I. Introduction
Any discussion of Shakespeare's life is bound to be loaded with superlatives. In the course of a quarter century, Shakespeare wrote some thirty-eight plays. Taken individually, several of them are among the world's finest written works; taken collectively, 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 is not surprising that hundreds of Shakespeare biographies have been written in all of the world's major languages. Scanning this panorama, most accounts of the Bard's life (and certainly the majority of modern studies) are contextual in the sense that they place the figure of Shakespeare against the rich tapestry of his "Age" or "Times" or "Society." This characteristic approach to Shakespeare biography is actually a matter of necessity, for without such fleshing out into historical, social, and literary settings, the skeletal character of what we know about Shakespeare from primary sources would make for slim and, ironically, boring books. As part of this embellishment process, serious scholars continue to mine for hard facts about the nature of Shakespeare's world. The interpretation of their meaning necessarily varies, often according to the particular school or ideology of the author.
Whatever the differences of opinion, valid or at least plausible views about Shakespeare, his character and his personal experience continue to be advanced. Yet even among modern Shakespeare biographies, in addition to outlandish interpretations of the available facts, there persists (and grows) a body of traditions about such matters as Shakespeare's marriage, his move to London, the circumstances of his death and the like. The result of all this is that there is now a huge tapestry of descriptive, critical, and analytical work about Shakespeare in existence, much of it reasonable, some of it outlandish, and some of it hogwash.
II. Three important points about Shakespeare
In examining Shakespeare's life, three broad points should be kept in mind from the start. First, despite the frustration of Shakespeare biographers with the absence of a primary source of information written during (or even shortly after) his death on 23 April 1616 (his fifty-second birthday), Shakespeare's life is not obscure. In fact, we know more about Shakespeare's life, its main events and contours, than we know about most famous Elizabethans outside of the royal court itself.
Shakespeare's life is unusually well-documented: there are well over 100 references to Shakespeare and his immediate family in local parish, municipal, and commercial archives and we also have at least fifty observations about Shakespeare's plays (and through them, his life) from his contemporaries. The structure of Shakespeare's life is remarkably sound; it is the flesh of his personal experience, his motives, and the like that have no firm basis and it is, of course, this descriptive content in which we are most interested.
Second, the appeal of seeing an autobiographical basis in Shakespeare's plays and poetry must be tempered by what the bulk of the evidence has to say about him. Although there are fanciful
stories about Shakespeare, many centering upon his romantic affairs, connections between them and the events or characters of his plays are flimsy, and they generally disregard our overall impression of the Bard. In his personal life, Shakespeare was, in fact, an exceedingly practical individual, undoubtedly a jack of many useful trades, and a shrewd businessman in theatrical, commercial and real estate circles.
Third, the notion that plays ascribed to Shakespeare were actually written by others (Sir Francis Bacon, the poet Phillip Sidney among the candidates) has become even weaker over time. The current strong consensus is that while Shakespeare may have collaborated with another Elizabethan playwright in at least one instance (probably with John Fletcher on The Two Noble Kinsman), and that one or two of his plays were completed by someone else (possibly Fletcher on an original or revised version of Henry VIII), the works ascribed to Shakespeare are his.
III. Birth and Early Life
Parish records establish that William Shakespeare was baptized on 26 April, 1564. Simply counting backwards the three customary days between birth and baptism in Anglican custom, most reckon that the Bard of Avon was born on 23 April, 1564. This is, indeed, Shakespeare's official birthday in England, and, it is also the traditional birth date of St. George, the patron saint of England. The exact date and the precise cause of Shakespeare's death are unknown: one local tradition asserts that the Bard died on 23 April, 1616, of a chill caught after a night of drinking with fellow playwrights Ben Jonson and Michael Drayton. Shakespeare was, in fact, buried three days later, exactly 52 years after his baptism.
Shakespeare was born and raised in the picturesque Tudor market town of Stratford-on-Avon, a local government and commercial center within a larger rural setting, and it is likely that the surrounding woodlands of his boyhood were reflected in the play As You Like It, with its Forest of Arden. Shakespeare's mother Mary Arden was a daughter of the local gentry, holding extensive properties around Stratford-on-Avon in his name. In marrying Shakespeare's father, the glover and tenant farmer John Shakespeare, Mary Arden took a step down the social ladder of the Elizabethan Age, for her husband was of the yeoman class, a notch or two below the gentry. Yet long before his son's fame as a playwright fell to his good fortune, John Shakespeare's talents enabled him to rise modestly on his own accord as he became a burgess member of the town council. Despite evidence of a family financial setback when William was fifteen, Shakespeare's family was comfortable, if not privileged. Shakespeare's eventual fame and success spilled over to his parents in the form of both money and title, and on the eve of his death in 1601, Queen Elizabeth granted the Bard's father a "gentleman's" family coat-of-arms.
