莎士比亚作品

概括：这道题是傅滓崩同学的课后英语练习题，主要是关于莎士比亚作品，指导老师为昝老师。

题目：莎士比亚作品

has 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.

举一反三

例1： 莎士比亚简介（英文版）莎士比亚生平、趣闻、一部作品梗概.全英文,谢.[英语练习题]

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.

例2： 【莎士比亚说书籍是…】

书籍是全世界的营养品.生活里没有书籍,就好像没有阳光;智慧里没有书籍,就好像鸟儿没有翅膀.——莎士比亚

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