莎士比亚简介（英文版） 急求莎士比亚个人简介英文版,谢谢
\u6c42\u838e\u58eb\u6bd4\u4e9a\u7684\u4f5c\u54c1\u4ecb\u7ecd\uff0c\u82f1\u6587\u7248\u7684has been referred to as the "happiest of Shakespeare's comedies" (Tanner), and yet it has a set of mean-spirited brothers, one of whom wants to have his little brother murdered (Oliver and Orlando), the other of whom has banished his older brother into the woods and shows little empathy for his daughter and niece (Duke Frederick and Duke Senior). How do such wicked characters fit into a "happy comedy" and how do we as theatre practitioners handle them? Although the "evil" brothers in As You Like It will be somewhat amazingly transformed before the play is over, we still have to deal with them early on to set the play in motion. The question that actors and directors face is one of balance. How dark or how bright is the play? Not all productions of As You Like It are as happy and bright as Tanner suggests. Some modern directors have taken darker views of the play with productions described by critic Sylvan Barnet as being more like Chekhov in tone than that of a happy romantic pastoral comedy. (For more information on this see the Colorado Shakespeare Festival's Dramaturgical Notes written on As You Like It.) There have been many different approaches to staging the play through the last century. Some productions might honor the pastoral tradition and emphasize the idealized setting of the beautiful Forest of Arden. Others might see the play as Shakespeare's playful commentary on the pastoral tradition. With naturalism in vogue in late 19th century England an emphasis was put on realistic settings, leading one director, Henry Irving, to put real grass on the stage of his production of As You Like It (Styan). In the 1920s, a production directed by Nigel Playfair was staged with all of the trappings of a bright and splashy musical (Styan). Tell the students that they are going to stage the opening scenes of As You Like It, in which they will experiment with various approaches to the text to determine the tone and style they think is appropriate for a production of this play. Try to generate some questions students may want to consider as they read the scenes and explore the text. (Here are only a few of the many possibilities. Is it dark and disturbing, or light and frothy? Is it a folktale with a fairy tale ending, or is it a serious commentary on family relationships, love, and social class?
Begin the actual lesson by giving the students a copy of Orlando's opening monologue from As You Like It. (The complete text of As You Like It can be found at MIT's Complete Works of William Shakespeare.) First read through the passage together and clarify any questions students may have about vocabulary and the content of the speech. Ask students to detail what Orlando's complaints are and what he plans to do about it. (Some examples: His older brother is depriving him of an education and is keeping him from advancing. He is not being treated as well as his younger brother, Jacques. His brother's horses are treated better than he is. He is not going to put up with it anymore, but he doesn't know exactly what he will do.) Now ask for students to discuss what they imagine Orlando's emotional state is as he speaks these lines to Adam. List the ideas on the board. (Among the many possible answers: angry, petulant, jealous, hurt, indignant, furious, reasonable, curious, surprised) Now let the students work in pairs experimenting with the lines and the various emotions. Tell the students that you want them to come up with several ways of interpreting the emotional content of the opening monologue. Then ask for volunteers to present various readings of the monologue to the class. Engage students in a discussion about the differences in the impact in the various interpretations. Is the character believable? (Can he be believable? Do you want him to be believable?) Is the character likeable? Do you feel empathy for him? (Do you care about him? Can you care about him?) Is there any humor in the speech? Is the speech upsetting or disturbing in any way? What does Orlando want? That is, what does he hope to achieve by telling all of this to Adam?
Ask them to keep these ideas in mind as you read through Act I sc i and Act I sc iii aloud together with your students. Clarify any questions your students may have regarding the content and the vocabulary. Then divide the class into groups and give them the Scene Study Rehearsal Guide Act I sc i and Scene Study Rehearsal Guide Act I sc iii worksheets to assist them in preparing their informal presentations. Tell them that the Scene Study Rehearsal Guides will help them to explore the tone and style of the scene in the same way they explored the opening monologue at the beginning of class. Once they have explored the scene they should determine together what style and tone they think is most appropriate for the text and then rehearse it several times. Before each scene is presented the group should give a brief introduction, which states the style and tone they applied to the text with a brief explanation supporting their choice. Have them use the questions in the Scene Observation Form worksheet as a jumping off point. Remind the students that the point of observation for them as audience members is to determine to what degree various styles of presentation affect the meaning of the text.