We have good cause to believe that Shakespeare attended Stratford Grammar School where he would have received a tuition-free education as the son of a burgess father. There young William was exposed to a standard Elizabethan curriculum strong on Greek and Latin literature (including the playwrights Plautus and Seneca, and the amorous poet Ovid), rhetoric (including that of the ancient Roman orator Cicero), and Christian ethics (including a working knowledge of the Holy Bible). These influences are pervasive in Shakespeare's works, and it is also apparent that Shakespeare cultivated a knowledge of English history through chronicles written shortly before
and during his adolescence. Shakespeare left school in 1579 at the age of fifteen, possibly as the result of a family financial problem. Shakespeare did not pursue formal education any further: he never attended a university and was not considered to be a truly learned man.
There is a period in Shakespeare's life of some seven years (1585 to 1592) from which we have absolutely no primary source materials about him. We do know that in November of 1582, at the age of eighteen, he married Anne Hathaway (a woman eight years his senior), and that she gave birth to a daughter, Susanna, six months later. Two years after that, the Shakespeares had twins: Hamnet and Judith. Hamnet, Shakespeare's only son, would die at the age of eleven. Speculation has it that Shakespeare was not happy in his marriage, and that this may have played a role in his decision to move to London's theater scene. In fact, during the late 1580s and early 1590s, Shakespeare traveled back and forth between London and Stratford-on-Avon, but by this time, the momentum of Shakespeare's life was toward his career and away from family, hearth, and home. Although we lack hard facts, we may surmise that before he took up a career as a playwright, Shakespeare engaged in a variety of occupations, probably working with his father in commercial trades (leathers and grains), probably working as a law clerk, and possibly serving as a soldier or sailor for an England threatened by Spain. Shakespeare displays a command of the argot and the practices of many such crafts, as in his portrayal of the law profession in trial scenes of The Merchant of Venice.
IV. The Playwright
Between the early 1590s (The Comedy of Errors) and the second decade of the seventeenth century (The Tempest written in 1611), Shakespeare composed the most extraordinary body of works in the history of world drama. His works are often divided into periods, moving roughly from comedies to histories to tragedies and then to his final romances capped by a farewell to the stage in The Tempest. The question of how and whether the Bard's career should be divided into periods aside, we do know that Shakespeare received a major boost in 1592 (the earliest review of his work that we have), when playwright-critic Robert Greene condemned the future Bard as an impudent "upstart" beneath the notice of established literary men or University Wits. Greene's critical diatribe was soon retracted by his editor as a number of leading Elizabethan literary figures expressed their admiration for his early plays. Retreating from London in the plague years of 1592 through 1594, Shakespeare briefly left playwriting aside to compose long poems like Venus and Adonis and at least some of his sonnets. But during this period, Shakespeare garnered the support of his first major sponsor, the Earl of Southampton. Soon, as a leading figure in the Chamberlain's Men company he would garner even greater patronage from the courts of Queen Elizabeth and her successor, King James.
Just as the rise of Shakespeare's success, popularity, and fame began to accelerate, he experienced a personal tragedy when his son Hamnet died in 1596. Shakespeare undoubtedly returned to Stratford for Hamnet's funeral and this event may have prompted him to spend more time with his wife and daughters. In 1597, Shakespeare purchased a splendid Tudor Mansion in his hometown known as the New Place. During the period between 1597 and 1611, Shakespeare apparently spent most of his time in London during the theatrical season, but was active in Stratford as well, particularly as an investor in grain dealings. Shakespeare also purchased real
estate in the countryside and in London as well, the latter including Blackfriar's Gatehouse which he bought in 1613. In 1612, four years before his death, Shakespeare went into semi-retirement at the relatively young age of forty-eight. He died on or about 23 April of 1616 of unknown causes.
