰有许多买主和同行为他送葬，极尽哀荣。
现在威利已63岁了，干推销这一行已经34年。
早年曾为老板在新英格兰开创地盘立过汗马功劳，可是如今年老力衰，货物又推销不出去，也就赚不到佣金，而家里的种种费用却要如期支付，如房屋分期付款，保险费等等。
舞台表演的剧本需要“度身定译”——从戏剧翻译的特点比较《推销员之死》的两个中文译本
（ 二 ）戏剧翻译的特殊性 基于 戏剧 语 言 的 以上 特殊 性 ，无 论是 戏剧 创作 还 是戏 剧 翻译 都有 不 同于处 理其 他 文学 文本 的特 殊 之处 。英 国翻 译 理论家苏珊 ・ 巴斯奈特 （ Ｓ ｕ ｓ ａ ｎ Ｂ ａ ｓ ｓ ｎ ｅ ｔ ｔ ）在 《 仍陷于迷 宫 中—— 对翻 译 与戏 剧 的再 思考 》一 文 中首次 正式 提 出戏 剧翻译 的 “ 可表演 性 （ Ｐ ｅ ｒ ｆ ｏ ｒ ｍ ａ ｂ ｉ １ ｉ ｔ ｙ ）”。 （ Ｂ ａ ｓ ｓ ｎ ｅ ｔ＆ Ｌ ｅ ｆ ｅ ｖ ｅ ｒ ｅ ， ２ ０ ０ １ ）根据 可表演 性原则 ，话剧译 本不 能只是好 的文学读 本 ，更应该 是舞台表演 易于操 作的蓝本 。为了能够 译 出这 样的译本 ，译 者不仅要处理其 与作 品和读者 之间的关 系 ，也 要面对 与 未来 观看 此剧 的观 众 的关 系 。对于 这种 关 系 ，王 卫平 和乌兰在 《 试 论英若诚译 ＜ 推销 员之死 ＞ 的艺术成 就》一文 中，创造性地用 一个 模型进行阐释：
： ¨
牛 １月 十Ｕ
总第 ３ ５ Ｏ期
舞 台表演的剧本需要 “ 度身定译”
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从戏剧翻译 的特 点 比较 推销员之 死 的两个 中文译 本
李 海兰 （ 上 海大学外 国语学 院 上海 ２ ０ ０ ４ ４ ４ ）
【 摘要１戏剧 的 “ 舞 台性 ”决 定 了与其他 文学作 品相比 ，它必 定有特殊 之处 。这 不仅 表现 在戏剧 的 语 言上 ，还 表现在 戏剧 的翻 译过程 、翻译 方法上 。本文试从 戏剧翻 译 的特 点 出发 ，对 《 推销 员之死》 的 两个 中文译 本进 行 分 析 比 较 。 【 关键词】戏剧翻译 《 推销 员之死》 表演 【 中图分 类号】Ｈ ５ １ ５ ． ９ ［ 文献标识码 】Ａ ［ 文章编 号 】１ ０ ０ ９ －５ ５ ４ ９（ ２ ０ １ ５ ）０ １ —０ ０ ３ １ —０ ５
促销管理-Death of a Salesman推销员之死英语详细分析
Key FactsFULL TITLE • Death of a Salesman:AUTHOR • Arthur MillerTYPE OF WORK • PlayGENRE • Tragedy, social mentary, family dramaCLIMAX • The scene in Frank’s Chop House and Biff’s final confrontation with Willy at home PROTAGONISTS • Willy Loma n, Biff LomanANTAGONISTS • Biff Loman, Willy Loman, the American DreamSETTING (TIME) • “Today,” that is, the present; either the late 1940s or the time period in which the play is being produced, with “daydreams” into Willy’s past; all of the action ta kes place during a twenty-four-hour period between Monday night and Tuesday night, except the “Requiem,” which takes place, presumably, a few days after Willy’s funeralSETTING (PLACE) • According to the stage directions, “Willy Loman’s house and yard [in Brooklyn] and . . . various places he visits in . . . New York and Boston”FALLING ACTION • The “Requiem” section, although the play is not really structured as a classical dramaTENSE • PresentFORESHADOWING • Willy’s flute theme foreshadows the revelation of his father’s occupation and abandonment; Willy’s preoccupation with Linda’s stockings foreshadows his affair with The Woman; Willy’s automobile accident before the start of Act I foreshadows his suicide at the end of Act IITONE • The tone of Miller’s stage directions and dialogue ranges from sincere to parodying, but, in general, the treatment is tender, though at times brutally honest, toward Willy’s plight THEMES • The American Dream; abandonment; betrayalMOTIFS • Mythic figures; the Americ an West; Alaska; the African jungleSYMBOLS • Seeds; diamonds; Linda’s and the womon’s stockings; the rubber hoseAnalysis of Major CharactersWilly LomanDespite his desperate searching through his past, Willy does not achieve the self-realization or self-knowledge typical of the tragic hero. The quasi-resolution that his suicide offers him represents only a partial discovery of the truth. While he achieves a professional understanding of himself and the fundamental nature of the sales profession, Willy fails to realize his personal failure and betrayal of his soul and family through the meticulously constructed artifice of his life. He cannot grasp the true personal, emotional, spiritual understanding of himself as a literal “loman” or “low man.” Willy is too driven by his own “willy”-ness or perverse “willfulness” to recognize the slanted reality that his desperate mind has forged. Still, many critics, focusing on Willy’s entrenchment in a quagmire of lies, delusions, and self-deceptions, ignore the significant acplishment of his partial self-realization. Willy’s failure to recognize the anguished love offered to him by his family is crucial to the climax of his torturous day, and the play presents this incapacity as the real tragedy. Despite this failure, Willy makes the most extreme sacrifice in his attempt to leave an inheritance that will allow Biff to fulfill the American Dream. Ben’s final mantra—“The jungle is dark, but full of diamonds”—turns Willy’s suicide into a metaphorical moral struggle, a final skewed ambition to realize his full mercial and material capacity. His finalact, according to Ben, is “not like an appointment at all” but like a “diamond . . . rough and hard to the touch.” In the absence of any real degree of self-knowledge or truth, Willy is able to achieve a tangible result. In some respect, Willy does experience a sort of revelation, as he finally es to understand that the product he sells is himself. Through the imaginary advice of Ben, Willy ends up fully believing his earlier a ssertion to Charley that “after all the highways, and the trains, and the appointments, and the years, you end up worth more dead than alive.”Biff LomanUnlike Willy and Happy, Biff feels pelled to seek the truth about himself. While his father and brother are unable to accept the miserable reality of their respective lives, Biff acknowledges his failure and eventually manages to confront it. Even the difference between his name and theirs reflects this polarity: whereas Willy and Happy willfully and happily delude themselves, Biff bristles stiffly at self-deception. Biff’s discovery that Willy has a mistress strips him of his faith in Willy and Willy’s ambitions for him. Consequently, Willy sees Biff as an underachiever, while Biff sees himself as trapped in Willy’s grandiose fantasies. After his epiphany in Bill Oliver’s office, Biff determines to break through the lies surrounding the Loman family in order to e to realistic terms with his own life. Intent on revealing the simple and humble truth behind Wi lly’s fantasy, Biff longs for the territory (the symbolically free West) obscured by his father’s blind faith in a skewed, materialist version of the American Dream. Biff’s identity crisis is a function of his and his father’s disillusionment, which, in