《罗密欧与朱丽叶》经典对白《哈姆雷特》经典独白
《哈姆莱特》中的独白语言
《哈姆莱特》中的独白语言
《哈姆莱特》是莎士比亚创作的一部悲剧作品，其中有很多著名的独白语言。
以下是一些例子：
1. “To be, or not to be: that is the question”（生存还是毁灭，这是一个问题）
2. “Frailty, thy name is woman!”（脆弱啊，你的名字是女人！）
3. “O, that this too too solid flesh would melt”（啊，但愿这结实的肉体融化了）
4. “The time is out of joint: O, cursed spite, that ever
I was born to set it right!”（这是一个颠倒混乱的时代，唉，倒霉的我却要负起重整乾坤的责任！）
5. “How noble in reason! How infinite in faculty! In form and moving how express and admirable! In action how like an angel! In apprehension how like a god!”（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！在行为上多么像一个天使！在智慧上多么像一个天神！）
这些独白语言表达了哈姆莱特内心的痛苦、挣扎、愤怒和思考，是这部作品的经典之处。
1。
哈姆雷特王子的经典独白-资料
哈姆雷特王子的经典独白(中文版)其中他最经典的“生存还是毁灭？”那一段独白是中英文对照的版本。
希望这些资料能对你有所帮助。
以下是这三段独白：哈姆雷特独白(1)生存还是毁灭？这是个问题。
究竟哪样更高贵，去忍受那狂暴的命运无情的摧残还是挺身去反抗那无边的烦恼，把它扫一个干净。
去死，去睡就结束了，如果睡眠能结束我们心灵的创伤和肉体所承受的千百种痛苦，那真是生存求之不得的天大的好事。
去死，去睡，去睡，也许会做梦！唉，这就麻烦了，即使摆脱了这尘世可在这死的睡眠里又会做些什么梦呢？真得想一想，就这点顾虑使人受着终身的折磨，谁甘心忍受那鞭打和嘲弄，受人压迫，受尽侮蔑和轻视，忍受那失恋的痛苦，法庭的拖延，衙门的横征暴敛，默默无闻的劳碌却只换来多少凌辱。
但他自己只要用把尖刀就能解脱了。
谁也不甘心，呻吟、流汗拖着这残生，可是对死后又感觉到恐惧，又从来没有任何人从死亡的国土里回来，因此动摇了，宁愿忍受着目前的苦难而不愿投奔向另一种苦难。
顾虑就使我们都变成了懦夫，使得那果断的本色蒙上了一层思虑的惨白的容颜，本来可以做出伟大的事业，由于思虑就化为乌有了，丧失了行动的能力。
Hamlet:To be, or not to be- that is the question:Whether 'tis nobler in the mind to sufferThe slings and arrows of outrageous fortuneOr to take arms against a sea of troubles,And by opposing end them. To die- to sleep-No more; and by a sleep to say we endThe heartache, and the thousand natural shocksThat flesh is heir to. 'Tis a consummationDevoutly to be wish'd. To die- to sleep.To sleep- perchance to dream: ay, there's the rub!For in that sleep of death what dreams may comeWhen we have shuffled off this mortal coil,Must give us pause. There's the respectThat makes calamity of so long life.For who would bear the whips and scorns of time,Th' oppressor's wrong, the proud man's contumely,The pangs of despis'd love, the law's delay,The insolence of office, and the spurnsThat patient merit of th' unworthy takes,When he himself might his quietus makeWith a bare bodkin? Who would these fardels bear,To grunt and sweat under a weary life,But that the dread of something after death-The undiscover'd country, from whose bournNo traveller returns- puzzles the will,And makes us rather bear those ills we haveThan fly to others that we know not of?Thus conscience does make cowards of us all,And thus the native hue of resolutionIs sicklied o'er with the pale cast of thought,And enterprises of great pith and momentWith this regard their currents turn awryAnd lose the name of action.哈姆雷特独白[2]哈姆雷特：念台词要念地跟我一样，很顺当的从舌尖上吐出来。
Romeo & Juliet 经典台词
Capulet's orchard ) 凯普莱特家的花园Romeo: He never felt a wound, yet laughs at my scars. But soft! What light through yonder (over there) window breaks? It is the East and Juliet is the Sun! Arise, fair sun, and kill the envious moon, who is already sick and pale with grief. That you, her maid are more fair than she. Do not be her maid, since she is envious. Her virginity is but sick and green, and only fools wear it. Cast it off. It is my lady! Oh, it is my love! Oh, if only she knew she were! She speaks, yet she says nothing. What of that? Her eye speaks for her; I will answer it. I am too bold; ‘tis not to me she speaks. Two of the fairest stars in all the heaven, having some business, entreat her eyes to twinkle in their orbits till they return. What if her eyes were there, being in her head? The brightness of her cheek would shame those stars, as daylight dose a lamp; her eyes in heaven would through the airy region stream so bright that birds would sing and think it were not night. See how she leans her cheek upon her hand! Oh, that I were a glove upon that hand, that I might touch that cheek!罗密欧没有受过伤的才会讥笑别人身上的创痕。
