莎士比亚的

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。

It was not unusual for writers to produce more current versions of these works. For example, in his play "The Comedy of Errors" Shakespeare borrows certain structural details from the ancient Roman playwright Plautus.

作家将同时代的著作改编成更多版本已是司空见惯，比如，在&错误的喜剧&这部戏剧中，莎士比亚就借用了古罗马剧作家普劳图斯的创作中某些结构上的细节。

I'm staggered people don't know what Britain's culture is, Britain is the world's foremost literary culture, the world centre of theatre and playwriting, and of quality media. Think of Shakespeare, Austen…… Britain is the world centre of news media.

楼主： 我很困惑人们不知道自己的文化，我们有世界上最著名的文化遗产，我们世界戏剧中心和剧作家，想想我们的莎士比亚，狄更斯，奥斯汀……我们有世界媒体中心BBC，还有第一家并迄今为止仍广泛流传的报纸……沙发：你说的一半都没用。

The influence of the plain and direct speech of the common folk; 2. the influence of the Puritan culture; 3. epigram's influence; 4. the influence of Senecan models; 5. the influence of the giants such as Shakespeare and Bacon.

一是质朴而通俗的英国民众语言的影响；二是清教文化的影响；三是机智短诗的影响；四是塞内加文风的影响；五是莎士比亚、培根等一批时代巨人的影响。

Second, try using structure: as in Woolf, where the 6 chapters do allow you to locate some "shape" undergirding her stream, the acts (and, dare I say it, all those scenes) also help structure one's thinking about this most fluid of Shakespeare's plays: Fluid in imagery, in diction, in location, and fluid in our perspectives on the characters.

其次，试着组织架构：如在吴尔芙的六个章节中，的确能让你找出某种支持她的思路的&模型&；各幕也能协助你整理思路以了解莎士比亚剧作的流畅性：流动的形象、用字、地点以及我们对角色的理解。

Second, try using structure: as in Woolf, where the 6 chapters do allow you to locate some "shape" undergirding her stream, the acts (and, dare I say it, all those scenes) also help structure one's thinking about this most fluid of Shakespeare's plays: Fluid in imagery, in diction, in location, and fluid in our perspectives on the characters.

其次，试著组织架构：如在吴尔芙的六个章节中，的确能让你找出某种支持她的思路的「模型」；各幕也能协助你整理思路以了解莎士比亚剧作的流畅性：流动的形象、用字、地点以及我们对角色的理解。

I think of poets and musicians. Of Beethoven's "Moonlight Sonata" and of Shakespeare, whose Lorenzo declaims in The Merchant of Venice ,"How sweet the moonlight sleeps upon this bank!/ Here will we sit and let the sounds of music / Creep in our ears."

一只蟋蟀在草叶间欢唱，令我想起了诗人和音乐家、想起了贝多芬的《月光交响曲》和莎士比亚笔下的《威尼斯商人》中的洛伦佐的话：&沉睡于河岸的月光是多么的迷人/我们要坐在这里让音乐之声/潜入我们的在耳内。&

This character-laden tale of families fragmented by shipwreck and mistaken deaths harks back to some of Shakespeare's earliest work, such as Comedy of Errors.

这个字符装满故事的家庭支离破碎的沉船和错误的人回过头来一些莎士比亚最早的工作，如喜剧的错误。

Shakespeare said:"Brevity is the soul of wit", but CAO Xuejing, writer of the most famous Chinese classics "Dreams in red pavilion", might have an opposite opinion, having used the most pompous, splendid and lengthy language to describe the everyday life of a family in four volumes!

莎士比亚说过：&简洁是智慧的灵魂&，但中国古典名著&红楼梦&的作者曹雪芹可能会持相反的观点；他用最富丽堂皇和冗长的词藻来描绘一个家族的日常生活并长达四卷！

The global monitors would have the world believe that their lines are drawn scientifically: take the bulk of the best-known dictionaries, chuck in all the words in Shakespeare, Chaucer and the Bible, and then apply their proprietary algorithm, which trawls through the press, the internet and every other medium for new words.

全球语言监测公司会让世人相信他们的划线是科学的：取大部分着名的词典，挑出所有出现在莎士比亚、乔叟和圣经中的单词，然后采用它们的专有算法，从报刊、互联网以及其它各种媒体搜索新词。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。