or der to reclaim his identity, he must expose.Happy LomanHappy shares none of the poetry that erupts from Biff and that is buried in Willy—he is the stunted incarnation of Willy’s worst traits and the embodiment of the lie of the happy American Dream. As such, Happy is a difficult character with whom to empathize. He is one-dimensional and static throughout the play. His empty vow to avenge Willy’s death by finally “beat[ing] this racket” provides evidence of his critical condition: for Happy, who has lived in the shadow of the inflated expectations of his brother, there is no escape from the Dream’s indoctrinated lies. Happy’s diseased condition is irreparable—he lacks even the tiniest spark of self-knowledge or capacity for self-analysis. He does share Wil ly’s capacity for self-delusion, trumpeting himself as the assistant buyer at his store, when, in reality, he is only an assistant to the assistant buyer. He does not possess a hint of the latent thirst for knowledge that proves Biff’s salvation. Happy is a doomed, utterly duped figure, destined to be swallowed up by the force of blind ambition that fuels his insatiable sex drive.Linda Loman and CharleyLinda and Charley serve as forces of reason throughout the play. Linda is probably the most enigmatic an d plex character in Death of a Salesman, or even in all of Miller’s work. Linda views freedom as an escape from debt, the reward of total ownership of the material goods that symbolize success and stability. Willy’s prolonged obsession with the American Dr eam seems, over the long years of his marriage, to have left Linda internally conflicted. Nevertheless, Linda, by far the toughest, most realistic, and most levelheaded character in the play, appears to have kept her emotional life intact. As such, she represents the emotional core of the drama.If Linda is a sort of emotional prophet, overe by the inevitable end that she foresees with startling clarity, then Charley functions as a sort of poetic prophet or sage. Miller portrays Charley as ambiguously gende red or effeminate, much like Tiresias, the mythological seer in Sophocles’ Oedipus plays. Whereas Linda’s lucid diagnosis of Willy’s rapid decline is made possible by heremotional sanity, Charley’s prognosis of the situation is logical, grounded firmly in practical reasoned analysis. He recognizes Willy’s financial failure, and the job offer that he extends to Willy constitutes a monsense solution. Though he is not terribly fond of Willy, Charley understands his plight and shields him from blame.Themes, Motifs & SymbolsThemesThemes are the fundamental and often universal ideas explored in a literary work.The American DreamWilly believes wholeheartedly in what he considers the promise of the American Dream—that a “well liked” and “personally attractive” man in business will indubitably and deservedly acquire the material forts offered by modern American life. Oddly, his fixation with the superficial qualities of attractiveness and likeability is at odds with a more gritty, more rewarding understanding of the American Dream that identifies hard work without plaint as the key to success. Willy’s interpretation of likeability is superficial—he childishly dislikes Bernard because he considers Bernard a nerd. Willy’s blind faith in his stunted version of the American Dream leads to his rapid psychological decline when he is unable to accept the disparity between the Dream and his own life.AbandonmentWilly’s life charts a course from one abandonment to the next, leaving him in greater despair each time. Willy’s father leaves him and Ben when Willy is very young, leaving Willy neither a tangible (money) nor an intangible (history) legacy. Ben eventually departs for Alaska, leaving Willy to lose himself in a warped vision of the American Dream. Likely a result of these early experiences, Willy develops a fear of abandonment, which makes him want his family to conform to the American Dream. His efforts to raise perfect sons, however, reflect his inability to understand reality. The young Biff, whom Willy considers the embodiment of promise, drops Willy and Willy’s zealous ambitions for him when he finds out about Willy’s adultery. Biff’s ongoing inability to succeed in business furthers his estrangement from Willy. When, at Frank’s Chop House, Willy finally believe s that Biff is on the cusp of greatness, Biff shatters Willy’s illusions and, along with Happy, abandons the deluded, babbling Willy in the washroom.BetrayalWilly’s primary obsession throughout the play is what he considers to be Biff’s betrayal of his ambitions for him. Willy believes that he has every right to expect Biff to fulfill the promise inherent in him. When Biff walks out on Willy’s ambitions for him, Willy takes this rejection as a personal affront (he associates it with “insult” and “spite”).Willy, after all, is a salesman, and Biff’s ego-crushing rebuff ultimately reflects Willy’s inability to sell him on the American Dream—the product in which Willy himself believes most faithfully. Willy assumes that Biff’s betrayal stems from Biff’s discovery of Willy’s affair with The Woman—a betrayal of Linda’s love. Whereas Willy feels that Biff has betrayed him, Biff feels that Willy, a “phony little fake,” has betrayed him with his unending stream of ego-stroking lies.MotifsMotifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.Mythic FiguresWilly’s tendency to mythologize people contributes to his deluded understanding of the world. He speaks of Dave Singleman as a legend and imagines that his death must have been beautifully noble. Willy pares Biff and Happy to the mythic Greek figures Adonis and Hercules because he believes that his sons are pinnacles of “personal attractiveness” and power through “well liked”-ness; to him, they seem the very incarnation of the American Dream.Willy’s mythologizing proves quite nearsighted, however. Willy