首都师范大学科德学院目录摘要2Abstract3I.IntroductionandInfluenceofShakespeare’sWorks4A.BackgroundIntroduction4B.Theauthor4C.TheInfluencesofShakespeare’sWorks5III.TheFeaturesofShakespeare’sPlaysinHistory1A.SplendidSpeculateofRealLife1B.VividandPlentifulPlot2C.Clear-cutIndividualitywhohasDoubleEthicTendency2IV.Conclusion3Notes4Bibliography5第7页
首都师范大学科德学院摘要威廉莎士比亚在世界文学史上都是一座不朽的丰碑，他的作品一直被视为文学经典乃至精英文化。百年以来，他的作品不断被改编成了电影和各种戏剧在舞台上演出，以一种文学经典的面貌出现在世人面前。这已经成为文学史乃至电影史上的一个重要组成部分，变相地反映了大众对文化的一种抉择。同时在其他作品中，莎士比亚的影响也相当深刻和明显。本文试图分析莎士比亚本身作品的一些特征，以及分析莎士比亚戏剧对英美爱情电影的影响。关键词:莎士比亚；戏剧；英美爱情电影；影响第7页
首都师范大学科德学院AbstractWilliamShakespeareisagreatwriterinthehistoryofliterature,andisaculturaliconforlatergenerations.Hisworkhasbeenanobjectofculturalresearchnow.Allgenerationsofpeoplearefondofhisworksandhavebeensearchingtheinfinitemeaningsofhisplays.Andforhundredyears,hisplayshavebeenalwaysadaptedbymanydirectorsandhavebeenplayedasaclassicliteraturewhenfacingpeople.Andfornowithasbeenanimportantpartofliteratureandmovie’shistory,whichreflectedthepeople’stasteandaffectedpeople’schoiceinlovemoviesinEnglandandAmerica.ThispaperisbasedonthefeaturesofShakespeare’sworksandplaysandtriestoanalyzetheinfluenceofotherlovemoviesKeywords:Shakespeare,drama,lovemovie,influence.第7页
首都师范大学科德学院I.IntroductionandInfluenceofShakespeare’sWorksA.BackgroundIntroductionWilliamShakespeareisagreatpoetandplaywriterinrenaissanceinEngland,whoisthemostfamouswriterintheliteratureintheworld.Heleftus37dramas,twolovepoemsandmorethanonehundredandfiftysonnet,inwhichhenotonlydescribedthespeculateforus,healsocreatedmanyoutstandingfeaturesofpeople.Andtoaextentheisalsoadistinguishlinguist,whoabsorbedpeople’slangue,ancientlangueandmodernlangueinhisworksandinsomewayheusedthoselanguagesappropriatelyintheirdialoguetosuitthepresentmodeandcircumstances.Andtheapplicationofproseandpoetryissowonderfulinhisworks.Inaword,Shakespeare’sworksinearlyageareverylimitedtoluxurywords,whilelateworksofhisareverysplendidinpicturesqueandvividwhichisviewedtobemorematureinhislife.Andmanyofhisfamoussentenceshavebeenpopularinliteratureandmodernlife,whichissoimportanttoEnglishlearner.B.TheauthorWilliamShakespearewasbornin26April1564anddied23April1616.HewasanEnglishpoetandplaywright,widelyregardedasthegreatestwriterintheEnglishlanguageandtheworld'spre-eminentdramatist.HeisoftencalledEngland'snationalpoetandthe"BardofAvon".Hissurvivingworks,includingsomecollaboration,consistofabout38plays,154sonnets,twolongnarrativepoems,andseveralotherpoems.Hisplayshavebeentranslatedintoeverymajorlivinglanguageandareperformedmoreoftenthanthoseofanyotherplaywright.ShakespearewasbornandraisedinStratford-upon-Avon.Attheageof18,hemarriedAnneHathaway,withwhomhehadthreechildren:Susanna,andtwinsHamletandJudith.Between1585and1592,hebeganasuccessfulcareerinLondonasanactor,writer,andpartownerofaplayingcompanycalledtheLordChamberlain'sMen,laterknownastheKing'sMen.HeappearstohaveretiredtoStratfordaround1613atage49,wherehediedthreeyearslater.FewrecordsofShakespeare'sprivatelifesurvive,andtherehasbeenconsiderablespeculationaboutsuchmattersashisphysicalappearance,sexuality,religiousbeliefs,andwhethertheworksattributedtohimwerewrittenbyothers.Shakespeareproducedmostofhisknownworkbetween1589and1613.Hisearlyplaysweremainlycomediesandhistories,genresheraisedtothepeakofsophisticationandartistrybytheendofthe16thcentury.Hethenwrotemainlytragediesuntilabout1608,includingHamlet,KingLear,Othello,andMacbeth,consideredsomeofthefinestworksintheEnglishlanguage.Inhislastphase,hewrotetragicomedies,alsoknownasromances,andcollaboratedwithotherplaywrights.Manyofhisplayswerepublishedineditionsofvaryingqualityandaccuracyduringhislifetime.In1623,twoofhisformertheatricalcolleaguespublishedtheFirstFolio,acollectededitionofhisdramaticworksthatincludedallhowevertwooftheplaysnowrecognizedasShakespeare's.Shakespearewasarespectedpoetandplaywrightinhisownday;howeverhisreputationdidnot第7页
