英美文学detail 赏析

M ACBETH

5. She should have died hereafter.

There would have been a ti m e for such a word.

Tom orrow, and tom orrow, and tom orrow

Creeps in this petty pace from day to day

To the last syllable of recorded tim e.

And all our yesterdays have lighted fools

The way to dusty death. Out, out, brief candle.

Life’s but a walking shadow, a poor player

That struts and frets his hour upon the stage,

And then is heard no m ore. It is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.

These words are uttered by Macbeth after he hears of Lady Macbeth’s death, in Act 5, scene 5, lines 16–27. Given the great love between them, his response is oddly m uted, but it segues quickly into a speech of such pessim ism and despair—one of the m ost fam ous speeches in all of Shakespeare—that the audience realizes how com pletely his wife’s passing and the ruin of his power have undone Macbeth. His speech insists that there is no m eaning or purpose in life. Rather, life “is a tale / Told by an idiot, full of sound an d fury, / Signifying nothing.” One can easily understand how, with his wife dead and ar m ies m arching against hi m, Macbeth succum bs to such pessim ism. Yet, there is also a defensive and

self-justifying quality to his words. If everything is m eaningless, the n Macbeth’s aw ful cri m es are

som ehow m ade less awful, because, like everything else, they too “signify nothing.”

Macbeth’s state m ent that “[l]ife’s but a poor player / That struts and frets his hour upon the stage” can be read as Shakespeare’s som ewhat def lating rem inder of the illusionary nature of the theater. After all, Macbeth is only a “player” him self, strutting on an Elizabethan stage. In any play, there is a conspiracy of sorts between the audience and the actors, as both pretend to accept the play’s reality. Macbeth’s comm ent calls attention to this conspiracy and partially explodes it—his nihilism em braces not only his own life but the entire play. If we take his words to heart, the play, too, can be seen as an event “full of sound and fury, / Sign ifying nothing.”

Hamlet’s soliloquy

The question is: is it better to be alive or dead? Is it nobler to put up with all the nasty things that luck throws your way, or to fight against all those troubles by sim ply putting an end to them once and for all? Dying, sleeping—that's all dying is—a sleep that ends all the heartache and shocks that life on earth gives us—that's an achievem ent to wish for. To die, to sleep—to sleep, maybe to dream. Ah, but there's the catch: in death's sleep who knows what kind of dreams might com e, after we've put the noise and comm otion of life behind us. That's certainly som ething to worry about. That's the consideration that m akes us stretch out our