fails to realize the hopelessness of Singleman’s lonely, on-the-job, on-the-road death. Trying to achieve what he considers to be Singleman’s h eroic status, Willy mits himself to a pathetic death and meaningless legacy (even if Willy’s life insurance policy ends up paying off, Biff wants nothing to do with Willy’s ambition for him). Similarly, neither Biff nor Happy ends up leading an ideal, godlike life; while Happy does believe in the American Dream, it seems likely that he will end up no better off than the decidedly ungodlike Willy.The American West, Alaska, and the African JungleThese regions represent the potential of instinct to Biff and Willy. Willy’s father found success in Alaska and his brother, Ben, became rich in Africa; these exotic locales, especially when pared to Willy’s banal Brooklyn neighborhood, crystallize how Willy’s obsession with the mercial world of the city has trapped him in an unpleasant reality. Whereas Alaska and the African jungle symbolize Willy’s failure, the American West, on the other hand, symbolizes Biff’s potential. Biff realizes that he has been content only when working on farms, out in the open. His westward escape from both Willy’s delusions and the mercial world of the eastern United States suggests a nineteenth-century pioneer mentality—Biff, unlike Willy, recognizes the importance of the individual.SymbolsSymbols are objects, characters, figures, or colors used to represent abstract ideas or concepts. SeedsSeeds represent for Willy the opportunity to prove the worth of his labor, both as a salesman and a father. His desperate, nocturnal attempt to grow vegetables signifies his shame about barely being able to put food on the table and having nothing to leave his children when he passes. Willy feels that he has worked hard but fears that he will not be able to help his offspring any more than his own abandoning father helped him. The seeds also symbol ize Willy’s sense of failure with Biff. Despite the American Dream’s formula for success, which Willy considers infallible, Willy’s efforts to cultivate and nurture Biff went awry. Realizing that his all-American football star has turned into a lazy bum, W illy takes Biff’s failure and lack of ambition as a reflection of his abilities as a father.DiamondsTo Willy, diamonds represent tangible wealth and, hence, both validation of one’s labor (and life) and the ability to pass material goods on to one’s offs pring, two things that Willy desperately craves. Correlatively, diamonds, the discovery of which made Ben a fortune, symbolize Willy’s failure as a salesman. Despite Willy’s belief in the American Dream, a belief unwavering to the extent that he passed up the opportunity to go with Ben to Alaska, the Dream’s promise of financial security has eluded Willy. At the end of the play, Ben encourages Willy to enter the “jungle” finally and retrieve this elusive diamond—that is, to kill himself for insurance money in order to make his life meaningful.Linda’s and The Woman’s StockingsWilly’s strange obsession with the condition of Linda’s stockings foreshadows his later flashback to Biff’s discovery of him and The Woman in their Boston hotel room. The teenage Biff accuses Willy of giving away Linda’s stockings to The Woman. Stockings assume a metaphorical weight as the symbol of betrayal and sexual infidelity. New stockings are important for both Willy’s pride in being financially successful and thus able to provide for his family and for Willy’s ability to ease his guilt about, and suppress the memory of, his betrayal of Linda and Biff.The Rubber HoseThe rubber hose is a stage prop that reminds the audience of Willy’s desperate attempts at suicide. He has apparently attempted to kill himself by inhaling gas, which is, ironically, the very substance essential to one of the most basic elements with which he must equip his home for his family’s health and fort—heat. Literal death by inhaling gas parallels the metaphorical death that Willy feels in his struggle to afford such a basic necessity.Act 2SummaryWhen Willy awakes the next morning, Biff and Happy have already left, Biff to see Bill Oliver and Happy to mull over the “Florida idea” and go to work. Willy, in hi gh spirits with the prospect of the “Florida idea,” mentions that he would like to get some seeds and plant a small garden in the yard. Linda, pleased with her husband’s hopeful mood, points out that there is not enough sun. Willy replies that they will have to get a house in the country. Linda reminds Willy to ask his boss, Howard, for a non-traveling job as well as an advance to pay the insurance premium. They have one last payment on both the refrigerator and the house, and they have just finished paying for the car. Linda informs Willy that Biff and Happy want to take him to dinner at Frank’s Chop House at six o’clock. As Willy departs, moved and excited by his sons’ dinner invitation, he notices a stocking that Linda is mending and, guilt-ridden with the latent memory of his adultery with The Woman, admonishes her to throw the stocking away.Willy timidly enters Howard’s office. Howard is playing with a wire recorder he has just purchased for dictation. He plays the recorded voices of his family: his cloyingly enthusiastic children (a whistling daughter and a son who recites the state capitals in alphabetical order) and his shy wife. As Willy tries to express admiration, Howard repeatedly shushes him. Willy asks for a non-traveling job at $65 a week. Howard replies that there is no opening available. He looks for his lighter. Willy finds it and hands it to him, unconsciously ignoring, in his nervous and pathetically humble distraction, his own advice never to handle or tend to objects in a superior’s offic e, since that is the responsibility of “office boys.” Willy keeps lowering his salary request, explaining his financial situation in unusually candid detail, but Howard remains resistant. Howard keeps calling him “kid” and assumes a condescending tone desp ite his younger age and Willy’s reminders that he helped Howard’s father name him.I realized that selling was the greatest career a man could want.