首都师范大学科德学院risetoitspresentheightsuntilthe19thcentury.TheRomantics,inparticular,acclaimedShakespeare'sgenius,andtheVictoriansworshippedShakespearewithareverencethatGeorgeBernardShawcalled"bardolatry".Inthe20thcentury,hisworkwasrepeatedlyadoptedandrediscoveredbynewmovementsinscholarshipandperformance.Hisplaysremainhighlypopulartodayandareconstantlystudied,performedandreinterpretedindiverseculturalandpoliticalcontextsthroughouttheworld.ItisnotknownexactlywhenShakespearebeganwriting,howevercontemporaryallusionsandrecordsofperformancesshowthatseveralofhisplayswereontheLondonstageby1592.[26]HewaswellenoughknowninLondonbythentobeattackedinprintbytheplaywrightRobertGreeneinhisGroats-WorthofWit:...thereisanupstartCrow,beautifiedwithourfeathers,thatwithhisTiger'sheartwrappedinaPlayer'shide,supposesheisaswellabletobombastoutablankverseasthebestofyou:andbeinganabsoluteJohannesfactotum,isinhisownconceittheonlyShake-sceneinacountry.Scholarsdifferontheexactmeaningofthesewords;howevermostagreethatGreeneisaccusingShakespeareofreachingabovehisrankintryingtomatchuniversity-educatedwriterssuchasChristopherMarlowe,ThomasNasheandGreenehimself(the"universitywits").Theitalicisedphraseparodyingtheline"Oh,tiger'sheartwrappedinawoman'shide"fromShakespeare'sHenryVI,Part3,alongwiththepun"Shake-scene",identifiesShakespeareasGreene'starget.HereJohannesFactotum—"Jackofalltrades"—meansasecond-ratetinkererwiththeworkofothers,ratherthanthemorecommon"universalgenius".Greene'sattackistheearliestsurvivingmentionofShakespeare’scareerinthetheatre.Biographerssuggestthathiscareermayhavebegunanytimefromthemid-1580stojustbeforeGreene'sremarks.From1594,Shakespeare'splayswereperformedonlybytheLordChamberlain'sMen,acompanyownedbyagroupofplayers,includingShakespeare,whichsoonbecametheleadingplayingcompanyinLondon.AfterthedeathofQueenElizabethin1603,thecompanywasawardedaroyalpatentbythenewking,JamesI,andchangeditsnametotheKing'sMen.In1599,apartnershipofcompanymembersbuilttheirowntheatreonthesouthbankoftheRiverThames,whichtheycalledtheGlobe.In1608,thepartnershipalsotookovertheBlackfriarsindoortheatre.RecordsofShakespeare'spropertypurchasesandinvestmentsindicatethatthecompanymadehimawealthyman.In1597,heboughtthesecond-largesthouseinStratford,NewPlace,andin1605,heinvestedinashareoftheparishtithesinStratford.SomeofShakespeare'splayswerepublishedinquartoeditionsfrom1594.By1598,hisnamehadbecomeasellingpointandbegantoappearonthetitlepages.Shakespearecontinuedtoactinhisownandotherplaysafterhissuccessasaplaywright.The1616editionofBenJonson'sWorksnameshimonthecastlistsforEveryManinHisHumour(1598)andSejanusHisFall(1603).Theabsenceofhisnamefromthe1605castlistforJonson’sVolponeistakenbysomescholarsasasignthathisactingcareerwasnearingitsend.TheFirstFolioof1623,however,listsShakespeareasoneof"thePrincipalActorsinallthesePlays",someofwhichwerefirststagedafterVolpone,althoughwecannotknowforcertainwhichrolesheplayed.In1610,JohnDaviesofHerefordwrotethat"goodWill"played"kingly"roles.In1709,第7页
