莎士比亚的

Evie's unconventional and often downright bizarre behaviour challenges Ben's beliefs, and forces him to confront the very idea of who he wants to be.

这种压抑的生活在本遇到一个性格古怪的退休演员艾维（朱丽·沃尔特斯，韦斯莱夫人的扮演者）后彻底改变了，艾维用她特有的反传统的、惊世骇俗的方式为本带来一种他从未经历过的全新生活——野营历险、表演莎士比亚剧、参加爱丁堡艺术节，还在那里结识了一个与他年龄相仿的女孩子。。。

Evie enters Ben's life with a cataclysmic force, whisking him away on a series of adventures from camping, to performing Shakespeare in the garden, to attending the Edinburgh festival — where he finally meets a girl much nearer his own age.

Evie 用一个大洪水的力量进入班的生活，在来自野营的一系列的冒险上迅速带走他，对花园的表演莎士比亚，到叁加爱丁堡节日-在他最后遇见一个女孩非常近的他自己的年龄地方。

Hishair was long and scruffy, his ties ludicrous and his manner jovial borderingon Falstaffian; a board meeting, for him, was a debate, punctuated by gales ofhis maniacal laughter.

他顶着一头落满灰尘和头屑的长头发，领带的花色款式滑稽可笑，言谈举止之间活脱脱象一个当代的吹牛骑士福斯塔夫(莎士比亚著中的一个爱吹牛的骑士)，董事会议对他来讲就象一场讨论会，他不时的大笑一次又一次地把正在进行中的会议打断。

Following this context and along different viewpoints of personality-character arrangement and music interpretation for love and death, this research is trying to explore: firstly, comparing the characters of Jago Otello and Desdemona separately in original text with them in opera text, the specific aesthetic viewpoints of conflict and evil in nineteenth century would in this way be clarified. Hence, basing on the ending of the act IV in the opera, the representation of different viewpoints of death in nineteenth century from that in the era of Shakespeare will be musically interpreted.

对此，本研究没要从人物性格的设计以及音乐里如例诠释爱与死的看法两方面进行探讨：首先比较原著与歌剧文本在Jago、Otello、Desdemona三人情格刻划方面的差异，藉此突显属於十九世纪时代的对立冲突性以及恶的美学观；尔后，再以歌剧中第四幕的结束场景为出发点，探究音乐手法如何同样地反映出十九世纪有别於莎士比亚时代的死亡观。

In a whirl of mistaken identities, mixed-up messages and misbegotten desires -- between bawdy brawls, duels with jealous husbands and dangerous kisses--Will Shakespeare searches for a resolution not only to his play but to his own undying passion

在错误的身份、混乱的信息和卑鄙的欲望的漩涡中，在猥亵的争吵和与醋意大发的丈夫们的决斗及危险的亲吻中，威尔·莎士比亚找寻着出路，不仅为他的创作，更为他自己的不朽的激情。

Lawrence: the monthly recurrence known as the new moon with the old moon in her arms: the posited influence of celestial on human bodies: the appearance of a star (1st magnitude) of exceeding brilliancy dominating by night and day (a new luminous sun generated by the collision and amalgamation in incandescence of two nonluminous exsuns) about the period of the birth of William Shakespeare over delta in the recumbent neversetting constellation of Cassiopeia and of a star (2nd magnitude) of similar origin but of lesser brilliancy which had appeared in and disappeared from the constellation of the Corona Septentrionalis about the period of the birth of Leopold Bloom and of other stars of similar origin which had appeared in and disappeared from the constellation of Andromeda about the period of the birth of Stephen Dedalus, and in and from the constellation of Auriga some years after the birth and death of Rudolph Bloom, junior, and in and from other constellations some years before or after the birth or death of other persons: the attendant phenomena of eclipses, solar and lunar, from immersion to emersion, abatement of wind, transit of shadow, taciturnity of winged creatures, emergence of nocturnal or crepuscular animals, persistence of infernal light, obscurity of terrestrial waters, pallor of human beings.