William Shakespeare's family lineage came to an end two generations after his death. His two daughters followed different paths in their father's eyes. His older daughter, Susanna, married a prominent local doctor, John Hall, in 1607 and there are indications that a close friendship developed between Hall and his renowned father-in-law. Susanna gave Shakespeare his only grandchild, Elizabeth Hall in 1608. Although she inherited the family estate and was married twice (her first husband dying) Elizabeth had no children of her own. Shakespeare's other daughter, Judith married Thomas Quiney, a tavern owner and reputed rake given to pre-marital and extramarital affairs and the fathering of illegitimate children. They had three legitimate sons, all of whom died young.
V. Shakespeare's World
Most of Shakespeare's career unfolded during the monarchy of Elizabeth I, the Great Virgin Queen from whom the historical period of the Bard's life takes its name as the Elizabethan Age. Elizabeth came to the throne under turbulent circumstances in 1558 (before Shakespeare was born) and ruled until 1603. Under her reign, not only did England prosper as a rising commercial power at the expense of Catholic Spain, Shakespeare's homeland undertook an enormous expansion into the New World and laid the foundations of what would become the British Empire. This ascendance came in the wake of the Renaissance and the Reformation, the former regaining Greek and Roman classics and stimulating an outburst of creative endeavor throughout Europe, the latter transforming England into a Protestant/Anglican state, and generating continuing religious strife, especially during the civil wars of Elizabeth's Catholic sister, Queen Margaret or "Bloody Mary."
The Elizabethan Age, then, was an Age of Discovery, of the pursuit of scientific knowledge, and the exploration of human nature itself. The basic assumptions underpinning feudalism/Scholasticism were openly challenged with the support of Elizabeth and, equally so, by her successor on the throne, James I. There was in all this an optimism about humanity and its future and an even greater optimism about the destiny of England in the world at large. Nevertheless, the Elizabethans also recognized that the course of history is problematic, that Fortune can undo even the greatest and most promising, as Shakespeare reveals in such plays as Antony & Cleopatra. More specifically, Shakespeare and his audiences were keenly aware of the prior century's prolonged bloodshed during the War of the Roses between the houses of Lancaster and York. Many Elizabethans, particularly the prosperous, feared the prospect of civil insurrection and the destruction of the commonwealth, whether as a result of an uprising from below or of usurpation at the top. Thus, whether or not we consider Shakespeare to have been a political conservative, his histories, tragedies and even his romances and comedies are slanted toward the restoration or maintenance of civil harmony and the status quo of legitimate rule.