(See Important Quotations Explained)Desperate, Willy tries to relate an anecdote about Dave Singleman, an eighty-four-year-old salesman who phoned his buyers and made his sales without ever leaving his hotel room. After he died the noble “death of a salesman” that eludes Willy, hundreds of salesmen and buyers attended his funeral. Willy reveals that his acquaintance with this venerable paragon of salesmanship convinced him to bee a salesman himself rather than join his brother, Ben, on his newly purchasedplot of timberland in Alaska. Singleman’s dignified success and graceful, respected position as an older m an deluded Willy into believing that “selling was the greatest career a man could want” because of its limitless potential and its honorable nature. Willy laments the loss of friendship and personality in the business, and he plains that no one knows him anymore. An uninterested Howard leaves the office to attend to other people, and he returns when Willy begins shouting frantically after accidentally switching on the wire recorder. Eventually, Willy bees so distraught that Howard informs him that he does not want Willy to represent his pany anymore. Howard essentially fires Willy, with the vague implication of reemployment after a period of “rest.” He suggests that Willy turn to his sons (who he understandably assumes are successful given Willy’s loud bragging) for financial support, but Willy is horrified at the thought of depending on his children and reversing the expected familial roles. He is far too proud to admit defeat, and Howard must insist repeatedly on the cessation of Willy’s employment before i t sinks in.AnalysisBiff’s decision to seek a business loan raises Willy’s spirits, and the way in which Willy expresses his optimism is quite revealing. The first thing Willy thinks about is planting a garden in his yard; he then muses to Linda that they should buy a house in the country, so that he could build guesthouses for Biff and Happy when they have families of their own. These hopeful plans seem to illustrate how ill-suited Willy is to his profession, as it stifles his natural inclinations. Indeed, the petitive, hyper-capitalist world of sales seems no more appropriate for Willy than for Biff. Willy seems happiest when he dreams of building things with his own hands, and when his instincts in this direction surface, he seems whole again, able to see a glimmer of truth in himself and his abilities.Willy’s wistful fantasy of living in the forests of Alaska strengthens the implication that he chose the wrong profession. He does not seem to like living in an urban setting. However, his fascination with the frontier is also intimately connected to his obsession with the American Dream. In nineteenth-century America, the concept of the intrepid explorer entering the unknown, uncharted wilderness and striking gold was deeply imbedded in the national consciousness. With the postwar surge of consumerism in America, this “wilderness” became the bustling market of consumer goods, and the capitalist replaced the pioneer as the American hero. These new intrepid explorers plunged into the jungle of business transactions in order to find a niche to exploit. Ben, whose success involved a literal jungle in Africa, represents one version of the frontier narrative. Dave Singleman represents another. Willy chose to follow Singleman’s path, convinced that it was the modern version and future of the American Dream of success through hard work.While Willy’s dissatisfaction with his life seems due in part to choosing a profession that conflicts with his interests, it seems also due in part to paring all aspects, professional and private alike, of his own life to those of a mythic standard. He fails to realize that Ben’s wealth is the result of a blind stroke of luck rather than a long-deserved reward for hard work and personal merit. Similarly, Willy misses the tragic aspect of Singleman’s story of success—that Singleman was still working at the age of eighty-four and died on the job. Mourning for him was limited to the sphere of salesmen and train passengers who happened to be there at his death—the ephemeral world of transience, travel, and money, as opposed to the meaningful realm of loved ones.Willy’s humiliating interview with Howard sheds some light on his advice for Biff’s interview with Oliver. This advice clearly has its roots in Willy’s relationship with his boss. D espite beingmuch younger than Willy, Howard patronizes Willy by repeatedly calling him “kid.” Willy proves entirely subservient to Howard, as evidenced by the fact that he picks up Howard’s lighter and hands it to him, unable to follow his own advice about such office boy jobs.Willy’s repeated reminders to Howard that he helped his father name Howard illustrate his psychological reliance on outmoded and insubstantial concepts of chivalry and nobility. Like his emphasis on being “well liked,” Willy’s harping upon the honor of bestowing Howard’s name—one can draw a parallel between this naming and the sanctity and dignity of medieval concepts of christening and the dubbing of knights—is anachronistically inpatible with the reality of the modern business world.Willy seems to transfer his familial anxieties to his professional life. His brother and father did not like him enough to stay, so he endeavors to be “well liked” in his profession. He heard the story of Dave Singleman’s success and exaggerated it to h eroic, mythical proportions. Hundreds of people attended Singleman’s funeral—obviously, he was a man who was “well liked.” Dave Singleman’s story hooked Willy as the key to