莎士比亚的

The eighty-odd youngsters assembled there had escaped the jaws of death and, for that very reason, they were all the more spirited: they were fed and housed, and worldly pleasures weren't there to distract; there were no teachers (the truth is that most of the teachers simply weren't missed), but there were lots of books - pre-Han philosophy, The Book of Songs, the Bible, Shakespeare - an ideal environment in which to pursue one's university education.

论理，这儿聚集了八十多个死里逃生的年轻人，因为死里逃生，更是充满了生气：有的吃，有的住，没有外界的娱乐使他们分心；没有教授，（其实一般的教授们，没有也罢），可是有许多书，诸子百家，诗经，圣经，莎士比亚——正是大学教育的最理想的环境。

Lamenting sinners; wailing mourners; the wailing wind; wailful bagpipes; tangle her desires with wailful sonnets- Shakespeare.

哀泣的罪人；哀叹的忏悔者；哀泣的风；哀泣的风笛；令人悲痛的诗句混乱了她的思绪-莎士比亚。

This captures the essence of the history of the play Titus Andronicus, in which admirers of Shakespeare venture to deny his authorship of such a bad, probably his worst, play.

这抓住了本质的历史，发挥泰特斯安德洛尼克斯，其中崇拜者莎士比亚冒昧地否认他的著作权是一个坏的，也许他的最坏的情况下，发挥。

If scholars acknowledge the hand of the great master in this work at all, they usually point to his youth as an excuse for the assumed poverty of its quality (Shakespeare would have been 26 at the time, with Titus Andronicus marking his first attempt at writing tragedy).

如果学者承认的手大师在这方面的工作时，他们通常指向他的青年为借口，假定贫穷的质量（莎士比亚本来在26日的时间，与泰特斯安德洛尼克斯标记他第一次尝试写作悲剧）。

But due to specific historical context and the guidance of the mainstream thoughts of that time, Guo＇s dramatical creation shows a divergence from Shakespearean spirit to quite a large degree.

本文试图从郭沫若的史剧观念与创作的衍变入手，论述歌德和莎士比亚对郭沫若的史剧理论与实践的不同影响，从中探寻中国现代剧作家接受反应的一些经验教训。

If use the traditional aesthetic point of view, Confucius, lu xun, Albert Einstein, Tolstoy, Shakespeare, Winston Churchill, is poor, or head looks back,"born" top, Or short stature made him easy, a face of devastation, Or hair fleeciness, crooked nose, but the great cause of their achievements also become good-looking, there are their statue and portrait, look how make people adore, look how make people like, they all became beautiful incarnation.

如果用传统的审美观点来看，孔子、鲁迅、爱因斯坦、托尔斯泰、莎士比亚、丘吉尔，都是相貌欠佳的，或脑袋畸形，&生而纡顶&；或五短身材，一脸肃杀；或乱发蓬松，鹰钩鼻子，但他们成就的伟大事业把本人也变得相貌漂亮起来，到处有他们的雕像和画像，怎么看怎么让人景仰，怎么看怎么让人喜欢，他们都成了美的化身。

Either the inchoation of the reflexivity of Nabokov's writing or the procreation of the metafictionality of his fiction can be regarded as such an effect.This fact further confirms the influence of Shakespeare's play-within-a-play on Nabokov's novelistic narrative.

不论是纳博科夫小说自反性的显露，还是他小说元叙事性质的生成，都是&小说中的戏剧&所带来的效应，也进一步说明了莎士比亚&戏中戏&对纳博科夫小说叙事的影响。

Know language charm Sha Shibiya, through is taken to the threshing ground the character already to express to incontrovertibly the only then full understanding, indicated to the common people,"the this time silent victory had the sound" the unique skill, was falls deeply in love the human appropriation "the wisdom".

深谙语言魅力的莎士比亚、通过登场人物既表达了对雄辩之才的充分认识，更向世人表明，「此时无声胜有声」的绝技、乃坠入爱河之人专有的『智慧』。

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。

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。

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。