莎士比亚

Pirandello's dramatic renovation refered in many aspects to the dramatic tradition before the 19th century, especially that of the Elizabethan and Jacobean theatre.

在戏剧艺术上，皮兰德娄的艺术相对论、他的戏剧意象和比喻以及戏中戏的运用，在一定程度上是莎士比亚式的。

In 1593 and 1594, when the theatres were closed because of plague, Shakespeare published two narrative poems on erotic themes, Venus and Adonis and The Rape of Lucrece.

在1593年和1594年，当剧院由于灾难关闭，莎士比亚发表了两篇以情欲为主题的短诗：维纳斯与阿多尼斯和柳克丽丝的侮辱。

Machiavellianism is put to some examination in King Lear , arguably Shakespeare's central tragedy, which examines the sources of political and moral authority in a pre-Christian world.

把马基维利的理论拿来验证《李尔王》(莎士比亚被认为最重要的悲剧)，可检验出基督教世界出现前，政治和道德威权的来源。

I skipped Shakespeare.What is a magister?

我不太了解莎士比亚，教师是什么意思？

To say 'he spent the evening reading Shakespeare' is metonymic because it substitutes the author himself for the author's works .

说'他整夜在读莎士比亚'是转喻，因为作者本人代替了他的作品。

Another scenario is equally familiar: we get most details of the story right, but misidentify the source. Or we remember that the quotation comes from Shakespeare, but we name the wrong play.

还有另一种情况也极其类似，我们清楚记得故事的大多数细节，但却记错了出处，或者我们记得它出自莎士比亚之笔，但却记错了剧本的名字。

This paper is to explore how Shakespeare's Otello be represented after three centuries in the music context of the nineteenth century, Early in the seventeenth century in a work Mr.

本文旨在探讨莎士比亚(William Shakespeare， 1564-1616)的原著《奥泰罗》在历经近三百年后如例再度重现於十九世纪音乐时空里。

The paper is composed of three main parts."Part of Drama" focuses on analyzing contents and artistic features of Shakespere"s drama "Othello";"Part of Opera" aims at illuminating contents and artistic features of Verdi"s opera-"Otello";"Part of Comparision"is the key part of the essay. The author tries to explore differences and causes by comparing Verdis opera with the original on the point of artistic features and contents.

全文分为三部分，第一部分&戏剧篇&意在分析莎士比亚戏剧《奥瑟罗》的主题内容和艺术特点；第二部分&歌剧篇&旨在阐明威尔第歌剧《奥瑟罗》的主题内容和艺术特点；第三部分&比较篇&是本文的研究重点，笔者致力于歌剧与原著在艺术特点和艺术内涵上的比较研究，探讨二者之异同及其原因。

Overfamiliar yet always unknown. the enigma of Hamlet is emblematic of greater enigma of Shakespeare himself: a vision that everything and nothing , a person who was everyone and no one, an art so infinite that it contains us, and will go on enclosing those likely to come after us.

我们对他再熟悉不过，可又从不了解，哈姆雷特之谜象征着莎士比亚本身这个更大的谜；他是一个幻象，包罗所有，又空无一物；他是任何一个人，同时又谁都不是；他也是一门无穷无尽的艺术，&包容&了我们，并将继续容纳我们的后人。

The Shakespearean legendary plays are characterized by the surreal factors which can be seen in the following three aspects: the protruding divine description,the overmany haphazard and coincident plots and one s own wishful thinking of pardon and reconciliation.

超现实因素是莎士比亚传奇剧的一个显著特征，主要表现在三个方面：异常突出的神力描写；过多的偶然、巧合情节；一厢情愿的宽恕、和解思想。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。