英国文学上2完整版

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P a r t2

T h e E n g l i s h R e n a i s s a n c e

(1485-1660)

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L e o n a r d o d a V i n c i(1452-1519)

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A l i g h i e r i D a n t e（1265-1321）

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The

Divine

Comedy

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蒙娜丽沙的微笑

(Mona Lisa)1503-1506，

现藏于法国巴黎罗浮宫

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C h a p t e r1R e n a i s s a n c e

●R e n a i s s a n c e m e a n s“r e b i r t h”,t h e a r t a n d s c i e n c e o f a n c i e n t G r e e c e a n d R o m e

w e r e b e i n g r e d i s c o v e r e d a f t e r l o n g y e a r s o f n e g l e c t.

●H u m a n i s m e m p h a s i z e d t h e d i g n i t y a n d p o t e n t i a l o f t h e i n d i v i d u a l a n d t h e w o r t h o f l i f e

i n t h i s w o r l d..

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●R e n a i s s a n c e i s a m o v e m e n t t h a t m a r k s t h e t r a n s i t i o n f r o m t h e m e d i e v a l t o t h e

m o d e r n w o r l d.

●R e d i s c o v e r y o f a n c i e n t R o m a n a n d G r e e k c u l t u r e

●N e w d i s c o v e r i e s i n g e o g r a p h y a n d a s t r o n o m y

●P a v e d t h e w a y f o r R e l i g i o u s r e f o r m a t i o n a n d B o u r g e o i s R e v o l u t i o n(t h e P u r i t a n

R e v o l u t i o n i n E n g l a n d)

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●R e n a i s s a n c e g o t r i d o f o l d f e u d a l i s t i d e a s a n d i n t r o d u c e d n e w i d e a s t h a t e x p r e s s e d

t h e i n t e r e s t s o f t h e r i s i n g b o u r g e o i s i e.

●T o e x a l t h u m a n e l e m e n t s o r s t r e s s t h e i m p o r t a n c e o f h u m a n i n t e r e s t s

●T o s e e h u m a n b e i n g s a s g l o r i o u s c r e a t u r e s c a p a b l e o f i n d i v i d u a l d e v e l o p m e n t

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●T o e m p h a s i z e t h e d i g n i t y o f h u m a n b e i n g s a n d t h e i m p o r t a n c e o f t h e p r e s e n t

l i f e

●T o b e l i e v e t h a t m a n d o e s n o t o n l y h a v e t h e r i g h t t o e n j o y t h e b e a u t y o f t h i s

l i f e,b u t t h e a b i l i t y t o p e r f e c t h i m s e l f a n d t o p e r f o r m w o n d e r s

●T o e x p r e s s t h e r e b e l l i o u s s p i r i t a g a i n s t t h e t y r a n n y o f f e u d a l r u l e a n d r e l i g i o u s

d o m i n a t i o n

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M a i n f e a t u r e s o f R e n a i s s a n c e l i t e r a t u r e:

●e m p h a s i z e s t h e d i g n i t y a n d v a l u e o f m a n

●a d v o c a t e s i n d i v i d u a l i s m,i n d i v i d u a l d e v e l o p m e n t a n d s e l f-f u l f i l l m e n t

●a f f i r m s t h e d e l i g h t o f e a r t h l y a c h i e v e m e n t a n d m a n’s d e s i r e f o r h a p p i n e s s a n d

p l e a s u r e

●e x p r e s s e s t h e r e b e l l i o u s s p i r i t a g a i n s t t h e t y r a n n y o f f e u d a l r u l e a n d r e l i g i o u s

d o m i n a t i o n

●R e n a i s s a n c e m e l a n c h o l y:t h e p u z z l i n g d o u b t s a n d a p r o f o u n d m i s t r u s t o f m a n’

s o w n p o w e r s,d e e p e s t d e s p a i r o f m a n

●(e g.D r.F a u s t u s b y C h r i s t o p h e r M a r l o w e,M e c b e t h b y W i l l i a m S h a k e s p e a r e)

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Renaissance in England

●S t a r t e d i n I t a l y i n14t h c e n t u r y,t o o k p l a c e i n E n g l a n d b y t h e e n d o f15t h c e n t u r y

(1485A.D.)