哈姆雷特经典独白
Hamlet:To be, or not to be- that is the question: Whether it's nobler in the mind to sufferThe slings and arrows of outrageous fortuneOr to take arms against a sea of troubles,And by opposing end them. To die- to sleep-No more; and by a sleep to say we endThe heartache, and the thousand natural shocks That flesh is heir to. 'Tis a consummation Devoutly to be wish'd. To die- to sleep.To sleep- perchance to dream: ay, there's the rub! For in that sleep of death what dreams may come When we have shuffled off this mortal coil,Must give us pause. There's the respectThat makes calamity of so long life.For who would bear the whips and scorns of time, Th' oppressor's wrong, the proud man's contumely, The pangs of despis'd love, the law's delay,The insolence of office, and the spurnsThat patient merit of th' unworthy takes,When he himself might his quietus makeWith a bare bodkin? Who would these fardels bear, To grunt and sweat under a weary life,But that the dread of something after death-The undiscover'd country, from whose bournNo traveller returns- puzzles the will,And makes us rather bear those ills we haveThan fly to others that we know not of?Thus conscience does make cowards of us all,And thus the native hue of resolutionIs sicklied o'er with the pale cast of thought,And enterprises of great pith and momentWith this regard their currents turn awryAnd lose the name of action.哈: {自言自语}生存或毁灭, 这是个问题:是否应默默的忍受坎坷命运之无情打击,还是应与深如大海之无涯苦难奋然为敌,并将其克服。
哈姆雷特王子的经典独白
哈姆雷特王子的经典独白哈姆雷特王子经典独白台词1、在一种悲喜交集的情绪之下，让幸福和忧郁分据了我的双眼，殡葬的挽歌和结婚的笙乐同时并奏，用盛大的喜乐抵销沉重的不幸，我已经和我旧日的长嫂，当今的王后，这一个多事之国的共同统治者，结为夫妇。
2、我的墨黑色的外套，礼俗上规定的丧服、难以吐出来的叹气、像滚滚江流一样的眼泪，悲苦沮丧的脸色，以及一切仪式、外表和忧伤的流露，都不能表示出我的真实情绪。
这些才真是给人瞧的，因为谁也可以做成这种样子。
它们不过是悲哀的装钸和衣服；可是我的郁结的心事却是无法表现出来的。
3、要是你们到现在还没有把你们所看见的告诉别人，那么我要请求你们大家继续保持沉默。
4、一个在成长的过程，不仅是肌肉和体格的增强，而且随着身体的发展，精神和心灵也同时扩大。
也许他现在爱你，他的真诚的意志是纯洁而不带欺诈的；可以你必须留心，他有这样高的地位，他的意志并不属于他自已，因为他自已也要被他的血统所支配。
5、即使没有旁人的诱惑，少年的血气也要向他自已叛变。
6、不要想到什么就说什么，凡事必须三思而行。
对人要和气，可是不要过分狎昵。
相知有素的朋友，应该用钢圈箍在你的灵魂上，可是不要对每一个泛泛的新知滥施你的交情。
留心避免和人家争吵；可是万一争端已起，就应该让对方知道你不是可以轻侮的。
倾听每一个人的意见，可是只对极少数人发表你的意见；接受每一个人的意见，可是只对极少数人发表你的意见；接受每一个人的批评，可是保留你自已的判断。
尽你的财力购制贵重的衣服，可是不要炫新立异，必须富贵而不浮艳，因为服装往往可以表现人格，与众不同。
不要向人告贷，也不要错钱给人；因为债款放了出去，往往不但丢了本钱，而且还失去了朋友；向人告贷的结果，容易养成因循懒惰的习惯。
尢其要紧的，你必须对你自已忠实；正像有了白昼才有黑夜一样，对自已忠实，才不会对别人欺诈。
7、我知道在热情燃烧的时候，一个人无论什么盟誓都会说出口来。
这些火焰，女儿，是光多于热的，刚刚说出口就会光销焰灭，你不能把它们当作真火看待。
哈姆雷特独白中英对照
哈姆雷特独白中英对照Hamlet Monologue - English and Chinese Version“To be, or not to be: that is the question” is perhaps one of the most famous soliloquies in literary history. These lines were spoken by the titular character, Hamlet, in Act III, Scene I of William Shakespeare's play, "Hamlet". This monologue is an introspective exploration of life and death, and the decision to take action or to continue suffering."生存，还是毁灭：这是个问题。
”这或许是文学史上最著名的独白之一。
这段话出自威廉·莎士比亚的戏剧《哈姆雷特》第三幕第一场，由主角哈姆雷特说出。
这个独白对生与死进行了自省式的思考，探讨了采取行动或继续忍受的决策。
In this pivotal moment, Hamlet contemplates the nature of existence and the fear of what lies beyond death. The monologue is a highly emotive and contemplative rumination on the human condition. Shakespeare's use of poetic language heightens the intensity of Hamlet's internal struggle, making it one of the most renowned and studied passages in literature.在这个关键时刻，哈姆雷特思考着存在的本质以及对死亡之后的恐惧。
《罗密欧与朱丽叶》经典对白及《哈姆雷特》经典独白