emotional and psychological fulfillment. However, the inappropriateness of Willy’s ideals reveals itself in his lament about the loss of friendship and camaraderie in his profession. Willy fantasizes about such things, and he used to tell his sons about all of his friends in various cities; as Willy’s hard experience evidences, however, such camaraderie belongs only to the realm of his delusion.Important Quotations Explained1. And when I saw that, I realized that selling was the greatest career a man could want. ’Cause what could be more satisfying than to be able to go, at the age of eighty-four, into twenty or thirty different cities, and pick up a phone, and be remembered and loved and helped by so many different people?Willy poses this question to Howard Wagner in Act II, in Howard’s office. He is discussing how he decided to bee a salesman after meeting Dave Singleman, the mythic salesman who died the noble “death of a salesman” that Willy himself covets. His admiration of Singleman’s prolonged success illustrates his obsession with being well liked. He fathoms having people “remember” and “love” him as the ultimate satisfaction, because such warmth from business contacts would validate him in a way that his family’s love does not. In so highly esteeming Singleman and deeming his on-the-job death as dignified, respectable, and graceful, Willy fails to see the human side of Singleman, much as he fails to see his own human side. He envisions Singleman as a happy man but ignores the fact that Singleman was still working at age eighty-four and might likely have experienced the same financial difficulties and consequent pressures and misery as Willy2. I saw the things that I love in this world. The work and the food and the time to sit and smoke. And I looked at the pen and I thought, what the hell am I grabbing this for? Why am I trying to bee what I don’t want to be . . . when all I want is out there, waiting for me the minute I say I know who I am.Biff’s explanation to his father during the climax of their final confrontation in Act II helps him articulate the revelation of his true identity, even though Willy cannot possibly understand. Biff isconfident and somewhat fortable with the knowledge that he is—“a dime a dozen,” as this escape from his father’s delusions allows him to follow his instincts and align his life with his own dreams. Whereas Willy cannot prehend any notion of individual identity outside of the confines of the material success and “well liked”-ness promised by the American Dream, Biff realizes that he can be happy only outside these confines. Though his attempt to cure Willy’s delusions fails, Biff frees himself from Willy’s expectations for him. He sees the stupidity of stealing the pen and renounces the mercial world, content to enjoy the simple necessities of life3. A diamond is hard and rough to the touch.Ben’s final mantra of “The jungle is dark, but full of diamonds” in Act II turns Willy’s suicide into a moral struggle and a matter of merce. His final act, according to Ben, is “not like an appointment at all” but like a “diamond … rough and hard to the touch.” As opposed to the fruitless, emotionally ruinous meetings that Willy has had with Howard Wagner and Charley, his death, Ben suggests, will actually yield something concrete for Willy and his family. Willy latches onto this appealing idea, relieved to be able finally to prove himself a success in business. Additionally, he is certain that with the $20,000 from his life insurance policy, Biff will at last fulfill the expectations that he, Willy, has long held for him. The diamond stands as a tangible reminder of the material success that Willy’s salesman job could not offer him and the missed opportunity of material success with Ben. In selling himself for the metaphorical diamond of $20,000, Willy bears out his earlier assertion to Charley that “afte r all the highways, and the trains, and the appointments, and the years, you end up worth more dead than alive.”4. Nothing’s planted. I don’t have a thing in the groundAfter the climax in Frank’s Chop House, in Act II, Willy, talking to Stanley, sudden ly fixates on buying seeds to plant a garden in his diminutive, dark backyard because he does not have “a thing in the ground.” The garden functions as a last-ditch substitute for Willy’s failed career and Biff’s dissipated ambition. Willy realizes, at least metaphorically, that he has no tangible proof of his life’s work. While he is planting the seeds and conversing with Ben, he worries that “a man can’t go out the way he came in,” that he has to “add up to something.” His preoccupation with material evid ence of success belies his very profession, which necessitates the ability to sell one’s own, intangible image. The seeds symbolize Willy’s failure in other ways as well. The fact that Willy uses gardening as a metaphor for success and failure indicates that he subconsciously acknowledges that his chosen profession is a poor choice, given his natural inclinations. Though his figurative roots are in sales (Ben claims that their father was a successful salesman), Willy never blossomed into the Dave Singleman figure that he idolizes5. He’s a man way out there in the blue, riding on a smile and a shoeshine … A salesman is got to dream, boy.Charley’s speech in the requiem about the nature of the salesman’s dreams eulogizes Willy as a victim of his difficult p rofession. His poetic assessment of sales defends Willy’s death, attributing to Willy’s work the sort of mythic quality that Willy himself always envisioned about it. Charley。
国贸09-2 推销员之死
About Dramas
• In the plays each reasoned step brings the character closer to their own ending. We pity them as they are unable to escape their fate. Then we feel fear because we recognize, in our own dilemmas. This is the purpose of drama: to allow us to participate in the repressed.