●T w o i m p u l s e s:

●1.h u m a n i s t r e v e r e n c e f o r t h e c l a s s i c s;

●2.E n g l i s h p r i d e--s e n s e o f n a t i o n a l i d e n t i t y H e n r y V I I I’s a c c e s s i o n t o t h e

t h r o n e

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H e n r y V I I I a n d h i s w i v e s

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●T h r e e s t a g e s:t h e f i r s t s t a g e(1485-1558)

●O x f o r d R e f o r m e r s a n d T h o m a s M o r e

●T h e s e c o n d s t a g e(1558—1603)T h e E l i z a b e t h a n A g e

●P o e t r y:J o h n L y l y(e u p h u i s m),

●S i r P h i l i p S i d n e y,E d m u n d S p e n s e r

●D r a m a:M a r l o w e,J o n s o n,S h a k e s p e a r e

●P r o s e:F r a n c i s B a c o n

●T h e t h i r d s t a g e(1603—1660)T h e17t h C e n t u r y T h e M e t a p h y s i c a l s玄学派a n d

t h e C a v a l i e r s骑士学派

●T h e K i n g J a m e s B i b l e o f1611,J o h n M i l t o n,J o h n B u n y a n

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C h a p t e r2T h e B e g i n n i n g o f

E n g l i s h R e n a i s s a n c e(1485-1558)

●T h e O x f o r d R e f o r m e r s t r a v e l l e d a n d s t u d i e d i n I t a l y,i n t r o d u c e d c l a s s i c a l

l i t e r a t u r e t o E n g l a n d a n d s t r o v e t o r e f o r m e d u c a t i o n o n a h u m a n i s t i c l i n e,

h e l p e d t o s p r e a d t h e l i g h t o f n e w s c i e n c e a n d n e w w o r l d o u t l o o k,l a i d t h e

f o u n d a t i o n f o r t h e r i s e o f a n e w l i t e r a t u r e i n E n

g l a n d

●T h o m a s M o r e:h u m a n i s t i c l e a d e r o f e a r l y16t h c e n t u r y,f o r e r u n n e r s o f m o d e r n

s o c i a l i s t t h o u g h t,t h e p r e d e c e s s o r o f t h e E n g l i s h R e n a i s s a n c e(U t o p i a)

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T h e S o n g s a n d S o n n e t s b y W y a t t a n d S u r r e y i n1557,t h e f i r s t a n t h o l o g y o f E n g l i s h l y r i c p o e m s.

●1.T h o m a s W y a t t(1503-1542)

●T h e f i r s t g r e a t E n g l i s h s o n n e t e e r

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●2.H e n r y H o w a r d(1517-1547)

●I n v e n t e d t h e E n g l i s h f o r m o f t h e s o n n e t a n d b l a n k v e r s e s

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C h a p t e r3T h e E l i z a b e t h a n A g e

(O r T h e A g e o f S h a k e s p e a r e)

(1558-1603)

●I.B a c k g r o u n d

●T h e e n c l o s u r e m o v e m e n t:M a n y p e a s a n t s w e r e f o r c e d t o l e a v e t h e l a n d a n d

s e t t l e d d o w n i n t o w n s.T h e t w o o p p o s i t e c l a s s e s c a m e i n t o b e i n g,t h e

c a p i t a l i s t v s.t h e l a b o r i n g c l a s s

●T h e R e f o r m a t i o n:a r e t u r n t o p u r e C h r i s t i a n i t y--c l e a n s i n g t h e c h u r c h o f a l l t h e

c o r r u p t i o n.R o m a n C a t h o l i c i s m—t h e A n g l i c a n c h u r c h—P u r i t a n i s m,t r i g g e r e d

b y H e n r y V I I I’s d i v o r

c e a n

d r

e m a r r y i n g

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●R i s i n g o f t h e B r i t i s h E m p i r e:r o s e t o g r e a t s e a p o w e r o f t h e w o r l d,“t h e s u n

d o

e s n o t s e t o n t h e B r i t i s h E m p i r e”

●I n1588,E n g l i s h n a v y d e f e a t e d t h e S p a n i s h A r m a d a,w h i c h a c c e l e r a t e d t h e

a w a k e n i n g o f E n g l i s h p e o p l e’s n a t i o n a l c o n s c i o u s n e s s.

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●T h e E l i z a b e t h A g e(1558-1603):t h e p e a k a n d t h e m o s t c r e a t i v e p e r i o d o f t h e

E n g l i s h R e n a i s s a n c e,t h e b e g i n n i n g o f m o d e r n c a p i t a l i s t E n g l a n d.E n g l a n d

e n j o y e d p e a c e

f u l d e v e l o p m e n t u n d e r t h e r u l e o f Q u e e n E l i z a b e t h I,w h o

m a i n t a i n e d a b a l a n c e b e t w e e n t h e P r o t e s t a n t s a n d t h e C a t h o l i c s.