1 To be, or not to be: that is the question:2 Whether ’tis nobler in the mind to suffer3 The slings and arrows of outrageous fortune4 Or to take arms against a sea of troubles,5 And by opposing end them? To die: to sleep;6 No more; and by a sleep to say we end7 The heart-ache, and the thousand natural shocks8 That flesh is heir to, ’tis a consummation9 Devoutly to be wish’d. To die: to sleep;10 To sleep: perchance to dream: ay, there’s the rub!11 For in that sleep of death what dreams may come12 When we have shuffled off this mortal coil,13 Must give us pause, there’s the respect14 That makes calamity of so long life;15 For who would bear the whips and scorns of time,16 The oppressor’s wrong, the proud man’s contumely,17 The pangs of despised love, the law’s delay,18 The insolence of office, and the spurns19 That patient merit of the unworthy takes,20 When he himself might his quietus make21 With a bare bodkin? Who would fardels bear,22 To grunt and sweat under a weary life,23 But that the dread of something after death,24 The undiscover’d country, from whose bourn25 No traveler returns, puzzles the will,26 And makes us rather bear those ills we have27 Than fly to others that we know not of ?28 Thus conscience does make cowards of us all;29 And thus the native hue of resolution30 Is sicklied o’er with the pale cast of thought,31 And enterprises of great pitch and moment32 With this regard their currents turn awry33 And lose the name of action.朱生豪译文：生存还是毁灭，这是一个值得考虑的问题；默然忍受命运的暴虐的毒箭，或是挺身反抗人世的无涯的苦难，通过斗争把它们扫清，这两种行为，哪一种更高贵？死了；睡着了；什么都完了；要是在这一种睡眠之中，我们心头的创痛，以及其他无数血肉之躯所不能避免的打击，都可以从此消失，那正是我们求之不得的结局。
JaneEyre经典对白（中英对译）
I HA VE AS MUCH SOUL AS YOU-- Excerp t from Jane Eyre by Charlo tte BronteJane: I though tyou’dgone.简：我以为你已经走了。
Roches ter: I change d my mind or rather the Ingram family change d their’s. Why are you crying?罗切斯特：我改主意了。
或者说英格拉姆家改主意了。
你怎么哭了？Jane: I was thinki ng abouthaving to leaveThornf ield.简：我在想，我要离开桑菲尔德了。
Roches ter: You’vebecome quiteattach ed to that foolis h little Adele,haven’tyou? To that simple old Fairfa x. You’dbesorryto part with them.罗切斯特：你很有些离不开那个小傻瓜阿黛勒了，是吗？还有那个头脑简单的老费尔法克斯太太。
你因为要离开她们而伤心。
Jane: Y es, sir!简：是的，先生！Roches ter: It’salways the way in this life. As sooner as have you got settle d in a pleasa nt restin g place,you’resummon ed to move on.罗切斯特：生活总是这样，你刚到一个令人愉快的休憩地，又有什么原因让你前行了。
Jane: I told you, sir, I shallbe readywhen the ordercomes.简：我告诉过你，先生，我会随时准备接受您对我的吩咐。
《罗密欧与朱丽叶》经典台词
《罗密欧与朱丽叶》经典台词《罗密欧与朱丽叶》(romeo and juliet)，威廉·著名戏剧作品之一，因其知名度而常被误称为莎翁四大悲剧之一(实为《麦克白》、《奥赛罗》、《李尔王》及《哈姆雷特》)。
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。
戏剧在莎士比亚年代颇为流行，并与《哈姆雷特》一道成为最常上演的戏剧。
今天，戏剧主角被认为是青年恋人的典型。
罗密欧她(朱丽叶)说话了。
啊!再说下去吧，光明的天使!因为我在这夜色之中仰视着你，就像一个尘世的凡人，张大了出神的眼睛，瞻望着一个生着翅膀的天使，驾着白云缓缓地驰过了天空一样。
罗密欧我借着爱的轻翼飞过园墙，因为砖石的墙垣是不能把阻隔的;爱情的力量所能够做到的事，它都会冒险尝试，所以我不怕你家里人的干涉。
朱丽叶要是他们瞧见了你，一定会把你杀死的。
罗密欧唉!你的眼睛比他们二十柄刀剑还厉害;只要你用温柔的眼光看着我，他们就不能伤害我的身体。
朱丽叶我怎么也不愿让他们瞧见你在这儿。
罗密欧朦胧的夜色可以替我遮过他们的眼睛。
只要你爱我，就让他们瞧见我吧;与其因为得不到你的爱情而在这世上捱命，还不如在仇人的刀剑下丧生。
朱丽叶谁叫你找到这儿来的 ?罗密欧爱情怂恿我探听出这一个地方;他替我出主意，我借给他眼睛。
我不会操舟驾舵，可是倘使你在辽远辽远的海滨，我也会踏着风波把你寻访。
朱丽叶幸亏黑夜替我罩上了一重面幕，否则为了我刚才被你听去的话，你一定可以看见我脸上羞愧的红晕。
我真想遵守礼法，否认已经说过的言语，可是这些虚文俗礼，现在只好一切置之不顾了!你爱我吗?我知道你一定会说“是的”;我也一定会相信你的话;可是也许你起的誓只是一个谎，人家说，对于恋人们的寒盟背信，天神是一笑置之的。
温柔的罗密欧啊!你要是真的爱我，就请你诚意告诉我;你要是嫌我太容易降心相从，我也会堆起怒容，装出倔强的神气，拒绝你的好意，好让你向我婉转求情，否则我是无论如何不会拒绝你的。
莎士比亚的爱情悲剧——《罗密欧与朱丽叶》和《哈姆雷特》的对比研究
莎士比亚的爱情悲剧——《罗密欧与朱丽叶》和《哈姆雷特》的对比研究
引言
•介绍莎士比亚作为英国文豪以及其对戏剧领域的重要贡献
•介绍莎士比亚爱情悲剧的特点及其在文学史上的地位
剧情概述
《罗密欧与朱丽叶》
•简要描述《罗密欧与朱丽叶》的故事背景和主要人物
•分析罗密欧和朱丽叶之间的爱情起源和发展过程
《哈姆雷特》
•简要描述《哈姆雷特》的故事背景和主要人物
•分析哈姆雷特与奥菲利娅、吉尔德斯坦之间的爱情关系
主题对比分析
爱情观念差异
•对比《罗密欧与朱丽叶》和《哈姆雷特》中男女主角对爱情的理解和追求方式
•分析两个作品中所呈现出来的不同爱情观念对人物命运的影响
家庭关系与社会约束
•分析《罗密欧与朱丽叶》中蒙太古家族和卡佛雷特家族之间的敌对关系对主人公爱情的影响