After all of the scenes have been presented ask students to consider the role actors and directors have on the meaning of the text.
life's but a walking shadow,a poor player that struts and frets his hour upon the stage,and then is heard no more; it is tale told by an idiot,full of sound and fury,signifying nothing.
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Hamlet:To be, or not to be- that is the question:
Whether 'tis nobler in the mind to suffer
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-
No more; and by a sleep to say we end
The 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 respect
That 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 spurns
That patient merit of th' unworthy takes,
When he himself might his quietus make
With 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 resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry
And lose the name of action.
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2. To be or not to be\uff0cthat's a question\u3002\uff08\u751f\u5b58\u8fd8\u662f\u6b7b\u4ea1\uff0c\u90a3\u662f\u4e2a\u95ee\u9898\u3002\uff09
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简介：
William Shakespeare (1564-1616), the foremost writer, prominent dramatist and poet in the European Renaissance. He created a large number of popular literary works, occupies a special position in the history of European literature, has been hailed as "Olympus Zeus in human literature." He is also known as the four great tragedies of ancient Greece, Aeschylus, Sophocles and Euripides.
威廉·莎士比亚（William Shakespeare，1564－1616年），欧洲文艺复兴时期英国最重要的作家，杰出的戏剧家和诗人。他创作了大量脍炙人口的文学作品，在欧洲文学史上占有特殊的地位，被喻为“人类文学奥林匹斯山上的宙斯”。 他亦跟古希腊三大悲剧家埃斯库罗斯（Aeschylus）、索福克里斯（Sophocles）及欧里庇得斯（Euripides），合称为戏剧史上四大悲剧家。
趣闻：莎士比亚的女儿不识字
Two of the three Shakespeare children survived, namely Susannah and Judith. Sister looks barely able to sign their name, but Judith really can only use the pen as a marker painted painting. At that time, however, literacy skills were applied to specialized areas such as trade and most of them were male and female. Shakespeare's age does not value women's level of knowledge.
莎翁夫妇的三个孩子中，两个活了下来，也就是Susannah和Judith。大姐貌似可以勉强签下自己的名字，但 Judith 真的只能拿笔做做标记涂涂画画了。但在那个时期，读写能力是项运用于特定贸易等专业领域的技术，大多数传男不传女。莎士比亚的年代并不重视女性的知识水平。
作品梗概：《哈姆雷特》
Danish prince Hamlet suddenly took his father's death message while attending the University of Wuedenburg in Germany. After returning to his motherland, he encountered successively the succession of his uncle Claudius and the series of incidents that his uncle and mother, Jottulud, got rushed to marry one month after their father's funeral. This makes Hamlet full of doubts and dissatisfaction. Immediately after Horatio and Bonnetton stood there, the ghost of his father Hamlet was revealed, stating that he had been poisoned by Claudius and asked Hamlet to avenge himself. Subsequently, Hamlet use crazy to cover themselves and through the "play in the game" confirmed his uncle is indeed killing the enemy. Claudius tried to get rid of Hamlet by the King by mistakenly killing the beloved Ophelia's father, Polonnes, but Hamlet escaped to Denmark but learned that Ophelia committed suicide and had to accept it Duel with his brother Leo Tertis. Hamlet's mother, Jottulud, ducked in for poisoning Claudius for poisoned alcohol prepared by Hamlet, and both Hamlet and Leometis were among the poisoned swords, knowing that the poisoned Hamlet was killed before his death Claudius dies and exhorts a friend Horatio to tell his story later.