●Q u e e n E l i z a b e t h I:p a t r o n o f l e a r n i n g,w r o t e p o e m s h e r s e l f

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Q u e e n E l i z a b e t h I

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II. Elizabethan Poetry

●S i r P h i l i p S i d n e y(1554-1586)

●A s t r o p h e l a n d S t e l l a,s e r i e s o f s o n n e t s

●A r c a d i a,a r o m a n c e-e p i c i n p r o s e

●A p o l o g y f o r P o e t r y,a n e l o q u e n t p l e a f o r l i t e r a t u r e

R o m a n t i c c h a r a c t e r(p e r f e c t k n i g h t a n d s c h o l a r c o u r t i e r)

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E d m u n d S p e n s e r(1552-1599)

●1s t m a s t e r o f E n g l i s h v e r s e,t h e S p e n c e r i a n s t a n z a—9l i n e s,a b a b b c b c c

●T h e S h e p h e r d's C a l e n d a r,12p a s t o r a l p o e m s,o n e f o r e a c h m o n t h o f t h e y e a r ●A m o r e t t i(88s o n n e t s)

●F a e r i e Q u e e n(12b o o k s o f v i r t u e,f o r Q u e e n E l i z a b e t h)

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The Spencerian stanza

●Nine –line stanza: the first eight are iambic pentametre lines, and ninth line has two

more syllables, rhyming ababbcbcc

●Further utilized by Thomson, Keats, Shelley and Byron

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III. Elizabethan Drama

●T w o i n f l u e n c e s:1.I t a l i a n a n d G r e e k c l a s s i c s,2.g r o w i n g d e m a n d f o r p o p u l a r

d r a m a“E v

e r y m a n”

●T h e f i r s t C o m e d y,R a l p h R o i s t e r D o i s t e r

●T h e f i r s t E n g l i s h t r a g e d y,G o r b o d u c i n1562

●T h e“U n i v e r s i t y W i t s”(f i r s t p r o f e s s i o n a l d r a m a t i s t s)&C h r i s t o p h e r M a r l o w e

(b l a n k v e r s e,R e n a i s s a n c e h e r o)

●B e n J o h n s o n(c o m e d y,h u m o u r s体液)

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●N o w l e t’s w e l c o m e G u a n J i n g t o i n t r o d u c e B e n J o h n s o n t o u s.

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G l o b a l T h e a t e r

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T h e f o u r h u m o r s(体液)

●(1)B l o o d,(a i r,s p r i n g,s o u t h w i n d,h o t-m o i s t,J u p i t e r,b i r d,s k y)

●(2)C h o l e r(胆汁)(f i r e,s u m m e r,e a s t w i n d,h o t-d r y,M a r s,S a l a m a n d e r,s u n)●(3)M e l a n c h o l i a(忧郁症)(e a r t h,a u t u m n,n o r t h w i n d,c o l d-d r y,S a t u r n,b e a s t,

s o i l)

●(4)P h l e g m(粘液)(w a t e r,w i n t e r,w e s t w i n d,c o l d-m o i s t,M o o n,f i s h,s e a)

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F o u r t e m p e r a m e n t s

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C h r i s t o p h e r M a r l o w e(1564-1593)

●F o u r T r a g e d i e s:

●T a m b u r l a i n e t h e G r e a t(P a r t s I&I I),

●T h e J e w o f M a l t a,

●E d w a r d I I

●T h e T r a g i c a l H i s t o r y o f t h e L i f e a n d D e a t h o f D o c t o r F a u s t u s—s e l l i n g t h e

s o u l t o t h e d e v i l s f o r k n o w l e d g e(24-y e a r s e r v i c e f r o m M e p h o s t o p h i l i s t h e n

g o t o h e l l)

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●N o w l e t’s w e l c o m e W a n g B o t o i n t r o d u c e C h r i s t o p h e r M a r l o w e t o u s.

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T y p e s o f P o e t r y

●(1)N a r r a t i v e p o e t r y

●e p i c,r o m a n c e,a n d b a l l a d

●T h e s t r e s s i s o n a c t i o n

●(2)L y r i c p o e t r y

●E l e g i e s,o d e s,s o n n e t s,p a s t o r a l,e t c.

●T o c o m b i n e s p e e c h a n d s o n g t o e x p r e s s f e e l i n g s

●S o n n e t:14i a m b i c-p e n t a m e t r e l i n e s l y r i c

●P a s t o r a l:c e l e b r a t i n g n a t u r e&r u r a l l i f e

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T h e P a s s i o n a t e S h e p h e r d t o H i s L o v e

b y C h r i s t o p h e r M a r l o w e

●Come live with me, and be my love;

●And we will all the pleasures prove (experience, have)

●That hills and valleys, dales and fields,

●Woods, or steepy mountains yields (produces)

●Paraphrase: Come live with me and be my love. We will try all the pleasure offered by

valleys, fields, woods and mountains…

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●And we will sit upon the rocks,

●Seeing the shepherds feed their flocks

●By shallow rivers, to whose falls

●Melodious birds sing madrigals (a song sung by several singers without any

musical instruments,小曲).

●Paraphrase: I want us to sit upon the rocks with shallow rivers falling under

our feet, seeing those shepherds far away feeding their sheep, and hearing birds sing beautifully around us.

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●And I will make thee beds of roses

And a thousand fragrant posies (a small bunch of flowers);

A cap of flowers, and a kirtle (gown,petticoat)

Embroidered (decorated) all with leaves of myrtle(番樱桃);

●Paraphrase: And I will use roses to make beds decorated with a thousand

sweet-smelling posies for you to lie. I will weave a flower cap, and make you kirtle fringed with myrtle leaves.