•分析《哈姆雷特》中波洛尼厄斯对奥菲利娅的控制和要求对爱情的干扰悲剧结局
•探讨《罗密欧与朱丽叶》和《哈姆雷特》在结局上的相似之处以及有何不同之处
•分析两个悲剧作品中的因果关系及其对人物命运的影响
总结
•总结比较分析结果，强调两个作品中爱情悲剧共通点和差异
•探讨莎士比亚在作品中表达出来的深刻思考和文学意义
注：此为示例文档大纲，实际编写过程需要根据具体内容进行拓展。
哈姆雷特英文经典独白
哈姆雷特英文经典独白1、Give every man thy ear, but few thy voice; take each man’s censure, but reserve thy judgment.凡事需多听但少言；聆听他人之意见，但保留自己之判断。
2、When sorrows come, they come not single spies, – but in battalions.当悲伤来临的时候，不是单个来的，而是成群结队的。
3、There is nothing either good or bad, but thinking makes it so.其实世事并无好坏，全看你们如何去想。
4、Therefore, since brevity is the soul of wit, And tediousness the limbs and outward flourishes.简扼乃机智之魂，而冗言即无用之外饰。
5、More matter with less art.多一些事实，少一些矫饰废话。
7、I could be bounded in a nutshell and count myself a king of infinite space.即使被关在果壳之中,我仍是无限宇宙之王。
8、Purpose is but the slave to memory, of violent birth, but poor validity.决心不过是记忆的奴隶，它会根据你的记忆随意更改。
9、There is nothing either good or bad, but thinking makes it so.世上本无所谓好和坏，思想使然。
10、Frailty, the name is woman!脆弱啊，你的名字是女人！11、This above all: to thine self be true.最重要的是，你必须对自己忠实。
电视剧那些回不去的年少时光中的莎士比亚诗句
在生活中，我们往往会被一些特定的东西或者事件触发内心深处的情感和回忆。
对于很多人来说，电视剧是引发回忆的重要媒介之一，尤其是那些年少时光里观看过的电视剧。
在这些电视剧中，常常会出现一些经典的莎士比亚诗句，这些诗句不仅丰富了剧情，也触动了我们的内心。
本文将深入探讨电视剧中那些回不去的年少时光中的莎士比亚诗句，带你回顾这些经典的瞬间，感受内心深处的情感。
一、《傲慢与偏见》1. “我不能对你说我爱你。
但是我希望你知道我离不开你。
”这句经典的莎士比亚诗句出现在《傲慢与偏见》中，是达西向伊丽莎白表达爱意的一段经典台词。
这句话所表达的情感深邃真挚，令观众感同身受，也引发了观众对自己的回忆和情感的共鸣。
回顾这些台词，我们或许在当时年少轻狂的时候也曾有过类似的情感难以表达。
莎士比亚通过这句诗句，揭示了人们内心深处隐藏的情感纠结和挣扎，同时也让我们思考年少时光里的爱情和追求。
二、《罗密欧与朱丽叶》2. “那双睁开的眼睛便是为了要用来相见的。
”《罗密欧与朱丽叶》中的这句莎士比亚诗句，表达了罗密欧对朱丽叶内心深处爱意的表白。
这段经典的对白不仅激发了观众的情感共鸣，也触动了观众的回忆之弦。
当我们回顾这些经典的诗句和对白时，可能会想起自己年少时那种强烈的爱情冲动，也会怀念曾经为爱情而奋不顾身的那段年少时光。
这些诗句，不仅是莎士比亚对爱情的诠释，也是我们回忆年少时光的一种方式。
三、《哈姆雷特》3. “生存还是毁灭，这是一个值得思考的问题。
”《哈姆雷特》中这句著名的莎士比亚诗句，揭示了人生的哲学问题。
这句诗句出现在剧中哈姆雷特的独白中，表达了主人公内心的挣扎和迷茫。
当我们回顾这些诗句时，会不由自主地思考生活中的选择和抉择，也会走进哈姆雷特的内心和情感。
这些诗句所包含的情感和哲学思考，也引发了我们对生活和人生的深刻思考。
四、《麦克白》4. “明日、明日，明日，每一天都是一种减少了今天生命的恶日。
”《麦克白》中这句经典的莎士比亚诗句，表达了对生命的消极看法，也体现了主人公麦克白内心的悲凉和绝望。
课本剧莎士比亚经典片段剧本
莎士比亚经典片段教学目的：培养学生表演课本剧的能力准确地表演莎翁经典片段教学重点、难点：大胆表演，贴近人物，准确表现莎翁诗剧的特点教学步骤：一、简介《罗密欧与朱丽叶》剧情：故事发生在英国维洛那城。
凯普莱特和蒙太古两大家族互相敌视，因为两家有着积怨很深的世仇，大有不共载天之势。
在一次盛大华丽的宴会上，凯普莱特大人美丽多情的女儿朱丽叶与蒙太古大人英俊、潇洒的儿子罗密欧一见钟情，罗密欧无法抑制自己对朱丽叶的爱，向她求爱，朱丽叶幸福地拥入了他的怀抱，两个家族的深仇大限阻挡不了爱情的狂潮，花前月下，他们互诉衷肠。
来自两个家庭的强烈反对，反而使爱情之火越燃越旺。
他们私订终身，并在好心的神父劳伦斯的主持下举行了婚礼，朱丽叶望着身边英俊而多情的罗密欧，心中充满了对未来的憧憬。
谁知，罗密欧在街上与凯普莱特的侄子提伯尔特相遇，提伯尔特故意挑衅，两人发生了格斗，罗密欧杀死了对方，被逐出维洛那城。
朱丽叶含泪送别了罗密欧，她的心和情已随着罗密欧去了，她丧魂失魄地思念着罗密欧。
然而，父亲却逼她忘了这个家族的仇人，嫁给帕里斯伯爵。
朱丽叶不敢背叛家族，又不愿意背叛心上人的爱情，她的心被痛苦和矛盾撕咬着，左右为难。
好心的芝伦斯神父再次帮助朱丽叶，让她吞服安眠药，以假死来搪塞帕里斯的求婚，拖延时间。
不明真相的凯普莱特一家人信以为真，伤心地为朱丽叶送葬。
这时罗密欧悄悄地潜回了维洛那城，他以为朱丽叶真的死了，急急忙忙地赶到墓地，望着安详、苍白、停止了呼吸朱丽叶，他千呼万唤，悲痛欲绝，他无法离开他心爱的朱丽叶，他无法孤独地、没有爱情地活着，他喝下毒药倒在朱丽叶的身边。
可不一会儿，朱丽叶的药性过了，她苏醒过来，惊喜地发现心上人就在身旁，但罗密欧告诉他，他快要死了，朱丽叶抱着他，不相信这一切，然而他一点点衰弱下去，朱丽叶不能离开罗密欧，哪怕赴黄泉，他们也不再分离，朱丽叶毅然用短剑结束自己年轻生命。
他们拥抱着爱情升入了天国。
一对情人殉情而死。
罗密欧与朱丽叶经典爱情独白
《罗密欧与朱丽叶》经典爱情独白第三幕第三场：朱丽叶: 快快跑过去吧，踏着火云的骏马，把太阳拖回到它的安息的所在；但愿驾车的法厄同鞭策你们飞驰到西方，让阴沉的暮夜赶快降临。
展开你密密的帷幕吧，成全恋爱的黑夜！遮住夜行人的眼睛，让罗密欧悄悄地投入我的怀里，不被人家看见也不被人家谈论！恋人们可以在他们自身美貌的光辉里互相缱绻；即使恋爱是盲目的，那也正好和黑夜相称。
来吧，温文的夜，你朴素的黑衣妇人，教会我怎样在一场全胜的赌博中失败，把各人纯洁的童贞互为赌注。
用你黑色的罩巾遮住我脸上羞怯的红潮，等我深藏内心的爱情慢慢地胆大起来，不再因为在行动上流露真情而惭愧。
来吧，黑夜！来吧，罗密欧！来吧，你黑夜中的白昼！因为你将要睡在黑夜的翼上，比乌鸦背上的新雪还要皎白。
来吧，柔和的黑夜！来吧，可爱的黑颜的夜，把我的罗密欧给我！等他死了以后，你再把他带去，分散成无数的星星，把天空装饰得如此美丽，使全世界都恋爱着黑夜，不再崇拜眩目的太阳。
啊！我已经买下了一所恋爱的华厦，可是它还不曾属我所有；虽然我已经把自己出卖，可是还没有被买主领去。
这日子长得真叫人厌烦，正像一个做好了新衣服的小孩，在节日的前夜焦躁地等着天明一样。
第五幕第一场：罗密欧要是梦寐中的幻景果然可以代表真实，那么我的梦预兆着将有好消息到来；我觉得心君宁恬，整日里有一种向所没有的精神，用快乐的思想把我从地面上飘扬起来。
我梦见我的爱人来看见我死了——奇怪的梦，一个死人也会思想！——她吻着我，把生命吐进了我的嘴唇里，于是我复活了，并且成为一个君王。
唉！仅仅是爱的影子，已经给人这样丰富的欢乐，要是能占有爱的本身，那该有多么甜蜜！第五幕第三场：罗密欧：我的爱人!我的妻子：死神虽然吸干了你甜蜜的气息，却没有力量摧毁你的美丽。
你没有被征服，美丽的红旗仍然轻拂着你的嘴唇和面颊，死神的白旗还未插到那里。