丹麦王子哈姆雷特在德国威登堡大学就读时突然接到父亲的死讯，回国奔丧时接连遇到了叔父克劳狄斯即位和叔父与母亲乔特鲁德在父亲葬礼后一个月匆忙结婚的一连串事变，这使哈姆雷特充满了疑惑和不满。紧接着，在霍拉旭和勃那多站岗时出现了父亲老哈姆雷特的鬼魂，说明自己是被克劳狄斯毒死并要求哈姆雷特为自己复仇。随后，哈姆雷特利用装疯掩护自己并通过"戏中戏"证实了自己的叔父的确是杀父仇人。由于错误地杀死了心爱的奥菲莉亚的父亲波罗涅斯，克劳狄斯试图借英王手除掉哈姆雷特，但哈姆雷特趁机逃回丹麦，却得知奥菲莉亚自杀并不得不接受了与其兄雷欧提斯的决斗。决斗中哈姆雷特的母亲乔特鲁德因误喝克劳狄斯为哈姆雷特准备的毒酒而中毒死去，哈姆雷特和雷欧提斯也双双中了毒剑，得知中毒原委的哈姆雷特在临死前杀死了克劳狄斯并嘱托朋友霍拉旭将自己的故事告诉后来人。
WILLIAM SHAKESPEARE (1564-1616), English poet, player and playwright, was baptized in the parish church of Stratford upon-Avon in Warwickshire on the 26th of April 1564. The exact date of his birth is not known. Two. 18th-century antiquaries, William Oldys and Joseph Greene, gave it as April 23, but without quoting authority for their statements, and the fact that April 23 was the day of Shakespeare's death in 1616 suggests a possible source of error. In any case his birthday cannot have been later than April 23, since the inscription upon his monument is evidence that on April 23, 1616, he had already begun his fifty-third year. His father, John Shakespeare, was a burgess of the recently constituted corporation of Stratford, and had already filled certain minor municipal offices. From 1561 to 1563 he had been one of the two chamberlains to whom the finance of the town was entrusted. By occupation he was a glover, but he also appears to have dealt from time to time in various kinds of agricultural produce, such as barley, timber and wool. Aubrey (Lives, 1680) spoke of him as a butcher, and it is quite possible that he bred and even killed the calves whose skins he manipulated. He is sometimes described in formal documents as a yeoman, and it is highly probable that he combined a certain amount of farming with the practice of his trade. He was living in Stratford as early as 1552, in which year he was fined for having a dunghill in Henley Street, but he does not appear to have been a native of the town, in whose records the name is not found before his time; and he may reasonably be identified with the John Shakespeare of Snitterfield, who administered the goods of his father, Richard Shakespeare, in 1561. Snitterfield is a village in the immediate neighbourhood of Stratford, and here Richard Shakespeare had been settled as a farmer since 1529. It is possible that John Shakespeare carried on the farm for some time after his father's death, and that by 1570 he had also acquired a small holding called Ingon in Hampton Lucy, the next village to Snitterfield. But both of these seem to have passed subsequently to his brother Henry, who was buried at Snitterfield in 1596. There was also at Snitterfield a Thomas Shakespeare and an Anthony Shakespeare, who afterwards moved to Hampton Corley; and these may have been of the same family. A John Shakespeare, who dwelt at Clifford Chambers, another village close to Stratford, is clearly distinct. Strenuous efforts have been made to trace Shakespeare's genealogy beyond Richard of Snitterfield, but so far without success. Certain drafts of heraldic exemplifications of the Shakespeare arms speak, in one case of John Shakespeare's grandfather, in another of his great-grandfather, as having been rewarded with lands and tenements in Warwickshire for service to Henry VII. No such grants, however, have been traced, and even in the 16th-century statements as to " antiquity and service " in heraldic preambles were looked upon with suspicion.
The name Shakespeare is extremely widespread, and is spelt in an astonishing variety of ways. That of John Shakespeare occurs 166 times in the Council Book of the Stratford corporation, and appears to take 16 different forms. The verdict, not altogether unanimous, of competent palaeographers is to the effect that Shakespeare himself, in the extant examples of his signature, always wrote " Shakspere." In the printed signatures to the dedications of his poems, on the title-pages of nearly all the contemporary editions of his plays that bear his name, and in many formal documents it appears as Shakespeare.