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● A gown (long dress) made of the finest wool

●Which from our pretty lambs we pull;

●Fair-lined slippers for the cold,

●With buckles (a piece of metal attached to one end of the belt) of the purest gold;

●Paraphrase: We pull out of the finest wool from our lambs to make a pretty gown. And

a pair of high-qualited slippers will be made for you, to keep you from being cold. On

the slippers I will put buckles, which was made of purest gold.

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● A belt of straw and ivy-buds,

●With coral clasps and amber-studs:

●And if these pleasures may thee move,

●Come live with me, and be my love.

●Paraphrase: Also, I will make you a belt of straw and ivy buds with coral clasps and

amber studs. If these pleasure may touch your heart, come live with me and be my love.

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●The shepherd-swains (a young man who is in love) shall dance and sing

●For thy delight each May-morning:

●If these delights thy mind may move,

●Then live with me and be my love.

●Paraphrase: The young shepherd shall dance and sing in each May morning to

delight you, and if you may be touched by these delights, then live with me and be my love.

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●T h e P a s s i o n a t e S h e p h e r d t o H i s L o v e

●p a s s i o n a t e,o p t i m i s t i c a n d l i g h t-h e a r t e d t o n e

●i d e a l i z e d,p e a c e f u l,l i v e l y i m a g e s

T h e m e:t h e s h e p h e r d p r o p o s e s t o h i s b e l o v e d b y p o r t r a y i n g t h e i r i d e a l f u t u r e t o g e t h e r:a l i f e f i l l e d w i t h e a r t h l y p l e a s u r e s i n a w o r l d o f e t e r n a l s p r i n g (p r e s e n t t e n s e,n o c h a n g e).

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IV. William Shakespeare

(1564-1616)

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●I.L i f e

●B a p t i z e d A p r i l26,1564a t H o l y T r i n i t y C h u r c h i n S t r a t f o r d

●a t a g e18m a r r i e d A n n e H a t h a w a y i n1582

●A t t e n d e d t h e S t r a t f o r d G r a m m a r S c h o o l f o r c h i l d r e n o f p r o m i n e n t c i t i z e n s

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S t r a t f o r d-o n-A v o n

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W i l l i a m S h a k e s p e a r e’s H o m e

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故居隔壁的“莎士比亚中心”

是一幢现代式的展馆

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S t r a t f o r d G r a m m a r S c h o o l

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C l a s s r o o m

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●w e n t t o L o n d o n a t a g e28i n1592

●w o r k i n g a s h o r s e k e e p e r,a c t o r t h e n p l a y w r i g h t

●a c c u s e d o f b o r r o w i n g f r o m o t h e r p l a y w r i g h t s a t f i r s t

●r e c o g n i z e d a s a g e n i u s i n h i s o w n t i m e

●o w n e d s h a r e s o f G l o b e T h e a t r e b u i l t i n1598

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G l o b e T h e a t r e

G l o b e T h e a t r e

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●D i e s o n A p r i l23,1616a t a g e52

●h i s f i n a l p i e c e o f v e r s e a s h i s e p i t a p h:

●G o o d f r i e n d,f o r J e s u s's a k e f o r b e a r

●T o d i g t h e d u s t e n c l o s e d h e r e.

●B l e s s e d b e t h e m a n t h a t s p a r e s t h e s e s t o n e s,

●A n d c u r s e d b e h e t h a t m o v e s m y b o n e s.

圣三一教堂，内有莎士比亚之墓

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●Shall I compare thee (thou = 第二人称单数 you, thee = thou的宾格形式,thy =

your 你的) to a summer's day?

●Thou art (are) more lovely and more temperate(mild) :

●Rough winds do shake the darling buds of May,

●And summer's lease hath (is having) all too short a date:

●Sometime (sometimes) too hot the eye of heaven shines,

William Shakespeare - Sonnet 18

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●And often is his gold complexion (appearance) dimmed (faded),

●And every fair (beautiful person or thing) from fair (beauty) sometime declines,

●By chance(accident), or nature's changing course untrimmed (deprived of its beauty):

●But thy eternal summer shall not fade,

●Nor lose possession of that fair thou ow'st (own),

●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.

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Quatrain 1: The youth is more perfect than summer.

Quatrain 2: How summer can be imperfect?

Quatrain 3:The youth will possess eternal beauty and perfection.

The couplet: The sonnet is able to achieve an eternal status, and the youth can be immortalized within it.

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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，

没有芳艳不终于雕残或销毁。

但是你的长夏永远不会雕落，

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。

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●Shakespeare uses the sonnet to exalt poetry and his beloved

●The Sonnet praises the youth’s beauty and disposition, comparing and contrasting

the youth to a summer day. Then the sonnet immortalizes the youth through the

“eternal lines”of the sonnet.

●Shakespeare’s sonnets:14 lines long with three quatrains (four rhymed lines) and a

couplet (a pair of rhymed lines), rhyming abab cdcd efef gg.