亲爱的朱丽叶，你为什么依然如此美丽?难道要我相信无形的死神很多情，把你藏在这暗洞里做他的情妇?这儿，啊，我要在这儿永远安息从我这厌恶人生的躯体上挣脱厄运的奴役。
哈姆雷特经典独白
Hamlet:To be, or not to be- that is the question: Whether it's nobler in the mind to sufferThe slings and arrows of outrageous fortuneOr to take arms against a sea of troubles,And by opposing end them. To die- to sleep-No more; and by a sleep to say we endThe heartache, and the thousand natural shocks That flesh is heir to. 'Tis a consummation Devoutly to be wish'd. To die- to sleep.To sleep- perchance to dream: ay, there's the rub! For in that sleep of death what dreams may come When we have shuffled off this mortal coil,Must give us pause. There's the respectThat makes calamity of so long life.For who would bear the whips and scorns of time, Th' oppressor's wrong, the proud man's contumely, The pangs of despis'd love, the law's delay,The insolence of office, and the spurnsThat patient merit of th' unworthy takes,When he himself might his quietus makeWith a bare bodkin? Who would these fardels bear, To grunt and sweat under a weary life,But that the dread of something after death- The undiscover'd country, from whose bourn No traveller returns- puzzles the will,And makes us rather bear those ills we have Than fly to others that we know not of?Thus conscience does make cowards of us all, And thus the native hue of resolutionIs sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awryAnd lose the name of action.哈: {自言自语}生存或毁灭, 这是个问题:是否应默默的忍受坎坷命运之无情打击,还是应与深如大海之无涯苦难奋然为敌,并将其克服。
莎士比亚戏剧押尾韵
莎士比亚戏剧押尾韵莎士比亚，他可是个传奇人物，不仅仅是个大作家，更是个能让你笑到肚子疼的人。
说起来，大家都知道他写了不少经典的戏剧。
比如《哈姆雷特》啦，《罗密欧与朱丽叶》啦，还有《麦克白》啦，这些剧本你可能早就听说过了。
可是你知道吗？他不仅仅是用精彩的剧情吸引人，连他写剧本的方式也是有点“特别”呢。
你看，那些剧中的台词，简直就是一首首诗，尤其是他常常用的“押尾韵”！嘿，说到这里，可能有些人要开始皱眉头了，什么是押尾韵？是不是那种我们小时候写诗学到的“天高地厚”这种套路？好啦，不用担心，今天咱们就来聊聊莎士比亚的押尾韵，顺便揭开它的神秘面纱。
押尾韵说起来就是诗歌中最后一个音节的相同或相似，莎士比亚特别喜欢用这种方式来给他的剧本增添点“味道”。
比如你读他的台词，可能会发现，某些句子的最后一个词和其他句子的最后一个词发音特别像，这样一来，整个场景的气氛就变得有趣又有力量。
你想象一下，你在看一场激情四射的对话，两个人嘴巴对着互相吐槽，最后一句话一出口，突然之间押韵了，整个场面都像是一下子被电击了一样，那种感觉，哎哟，真是“过瘾”！而且更有趣的是，莎士比亚往往会把这些押尾韵藏在一些平凡的对话中，搞得你刚开始可能没注意到，但一旦发现，哇，简直是个大惊喜。
比如在《哈姆雷特》里，哈姆雷特那段经典的独白：“生存还是毁灭，这是个问题。
”大家熟悉吧？但你仔细想想，莎士比亚在这里使用了一种巧妙的押韵结构，他的语言不是单纯的“说话”，而是在舞台上跳了一支舞。
他通过这些词汇的韵律，把那些沉重的哲学思考，转化成了一种艺术的表达。
你看，虽然是讲生死，却因为这些押韵，变得格外深刻又让人忍不住想笑，感觉好像有点小俏皮，反而更让人思考得更深。
再比如《罗密欧与朱丽叶》，那也是莎士比亚戏剧中一大亮点。
你肯定还记得那个场景，罗密欧和朱丽叶第一次见面时，两人说话，简直就是在跳一场舞一样的“对话韵律”。
你看，那种节奏感，仿佛每个字都在微妙地回应对方。
罗密欧与朱丽叶佳句
罗密欧与朱丽叶佳句1. 罗密欧与朱丽叶的经典对白1、Juliet:Oh,Romeo,Romeo,where for art thou,Romeo?Deny thy father and refuse thy name,or if thou wilt not,but he sworn my love,and I'll no longer be a Capulet.'Tis but thy name that is my enemy; Thou art thyself, though not a Montague.What's in a name?That which we call a rose by any other name would smell as sweet.So Romeo would. Romeo,cast off thy name,and for that name,which is part of you,take all of me.Look you but sweet and I am prrof against their enmity. 朱丽叶：罗密欧啊，罗密欧，为什么你是罗密欧？否认你的父亲，抛弃你的姓名吧，也许你不愿意这样做，只要你宣誓做我的爱人，我愿意不再姓凯普莱特了。
只有你的姓氏才是我的敌人，即使你不姓蒙太古，仍然是这样的你，这跟名字又有什么关系？给玫瑰换个名字，它还是照样芳香，所以罗密欧也一样。
罗密欧，抛弃你的名字吧，我愿将我的身心，补偿你这身外的空名。
2、Romeo:I take you at your word.Call me your love,and I'll be new baptized hence forth.I never will be Romeo. 罗密欧：我相信你说的话。
给我你的爱，我将接受重新洗礼，我将不再是罗密欧。