This may be in part due to the martial derivation which the poet's literary contemporaries were fond of assigning to his name, and which is acknowledged in the arms that he bore. The forms in use at Stratford, however, such as Shaxpeare, by far the commonest, suggest a short pronunciation of the first syllable, and thus tend to support Dr Henry Bradley's derivation from the Anglo-Saxon personal name, Seaxberht. It is interesting, and even amusing, to record that in 1487 Hugh Shakspere of Merton College, Oxford, changed his name to Sawndare, because his former name vile reputatum est. The earliest record of a Shakespeare that has yet been traced is in 12 4 8 at Clapton in Gloucestershire, about seven miles from Stratford. The name also occurs during the 13th century in Kent, Essex and Surrey, and during the 14th in Cumberland, Yorkshire, Nottinghamshire, Essex, Warwickshire and as far away as Youghal in Ireland. Thereafter it is found in London and most of the English counties, particularly those of the midlands; and nowhere more freely than in Warwickshire. There were Shakespeares in Warwick and in Coventry, as well as around Stratford; and the clan appears to have been very numerous in a group of villages about twelve miles north of Stratford, which includes Baddesley Clinton, Wroxall, Rowington, Haseley, Hatton, Lapworth, Packwood, Balsall and Knowle. William was in common use as a personal name, and Williams from more than one other family have from time to time been confounded with the dramatist. Many Shakespeares are upon the register of the gild of St Anne at Knowle from about 1457 to about 1526. Amongst these were Isabella Shakespeare, prioress of the Benedictine convent of Wroxall, and Jane Shakespeare, a nun of the same convent. Shakespeares are also found as tenants on the manors belonging to the convent, and at the time of the Dissolution in 1534 one Richard Shakespeare was its bailiff and collector of rents. Conjectural attempts have been made on the one hand to connect the ancestors of this Richard Shakespeare with a family of the same name who held land by military tenure at Baddesley Clinton in the 14th and 15th centuries, and on the other to identify him with the poet's grandfather, Richard Shakespeare of Snitterfield. But Shakespeares are to be traced at Wroxall nearly as far back as at Baddesley Clinton, and there is no reason to suppose that Richard the bailiff, who was certainly still a tenant of Wroxall in 1556, had also since 1529 been farming land ten miles off at Snitterfield.
With the breaking of this link, the hope of giving Shakespeare anything more than a grandfather on the father's side must be laid aside for the present. On the mother's side he was connected with a family of some distinction. Part at least of Richard Shakespeare's land at Snitterfield was held from Robert Arden of Wilmcote in the adjoining parish of Aston Cantlow, a cadet of the Ardens of Parkhall, who counted amongst the leading gentry of Warwickshire. Robert Arden married his second wife, Agnes Hill, formerly Webbe, in 1548, and had then no less than eight daughters by his first wife. To the youngest of these, Mary Arden, he left in 1556 a freehold in Aston Cantlow consisting of a farm of about fifty or sixty acres in extent, known as Asbies. At some date later than November 1556, and probably before the end of 1557, Mary Arden became the wife of John Shakespeare. In October 1556 John Shakespeare had bought two freehold houses, one in Greenhill Street, the other in Henley Street. The latter, known as the wool shop, was the easternmost of the two tenements now combined in the so-called Shakespeare's birthplace. The western tenement, the birthplace proper, was probably already in John Shakespeare's hands, as he seems to have been living in Henley Street in 1552. It has sometimes been thought to have been one of two houses which formed a later purchase in 1575, but there is no evidence that these were in Henley Street at all.
William Shakespeare was not the first child. A Joan was baptized in 1558 and a Margaret in 1562. The latter was buried in 1563 and the former must also have died young, although her burial is not recorded, as a second Joan was baptized in 1569. A Gilbert was baptized in 1566, an Anne in 1571, a Richard in 1 574 and an Edmund in 1580. Anne died in 1579; Edmund, who like his brother became an actor, in 2607; Richard in 1613. Tradition has it that one of Shakespeare's brothers used to visit London in the 17th century as quite an old man. If so, this can only have been Gilbert.
During the years that followed his marriage, John Shakespeare became prominent in Stratford life. In 1565 he was chosen as an alderman, and in 1568 he held the chief municipal office, that of high bailiff. This carried with it the dignity of justice of the peace. John Shakespeare seems to have assumed arms, and thenceforward was always entered in corporation documents as " Mr " Shakespeare, whereby he may be distinguished from another John Shakespeare, a " corviser " or shoemaker, who dwelt in Stratford about 1584-1592. In 1571 as an ex-bailiff he began another year of office as chief alderman.