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The Nymph’s Reply to the Shepherd

by Sir Walter Raleigh

●If all the world and love were young,

And truth in every shepherd's tongue,

These pretty pleasures might me move

To live with thee and be thy love.

Time drives the flocks from field to fold

When rivers rage and rocks grow cold,

And Philomel (nightingale) becometh dumb;

The rest (of the birds) complain of cares (miseries) to come.

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●The flowers do fade, and wanton (luxuriant) fields

●To wayward (unpredictable) winter reckoning (bill) yields (gives away):

● A honey tongue, a heart of gall (bitterness),

●Is fancy's spring, but sorrow's fall.

●The gowns, thy shoes, thy beds of roses,

●Thy cap, thy kirtle, and thy posies

●Soon break, soon wither, soon forgotten,—

●In folly ripe, in reason rotten (bad reason).

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●Thy belt of straw and ivy buds,

●Thy coral clasps and amber studs,

●All these in me no means (by no means) can move

●To come to thee and be thy love.

●But could youth last and love still (always) breed,

●Had joys no date (end) nor age no need (requirement),

●Then these delights my mind might move

●To live with thee and be thy love.

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The Nymph’s Reply to the Shepherd

●provides the woman’s practical response to Marlowe’s shepherd.

●debunks the shepherd’s fanciful vision

●introduces the concepts of time and change.

●“shallow rivers”to “rage,”rocks to “grow cold”and roses to “fade.”

●transient gifts “soon break, soon wither”and are “soon forgotten.”

●she would accept the shepherd’s offer “could youth last”and “had joys no date.”

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The Nymph’s Reply to the Shepherd

●

●s k e p t i c a l,u n c e r t a i n,h a r s h t o n e s

●b l e a k a n d g r i m i m a g e s

T h e m e s:i t c o n t r a d i c t s t h e s h e p h e r d’s f a n c i f u l f u t u r e b y d e s c r i b i n g t h e

i n e v i t a b l e d e a t h o f i t s b e a u t y,w h i l e s i m u l t a n e o u s l y c o m p a r i n g t h i s d e a t h t o t h e

i n e v i t a b l e d e a t h o f l o v e.

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●N o w l e t’s w e l c o m e G u o X i a o w e n t o i n t r o d u c e S h a k e s p e a r e’s w o r k s t o u s.

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I I.D r a m a t i c C a r e e r

●154s o n n e t s,37p l a y s,i n c l u d i n g14c o m e d i e s,12t r a g e d i e s,a n d11h i s t o r i c a l

p l a y s,a s w e l l a s t w o l o n g p o e m s

●F i r s t P e r i o d（1590-1594）:E x p e r i m e n t a l P e r i o d

●y o u t h f u l n e s s,r i c h i m a g i n a t i o n,e x t r a v a g a n c e o f l a n g u a g e

●L o o k e d u p o n t h e w o r l d a j u s t o n e;l o v e,f a i t h,w o r k a n d d u t y m a d e t h e

w o r l d r i g h t

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●S e c o n d P e r i o d(1595-1600):R o m a n t i c C o m e d i e s a n d B e s t H i s t o r i e s

●--k e e n i n s i g h t i n t o h u m a n n a t u r e,p o w e r o f e x p r e s s i o n,g e n i u s f o r

c o n s t r u c t i n g p l a y

●--s a n g y o u t h,l o v e a n d i d e a l o f h a p p i n e s s o f s o n s a n d d a u g h t e r s o f

R e n a i s s a n c e

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Romeo and Juliet

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●欧洲意大利的威罗纳( Verona )，在罗马帝国统治时期就已发展为重要的城市；十三

世纪中叶，贵族史卡利杰(Scaligere)家族以残酷的手段夺取到威罗纳的统治权，自然结下不少仇家。莎士比亚笔下的罗密欧，据说就是以史卡利杰家族中人为蓝本，而茱丽叶正是死对头的女儿

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●But soft! What light through yonder window breaks?

●It is the East, and Juliet is the sun! ……

●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.

轻声！那边窗子里起来的是什么光？

那就是东方，朱丽叶就是太阳！

啊！那是我的爱；唉，但愿她知道我在爱着她！

她欲言又止，可是她的眼睛已经道出了她的心事。

待我去回答她吧

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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 eyes

To twinkle in their spheres till they return.

不，我不要太卤莽，

她不是对我说话。天上两颗最灿烂的星，

因为有事他去，

请求她的眼睛替代它们在空中闪耀。

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●要是她的眼睛变成了天上的星，天上的星变成了她的眼睛，那便怎样呢？她脸上的光

辉会掩盖了星星的明亮，正像灯光在朝阳下黯然失色一样

What if her eyes were there, they in her head?

The brightness of her cheek would shame those stars,

as daylight doth a lamp.

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●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!

O that I were a glove upon that hand,

That I might touch that cheek!