以上几个部分，顺着剧情的承接，综合借助音乐，灯光，布景， 讲述了这部剧的开始，营造了一个失意、消极的气氛，也很好地表达了 主人公的心情和处境。 主角Willy 不顺利的家庭和工作纠缠在一起，互相施加反作用力，让 他开始不堪重负。
赏析—矛盾冲突(1)
• 小时候的大儿子Biff 受人欢迎 VS 现在的Biff 懒惰无用 ---- Willy 为以前的Biff 自豪，他还 念那样的儿子，也认为正是那样 受人欢迎的人才会获得成功。 而眼前的这个懒汉，让自己那 么的失望。 这矛盾不单单带来对儿子的失 望，也或多或少产生对自己的失 望----因为这也间接印证了自己作 为一个父亲的失败 。
• (一)本幕情节场景说明 描写了剧情发生的地点，舞台环境设置，背景。 Willy的家是一栋被公寓楼环绕的房子，屋内布置简洁。Willy此时疲惫 地带着行李回到了家。妻子醒了。 ---这里的各方面交代为观众提示了故事背景，主人公的小人物性质可 以初见。
• (二) Willy深夜回家， Linda 关心劳顿的他，两人交谈。 [开头—--P121 Willy: I have such strange thoughts.] 奔波之后回家的Willy形色劳累，妻子询问起来，而Willy并不领情，只 是向她表述自己恍惚开车的状况。貌似身体不适。 --- Willy不走运的开始，观众们可以看到他的恍惚错乱、心力交瘁、疲 惫不堪，无法驾驭自己生活的方向，剧情展开。
英若诚戏剧翻译风格的译者行为批评--以英若诚汉译《推销员之死》为例
2019年第34期（总第844期）攵敖冬'科英若诚戏剧翻译风格的译者行为批评——以英若诚汉译《推销员之死》为例袁凝忆（扬州大学，江苏扬州225000）摘要：由于戏剧翻译具有复杂性与跨领域性，戏剧翻译研究一直是一个冷门的研究领域，直至二十一世I初，人们才开始逐渐对此深入研究。
英若诚是我国著名的翻译家、演员和话剧导演，他翻译的戏剧作品取得了巨大的成功，得到了观众热PD反响。
本文借助译者行为批评理论及连续统评价模式，以英若诚汉译本《推销员之死》为例，对其戏剧翻译风格进行探析,更好地欣赏英若诚先生译本的精彩之处，并借助其翻译成功之处给戏剧翻译#关键词：翻译风格英若诚戏剧翻译《推销员之死》1.引言纵观中外翻译史，最早提出翻译风格问题的是英国著名翻译家泰特勒，他在《论翻译的原理》中（1970）提出著名的翻译三原则：（1）译文应完全复写出原作的思想；（2）译文的风格和笔调应与原文性质一致；（3）译文与原文同样流畅。
其中“风格一致”原则便可视为翻译风格研究的开始。
“翻译上的风格论关注的中心是原语风格意义的所在，以及在对原语的风格意义进行分析的基础上获得译文风格对原语风格的'适应性’（adaptability）,也可以说研究的不仅是原语的风格表现，译文在与原语的对应中：在风格表现上’恰如其分’（appropriateness）*（禹一奇，2009）+翻译是一有创造性的工作,但译者无法不顾原文进行翻译创作，在上翻译风格的研究+国者对翻译风格的研究更是在：的+“风格，，是所’风格即'”（禹一奇,2009）+，研究译者的翻译风格有译者性，提高译者的翻译和，的翻译，为翻译+2.英若诚戏剧翻译风格研究是“的一种+，表，的一+在中国，戏剧是、、歌剧等的总称，常专指话剧”（夏征农,1989）。
戏剧是一：具文性和性的特，翻译同创作一样，译者的文性，的•性，翻译的（英若诚是我国著名的、翻译家和，他翻译的作得的功，得观烈的反响（其翻译的作有《请君入瓮》《推销死》《茶馆》《家》《哗变》《芭芭拉上校》（2003年12月英若诚先生逝世后，国内对英若诚戏剧翻译思想和翻译作的研究一直持续不断（刘晓晨（2010）从其英译《家》探讨英的翻译风格,魏思超（2012）出：“影响英翻译风格的素，致可以分为以下几个方面：（1）身的特点;（2）译者素质，比如翻译能力、翻译；（3）外部因素，比所属剧院的风格；（4）观的构。
存在主义关照下的《推销员之死》解读
存在主义关照下的《推销员之死》解读作者：冯佳家来源：《青年文学家》2013年第19期摘要：当代美国戏剧家亚瑟·米勒的代表作《推销员之死》描述了一个家庭内部成员间的痛苦而棘手的矛盾冲突以及主人公威利·洛曼的悲剧人生。
笔者从存在主义的角度对它进行解读，剖析主人公一生中的重大选择所体现的存在主义，启发读者深入思考我们的存在以及如何赋予生命以意义。
关键词：存在主义；威利·洛曼；《推销员之死》作者简介：冯佳家（1989-），女，汉族，四川省巴中市人，电子科技大学外国语学院，硕士研究生在读，研究方向：外国语言学及应用语言学。
[中图分类号]：I235.1 [文献标识码]：A[文章编号]：1002-213（2013）-19-0-01作为亚瑟·米勒最有影响力的戏剧，《推销员之死》为他赢得了“家庭戏剧之父”的荣誉。
小说的主人公威利是一个年迈而又不起眼的推销员，情节围绕他的情绪恶化得以展开，他越来越无法接受惨淡的现实，不能从相对美好的过往的记忆里抽身，以至于精神状态每况愈下，几近崩溃最终选择了自杀作为解脱。
这实际上就是一部关于主人公“美国梦”逐渐破灭的悲剧。
很多文学评论家从象征主义，威利“美国梦”的幻灭等角度对《推销员》之死作了剖析，笔者则试图从存在主义的角度出发对这部戏剧进行解读。
一、关于存在主义存在主义是当代西方一个重要的哲学流派，丹麦哲学家索伦·克尔凯郭尔被誉为“存主义之父”。