◆爱比杀人重罪更难隐藏；爱情的黑夜有中午的阳光 ◆爱的力量是和平，从不顾理性、成规和荣辱， 它能使一切恐惧、震惊和痛苦在身受时化作甜蜜 ◆爱情是一朵生长在绝崖边缘的花，要想采摘它必须有勇气 ◆爱情不过是一种疯 ◆爱情里面要是搀杂了和它本身无关的算计，那就不是真的爱情 ◆不太热烈的爱情才会维持久远 ◆草率的婚姻少美满 ◆充实思想不在于言语的富丽莎士比亚的简介 ◆纯朴和忠诚所呈献的礼物，总是可取的 ◆毒药有时也能治病 ◆真正的爱情是不能用言语表达的，行为才是忠心的最好说明 ◆恋爱是盲目的，恋人们瞧不见他们自己所干的傻事 ◆爱比杀人重罪更难隐藏；爱情的黑夜有中午的阳光 ◆黑夜使眼睛失去它的作用，但却使耳朵的听觉更为灵敏，它虽然妨碍了视觉的活动，却给予了听觉加倍的补偿 ◆洪水可以从涓滴的细流中发生 ◆假如我必须死，我会把黑暗当作新娘，把它拥抱在我的怀里 ◆不太热烈的爱情才会维持久远 ◆当我们还买不起幸福的时候，我们绝不应该走得离橱窗太近，盯着幸福出神 ◆爱情不是花荫下的甜言，不是桃花源中的蜜语，不是轻绵的眼泪，更不是死硬的强迫，爱情是建立在共同语言的基础上的 ◆真实爱情的途径并不平坦 ◆忠诚的爱情充溢在我的心里，我无法估计自己享有的财富 ◆每一个被束缚的奴隶都可以凭着他自己的手挣脱他的锁链 ◆爱的力量是和平，从不顾理性、成规和荣辱， 它能使一切恐惧、震惊和痛苦在身受时化作甜蜜 ◆命运如娼妓，贫贱遭遗弃 ◆闪光的东西，并不都是金子，动听的语言，并不都是好话 ◆当爱情小船被浪掀翻时，让我们友好地说声再见 ◆起先的冷淡，将会使以后的恋爱更加热烈 ◆轻浮和虚荣是一个不知足的贪食者，它在吞噬一切之后，结果必然牺牲在自己的贪欲之下 ◆情欲犹如炭火，必须使它冷却，否则，那烈火会把心儿烧焦 ◆因为她生得美丽，所以被男人追求；因为她是女人，所以被男人俘获 ◆人生就象于段重复叙述的故事一般可厌 ◆白糖上面浇蜂蜜，蜂蜜上面盖白糖 ◆爱情的野心使人倍受痛苦 ◆境由爱造，还是爱逐境迁 ◆一个使性子的女人，就象翻腾的浊水，纵使口干舌燥，也不愿啜饮一口 ◆人心和岩石一样，也可以有被水滴穿的孔 ◆你甜蜜的爱，就是珍宝，我不屑把处境跟帝王对调 ◆诡计需要伪装，真理喜欢阳光莎士比亚名言 ◆人生如痴人说梦，充满着喧哗与骚动，却没有任何意义
关于莎士比亚 莎士比亚的代表作有四大悲剧：《哈姆雷特》（英：Hamlet)、《奥赛罗》（英：Othello)、《李尔王》（英：King Lear）、《麦克白》（英：Macbeth）。四大喜剧：《仲夏夜之梦》、《威尼斯商人》、《第十二夜》、《皆大欢喜》（《As you like it》）。历史剧：《亨利四世》、《亨利五世》、《理查二世》等。还写过154首十四行诗，二首长诗。本·琼生称他为“时代的灵魂”，马克思称他和古希腊的埃斯库罗斯为“人类最伟大的戏剧天才”。虽然莎士比亚只用英文写作，但他却是世界著名作家。他的大部分作品都已被译成多种文字，其剧作也在许多国家上演。1616年4月23日病逝。莎士比亚和意大利著名数学家、物理学家、天文学家和哲学家、近代实验科学的先躯者伽利略同一年出生。 Shakespearean representative work has 4-big tragedy: "Hamlet" (UK: Hamlet), "Othello" is (UK: Othello), "King Lear " is (UK: King Lear), "Macbeth " is (UK: Macbeth). 4-big comedy: "A Midsummer Night's Dream ", "The Merchant of V enice " ", Twelfth Night " ", "As Y ou Like It" ("As you like it "). Historical play: "King Henry the Fourth Part 1 " ", King Henry the Fifth " ", King Richard II " and so on. Had written 154 sonnets , two leading cadre poems. Our · Jonson says he is "the times soul " , Max says he and Helladic Aisiku Ross are "the greatest human being drama genius ". Although Shakespeare uses English writing only,he is a famous writer of world but. Most work of him has all already been translated into various language , whose play performs also in the lot of country. Die of illness on April 23 , 1616. Body person Galileo is the same as Shakespeare and famous Italy mathematician , physicist , astrologer with the philosopher , experiment science the modern times first being born for 1 year.