●在天上的她的眼睛，会在太空中大放光明，使鸟儿误认为黑夜已经过去而唱出它们的

歌声。瞧！她用纤手托住了脸，那姿态是多么美妙！啊，但愿我是那一只手上的手套，好让我亲一亲她脸上的香泽！

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●JULIET

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.

●罗密欧啊，罗密欧！

●为什么你偏偏是罗密欧呢？否认你的父亲，抛弃你的姓名吧；也许你不愿意这样做，

那么只要你宣誓做我的爱人，我也不愿再姓凯普莱特了。

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The Merchant of Venice

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The theme of The

Merchant of Venice

●Through the successful characterization of a group of characters, like Portia,

Bossanio, Antonio, even Shylock,

●Shakespeare highlights the theme of this comedy: on eulogy of the triumph of justice

and love over insatiable greed and brutality.

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●Third period (1601-1609):

●Tragedies & Tragic Comedies（climax）

●-- intense moral struggle, less joyous view of life, more profound philosophy ● --gloom and depression + masterly workmanship

--contradiction between his humanist ideals and hideous social realities

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●Hamlet, Othello, King Lear, and Macbeth:

●Each portrays come noble hero, who faces the injustice of human life and is caught in a

difficult situation and whose fate is closely connected with the fate of the whole nation.

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●Each hero has his weakness of nature:

●Hamlet, the melancholic(忧郁的) scholar-prince, faces the dilemma between

action and mind.

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●Othello’s inner weakness is made use of by the outside evil force (Iago);

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●Character of Othello:

● a ‘black’man with a ‘perfect soul’.

●the relationship between the body and soul.

●So long as his ‘perfect soul’rules his actions, then he is the ‘noble Moor’, but once he

falls victim to his passions, then the relationship between the two is reversed.

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●King Lear who is unwilling to totally give up his power himself suffer from treacheryand

infidelity;

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●Macbeth’s lust for power stirs up his ambition and leads him to incessant crimes.

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●F o u r t h p e r i o d(1609-1612):D r a m a t i c R o m a n c e传奇剧

●--r e s t o r e d s e r e n i t y a n d t o l e r a n t r e s i g n a t i o n,s e r e n e w i s d o m

●--f o c u s e d o n t h e s e p a r a t i o n a n d r e u n i o n o f f a m i l i e s r a t h e r t h a n l o v e a n d

m a r r i a g e

●--h o m e c o m i n g,r e c o g n i t i o n,r e c o n c i l i a t i o n,o r f o r g i v e n e s s e n d i n g

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E l e m e n t s o f d r a m a

●1.P l o t:t h e s t r u c t u r e o f a p l a y’s a c t i o n,t h e o r d e r o f t h e i n c i d e n t s,t h e i r a r r a n g e m e n t

a n d f o r m

●2.C h a r a c t e r

●T h e v i t a l c e n t e r o f a p l a y

●H o w t h e y l o o k,w h a t t h e y s a y a n d i n w h a t m a n n e r s t h e y s a y;w h a t t h e y d o a n d

h o w t h e i r a c t i o n s r e v e a l w h o t h e y a r e a n d w h a t t h e y r e p r e s e n t

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●3.D i a l o g u e i s t o a d v a n c e t h e p l o t,t o e s t a b l i s h s e t t i n g,a n d t o r e v e a l

c h a r a c t e r.

●M o n o l o g u e独白i s a l o n g s p e e c h g i v e n b y a n a c t o r.

●S o l i l o q u y独白a s p e e c h g i v e n b y a c h a r a c t e r w h o i s a l o n e(o r t h i n k s h e i s a l o n e)

o n s t a g e.

●A s i d e s旁白:a s t a t e m e n t i n t e n d e d t o b e h e a r d b y t h e a u d i e n c e o r b y a s i n g l e

o t h e r c h a r a c t e r b u t n o t b y a l l t h e o t h e r c h a r a c t e r s o n s t a g e

●4.T h e m e:t h e c e n t r a l i d e a o f t h e p l a y

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●5.

●A c t幕:a m a j o r d i v i s i o n o f a d r a m a

●S c e n e场:a s e l f-c o n t a i n e d s e g m e n t o f a w o r k o f f i c t i o n o r d r a m a;a l s o u s e d

a s a s y n o n y m f o r s e t t i n g

●S e t布景:e v e r y t h i n g p l a c e d u p o n t h e s t a g e t o g i v e t h e i m p r e s s i o n o f a p a r t i c u l a r

s e t t i n g

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F e a t u r e s o f S h a k e s p e a r e’s p l a y w r i t i n g

●T h e m e:p e r f e c t e x p r e s s i o n o f R e n a i s s a n c e h u m a n i s m

●C h a r a c t e r s:r e a l i s t i c,a l i v e,t h r e e d i m e n s i o n a l,m a s c u l i n e m e n,

●i n t e l l i g e n t a n d g e n e r o u s w o m e n

●P l o t s:r o m a n t i c,p o e t i c,f a r f e t c h e d,i m a g i n a t i v e,s u p e r n a t u r a l

●L a n g u a g e:w r o t e i n b l a n k v e r s e,f r e e u s e o f w o r d s(16,000)

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●N o w l e t’s w e l c o m e W a n g J i n g x i a n t o i n t r o d u c e S h a k e s p e a r e’s H a m l e t t o u s.