首都师范大学科德学院RowepasseddownatraditionthatShakespeareplayedtheghostofHamlet'sfather.LatertraditionsmaintainthathealsoplayedAdaminAsYouLikeItandtheChorusinHenryV,thoughscholarsdoubtthesourcesoftheinformation.ShakespearedividedhistimebetweenLondonandStratfordduringhiscareer.In1596,theyearbeforeheboughtNewPlaceashisfamilyhomeinStratford,ShakespearewaslivingintheparishofSt.Helen's,Bishopsgate,northoftheRiverThames.HemovedacrosstherivertoSouthwarkby1599,theyearhiscompanyconstructedtheGlobeTheatrethere.By1604,hehadmovednorthoftheriveragain,toanareanorthofStPaul'sCathedralwithmanyfinehouses.ThereherentedroomsfromaFrenchHuguenotcalledChristopherMountjoy,amakerofladies'wigsandotherheadgear.ThusthebackgroundofWilliamShakespeare’sgrowthissorelatedtotheworkingclassthathecanwritelotsofrealworks.C.TheIntroductionofShakespeare’sWorksCinematicadaptationisthemoviemakers’reading,rewriting,criticism,interpretationoftheliterarysource.Manydirectorsoftemporal,geographicandculturaldifferenceprovidetheirinterpretationoftheliterarysourcethroughdistinguishedmovies.Moreover,totaloriginalityisneitherpossiblenordesirable,fortheoriginalliteraturealwaysturnsouttobecopiedfromsomethingearlier,atleastpartly.IncaseofShakespeare,almostallhisplaysborrowideasfromhisprecedingorcontemporaryplaywrights,aswellasfromBritishorEuropeanfolklore,etc.Forexample,hisHamletborrowsideasfromtheworksofaDanishhistorian;OthelloisbasedonthefableofanItalianwriter;RomeoandJulietderivefromarealeventinVerona.Shakespeareworksonthesesourcematerialswithhissplendidimaginationtocreateclassicalplayswithhisuniquebrand.Atthesametime,adaptationofShakespeare’sworksshallnotbejudgedonlyintermoffidelitytotheliterarysource.Inessence,adaptationofShakespeare’sworksisashiftbetweentwodistinguishedmedia,ortwotexts,fromaverbalonetoavisualone.Thosemediaareprovidedwithdistinguishedmeansofexpression:movieisautomaticallydistinguishedfromtheliterarysourceduetothechangeofmedium.Distinguishedfromthesingle-trackmediumofliterature,movieisamulti-trackmedium.Itinvolvesnotonlywordsbutalsowithmusic,soundeffects,andmovingphotographicimages.Asaprocessofreadingorinterpretingtheliterarysource,adaptationofShakespeare’sworksissupposedtoextractanddeliverits“spirit”or“essence”,forexamplewhatisseenasthefundamentalnarrative,thematic,andaestheticfeaturesoftheliterarysource.Butsinceitisasubjectiveactiontodeterminewhatisthe“spirit”or“essence”oftheliterarysource,wecouldrecognizeanadaptingmovieas“unfaithful”onlybecauseitfailstorealizewhatwemostappreciatedintheliterarysource.Inthiswaythetruereasonforanadaptingmovieencounteringcriticismisthattheaudienceconsidershisfancyontheliteratureisbetterthanthedirector’s.Formore,anadaptingmovieshallalsobeevaluatedintermsoftheinfluencesitbringstotheliterarysource.Duetothegapsbetweenthetwodistinguishedmedia,gainsandlossesoftheliterarysourceareinevitableduringtheprocessofadaptationofShakespeare’sworks.第7页
首都师范大学科德学院Theengagementofbodilyresponsediscreditsmovieasaseriousartform.AmericanculturalcriticFredricJamesononcedescribescinematicimagesas“essentiallypornographic”(Stam,2006:5)tocorrupttheaudience.Inaddition,theconventionalhostilitytomassculturealsomakesfortheprejudice.Moviesarebelievedeasytomakeandpleasurabletowatch,whicharedesignedtogratifythepopularmassaudiencewholackwhatBourdieucalls“culturalcapital”(Stam,2006:7)andwhopreferpopularentertainmenttohighliterature.Moviegainspopularityatthecostofprestige.Duetotheprejudice,adaptationsareseenasinferiortoliteratureandparasiticalonliterature.AdaptationofShakespeare’sworkssisjudgedonthebasisoftheirliterarysource.Adaptingmoviesareperceivedasdoubly“less”—theyarelessasliteraturebecausetheyareonlycopiesoftheoriginal,whiletheyarealsolessasmoviesbecausetheycannotrepresent“puremovie”or“absolutemovie”.Thusadaptationisinadilemma.Afaithful”adaptationisseenasuncreative,whilean“unfaithful”adaptationisashamefulbetrayaloftheliterarysource.Inthisway,aShakespearianmoviewhichtransformstheoriginalbackgroundtoamorerecenttimesisundertheriskofbeingcriticizedfornotrespectingtheperiodofthesource,whilearespectablecostumedramamaybeaccusedoffailingtocontemporizethetext;aShakespearianmoviewhichaddssexualscenesisaccusedofvulgarity,whileanotheradaptationmaybeaccusedofconservationfornotdoingthat.Thusadaptationshavetofaceakindofcriticismlike“Catch22”.Alongwiththedevelopmentofmassculturalstudyandtheriseofintertextualitytheory,thepositionofadaptationofShakespeare’sworkshasbeenreviewed.Thehierarchyoforiginal”and“copy”betweenliteratureandadaptingmoviesislikelytobeabolished.Instead,literatureandadaptationstaketheirplacealongsideeachother“asrelativeco-equalneighborsorcollaboratorsratherthanasfatherandsonormasterandslave”(Stam,2006:13).AccordingtoFrenchmovietheoristAndreBazin,thekeytoadaptationofShakespeare’sworksliesinthefactwhetherthemoviemakerhasadequatevisualimaginationtocreateamoviewhosestyleisequaltotheoriginal.(吴辉，2007:89)Therefore,adaptationdoesnotaskforcopyingorfidelitybutspiritualconformationinanotherartform.Anadaptingmoviedrawstheessenceoftheoriginalworkandthenreflectsit.ThequestionoffidelityisaninevitabletopictoadaptationofShakespeare’sworksofliteraryworks.Anadaptationisalwaysdescribedasfaithfulorunfaithfultoitssourceliterature.Termslike“infidelity”,“betrayal”,“deformation”and“violation”arecommoninthejudgmentofpostmodernadaptations.However,thetopicoffidelityitselfsuggestsanassumptionoftheseeminglyaxiomaticsuperiorityofliteraturetomovie.Itisundeniablethatmanyadaptingmoviesbasedonliteratureclassicsaremediocreorevenmisguided,butitisalsoafactthatmanyadaptationsaregenerallyvaluedasclassicsduringthehistoryofmovie,ofwhichthoseadaptedfromShakespeare’splaysformaconsiderablepart.Therefore,itisnecessarytoreconsidertherelationbetweenliteratureandadaptation.Theassumptionofliterature’ssuperiorityandadaptation’sinferiorityisvirtuallyadeep-rootedandoftenunconsciousprejudice.Theprejudicefirstofallcomesfromanemphasisonhistoricalanteriorityandseniority.Itisbelievedthatartsaccrueprestigeovertime,sotheolderartofliteratureisseenasbetterthantheyoungerartof第7页
首都师范大学科德学院cinema.Comparedwiththesophisticatedartofliterature,movieisconsideredasasuperficialandmechanicalmeansofreproduction.Movie’sapparentlackofthicknessisalsorelatedtoitsvisualfeature.Writtenwordshavebeenviewedastheprivilegedmediumforcommunication,whilemovieandothervisualmediaseemtobreakconventionalsymbolicorder.Amovieisseenthroughlenses,projectedonwidescreens,andheardinsounds,involvingthepresenceofvarioussenses.Thenervoussystemofaudiencerespondstomovies’fleshlycharacters,reallocales,andpalpableprops,etc.Shakespeare,asthemostsparkstarinRenaissanceofEurope,gainedandimportantroleintheliteraryworld.HisworksismarkedasdarkhumanismfeatureswhichpushedtheEuropehumanismintoanewpeakandsetanessencemilestoneforalltheliteratureintheworld.However,becauseofthehighlyachievementbyShakespeare’screationinthought,artisticstatus,sincehundredyears,thestudyofhislifeandcreationisasvastastheopensea.Thehumanismintheworkandinthewordsaregreatlyworthytomodernlifevalueandrecognizesignificance,includinghishighlyspeakofyouth,humaneideal,equality,universalfraternity(orbrotherhood),friendshipandwonderfullove.Mostofthemhavegreatinfluenceinmodernlife,especiallyinmodernfilms.Andtheodeofloveisthemainthemeofhiswork.HereItakeanexampleofwanted(published2008).TheacademiagenerallythoughtHamletreflectedShakespeare’shumaneideal,spokehighlyofhuman’sdignityandlogos,atthesametimehedepictedhuman’sfaultandmalpractice.Andinwanted,theleadingroleissteppingintohisgoldenageof25,asaboy,heiswindinginfate.Thefemalebosstorturedhimandathomehisgirlfriendignoredhisasair.Intheboy’sview,thesignificanceoflifeiswastingtimeandwaitingfordeath.Whenheisoverwhelmedintheagony,hisfather’sincidencecalluphiscuriosityofhimandraisedhisfateintomystery.Whenintroducedbyafemalecalledfox,whichisactedbyAngelinaJolie,heplannedtorevengeforhisirresponsiblefather.However,whenhegrewup,hefoundthatthepartnersarenotasgreatasbefore.Theyarejustobeyingtherulesmadebythepatriarch.Thebiggestproblemoftheboyisthattoblindlyobeytherulesorusehisowngreatpowertobuildupanewherorolefortheorganization.Thethemeofthefightingagainstfateistheeternaltopicintheliteratureworldandforwhichispopularwithaudience.AndthedialogueinthismovieisalsosimilartoHamlet,suchas:It’sachoice,Wesley,thateachofusmustface:toremainordinary,pathetic,beat-down,coastingthroughamiserableexistence,likesheepherdedbyfate,oryoucantakecontrolofyourowndestinyandjoinus,releasingthecagedwolfyouhaveinside…Thisisthedecisionthatliesbeforeyouknow:thesheeporthewolf.Thechoiceisyours.第7页
首都师范大学科德学院IILiteratureReviewA.ResearchonTragedyFromhiscontemporariestothemodernscholars,manyhaveprovidedenlighteninginsightstoShakespeare'sdrama.AmongthefourgroupsofShakespeare'sdrama,namelytragedy,comedy,historyplayandromance,thepreponderanceoftheresearchesisconcernedwithtragedy,andpreoccupiedwithhisgrandtragedies,especiallythemostfamousones:Othello,Macbeth,HamletandKingLear,buttheresearchonShakespeare’scomedyandromanceisbynomeansneglected.ScholarshavemadeeffortstooffernewlightontheanalysisofShakespeare’scomedyandromanceandwrittenanavalancheofbookandessaysconcerningthistopic,whichcanroughlybedividedintothreegroups.Thefirstgrouptakesaparticularbranchofcomediesastheresearchtargetandprobesintoitsnature.InShakespeare’sProblemComedies,WilliamW.Lawrence(1931)triestogiveadefinitionofproblemcomedythroughasensitiveexplorationofAll’sWellEndsWellandTroilusandCressida.Thespecialmeritofhiscriticismliesinhisknowledgeinheritingfromearliergenerationsandhishistoricalsenseintheinterpretationofthosetwodifficultplays.AnotherscholarC.L.Barber(1972)inhisShakespeare’sFestiveComedyattemptstoanalyzetheoriginalnatureoffestivecomedyandthemainfunctionoffestiveelementsinShakespeare’sdramaandexplorestheindividualworkingoutoftherelease-clarificationformulainfiveseparateplays.Moreover,ThomasMcFarland(1972)arguesthatShakespeare’scomedyisasseriousastragedybecausetheyelicitlesslaughterthandoBenJohnson’s.hisreadingofLove’sLaborLostputemphasisonitsplayfulness,AMidsummerNight’sDreamonitshappiness,AsYouLikeITonitscomplication,TheWinter’sTaleonitsdisintegrationandreunion,andTheTempestonitsvisionofparadise.B.AnalysisofCharactersThesecondgroupistheanalysisofcharacters.Severalcharactersconstantlydrawtheattentionoftheaudience,aswellasthescholars.Forexample,ShylockinTheMerchantofVeniceiisoneofthefavoritetargetsofanalysis.JosephShatzmiler’s(1990)ShylockReconsidered:Jews,Moneylending,andMedievalSocietyputsShylockinthehistoricalbackground.Withthestudyofdocuments,hediscussesthemedievalmoneylending,usury,andJewish-Christianrelationsonthebasisofthecourtscene.Thiskindofhistoricalapproachisquitepopularinthemodernresearch.Onthecontrary,MartinD.Yaff(1998)defendsforShakespeareinShylockandtheJewishQuestionandproposestochallengetheviewthatShakespeareisunfriendlytoJews.HeclaimsthatShylockdeservesthepunishmentbecauseheisabadJew,whofailstoobserveorthodoxJewishpractices.C.ResearchontheDramaturgyThethirdgroupcentersonthedramaturgy.RuchNevoinsistsontheinfluencesoftheNewComedyformulasofTerenceonShakespeare’stenearlycomediesinComicTransformationinShakespeare.Hefindsoutthattheplotofformalcoherencedependsonthefactthatthepredicamentatthestartissuretobefoundattheendandthusthecomicstructureisclearly第7页
首都师范大学科德学院dividedintothreeparts:predicament,processusturbarumandtheend.ThelastgroupistheunderstandingofShakespeare’scomedyandromance,whichisfullofdiverseapproaches.Forinstance,G.WilsonKnight(1932)engageshimselfinthemeaningofsymbolsandimagesinTheShakespearanTempest.HeintendstomanifesttheinternalharmonyexistinginShakespeare’scomedyandromance,withtheconcentrationtheimageoftempestandthatofmusic.第7页
首都师范大学科德学院III.TheFeaturesofShakespeare’sPlaysinHistoryIntheperiodofEnglishRenaissance,comparedwithpoetryandprosewhichweredeeplyinfluencedbyforeignliteraryworksandthoughtsinthecontinentofEurope,Englishdramawasbasicallyanativeliteraryform.DespitetheslightbutinevitableinfluenceofancientGreekandancientRomanplays,themostinfluentialfactoronEnglishdramawasthetraditionofmediaevalEnglishplays.Originatedfrommedievalreligiousritual,earlyEnglishplaysweresecularizedtomeettheneedandtasteoftheaudience,whichpromotedthedevelopmentofEnglishdrama.Nevertheless,Englishdramahadn’tdevelopedrapidlyuntilthelatesixteenthcentury.QueenElizabethⅠ’sascendingthethronein1588wasaturningpointinEnglishhistory.ThesubsequentpoliticalstabilityandeconomicprosperitylaidfoundationforthedevelopmentofEnglishliterature,especiallyEnglishdrama.In1588,EnglanddefeatedSpanishArmadaandseizedmaritimehegemony.Theincreasingnationalprideandconfidenceneededtobeexpressedbyanativeliteraryform,soEnglishdramacametothescene.Englishplayswerefirstperformedinchurches,townsquaresandpublichouses.Thefirstpermanentandprofessionalplayhousenamed“TheTheatre”wasopenedbyJamesBurbagein1576.Duringtheperiodfromthento1642whentheEnglishCivilWarbrokeout,atleastfourteenregulartheatreswerebuiltinLondon,includingnine“public”or“outdoor”theatressuchastheTheatre,andtherestwere“private”or“indoor”theatres.Theadmissionpriceofaprivatetheatrewasusuallymuchhigherthanthatofapublicone,foronlyintheformerartificiallighteningandstageeffectswereavailable.ItisgenerallythoughtthatatypicalplayhouseinElizabethAgeisalargebuildingcomprisingathree-tierpolygonalorcircularauditorium,witharaisedperformanceplatformthrustingalongwayoutintoaflatyardwherethemassaudiencewouldstandonthreesidesofthestage.MostofShakespeare’splayswerewrittenfor“TheGlobe”,oneofthesepublictheatreswhichcouldseataboutthreethousandplaygoersandofwhichhewasashareholder.ThetheatricalseasonbeganinSeptember,playingthroughtothebeginningofLent,thenafterEasteruntilearlysummer.Duringthehottersummermonths,becauseoftheunpredictablehazardofplaguewhichwasintermittentlydormantandvirulentinEnglandthen,Londontheatreshadtobeclosedwhenregistereddeathsreachedacertainquantity,andtheatrecompaniesusuallytookonaprovincialtourwiththeiractors.ProfessionalcompaniesalsoperformedattheuniversitiesofOxfordandCambridge.WhenShakespearediedin1616,hisgreatcontemporaryrivalBenJonsonwroteapoementitled“TotheMemoryofMyBeloved,theAuthor,Mr.WilliamShakespeare”.Inthepoemheincludedthefamousphrase“Hewasnotofanagehoweverforalltime!”However,popularasShakespearewasinhisowntimeinthetheatre,hisfamewasnotsohighaswethinkitwas.Infact,hewasnotmorefamousthanBenJonsonatthattime.PerhapsJonsonprovidedtheaforementionedpoemonlyoutofpoliteness,oritcanbesaidthathehadamazingliteraryinstincttoforeseeShakespeare’sposition.Inaddition,thoughplay-goingwasthemostpopularentertainmentatthattime,dramahadbeenviewedasarathervulgarandephemeralliteraryform.InthesameyearofShakespeare’sdeath,BenJonsonpublishedacollectionofhisowndramaticworks,onlyto第7页
首都师范大学科德学院receivemuchscornfromwritersofmoreconventionallyseriousandrespectableliteraryforms.However,inspiredbythepublicationofJonson’splays,Shakespeare’sfriendsandcolleaguesinthecompanyoftheKing’sMen,JohnHemingesandHenryCondell,publishedarevisededitionofallhisknownplays“curedandperfect”in1623.ThatwasthefamousFirstFolio,howeverforwhichShakespeare’splayswouldhavevanishedintoobscurity.Shakespeare’splayshavebecomeliteratureclassicsandhispositioninliteraturehasbeengraduallyestablishedoverthecenturiesafterhisdeath,duringwhichprocessliterarycriticismhasplayedanirreplaceablepart.A.SplendidSpeculateofRealLifeTheauthenticfeaturesofShakespeareischaracterizedasmanypoints,oneoftheseisthattherearesplendidspeculatesofreallifeinhisworks.Theextensity,stageconstructionanddiachronismoftherealsocietyisfullyshowedinShakespeare’sworks.Andhisworkscontainedtheancientandtherenaissancemaincitylifeinruralandurban,whichcontainsthelifeconditionofeveryclassofancientandmodern.TheirlivesarelikeahistoricpicturescrollandShakespeare’splayreappearancetheEuropeanhistoriclifestyle.Astocities,hisworksshowedtheFlorence,Milan,Venice,Cyprus,RomeofItaly;ViennaofAustria;AthensofGreece;ParisofFrance,hisworksalsoshowedsomecitiesofEnglandandScotland,Ireland.SuchasthemovieSherlockHolmes；AGameofShadows，directorcreatedmorethan100peopleinit,includingchancellors,nobles,bishops,priests,richgirls,merchants,generals,servicemen,sailors,lawyers,judges,peasants,shepherds,masterlesssamuraiandcullions,amongwhomtherearemeninpower,avenger,machinatorandtraitors;therearealsoyoungsterswhochaseperfectlove,righteousmenandsoon.Inaword,allthelivesofthosepeopleconnectedwitheachotherandknittedahugenetoflifeinthesocietybyshowingdistinguishedfateandappearance.Shakespearesetthetimeandsocietyasthehugebackgroundforthesameperson’sdistinguishedlifecondition,andbywhichShakespearecouldspreadhisimageofthosemovementandthereforeobtainedtheresult.AndthatisthemostbasicreasonforShakespeare'screationofplays.Andtohislifeconditionwhichhecreatedinhisworks,ignoringthepersonandtheincidents,healsoreflectedtheEnglishreallifeofEnglishsocietyofthattime.Moreover,thetruthofhisworksalsorestedwiththemomentwhenhedepictedthepersonandtheperson’smovementwiththelogicofman’snaturalnatureandlife,ignoringwriter’sownmodeandconcept.B.VividandPlentifulPlotThevividnessandrichnessofplotsinShakespeare'sworkisalsoacharacteristicofhisauthenticfeatures.Hisworksarefullofintricateindetailswhichisevocatedbymanypoints.Hisworkshasalsoflowingrhythmwhichtricklesdownandcreatestheeffectoflooking-forwardformostaudienceandreaders.Heusesplentifulmisunderstandings,coincidence,suspense,discoveryandastonishmenttopromotetheplottobemorecomplicatedandhealsousesnewconflictsbetweenpersonstopromotetheplotsdevelopments.Forexample,inHamlet,heusesamouse-trapofatrampingcircustodetectivethatthatthetyrantisthemurderofemperor,whichendstheoldplotandstartanewplotandpushtheplotofrevengetoanewtide.Inthereface,Johnsonrationalizes第7页