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1 To be, or not to be: that is the question:2 Whether ’tis nobler in the mind to suffer3 The slings and arrows of outrageous fortune4 Or to take arms against a sea of troubles,5 And by opposing end them? To die: to sleep;6 No more; and by a sleep to say we end7 The heart-ache, and the thousand natural shocks8 That flesh is heir to, ’tis a consummation9 Devoutly to be wish’d. To die: to sleep;10 To sleep: perchance to dream: ay, there’s the rub!11 For in that sleep of death what dreams may come12 When we have shuffled off this mortal coil,13 Must give us pause, there’s the respect14 That makes calamity of so long life;15 For who would bear the whips and scorns of time,16 The oppressor’s wrong, the proud man’s contumely,17 The pangs of despised love, the law’s delay,18 The insolence of office, and the spurns19 That patient merit of the unworthy takes,20 When he himself might his quietus make21 With a bare bodkin? Who would fardels bear,22 To grunt and sweat under a weary life,23 But that the dread of something after death,24 The undiscover’d country, from whos e bourn25 No traveler returns, puzzles the will,26 And makes us rather bear those ills we have27 Than fly to others that we know not of ?28 Thus conscience does make cowards of us all;29 And thus the native hue of resolution30 Is sicklied o’er with the pale cast of thought,31 And enterprises of great pitch and moment32 With this regard their currents turn awry33 And lose the name of action.朱生豪译文：生存还是毁灭，这是一个值得考虑的问题；默然忍受命运的暴虐的毒箭，或是挺身反抗人世的无涯的苦难，通过斗争把它们扫清，这两种行为，哪一种更高贵？死了；睡着了；什么都完了；要是在这一种睡眠之中，我们心头的创痛，以及其他无数血肉之躯所不能避免的打击，都可以从此消失，那正是我们求之不得的结局。
死了；睡着了；睡着了也许还会做梦；嗯，阻碍就在这儿：因为当我们摆脱了这一具朽腐的皮囊以后，在那死的睡眠里，究竟将要做些什么梦，那不能不使我们踌躇顾虑。
人们甘心久困于患难之中，也就是为了这个缘故；谁愿意忍受人世的鞭挞和讥嘲、压迫者的凌辱、傲慢者的冷眼、被轻蔑的爱情的惨痛、法律的迁延、官吏的横暴和费尽辛勤所换来的小人的鄙视，要是他只要用一柄小小的刀子，就可以清算他自己的一生？谁愿意负着这样的重担，在劳顿的生命的压迫下呻吟流汗，倘不是因为惧怕不可知的死后，惧怕那从来不曾有一个旅人回来过的神秘之国，是它迷惑了我们的意志，使我们宁愿忍受目前的折磨，不敢向我们所不知道的痛苦飞去？这样，重重的顾虑使我们全变成了懦夫，决心的赤热的光彩，被审慎的思维盖上了一层灰色，伟大的事业在这一种考虑之下，也会逆流而退，失去了行动的意义。
卞之琳译文：1 活下去还是不活，这是个问题： 122 要做到高贵，究竟该忍气吞声 123 来容受狂暴的命运矢石交攻呢， 134 还是该挺身反抗无边的苦恼， 125 扫它个干净？死，——就是睡眠—— 106 就这样；而如果睡眠就等于了结了 147 心痛以及千百种身体要担受的 138 皮痛肉痛，那该是天大的好事， 129 正求之不得啊！死，就是睡眠； 1110 睡眠也许要做梦，这就麻烦了！ 1211 我们一旦摆脱了尘世的牵缠 1212 在死的睡眠里还会做些什么梦， 1313 一想到就不能不踌躇。
这一点顾虑 1414 正好使灾难变成了长期的折磨。
1315 谁甘心忍受人世的鞭挞和嘲弄， 1316 忍受压迫者虐待、傲慢者凌辱， 1217 忍受失恋的痛苦、法庭的拖延、 1218 衙门的横暴、做埋头苦干的大才 1319 受作威作福的小人一脚踢出去， 1320 如果他只消自己来使一下尖刀 1321 就可以得到解脱啊？谁甘心挑担子， 1422 拖着疲累的生命，呻吟，流汗， 1123 要不是怕一死就去了没有人回来的 1524 那个从未发现的国土，怕那边 1325 还不知会怎样，因此意志动摇了， 1326 因此就宁愿忍受目前的灾殃， 1227 而不愿投奔另一些未知的苦难？ 1328 这样子，顾虑是我们都成了懦夫， 1329 也就这样了，决断决行的本色 1230 蒙上了惨白的一层思虑的病容； 1331 本可以轰轰烈烈的大作大为， 1232 由于这一点想不通，就出了别扭， 1333 失去了行动的名份。
” 8Scene II. Capulet's orchard.Enter Romeo.Rom. He jests at scars that never felt a wound.Enter Juliet above at a window.But soft! What light through yonder window breaks?It is the East, and Juliet is the sun!Arise, fair sun, and kill the envious moon,Who is already sick and pale with griefThat thou her maid art far more fair than she.Be not her maid, since she is envious.Her vestal livery is but sick and green,And none but fools do wear it. Cast it off.It is my lady; O, it is my love!O that she knew she were!She speaks, yet she says nothing. What of that?Her eye discourses; I will answer it.I am too bold; 'tis not to me she speaks.Two of the fairest stars in all the heaven,Having some business, do entreat her eyesTo twinkle in their spheres till they return.What if her eyes were there, they in her head?The brightness of her cheek would shame those starsAs daylight doth a lamp; her eyes in heavenWould through the airy region stream so brightThat birds would sing and think it were not night.See how she leans her cheek upon her hand!O that I were a glove upon that hand,That I might touch that cheek!Jul. Ay me!Rom. She speaks.O, speak again, bright angel! for thou artAs glorious to this night, being o'er my head,As is a winged messenger of heavenUnto the white-upturned wond'ring eyesOf mortals that fall back to gaze on himWhen he bestrides the lazy-pacing cloudsAnd sails upon the bosom of the air.Jul. O Romeo, Romeo! wherefore art thou Romeo?Deny thy father and refuse thy name!Or, if thou wilt not, be but sworn my love,And I'll no longer be a Capulet.Rom. [aside] Shall I hear more, or shall I speak at this?Jul. 