I. Introduction Any discussion of Shakespeare's life is bound to be loaded with superlatives. In the course of a quarter century, Shakespeare wrote some thirty-eight plays. Taken individually, several of them are among the world's finest written works; taken collectively, 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 is not surprising that hundreds of Shakespeare biographies have been written in all of the world's major languages. Scanning this panorama, most accounts of the Bard's life (and certainly the majority of modern studies) are contextual in the sense that they place the figure of Shakespeare against the rich tapestry of his "Age" or "Times" or "Society." This characteristic approach to Shakespeare biography is actually a matter of necessity, for without such fleshing out into historical, social, and literary settings, the skeletal character of what we know about Shakespeare from primary sources would make for slim and, ironically, boring books. As part of this embellishment process, serious scholars continue to mine for hard facts about the nature of Shakespeare's world. The interpretation of their meaning necessarily varies, often according to the particular school or ideology of the author. Whatever the differences of opinion, valid or at least plausible views about Shakespeare, his character and his personal experience continue to be advanced. Yet even among modern Shakespeare biographies, in addition to outlandish interpretations of the available facts, there persists (and grows) a body of traditions about such matters as Shakespeare's marriage, his move to London, the circumstances of his death and the like. The result of all this is that there is now a huge tapestry of descriptive, critical, and analytical work about Shakespeare in existence, much of it reasonable, some of it outlandish, and some of it hogwash. II. Three important points about Shakespeare In examining Shakespeare's life, three broad points should be kept in mind from the start. First, despite the frustration of Shakespeare biographers with the absence of a primary source of information written during (or even shortly after) his death on 23 April 1616 (his fifty-second birthday), Shakespeare's life is not obscure. In fact, we know more about Shakespeare's life, its main events and contours, than we know about most famous Elizabethans outside of the royal court itself. Shakespeare's life is unusually well-documented: there are well over 100 references to Shakespeare and his immediate family in local parish, municipal, and commercial archives and we also have at least fifty observations about Shakespeare's plays (and through them, his life) from his contemporaries. The structure of Shakespeare's life is remarkably sound; it is the flesh of his personal experience, his motives, and the like that have no firm basis and it is, of course, this descriptive content in which we are most interested. Second, the appeal of seeing an autobiographical basis in Shakespeare's plays and poetry must be tempered by what the bulk of the evidence has to say about him. Although there are fanciful