One may think, therefore, of Shakespeare in his boyhood as the son of one of the leading citizens of a not unimportant. provincial market-town, with a vigorous life of its own, which in spite of the dunghills was probably not much unlike the life of a similar town to-day, and with constant reminders of its past in the shape of the stately buildings formerly belonging to its college and its gild, both of which had been suppressed at the Reformation. Stratford stands on the Avon, in the midst of an agricultural country, throughout which in those days enclosed orchards and meadows alternated with open fields for tillage, and not far from the wilder and wooded district known as the Forest of Arden. The middle ages had left it an heritage in the shape of a free grammar-school, and here it is natural to suppose that William Shakespeare obtained a sound enough education,' with a working knowledge of " Mantuan "2 and Ovid in the original, even though to such a thorough scholar as Ben Jonson it might seem no more than " small Latin and less Greek." In 1577, when Shakespeare was about thirteen, his father's fortunes began to take a turn for the worse. He became irregular in his contributions to town levies, and had to give a mortgage on his wife's property of Asbies as security for a loan from her brother-in-law, Edmund Lambert. Money was raised to pay this off, partly by the sale of a small interest in land at Snitterfield which had come to Mary Shakespeare from her sisters, partly perhaps by that of the Greenhill Street house and other property in Stratford outside Henley Street, none of which seems to have ever come into William Shakespeare's hands. Lambert, however, refused to surrender the mortgage on the plea of older debts, and an attempt to recover Asbies by litigation proved ineffectual. John Shakespeare's difficulties increased. An action for debt was sustained against him in the local court, but no personal property could be found on which to distrain. He had long ceased to attend the meetings of the corporation, and as a consequence he was removed in 1586 from the list of aldermen. In this state of domestic affairs it is not likely that Shakespeare's school life was unduly prolonged. The chances are that he was apprenticed to some local trade. Aubrey says that he killed calves for his father, and " would do it in a high style, and make a speech." Whatever his circumstances, they did not deter him at the early age of eighteen from the adventure of marriage. Rowe. recorded the name of Shakespeare's wife as Hathaway, and Joseph Greene succeeded in tracing her to a family of that name dwelling in Shottery, one of the hamlets of Stratford. Her monument gives her first name as Anne, and her age as sixty-seven in 1623. She must, therefore, have been about eight years older than Shakespeare. Various small trains of evidence point to her identification with the daughter Agnes mentioned in the will of a Richard Hathaway of Shottery, who died in 1581, being then in possession of the farm-house now known as " Anne Hathaway's Cottage." Agnes was legally a distinct name from Anne, but there can be no doubt that ordinary custom treated them as identical. The principal record of the It is worth noting that Walter Roche, who in 1558 became fellow of Corpus Christi College, Oxford, was master of the school in 1570-1572, so that its standard must have been good.
William Shakespeare was born in Stratford-upon-Avon, a small country town. Stratford was famous for its malting. The black plague killed in 1564 one out of seven of the town's 1,500 inhabitants. Shakespeare was the eldest son of Mary Arden, the daughter of a local landowner, and her husband, John Shakespeare (c. 1530-1601), a glover and wood dealer. John Aubrey (1626-1697) tells in Brief Lives that Shakespeare's father was a butcher and the young William exercised his father's trade, "but when he kill'd a Calfe he would do it in a high style, and make a speech." In 1568 John Shakespeare was made a mayor of Stratford and a justice of peace. His wool business failed in the 1570s, and in 1580 he was fined �0�540, with other 140 men, for failing to find surety to keep the peace. There is not record that his fine was paid. Later the church commissioners reported of him and eight other men that they had failed to attend church "for fear of process for debt". The family's position was restored in the 1590s by earnings of William Shakespeare, and in 1596 he was awarded a coat of arms.
Very little is known about Shakespeare early life, and his later works have inspired a number of interpretations. T.S. Eliot wrote that "I would suggest that none of the plays of Shakespeare has a "meaning," although it would be equally false to say that a play of Shakespeare is meaningless." (from Selected Essays, new edition, 1960). Shakespeare is assumed to have been educated at Stratford Grammar School, and he may have spent the years 1580-82 as a teacher for the Roman Catholic Houghton family in Lancashire. When Shakespeare was 15, a woman from a nearby village drowned in the Avon. Her death was ruled accidental but it may have been a suicide. Later in Hamlet Shakespeare left open the question whether Ophelia died accidentally or by her own hand. At the age of 18, Shakespeare married a local girl, Anne Hathaway (died 1623), who was eight years older. Their first child, Susannah, was born within six months, and twins Hamnet and Judith were born in 1585. Hamnet, Shakespeare's only son, died in 1596, at the age of 11. It has often been suggested, that the lines in King John, beginning with "Grief fills the room of my absent child", reflects Shakespeare's grief.