索伦认为，尽管生活充满了挫折不顺，每个人都有责任赋予自己的生命以意义并且要充满激情地真诚地活着。
后来的存在主义哲学家对以下几方面作了探讨：充满意义的生命有哪些构成要素以及人们如何去实现它，生活中要克服哪些困难，生命有哪些内在和外在的因素，以及上帝的存在与否可能会带来怎样的后果。
存在主义强调以人为本，主张尊重个人的自由和抉择。
它指出，人们生活在一个毫无意义的宇宙世界里，存在本身也是毫无意义的，但是我们能够赋予生命意义。
戏剧对白中的语气和情态系统——以《推销员之死》为例
戏剧对白中的语气和情态系统——以《推销员之死》为例代淑为;郑红艳【摘要】戏剧对白中的语言艺术魅力可以体现在对语气和情态系统的精心选择上,戏剧《推销员之死》精心组织人物语言,主人公Willy、Biff和Linda的对白中使用的主语人称、语气结构数量和命题情态与事件情态分布等存在极大差异,刻画出不同人物的性格特征,展现出各种微妙的人际关系.【期刊名称】《濮阳职业技术学院学报》【年(卷),期】2019(032)003【总页数】3页(P51-53)【关键词】语气;情态系统;《推销员之死》;对白【作者】代淑为;郑红艳【作者单位】湖北工程学院新技术学院,湖北孝感432000;湖北工程学院新技术学院,湖北孝感432000【正文语种】中文【中图分类】I053语气和情态系统理论是系统功能语言学领域的重要组成部分，对戏剧对白研究具有特殊意义。
戏剧区别于小说、诗歌的一个主要特征就是，它强调对话关系，通过对话反映人与人之间的关系及其相互作用[1]（121）。
剧本《推销员之死》是著名剧作家阿瑟·米勒最具代表性的作品,本文拟以剧中 Willy、Biff和Linda这三个重要角色为主要对象，分别对话语者的主语选择、语气结构选择、命题情态和事件情态的分布等因素进行探讨，以观察作者如何通过对白展现人物性格和深化主题，同时帮助读者有意识地通过对话分析，体会戏剧语言魅力。
一、语气系统会话中说话者选择的不同语气能反映出他们不同的社会角色关系，而且可以从小句的数量，陈述句、一般疑问句、wh-疑问句和祈使句的数量以及最频繁使用的主语等来分析语气系统[2]（72）。
本文将从主语人称和语气结构选择来剖析《推销员之死》是如何通过语气系统来构建人物的权势地位和人际关系的。
（一）主语人称Thompson认为，主语是对话者用来对小句中命题的有效性负责任的实体[3]（177）。
分析戏剧对白中不同主语人称的选择能更清楚地理解说话者的情感或权势。
《推销员之死 阿瑟 米勒作品系列 》读书笔记思维导图
“人不是水果，你不能吃了橘子扔掉皮。”《推销员之死》是被誉为“美国戏剧的良心”的著名戏剧家阿 瑟·米勒巅峰之作。威利·洛曼是一名推销员，壮年时的他业务能力可靠，妻子琳达持家有道，两个儿子比夫与 哈皮也让他引以为傲。然而，随着时光的流逝，他的好运气似乎正离他远去，他的生活也渐渐失控……作者撕碎 了“美国梦”的光鲜表象，满怀同情地洞察了小人物的悲剧命运，并不动声色地将其希望和痛楚呈现在戏剧舞台 之上。本剧发表于1949年，在百老汇连续上演了742场，获得普利策戏剧奖、托尼奖、纽约剧评界奖，是首部一 举囊括三大戏剧奖的剧本，让阿瑟·米勒成为美国家喻户晓的作家。1985年被改编为同名电影，由奥斯卡影帝达 斯汀·霍夫曼主演。本书译者英若诚先生为我国著名表演艺术家、翻译家、话剧导演，在阿瑟·米勒亲自导演的 《推销员之死》中国首演中担任主角。
最新版读书笔记，下载可以直接修改
《推销员之死 阿瑟 米勒 作品系列 》
思维导图PPT模板
本书关键字分析思维导图
良心
比夫
推销员
生活
光鲜
运气
表象
ห้องสมุดไป่ตู้
阿瑟米 勒
美国
年
时光
儿子
戏剧
作者
持家
哈皮
谈话
美国梦
小人物
目录
01 美国戏剧的良心：阿 瑟·米勒
02
两幕私下的谈话及一 首安魂曲
03 第一幕
04 第二幕
05 安魂曲
美国戏剧的良心：阿瑟·米勒
三 一
二
四
两幕私下的谈话及一首安魂曲
剧中人物
地点
第一幕
第二幕
安魂曲
谢谢观看
推销员之死中的表现主义
梵高 《星夜》
这幅画有很强的笔触。油画中的主色调蓝色代表不开心、阴沉的感觉。很 粗的笔触代表忧愁。画中景象是一个望出窗外的景象。画中的树是柏树， 但画得像黑色火舌一般，直上云端，令人有不安之感。天空的纹理像涡状 星系，并伴随众多星点，而月亮则是以昏黄的月蚀形式出现。整幅画中， 底部的村落是以平直、粗短的线条绘画，表现出一种宁静；但与上部粗犷 弯曲的线条却产生强烈的对比，在这种高度夸张变形和强烈视觉对比中体 现出了画家躁动不安的情感和迷幻的意象世界。
Expressionism in the Death of a Salesman
I. Expressionism：
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. In the movement a number of painters sought to avoid the representation of the external reality. Instead ,they sought to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.