莎士比亚语录英文版 导读：本文是关于莎士比亚语录英文版的文章，如果觉得很不错，欢迎点评和分享！ 1、All that glisters is not gold。闪光的并不都是金子。 2、A light heart lives long。豁达者长寿。 3、We cannot all be masters，nor all masters cannot be truly followed。不是每个人都能做主人，也不是每个主人都能值得仆人忠心的服侍。 4、To mourn a mischief that is past and gone is the next way to draw new mischief on。为了一去不复返的灾祸而悲伤将会招致新的灾祸。 5、Beauty！Where is thy faith？美貌！你的真诚在何方？ 6、Young men’s love then lies not truly in their hearts，but in their eyes。年轻人的爱不是发自内心，而是全靠眼睛。 7、Ignorance is the curse of God，Knowledge the wing wherewith we fly to heaven。无知乃是罪恶，知识乃是我们藉以飞向天堂的翅膀。 8、My only love sprung from my only hate！我唯一的爱来自我唯一的恨。 9、O，curse of marriage，that we can call these delicate creatures ours，and not their appetites！啊！婚姻的烦恼！我们
莎士比亚英文名人名言 【篇一：莎士比亚英文名人名言】 由提供 1、some rise by sin, and some by virtue fall. (measure for measure 2.1) 有些人因罪恶而升迁，有些人因德行而没落。 《一报还一报》 2、o, it is excellent to have a giant s strength; but it is tyrannous to use it like a giant. (measure for measure 2.1) 有巨人的力量固然好，但像巨人那样滥用力量就是一种残暴行为。《一报还一报》 3、i ll pray a thousand prayers for thy death but no word to save thee. (measure for measure 3.1) 我要千遍祷告让你死，也不祈求一字救你命。 《一报还一报》 4、o, what may man within him hide, though angel on the outward side! (measure for measure 3.2) 唉!一个人外表可以装得像天使，但却可能把自己掩藏在内心深处! 《一报还一报》 5、since the little wit that fools have was silenc d, the little foolery that wise men have makes a great show. (as you like it, 1.2) 自从傻子小小的聪明被压制得无声无息，聪明人小小的傻气显得更吸引眼球了。 《皆大欢喜》 6、beauty provoketh thieves sooner than gold. (as you like it, 1.3) 美貌比金银更容易引起歹心。 《皆大欢喜》 7、sweet are the uses of adversity. (as you like it, 2.1) 逆境和厄运自有妙处。 《皆大欢喜》 8、do you not know i am a woman? when i think, i must speak. (as you like it, 3.2) 你难道不知道我是女人?我心里想什么，就会说出来。
书虫《威廉·莎士比亚》中英双语 作者：[英]芭斯特(Jennifer Bassett) 内容简介：1578年艾汶河畔的斯特拉福镇。有位男孩坐在书桌旁专心地学习，他认真听课、拼命看书。可他在想些什么呢？ 1587年伦敦。一位年轻人首次到伦敦谋生。他听着闹市的喧嚣声，看看伦敦塔雄伟的大墙，望着泰晤士河的淙淙流水。“静谧的泰晤士河，潺潺地流淌，直到我唱完心中的歌。” 1601年伦敦。泰晤士河上的船夫对人群大声喊着：“快来，快来，快来呀！‘环球剧院’快挤满人啦！”2000多观众渡过河，前来观看莎士比亚的最新一部戏剧——《哈姆雷特》。 这本讲述莎士比亚生平故事的书是由托比叙述的。托比不是一个真实的人物——或许莎士比亚也曾有过这样一位朋友，不过，我们无法确知。但是书中的其他人物历史上确有其人。他们非常熟悉这位演员、诗人兼剧作家莎士比亚。他们称他“莎士比亚缙绅”，都认为他是英国最杰出的诗人。他的朋友本·琼生曾这样写道： “他不属于一个时代，而是属于所有的时代。” 作者简介：詹妮·芭斯特是位资历很深的教师和作家。她生活在英国西南的德文郡。 威廉?莎士比亚 1 Toby remembers 1 托比的回忆 My name is Toby．I'm an old man，eighty-three this spring．My house is right in the middle of Stratford-upon-Avon，and I can watch the street market from my window．But I live very quietly now．I'm just an old man，sitting in a chair． 我叫托比，一位年迈的老人，今年春天年过83岁。家住艾汶河畔斯特拉福镇中心，透过窗户，便可以望到街道的闹市。我的生活平和宁静，毕竟我已是一位要在轮椅上安度晚年的老头子了。 I once knew the greatest man in England．For thirty years I was his friend．I worked with him in the theatre，through the good times and the bad time．He was a good friend to me．He was also the best playwright，the best poet，that ever lived in England．Will Shakespeare was his name． 我曾认识英国的一位最伟大的人物。我与他相交30年，同在剧团工作，也共同度过人生中欢乐与艰辛的岁月。他是我的好友，也是英国有史以来最优秀的剧作家，最杰出的诗人。他就是威尔·莎士比亚。 I saw all his plays in the theatre．People loved them．They shouted，laughed and CRI ed，ate oranges，and called for more．All kinds of people．Kings，Queens，Princes，great lords and ladies，poor people，the boys who held the horses…everyone．Will Shakespeare could please them all． 我看过他所有上演的戏剧。这些戏剧颇受欢迎，也一度令观众狂喜大悲，不过他们都希望能看到他更多的戏剧。形形色色的人，上自国王、王后、王子和豪富名女，下至贫苦百姓和牵马的脚夫……所有的人，威尔·莎士比亚都能令他们开心欢娱。 He put me in a play once．Well，he used my name-Toby．Twelfth Night was the play，I remember．Sir Toby Belch．He was a big fat man，who liked drinking too much and having a good time．Queen Elizabeth the First watched that play-on Twelfth Night，the 6th of January，1601．She liked it，too．