William Shakespeare (baptised 26 April 1564; died 23 April 1616)[a] was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.[1] He is often called England's national poet and the "Bard of Avon".[2][b] His surviving works, including some collaborations, consist of about 38 plays,[c] 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.[3]
Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others.[4]
Shakespeare produced most of his known work between 1589 and 1613.[5][d] His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest works in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights.
Many of his plays were published in editions of varying quality and accuracy during his lifetime. In 1623, two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's.
Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry".[6] In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are constantly studied, performed and reinterpreted in diverse cultural and political contexts throughout the world.
life's but a walking shadow,a poor player that struts and frets his hour upon the stage,and then is heard no more; it is tale told by an idiot,full of sound and fury,signifying nothing.
人生不过是一个行走的影子，一个在舞台上指手划脚的笨拙的怜人，登场片刻，便在无声无息中悄然退去，这是一个愚人所讲的故事，充满了喧哗和骚动，却一无所指。《麦克白》
爱情是情人的一滴眼泪.<<哈姆雷特>>
莎士比亚说过：“当你说“我爱你”的时候一定要很小声，千万不要让天上的神听到，因为他们会很嫉妒的。”
Hamlet:To be, or not to be- that is the question:
Whether 'tis nobler in the mind to suffer
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-
No more; and by a sleep to say we end
The 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 respect
That 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 spurns
That patient merit of th' unworthy takes,
When he himself might his quietus make
With 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 resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry
And lose the name of action.