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鲜活的口语
人物口语 译文 解说
①咖啡真棒。能顶一顿饭。
②我睡得好香啊，好几个月没 这么香了。 ③好样儿的！
威利的口语
威利的话语有些夸张，但 都是其真性情的流露。123 ④他妈妈的，我这回要动真格 表现威利的乐观开朗的一 面，45表现其认真，风趣 的了！ ⑤你不补袜子行不行？至少我 的一面。
在家的时候别补，我受不了。 没法儿说。我求求你。
Once in my life I would like to own something outright before it's 我付清了分期付款之后，东西还能不 坏！
译句句式短小，采用句子拆分法，将原句一分为二或 拆为多个小句，形成鲜明的生活口语节奏。生活化色彩浓 郁，语气温婉亲和，对话不疾不徐。
①他是要转运了。毫无问 题，有些人就是这样—— 大器晚成。 这里所列的例句是威利所 ②谈。我要跟他们开门见 说的话。划线处语言简练 山。 准确，切合情景，从中可 ③我这辆汽车款刚刚付清，以看出威利热爱家庭与生 活，爽朗风趣，大度从容 这辆车也要快散架了。 ④为改造这房子，我丢进 的个性。 去多少洋灰、木料，花了 多少力气！
①满屋子都是刮胡子膏 的香味儿，我真闻不够！ ②比夫今天早晨可变样 这里所列的是林达所说 了。他整个态度都好像 的话。划线处同样语言 有奔头了。 简练准确，切合情景， ③那身蓝西装。他穿上 从中可以看出林达热爱、 那套衣服可神气了。 关心与体贴家人的个性 ④坐地铁下楼梯的时候 特点。 要当心。
译者遣词用字既体现出鲜活的口语特色，又在传情达意上 生动、准确、精炼，并彰显人物形象。
林达的口语
①（笑）那感情好。可是这边 阳光进不来，种什么也不长。 林达的话语语气亲和，意 ②你准能做到，亲爱的。
③没有我，就你们爷儿仨。他 切关爱之情。 们要请你大吃一顿！ ④奥，威利，要的就是这股劲！
味温馨，表达对亲人的深
采用鲜活口语，准确凝练，既有利于人物情感的表达与形象揭示，又强化生活真 实感，还有利于演员表演和观众理解。
威利：怎么没白花？早晚来个素不相识 的人，搬进来，就是这么回事。要是比 夫肯要这所房，生儿育女......
林达：没有我，就你们爷儿仨。他们要 请你吃一顿大餐！ 威利：没想到！谁的主意？
译者从认知语境的关联性角度，对原文进行了超文字，超文本的处 理，文从字顺，情理达意，交际意图明晰切情切景。
生动的语气
精炼的措词
原文 ①He's heading for a change.There's no question,there simply are certain men that take longer to get——solidified. ②Yeah.I'll put it to him straight and simple. ③I just finished paying for the car and it's on its last legs. ④All the cement, the lumber,the reconstruction I put in this house! 译文 解说
翻译中语气词的运用
原文 LINDA:Can I make you some eggs? WILLY:No. Take a breath. WILLY: I slept like a dead one. WILLY: Is that so!How about you! WILLY:Yeah, yeah,got my glasses. 译文 解说
推销员之死（第二幕）
——翻译与讲评
•平稳的节奏 •鲜活的口语 •精炼的措辞 •语境的关联性 •生动的语气 •形象的构建 •译文比读
平稳的节奏
原文 译文 看着他们俩一道走，真叫人高兴。满 屋子都是刮胡子膏的香味儿，我真闻 不够！ 我只要点木料，再就是心里别老这么 乱。
It was so thrilling to see them leaving together.I can't get over the shaving lotion in this house! All I'd need would be a little lumber and some peace of mind.
原文
译文
解说
①I can't get over the shaving lotion in this house! ②Biff was very changed this morning.His whole attitude seemed to be helpful. ③His blue suit. He's so handsome in that suit. ④Be careful on the subway stairs.
语境的关联性
原文 LINDA: A hundred and eight,sixtyeight.Because we're a little short again. WILLY: Why are we short? LINDA: Well,it served its purpose. WILLY:What purpose? Some stranger'll come along,move in, and that's that.If only Biff would take this house,and raise a family... LINDA:No,just the three of you. They're gonna blow you to a big meal! WILLY:Don't say!Who thouht of that? 译文 林达：一百零八块六毛八。咱们最近手 头又紧了。 威利：为什么手头又紧了？ 林达：不管怎么说，这力气没白花。
林达：我给你做点鸡蛋吧？语气亲切，体现出夫妻间 威利：不用，你歇会儿吧。彼此关爱。 威利：我睡得好香啊！ 表现出爽朗，惬意的心情。 语气亲切，暗示夫妻彼此 关爱。