I From fairest creatures we desire increase, That thereby beauty's rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou contracted to thine own bright eyes, Feed'st thy light's flame with self-substantial fuel, Making a famine where abundance lies, Thy self thy foe, to thy sweet self too cruel: Thou that art now the world's fresh ornament, And only herald to the gaudy spring, Within thine own bud buriest thy content, And, tender churl, mak'st waste in niggarding: Pity the world, or else this glutton be, To eat the world's due, by the grave and thee. 一 对天生的尤物我们要求蕃盛，以便美的玫瑰永远不会枯死，但开透的花朵既要及时雕零，就应把记忆交给娇嫩的后嗣；但你，只和你自己的明眸定情，把自己当燃料喂养眼中的火焰，和自己作对，待自己未免太狠，把一片丰沃的土地变成荒田。 你现在是大地的清新的点缀，又是锦绣阳春的
莎士比亚名言中英文 【篇一：莎士比亚名言中英文】 名人名言：莎士比亚经典语录50句（中英文对照）线话英语|2012-04-05 10:57:26 由提供 1、some rise by sin, and some by virtue fall. (measure for measure 2.1) 有些人因罪恶而升迁，有些人因德行而没落。 《一报还一报》 2、o, it is excellent to have a giant s strength; but it is tyrannous to use it like a giant. (measure for measure 2.1) 有巨人的力量固然好，但像巨人那样滥用力量就是一种残暴行为。《一报还一报》 3、i ll pray a thousand prayers for thy death but no word to save thee. (measure for measure 3.1) 我要千遍祷告让你死，也不祈求一字救你命。 《一报还一报》 4、o, what may man within him hide, though angel on the outward side! (measure for measure 3.2) 唉!一个人外表可以装得像天使，但却可能把自己掩藏在内心深处! 《一报还一报》 5、since the little wit that fools have was silenc d, the little foolery that wise men have makes a great show. (as you like it, 1.2) 自从傻子小小的聪明被压制得无声无息，聪明人小小的傻气显得更吸引眼球了。 《皆大欢喜》 6、beauty provoketh thieves sooner than gold. (as you like it, 1.3) 美貌比金银更容易引起歹心。 《皆大欢喜》 7、sweet are the uses of adversity. (as you like it, 2.1) 逆境和厄运自有妙处。 《皆大欢喜》 8、do you not know i am a woman? when i think, i must speak. (as you like it, 3.2)
莎士比亚爱情诗英文版 整理了莎士比亚英文版爱情诗，欢迎阅读!莎士比亚英文版爱情诗篇一莎士比亚十四行诗第18首Shall I compare thee to a summer's day?能不能让我来把你比拟做夏日?Thou art more lovely and more temperate.你可是更加温和,更加可爱:Rough winds do shake the darling buds of May,狂风会吹落五月里开的好花儿,And summer's lease hath all too short a date:夏季的生命又未免结束得太快:Sometimes too hot the eys of heaven shines,有时候苍天的巨眼照得太灼热,And often is his gold complexion dimmed;他那金彩的脸色也会被遮暗;And every fair from fair somethme declines,每一样美呀,总会离开美而凋落,By chance, or nature's changing course, untrimmed:被时机或者自然的代谢所摧残;But thy eternal summer shall not fade,但是你永久的夏天决不会凋枯,Nor lose possession of that fair thou owest;你永远不会失去你美的仪态;Nor shall Death brag thou wanderest in his shade死神夸不着你在他的影子里踯躅,When in eternal lines to time thou growest.你将在不朽的诗中与时间同在;So long as men can breathe or eyes can see,只要人类在呼吸,眼睛看得见,So long lives this, and this gives life to thee.我这诗就活着,使你的生命绵延.莎士比亚英文版爱情诗篇二Why is my verse so barren of new pride,为什么我的诗那么缺新光彩，So far from variation or quick change?赶不上现代善变多姿的风尚?Why with the time do I not glance aside为什么我不学时人旁征博采To new-found methods and to compounds
莎士比亚简介 威廉·莎士比亚是英国文艺复兴时期的一位伟大的剧作家、 诗人。威廉·莎士比亚于1564年4月23日生于英国中部瓦维克 郡埃文河畔斯特拉特福的一位富裕的市民家庭。其父约翰·莎士 比亚是经营羊毛、皮革制造及谷物生意的杂货商，1565年任镇民 政官，3年后被选为镇长。莎士比亚七岁时被送到当地的一个文法 学校念书，在那里读了六年的书，掌握了写作的基本技巧与较丰 富的知识，除此之外，他还学过拉丁语和希腊语。但因他的父亲 破产，未能毕业就走上独自谋生之路。1577年被父亲从学校接回， 不得已帮他父亲做了一段时间的生意。他当过肉店学徒，也曾在乡村学校教过书，还干过其他各种职业，这使他增长了许多社会阅历。 莎士比亚的戏剧大都取材于旧有剧本、小说、编年史或民间传说，但在改写中注入了自己的思想，给旧题材赋予新颖、丰富、深刻的内容。在艺术表现上，他继承古代希腊罗马、中世纪英国和文艺复兴时期欧洲戏剧的三大传统并加以发展，从内容到形式进行了创造性革新。他的戏剧不受三一律束缚，突破悲剧、喜剧界限，努力反映生活的本来面目，深入探索人物内心奥秘，从而能够塑造出众多性格复杂多样、形象真实生动的人物典型，描绘了广阔的、五光十色的社会生活图景，并以其博大、深刻、富于诗意和哲理著称。 故此，威廉?莎士比亚（William Shakespeare，1564－1616）成为了欧洲文艺复兴时期最重要的作家，杰出的戏剧家和诗人，他在欧洲文学史上占有特殊的地位，被喻为“人类文学奥林匹克山上的宙斯”。他亦跟古希腊三大悲剧家埃斯库勒斯(Aeschylus)、索福克里斯(Sophocles)及欧里庇得斯(Euripides)合称戏剧史上四大悲剧家。