哈: {自言自语}
生存或毁灭, 这是个必答之问题:
是否应默默的忍受坎苛命运之无情打击,
还是应与深如大海之无涯苦难奋然为敌,
并将其克服。
此二抉择, 就竟是哪个较崇高?
死即睡眠, 它不过如此!
倘若一眠能了结心灵之苦楚与肉体之百患,
那么, 此结局是可盼的!
死去, 睡去...
但在睡眠中可能有梦, 啊, 这就是个阻碍:
当我们摆脱了此垂死之皮囊,
在死之长眠中会有何梦来临?
它令我们踌躇,
使我们心甘情愿的承受长年之灾,
否则谁肯容忍人间之百般折磨,
如暴君之政、骄者之傲、失恋之痛、法章之慢、贪官之侮、或庸民之辱,
假如他能简单的一刃了之?
还有谁会肯去做牛做马, 终生疲於操劳,
默默的忍受其苦其难, 而不远走高飞, 飘於渺茫之境,
倘若他不是因恐惧身后之事而使他犹豫不前?
此境乃无人知晓之邦, 自古无返者。---哈姆雷特经典台词(中英文）
1. 脆弱啊，你的名字是女人！
2. To be or not to be，that's a question。（生存还是死亡，那是个问题。）
3. 放弃时间的人，时间也会放弃他。
4. 成功的骗子，不必再以说谎为生，因为被骗的人已经成为他的拥护者，我再说什么也是枉然。
5. 人们可支配自己的命运，若我们受制於人，那错不在命运，而在我们自己。
6 美满的爱情，使斗士紧绷的心情松弛下来。
7 太完美的爱情，伤心又伤身，身为江湖儿女，没那个闲工夫。
8 嫉妒的手足是谎言！
9 上帝是公平的，掌握命运的人永远站在天平的两端，被命运掌握的人仅仅只明白上帝赐给他命运！
10 一个骄傲的人，结果总是在骄傲里毁灭了自己。
11 爱是一种甜蜜的痛苦，真诚的爱情永不是一条平坦的道路的。
12 因为她生的美丽，所以被男人追求；因为她是女人，所以被男人俘获。
13 如果女性因为感情而嫉妒起来那是很可怕的。
14 不要只因一次挫败，就放弃你原来决心想达到的目的。
15 女人不具备笑傲情场的条件。
16 我承认天底下再没有比爱情的责罚更痛苦的，也没有比服侍它更快乐的事了。
17 新的火焰可以把旧的火焰扑灭，大的苦痛可以使小的苦痛减轻。
18 聪明人变成了痴愚，是一条最容易上钩的游鱼；因为他凭恃才高学广，看不见自己的狂妄。
19 愚人的蠢事算不得稀奇，聪明人的蠢事才叫人笑痛肚皮；因为他用全副的本领，证明他自己愚笨。
20 外观往往和事物的本身完全不符，世人都容易为表面的装饰所欺骗。
21 黑暗无论怎样悠长，白昼总会到来。
22 勤劳一天，可得一日安眠；勤奋一生，可永远长眠。
23 女人是被爱的，不是被了解的。
24 金子啊，,你是多么神奇。你可以使老的变成少的，丑的变成美的，黑的变成白的，错的变成对的……
25 目眩时更要旋转，自己痛不欲生的悲伤，以别人的悲伤，就能够治愈！
26 爱情就像是生长在悬崖上的一朵花，想要摘就必需要有勇气。
绛旓細濞佸粔路鑾庡＋姣斾簹锛1564骞4鏈23鏃ワ紝鍑虹敓浜庤嫳鍥戒腑閮ㄦ矁閲屽厠閮¤壘姹舵渤鐣旂殑鏂壒鎷夌闀銆1568骞达紝鍥犵埗浜蹭换甯傞暱鑰屽紑濮嬪涔犳枃鍖栫煡璇嗐1571骞达紝杩涘叆鏂壒鎷夌鏂囨硶瀛︽牎璇讳功銆1579骞达紝绂诲紑鏂囨硶瀛︽牎銆侷n 1587, he left his hometown for London, joined the troupe, started his career as an actor, and began to try...
绛旓細濞佸粔濮 鑾庡＋姣斾簹鏄嫳鏍煎叞鏂囧鍘嗗彶涓婃渶鏈夊奖鍝嶅姏鐨勪綔鑰.浜1564骞村嚭鐢熷湪鑻卞浗涓儴鏂潶绂忎竴涓垚鍔熺殑涓骇闃剁骇鎵嬪鍒堕犲晢瀹朵腑.鑾庡＋姣斾簹鏇惧氨璇讳簬鎴忓墽瀛︽牎,浣嗕腑閫旈瀛.鍦1582骞,浠栦笌瀹夊Ξ 鍝堣帋钖囩粨涓鸿繛鐞.濂规瘮浠栧勾闀夸竴鐐,缁撳鐨勬椂鍊欏甫浜嗕笁涓嚜宸辩殑瀛╁瓙.涔嬪悗,鑾庡＋姣斾簹杩呴熷湪鍏紬鍦堝拰璇勮鐣岃蛋绾,鏈鍚庢垚涓鸿嫳鏍煎叞鏈鍙楁杩...
绛旓細浠栫殑鎴忓墽澶氬彇鏉愪簬鍘嗗彶璁拌浇銆佸皬璇淬佹皯闂翠紶璇村拰鑰佹垙绛夊凡鏈夌殑鏉愭枡,鍙嶆槧浜嗗皝寤虹ぞ浼氬悜璧勬湰涓讳箟绀句細杩囨浮鐨勫巻鍙茬幇瀹,瀹ｆ壃浜嗘柊鍏磋祫浜ч樁绾х殑浜洪亾涓讳箟鎬濇兂鍜屼汉鎬ц瑙傜偣銆傜敱浜庝竴鏂归潰骞挎硾鍊熼壌鍙や唬鎴忓墽銆佽嫳鍥戒腑涓栫邯鎴忓墽浠ュ強娆ф床鏂板叴鐨勬枃鍖栬壓鏈,涓鏂归潰娣卞埢瑙傚療浜虹敓,浜嗚В绀句細,鎺屾彙鏃朵唬鐨勮剦鎼,鏁呬娇鑾庡＋姣斾簹寰椾互濉戦犲嚭浼楀鏍╂牘濡傜敓鐨勪汉鐗╁舰璞,...