'Tis but thy name that is my enemy.Thou art thyself, though not a Montague.What's Montague? it is nor hand, nor foot,Nor arm, nor face, nor any other partBelonging to a man. O, be some other name!What's in a name? That which we call a roseBy any other name would smell as sweet.So Romeo would, were he not Romeo call'd,Retain that dear perfection which he owesWithout that title. Romeo, doff thy name;And for that name, which is no part of thee,Take all myself.Rom. I take thee at thy word.Call me but love, and I'll be new baptiz'd;Henceforth I never will be Romeo.Jul. What man art thou that, thus bescreen'd in night, So stumblest on my counsel?Rom. By a nameI know not how to tell thee who I am.My name, dear saint, is hateful to myself,Because it is an enemy to thee.Had I it written, I would tear the word.Jul. My ears have yet not drunk a hundred wordsOf that tongue's utterance, yet I know the sound.Art thou not Romeo, and a Montague?Rom. Neither, fair saint, if either thee dislike.Jul. How cam'st thou hither, tell me, and wherefore?The orchard walls are high and hard to climb,And the place death, considering who thou art,If any of my kinsmen find thee here.Rom. With love's light wings did I o'erperch these walls;For stony limits cannot hold love out,And what love can do, that dares love attempt.Therefore thy kinsmen are no let to me.Jul. If they do see thee, they will murther thee.Rom. Alack, there lies more peril in thine eyeThan twenty of their swords! Look thou but sweet,And I am proof against their enmity.Jul. I would not for the world they saw thee here.Rom. I have night's cloak to hide me from their sight;And but thou love me, let them find me here.My life were better ended by their hateThan death prorogued, wanting of thy love.Jul. By whose direction found'st thou out this place?Rom. By love, that first did prompt me to enquire.He lent me counsel, and I lent him eyes.I am no pilot; yet, wert thou as farAs that vast shore wash'd with the farthest sea,I would adventure for such merchandise.Jul. Thou knowest the mask of night is on my face;Else would a maiden blush bepaint my cheekFor that which thou hast heard me speak to-night.Fain would I dwell on form- fain, fain denyWhat I have spoke; but farewell compliment!Dost thou love me, I know thou wilt say 'Ay';And I will take thy word. Yet, if thou swear'st,Thou mayst prove false. At lovers' perjuries,They say Jove laughs. O gentle Romeo,If thou dost love, pronounce it faithfully.Or if thou thinkest I am too quickly won,I'll frown, and be perverse, and say thee nay,So thou wilt woo; but else, not for the world.In truth, fair Montague, I am too fond,And therefore thou mayst think my haviour light;But trust me, gentleman, I'll prove more trueThan those that have more cunning to be strange.I should have been more strange, I must confess,But that thou overheard'st, ere I was ware,My true-love passion. Therefore pardon me,And not impute this yielding to light love,Which the dark night hath so discovered.Rom. Lady, by yonder blessed moon I swear,That tips with silver all these fruit-tree tops- Jul. O, swear not by the moon, th' inconstant moon, That monthly changes in her circled orb,Lest that thy love prove likewise