William Shakespeare (1564-1616) English poet, dramatist, and actor, considered by many to be the greatest dramatist of all time. Some of Shakespeare's plays, such as Hamlet and Romeo and Juliet, are among the most famous literary works of the world. However, his early works did not match the artistic quality of Marlowe's dramas. Ben Jonson (1572-1637), another contemporary playwright, wrote that Shakespeare's "wit was in his own power; would the rule of it had been so too". Shakespeare possessed a large vocabulary for his day, having used 29,066 different words in his plays. Today the average English-speaking person uses something like 2,000 words in everyday speech. "It may be that the essential thing with Shakespeare is his ease and authority and thay you just have to accept him as he is if you are going to be able to admire him properly, in the way you accept nature, a piece of scenery for example, just as it is." (Ludwig Wittgenstein in Culture and Value, 1980) There is not much records of Shakespeare′s personal life. Rumors arise from time to time that he did not write his plays, but the real author was Christopher Marlowe, Queen Elizabeth or Edward De Vere (1550-1604), whom T.J. Looney identified in 1920 as the author of Shakespeare's plays. A large body of 'Oxfordians' have since built on this claim and the reluctance to believe that a man of humble origins could be such a great author. According to some numerologists, Shakespeare wrote The King James Version of the Bible at the age of 46. Their "evidence": Shake is the 46th word of the 46th Psalm, Spear is the 46th word from the end in the 46th Psalm. 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 ￡40, 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
莎士比亚中英文对照版名人名言 the course of true love never did run smooth. (a midsummer night’s dream 1.1) 真爱无坦途。——《仲夏夜之梦》/ things base and vile, holding no quantity, love can transpose to from and dignity: love looks not with the eyes, but with mind. (a midsummer night’s dream 1.1) 卑贱和劣行在爱情看来都不算数，都可以被转化成美满和庄严：爱情不用眼睛辨别，而是用心灵来判断/爱用的不是眼睛，而是心。——《仲夏夜之梦》 lord, what fools these mortals be! (a midsummer night’s dream 3.2) 上帝呀，这些凡人怎么都是十足的傻瓜!——《仲夏夜之梦》 the lunatic, the lover and the poet are of imagination all compact. (a midsummer night’s dream 5.1) 疯子、情人、诗人都是想象的产儿。——《仲夏夜之梦》 since the little wit that fools have was silenc’d, the little foolery that wise men have makes a great show. (as you like it, 1.2) 自从傻子小小的聪明被压制得无声无息，聪明人小小的傻气显得更吸引眼球了。——《皆大欢喜》 世界是一个舞台，所有的男男女女不过是一些演员，他们都有下场的时候，也都有上场的时候。一个人的一生中扮演着好几个角色。——《皆大欢喜》 beauty provoketh thieves sooner than gold. (as you like it, 1.3) 美貌比金银更容易引起歹心。——《皆大欢喜》 sweet are the uses of adversity. (as you like it, 2.1) 逆境和厄运自有妙处。——《皆大欢喜》 do you not know i am a woman? when i think, i must speak. (as you like it, 3.2) 你难道不知道我是女人?我心里想什么，就会说出来。——《皆大欢喜》 love is merely a madness. (as you like it, 3.2) 爱情不过是一种疯狂。——《皆大欢喜》 o, how bitter a thing it is to look into happiness through another man’s eyes! (as you like it) 唉!从别人的眼中看到幸福，自己真有说不出的酸楚!——《皆大欢喜》 it is a wise father that knows his own child. (a merchant of venice 2.2) 知子之父为智。——《威尼斯商人》 love is blind and lovers cannot see the pretty follies that themselves commit. (a merchant of venice 2.6) 爱情是盲目的，恋人们看不到自己做的傻事。——《威尼斯商人》 all that glisters is not gold. (a merchant of venice 2.7) 闪光的并不都是金子。——《威尼斯商人》 so is the will of a living daughter curb’d by the will of a dead father. (a merchant of venice 1.2) 一个活生生的女人的意愿，却被过世的父亲的遗嘱所限。——《威尼斯商人》 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。——《威尼斯商人》没有比较，就显不出长处;没有欣赏的人，乌鸦的歌声也就和云雀一样。要是夜莺在白天杂在聒噪里歌唱，人家绝不以为它比鹪鹩唱得更美。多少事情因为逢到有利的环境，才能达到尽善的境界，博得一声恰当的赞赏。——《威尼斯商人》