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●Hamlet: Shakespeare’s most popular play on the stage, for it has the qualities

of a thriller (惊险) and a philosophical exploration of life and death.

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●Characters:

●Hamlet - the protagonist, prince of Denmark, melancholy, bitter, and cynical,

full of hatred for his uncle’s usurpation and disgust for his mother’s sexuality.

A reflective and thoughtful young man, often indecisive and hesitant, but at

other times prone to rash and impulsive acts.

Ophelia - Polonius’s daughter, a beautiful young woman with whom Hamlet has been in love. Ophelia is a sweet and innocent young girl, who obeys her father and her brother, Laertes. Dependent on men to tell her how to behave, she gives in to Polonius’s schemes to spy on Hamlet.

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●Claudius - The King of Denmark, Hamlet’s uncle, and the play’s antagonist.

The villain of the play, a calculating, ambitious politician, driven by his sexual appetites and his lust for power, but occasionally shows signs of guilt and human feeling—his love for Gertrude, for instance, seems sincere.

●Gertrude - the Queen of Denmark, Hamlet’s mother, remarried to Claudius,

loves Hamlet deeply, but a shallow, weak woman who seeks affection and status more urgently than moral rectitude正直 or truth.

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●Plot: a philosophically-minded prince Hamlet’s hesitate revenge against the

usurping uncle Claudius

●Themes: 1. The Impossibility of Certainty,

● 2. The Mystery of Death, 3. The Nation as a Diseased Body, 4. Misogyny

厌恶女人[“Frailty, thy name is woman” (I.ii.146) ]

●Renaissance humanism: dignity of man and dilemma of living in the world

●Hamlet’s language: complex metaphors, strange structure and slightly archaic

language

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●Question:

●Is Hamlet a frail and weak-minded youth?

●Can you justify Hamlet’s hesitation?

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●To be, or not to be: that is the question: 56

●Whether 'tis nobler in the mind to suffer (bear/edure)

●The slings and arrows of outrageous fortune,

●Or to take arms against a sea of troubles,

And by opposing end them? To die: to sleep; 60

●No more; and by a sleep to say we end

●The heart-ache and the thousand natural shocks

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●朱生豪：生存还是毁灭，这是一个值得考虑的问题。

梁实秋：死后是存在，还是不存在，——这是问题。

卞之琳：活下去还是不活，这是问题。

许国璋：是生，是死，这是问题。

王佐良：生或死，这就是问题所在。

方平：活着好，还是死了好，这是个难题啊。

孙大雨：是生存还是消亡，问题的所在。

裘克安：活着，还是不活了，问题就在这里。

某教授：做与不做，真是个问题。

某剧本：生存或毁灭, 这是个必答之问题。

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●That flesh is heir to (the body cannot avoid), 'tis a consummation (end)

●Devoutly (longingly) to be wish'd. To die, to sleep;

●To sleep: perchance (perhaps) to dream: ay, there's the rub (obstacle); 65

●For in that sleep of death what dreams may come

●When we have shuffled off (cast off) this mortal coil (physical pain),

●Must give us pause (hesitate): there's the respect (consideration)

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●That makes calamity of so long life (so lasting)

●For who would bear the whips and scorns of time, 70

●The oppressor‘s wrong, the proud man’s contumely (insult),

●The pangs of despised love (love held in scorn), the law's delay,

●The insolence of office and the spurns (kicks)

●That patient merit of the unworthy takes, (the kicks that men of merits have patiently

to endure at the hands of those who do not deserve respect)

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●When he himself might his quietus (death) make 75

●With a bare bodkin (mere dagger)? who would fardels (burdens) bear,

●To grunt (groan) and sweat under a weary life,

●But that the dread of something after death,

●The undiscover'd country from whose bourn (limit)

●No traveler returns, puzzles the will 80

●And makes us rather bear those ills we have

●Than fly to others (evils) that we know not of?

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●Thus conscience does make cowards of us all;

●And thus the native hue of resolution

●Is sicklied o'er with the pale cast of thought, 85 (Over the natural color of resolution,

which is believed of red color, is thrown the pale and sickly color of reflection.)

●And enterprises of great pith (importance) and moment (consequence)

●With this regard (on this account) their currents turn awry (turns aside),

●And lose the name of action (no longer can be put into action).