variable. Rom. What shall I swear by?Jul. Do not swear at all;Or if thou wilt, swear by thy gracious self,Which is the god of my idolatry,And I'll believe thee.Rom. If my heart's dear love-Jul. Well, do not swear. Although I joy in thee,I have no joy of this contract to-night.It is too rash, too unadvis'd, too sudden;Too like the lightning, which doth cease to beEre one can say 'It lightens.' Sweet, good night!This bud of love, by summer's ripening breath,May prove a beauteous flow'r when next we meet.Good night, good night! As sweet repose and restCome to thy heart as that within my breast! Rom. O, wilt thou leave me so unsatisfied?Jul. What satisfaction canst thou have to-night?Rom. Th' exchange of thy love's faithful vow for mine.Jul. I gave thee mine before thou didst request it;And yet I would it were to give again.Rom. Would'st thou withdraw it? For what purpose, love?Jul. But to be frank and give it thee again.And yet I wish but for the thing I have.My bounty is as boundless as the sea,My love as deep; the more I give to thee,The more I have, for both are infinite.I hear some noise within. Dear love, adieu![Nurse] calls within.Anon, good nurse! Sweet Montague, be true.Stay but a little, I will come again. [Exit.] Rom. O blessed, blessed night! I am afeard,Being in night, all this is but a dream,Too flattering-sweet to be substantial.Enter Juliet above.Jul. Three words, dear Romeo, and good night indeed.If that thy bent of love be honourable,Thy purpose marriage, send me word to-morrow,By one that I'll procure to come to thee,Where and what time thou wilt perform the rite;And all my fortunes at thy foot I'll layAnd follow thee my lord throughout the world. Nurse. (within) Madam!Jul. I come, anon.- But if thou meanest not well,I do beseech thee-Nurse. (within) Madam!Jul. By-and-by I come.-To cease thy suit and leave me to my grief.To-morrow will I send.Rom. So thrive my soul-Jul. A thousand times good night! Exit.Rom. A thousand times the worse, to want thy light!Love goes toward love as schoolboys from their books;But love from love, towards school with heavy looks. Enter Juliet again, [above].Jul. Hist! Romeo, hist! O for a falconer's voiceTo lure this tassel-gentle back again!Bondage is hoarse and may not speak aloud;Else would I tear the cave where Echo lies,And make her airy tongue more hoarse than mineWith repetition of my Romeo's name.Romeo!Rom. It is my soul that calls upon my name.How silver-sweet sound lovers' tongues by night,Like softest music to attending ears!Jul. Romeo!Rom. My dear?Jul. At what o'clock to-morrowShall I send to thee?Rom. By the hour of nine.Jul. I will not fail. 'Tis twenty years till then.I have forgot why I did call thee back.Rom. Let me stand here till thou remember it.Jul. I shall forget, to have thee still stand there, Rememb'ring how I love thy company.Rom. And I'll still stay, to have thee still forget, Forgetting any other home but this.Jul. 'Tis almost morning. I would have thee gone-And yet no farther than a wanton's bird,That lets it hop a little from her hand,Like a poor prisoner in his twisted gyves,And with a silk thread plucks it back again,So loving-jealous of his liberty.Rom. I would I were thy bird.Jul. Sweet, so would I.Yet I should kill thee with much cherishing.Good night, good night! Parting is such sweet sorrow,That I shall say good night till it be morrow.[Exit.] Rom. Sleep dwell upon thine eyes, peace in thy breast!Would I were sleep and peace, so sweet to rest!Hence will I to my ghostly father's cell,His help to crave and my dear hap to tell. Exit。