莎士比亚出生的时期，在斜倚却永不没落的仙后座那三角形上端，一颗不分昼夜散发着极亮光彩的星辰出现了（这是两个无光、死灭了的太阳因相撞并汞合为白热体而形成的灿烂的新太阳）；大约在利奥波德。布卢姆出生时，出现在七星花冠星座里而后又消失了的一颗同一起源、亮度却稍逊的星宿；还有约于斯蒂芬。迪达勒斯出生时，出现在仙女座中之后又消失，小鲁道尔夫。布卢姆出生与夭折数年后出现于御夫座后又消失，以及另外一些人出生或去世前前后后出现在许许多多其他星座中而又消失了的、同一起源的星斗。日蚀及月蚀自隐蔽至复现的各种伴随现象：诸如风势减弱，影子推移，有翼者沉默下来，夜行或暮行动物的出现，冥界的光持续不减，地上的江河溪流之幽暗，人类之苍白。

The Renaissance is an age which calling and bringing up the giants, The hero motif in the literature of this age have also immediately taken place of tremendous change: The hero images in the literature at that times have break through the traditional molding pattern of divine nature hero , The angle of view has changed from the divine nature heros to giant heros:For example, Pantagruel writed by Rabelais, Hamlet writed by Shakespeare and Quixote writed by Cervantes, They are the outstanding delegates of he hero type of giants in the giant epoch.

文艺复兴时代是一个呼唤与造就巨人的时代，这一时期文学中的英雄母题也随之发生了巨大转变：这一时期文学中的英雄形象突破了传统神性英雄的塑造模(来源：ABCd8论文80网www.abclunwen.com)式，把视角从神性英雄转向了巨人英雄身上：比如拉伯雷笔下的庞大固埃、莎士比亚笔下的哈姆莱特以及塞万提斯笔下的堂吉诃德，他们是文艺复兴时期巨人式英雄的杰出代表。

Christopher Marlowe was the first English author to make full use of the potential of blank verse, and also established it as the dominant verse form for English drama in the age of Elizabeth I and James I. The major achievements in English blank verse were made by William Shakespeare, who wrote much of the content of his plays in unrhymed iambic pentameter, and Milton, whose Paradise Lost is written in blank verse.

克里斯托弗马洛是第一个英文作者充分利用的潜力，无韵诗，还建立了它的主导形式的诗句英语话剧时代的伊丽莎白一世和詹姆斯一，主要成就在英语韵诗发了言威廉莎士比亚，谁写的大部分内容，他的戏剧在unrhymed抑扬格五音，和米尔顿的失乐园是用无韵诗。

It is unbelievable that some of my friends who I recognized in this forum left me their messages yesterday that the moderator on probational who was said to work heart and soul on managing the outstanding BBS called 1zhao day and night poured out his sadness to them that he would pay me 1000 more points rather than see my 1 more example like those set above and should had deleted only because, like Shakespeare put:"Outward appearance is per se completely sometimes inconsistent with object , the common people decorates what be cheated all easy to be outside."

真难以相信，一些我在这个论坛认识上朋友昨天发消息给我说，那个据说为了全心全意管理1zhao这个著名BBS而没日没夜工作的见习版主，之所以向我的朋友们诉苦说宁愿多给我1000个积分都不愿意再看到我再造个像上面那样的例子，而且这些例子应该删除，是因为他认为这并不是事实的真相，正如莎士比亚说的："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。"

The D rama again － as , for instance , the finest of Shakespeare's plays in England , and all leading Athenian plays in the noontide of the Attic stage － operated as a literature on the public mind, and were (according to the strictest letter of that term) published through the audiences that witnessed their representation some time before they were published as things to be read ; and they were published in this scenical mode of publication with much more effect than they could have had as books during ages of costly copying or of costly printing.

该形式的文学并没有获得图书馆的庇护，哪怕是百分之一的保护。另一个例子――戏剧――包括在英格兰上演的莎士比亚最好的戏剧以及引导雅典潮流的戏剧，作为一种对公众产生广泛影响的文学形式，在它们还未被作为正式的文学形式印刷出来之前，已经在观众头脑中留下深刻印象了。这在当时复印或印刷书籍还相当奢侈的时代来说，已是一种最为有效的出版了。

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。