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●版本之一（卞之琳译）

活下去还是不活：这是问题。

要做到高贵，究竟该忍气吞声

来容受狂暴的命运矢石交攻呢，

还是该挺身反抗无边的苦恼，

扫它个干净？死，就是睡眠 60

就这样；而如果睡眠就等于了结了

心痛以及千百种身体要担受的

皮痛肉痛，那该是天大的好事，

正求之不得啊！死，就是睡眠；

睡眠，也许要做梦，这就麻烦了！65

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●我们一旦摆脱了尘世的牵缠，

在死的睡眠里还会做些什么梦，

一想到就不能不踌躇。这一点顾虑

正好使灾难变成了长期的折磨。

●谁甘心忍受人世的鞭挞和嘲弄 70

忍受压迫者虐待、傲慢者凌辱，

忍受失恋的痛苦、法庭的拖延、

衙门的横暴，做埋头苦干的大才、

受作威作福的小人一脚踢出去，

如果他只消自己来使一下尖刀 75

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●就可以得到解脱啊？谁甘心挑担子，

拖着疲累的生命，呻吟，流汗，

要不是怕一死就去了没有人回来的

那个从未发现的国土，怕那边

还不知会怎样，因此意志动摇了， 80

因此便宁愿忍受目前的灾殃，

而不愿投奔另一些未知的昔难？

这样子，顾虑使我们都成了懦夫，

也就这样子，决断决行的本色

蒙上了惨白的一层思虑的病容； 85

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●本可以轰轰烈烈的大作大为，

由于这一点想不通，就出了别扭，

失去了行动的名分。啊，别作声！

美丽的莪菲丽亚！——女神，你做祷告

别忘掉也替我忏悔罪恶。 90

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●版本之一（朱生豪译）

●生存还是毁灭，这是一个值得考虑的问题；

●究竟哪一种行为更加高贵，是默然忍受命运的暴虐的毒箭，还是挺身反抗人世的无涯

的苦难？

●去死，去睡，也就什么都了结了；

●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。

●去死，去睡；睡着了也许还会做梦吧，嗯，这就麻烦了！

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●我们一旦摆脱了尘世的牵缠，在死的睡眠里，还会做些什么梦．

●一想到此就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嘲弄、压迫者的凌辱、傲慢者的冷眼、失恋的痛苦、法庭的

拖延、官吏的横征暴虐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，在疲累的生命的压迫下呻吟流汗，

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●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磨折，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。啊，别作声！美丽的奥菲利娅！——女神，在你的祈祷之中，不要忘记替我忏悔我的罪孽。

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●Hamlet’s character:

●He is a humanist, a man who is free from medieval prejudices and superstitions. He has an

unbounded love for the world rather than heaven. He cherishes a profound reverence for man and a firm belief in man’s power over destiny.

●Hamlet’s profound melancholy and his delay in revenge show the crisis of humanism at the

end of the 16th and the beginning of the 17th centuries.

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●Hamlet becomes obsessed with proving his uncle’s guilt before trying to act.

The standard of “beyond a reasonable doubt”is simply unacceptable to him.

●He is equally plagued with questions about the afterlife, about the wisdom of

suicide, about what happens to bodies after they die—the list is extensive.

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V. Elizabethan Prose and Francis Bacon

●A g e o f t r a n s l a t i o n a n d e x c e l l e n t p r o s e

●T h e t r a n s l a t i o n s o f t h e B i b l e i n t o E n g l i s h,s e t t i n g n e w s t a n d a r d s f o r p r o s e

w r i t i n g

●T h e E n g l i s h B i b l e o f1611,s o c a l l e d A u t h o r i z e d V e r s i o n,T h e K i n g J a m e s

B i b l e

●T h e B i b l e i s m o s t w i d e l y r e a d,t r a n s l a t e d a n d q u o t e d

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W h a t i s e s s a y?

A c o m p o s i t i o n o f m o d e r a t e l e n g t h,u s u a l l y i n p r o s e,t h a t d i s c u s s e s a s u b j e c t,o r

p r o p o s e s a n a r g u m e n t w i t h o u t c l a i m i n g t o b e a c o m p l e t e o r t h o r o u g h e x p o s i t i o n.

F r a n c i s B a c o n’s E s s a y s b e g a n t h e t r a d i t i o n o f e s s a y s i n E n g l i s h.

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●N o w l e t’s w e l c o m e L i u K a i c h u n a n d L i u T i n g t o i n t r o d u c e F r a n c i s B a c o n a n d h i s

w o r k s t o u s.

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Francis Bacon (1561-1626)

●Law student from Cambridge

●Member of the House of Commons, Lord Chancellor

●Materialistic philosopher, experimental scientist

●First English essayist Essays

subjects as honor, friendship, love, & power etc. Written in a terse, polished style, with many learned allusions & metaphors

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●2.M a j o r W o r k s

●E s s a y s(1594)

●T h e A d v a n c e m e n t o f L e a r n i n g(1605)

●G r e a t I n s t a u r a t i o n复兴a n d N o v u m O r g a n u m(1620)

●N e w A t l a n t i s(p o s t h u m o u s)

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