首都师范大学科德学院Shakespeare’sviolatingthefundamentaldoctrineofneo-classicism,theThreeUnities.Herealizesthatlifecanneverbepurelycomicorpurelytragicunlessitissoarrangedinartworks.Therefore,Shakespeare’splaysarenottragediesorcomediesinthestrictsensebutself-containedmixtureswhichcanfulfillcommonendofallpoetry.Let’stakethemoviePulpFictionforexample;itcontainstherepresentationofgeneralnatureandeternaltruth.ManycriticsappreciatethehierarchicalrichnessanddialecticphilosophyinShakespeare’splays,andheconsidersaudienceresponseratherthananyruleasthereliablestandardtoevaluateartisticworks.AttheendofthePreface,JohnsonspeakshighlyofShakespearebyclaimingthat“Shakespeareisaboveallwriters,atleastaboveallmodernwriters,thepoetofnature;thepoetthatholdsuptohisreadersafaithfulmirrorofmannersandoflife”(刘意青，2005:137).C.Clear-cutIndividualitywhohasDoubleEthicTendencyTheperson’screationinMidAgeismarkedastoshowthecommonalityorcommonfeaturesofwhichgroupthepersonbelongsto.ThistypeofaestheticiscenteredoftheNeo-PlatonismandtheMiddleAgeChristiantheologyaesthetic,bothofwhichemphasizeontheunityandintegrity.Thistypeofintegrityemphasizesthematerialofthings;thereforeignorethepartandindividualitywhichreflectedintheaestheticasthebeautyofcommonalityratherthantheindividualityanduniqueness.TheliterarycreationofMiddleAgeisdeeplyaffectedbythistendencyincludingallthefairytaleandmyth,whichstoppedtilltherenaissance.ThepersoninShakespeare’sworksareoftenfullofindividualityandpersonality,withhisownthoughtanduniqueaffection,whichmakesthereaderscannotforgetthemafterfirstsightseeingthem,suchasthearbitraryLear,gloomyHamletandambitiousMacbeth.Let’stakethemovieLeonTheProfessionalasanexample,peopleinitnotonlyhavetheirspecialandoutstandingpersonalities,butalsohavetheiruniquewaysofaffectionwhichmakesreadershardtojudgetheirethicvalueandgivetherighteouscomments,especiallythekillerLeon.Thatistosay,Shakespearemakespersoninhisworksfarawayfrompurelykindorpurelybad.第7页
首都师范大学科德学院IV.ConclusionCertainagesofEnglishliteratureseemtohaveputtheirbestenergiesintoparticularliteraryforms.TheageofEnglishRenaissance,especiallyinthelatesixteenthcenturyandearlyseventeenthcentury,wasaperiodwithvariousliteraryactivitiesgoingon,howeveritiscommontoseethisageasthegreatageofEnglishdrama.Asthemostoutstandingdramatistthen,Shakespeare,togetherwithhisplays,makestheperiodofthelastfifteenyearsofthesixteenthcenturyandthefirsttwentyyearsoftheseventeenthcenturythegoldenageofEnglishdrama.Inmodernmoviehistory,Shakespearepossessesanimportantroleintheworld,thestudyofhisworkswillneverend.Therefore,theinfluenceofhisworksofEnglishandAmericanlovefilmswouldneverend.Theremustbealotlimitinthispaper.FeaturesintheworksneedmorestudywhichpushedtheEuropehumanismintoanewpeakandsetanessencemilestoneforalltheliteratureintheworld.Hisplayshavebeentranslatedintoeverymajorlivinglanguageandareperformedmoreoftenthanthoseofanyotherplaywright.第7页
首都师范大学科德学院Notes①See:ItisoneofthesentencesthatE.M.forstergrieveforD.H.Lawrence.②See:MurfinRossC.SonsandLovers:ANovelofDivisionandDesire.Boston:TwaynePublishers,1987,p.10.第7页
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