绛旓細濞佸粔路鑾庡＋姣斾簹锛圵illiam Shakespeare锛1564锛1616骞达級锛娆ф床鏂囪壓澶嶅叴鏃舵湡鑻卞浗鏈閲嶈鐨勪綔瀹讹紝鏉板嚭鐨勬垙鍓у鍜岃瘲浜銆備粬鍒涗綔浜嗗ぇ閲忚剭鐐欎汉鍙ｇ殑鏂囧浣滃搧锛屽湪娆ф床鏂囧鍙蹭笂鍗犳湁鐗规畩鐨勫湴浣嶏紝琚柣涓衡滀汉绫绘枃瀛﹀ゥ鏋楀尮鏂北涓婄殑瀹欐柉鈥濄 浠栦害璺熷彜甯岃厞涓夊ぇ鎮插墽瀹跺焹鏂簱缃楁柉锛圓eschylus锛夈佺储绂忓厠閲屾柉锛圫ophocles锛夊強娆ч噷搴囧緱鏂紙E...
绛旓細濞佸粔路鑾庡＋姣斾簹锛1564骞4鏈23鏃モ1616骞4鏈23鏃ワ級锛岃嫳鍥芥枃鑹哄鍏存椂鏈熷墽浣滃銆佽瘲浜銆係hakespeare's family is an old family in Warwickshire. Richard, William Shakespeare's grandfather, was a tenant of the local squire Robert Arden and lived on farming and animal husbandry.鑾庡＋姣斾簹瀹舵棌鏄矁閲屽厠...
绛旓細1564骞4鏈23鏃ワ紝鍑虹敓浜庤嫳鍥芥矁閲屽厠閮℃柉鐗规媺绂忛晣銆侭orn in Stratford, Warwickshire, England on April 23, 1564.1587骞达紝寮濮嬫紨鍛樼敓娑紝骞跺紑濮嬪皾璇曞啓鍓ф湰銆侷n 1587, he began his career as an actor and began to write plays.1595骞达紝鍒涗綔鐨勬垙鍓с婄綏瀵嗘涓庢湵涓藉彾銆嬨婁徊澶忓涔嬫ⅵ銆嬮婕斻侷n 1595, ...
绛旓細they establish Shakespeare as the foremost literary talent of his own Elizabethan Age and, even more impressively, as a genius whose creative achievement has never been surpassed in any age.In light of Shakespeare's stature and the passage of nearly four centuries since his death, it...
绛旓細鑾庡＋姣斾簹锛W. William Shakespeare锛1564锝1616锛夊師鍚嶏細鐖卞痉鍗幝峰痉路缁村皵锛圗dward De Vere锛夊叕鍏1564骞4鏈23鏃ョ敓浜庤嫳鏍煎叞鏂壒鎷夌闀囷紞1616骞5鏈3鏃ワ紙鍎掔暐鍘4鏈23鏃ワ級锛岃嫳鍥借憲鍚嶅墽浣滃銆佽瘲浜猴紝涓昏浣滃搧鏈夈婄綏瀵嗘涓庢湵涓藉彾銆嬨併婂搱濮嗛浄鐗广嬬瓑銆備紵澶鐨鑻卞浗鍓т綔瀹躲佽瘲浜哄▉寤壜疯帋澹瘮浜1564骞寸敓浜庤嫳鍥戒腑閮ㄧ摝缁村厠...
绛旓細鑾庡＋姣斾簹锛W. William Shakespeare锛1564锝1616锛夊叕鍏1564骞4鏈23鏃ョ敓浜庤嫳鏍煎叞鏂壒鎷夌闀囷紝1616骞5鏈3鏃ワ紙鍎掔暐鍘4鏈23鏃ワ級鐥呴濄傝嫳鍥芥枃鑹哄鍏存椂鏈熸澃鍑鐨鎴忓墽瀹跺拰璇椾汉锛屼唬琛ㄤ綔鏈夊洓澶ф偛鍓с婂搱濮嗛浄鐗广嬨婂ゥ璧涚綏銆嬨婃潕灏旂帇銆嬨婇害鍏嬬櫧銆嬶紝鍠滃墽銆婂▉灏兼柉鍟嗕汉銆嬬瓑鍜屼竴鐧惧棣栧崄鍥涜璇椼係hakespeare's works include:T...
绛旓細After 3 years went to London to become the actor, the playwright; When 30 years old starts to be lucky; When 34 years old the family is well-to-do, art obtains the success, is recognized as the playwright which rises newly. Sha Shibiya alone lives in London's 20 years, ...
