Group 3

1. Group 3 組員：柯香如、施安琪 　　　　　、鄭安婷、吳艾臻 　　　　　、陳慧雯

2. William Shakespeare ？！

3. Shakespeare's Biography

4. Birth • William Shakespeare was born in Stratford-upon-Avon, allegedly on April 23, 1564. • Young William was born of John Shakespeare, a glover and leather merchant, and Mary Arden, a landed local heiress. • William, according to the church register, was the third of eight children in the Shakespeare household—three of whom died in childhood. • John Shakespeare had a remarkable run of success as a merchant, alderman, and high bailiff of Stratford, during William's early childhood. His fortunes declined, however, in the late 1570s.

5. Stratford upon-Avon(莎士比亞的出生地) Stratford upon-Avon Station

6. Stratford upon-Avon Street

7. Town Hall

8. 18世紀塗鴉「God Save the King」

9. Shakespeare's Birthplace

10. Shakespeare's Birthplace 的後園

11. Education

12. It is surmised by scholars that Shakespeare attended the free grammar school in Stratford, which at the time had a reputation to rival that of Eton伊頓. • While there are no records extant to prove this claim, Shakespeare's knowledge of Latin and Classical Greek would tend to support this theory. • As the records do not exist, we do not know how long William attended the school, but certainly the literary quality of his works suggest a solid education. • What is certain is that William Shakespeare never proceeded to university schooling, which has stirred some of the debate concerning theauthorship源頭of his works.

13. Marriage

14. The next documented event in Shakespeare's life is his marriage to Anne Hathaway on November 28, 1582. • William was 18 at the time, and Anne was 26—and pregnant. • Their first daughter, Susanna, was born on May 26, 1583. The couple later had twins, Hamnet and Judith, born February 2, 1585 and christened at Holy Trinity. Hamnet died in childhood at the age of 11, on August 11, 1596.

15. Career

16. It is estimated that Shakespeare arrived in London around 1588 and began to establish himself as an actor and playwright. • By 1594, he was not only acting and writing for the Lord Chamberlain's Men (called the King's Men after the ascension of James I in 1603), but was a managing partner in the operation as well. • With Will Kempe, a master comedian, and Richard Burbage, a leading tragic actor of the day, the Lord Chamberlain's Men became a favorite London troupe, patronized by royalty and made popular by the theatre-going public.

17. Death 糟了!髮線越來越高

18. William Shakespeare wrote his will in 1611, bequeathing留下his properties to his daughter Susanna .To his surviving daughter Judith, he left £300, and to his wife Anne left "my second best bed. • " William Shakespeare allegedly died on his birthday, April 23, 1616. This is probably more of a romantic myth than reality, but Shakespeare was interred 埋葬at Holy Trinity in Stratford on April 25. • In 1623, two working companions of Shakespeare from the Lord Chamberlain's Men, John Heminges and Henry Condell, printed the First Folio對開本的書edition of his collected plays, of which half were previously unpublished.

19. Holy Trinity Church 聖三一教堂 (莎士比亞之墓)

20. Shakespeare's Works • William Shakespeare, in terms of his life and his body of work, is the most written-about author in the history of Western civilization. • His canon真作集includes 38 plays, 154 sonnets, and 2 epic narrative poems. • The First Folio (cover shown at left) was published posthumously於死後in 1623 by two of Shakespeare's acting companions, John Heminges and Henry Condell. • Ever since then, the works of Shakespeare have been studied, analyzed, and enjoyed as some of the finest masterpieces of the English language.

21. In his time, Shakespeare was the most popular playwright of London. • As centuries have passed, his genius eclipses使失色all others of his age; Jonson, Marlowe, Kyd, Greene, Dekker, Heywood—none approach the craft or the humanity of character that marks the Bard's work. • He took the art of dramatic verse and honed磨it to perfection. He created the most vivid characters of the Elizabethan stage. • His usage of language, both lofty and low, shows a remarkable wit and subtlety敏銳. Most importantly, his themes are so universal that they transcend超越generations to stir the imaginations of audiences everywhere to this day.

22. His plays generally fall into four categories: • Pre-1594 (Richard III, The Comedy of Errors) • 1594–1600 (Henry V, Midsummer Night's Dream) • 1600–1608 (Macbeth , King Lear ) • Post-1608 (Cymbeline , The Tempest)

23. The first period has its roots in Roman and medieval中世紀drama—the construction of the plays, while good, is obvious and shows the author's hand more brusquely粗率的than the later works. • The earliest Shakespeare also owes a debt to Christopher Marlowe, whose writing probably gave much inspiration at the onset of the Bard's詩人career.

24. The second period showed more growth in style, and the construction becoming less labored過分詳盡闡述. • The histories of this period are Shakespeare's best, portraying描寫the lives of kings and royalty in most human terms. • He also begins the interweaving of comedy and tragedy, which would become one of his stylistic signatures. • His comedies mature in this period as well, portraying a greater characterization性格描述in their subjects.

25. The third period marks the great tragedies, and the principal works which would earn the Bard his fame in later centuries. • His tragic figures rival those of Sophocles古希臘悲劇詩人, and might well have walked off the Greek stage straight onto the Elizabethan. • Shakespeare is at his best in these tragedies. The comedies of this period, however, show Shakespeare at a literary crossroads—moody and without the clear comic resolution of previous comedies. Hence, the term "problem plays" to describe them.

26. The fourth period encompasses romantic tragicomedy. • Shakespeare at the end of his career seemed preoccupied with themes of redemption救贖. • The writing is more serious yet more lyrical抒情詩般的, and the plays show Shakespeare at his most symbolic. • It is argued between scholars whether this period owed more to Shakespeare's maturity as a playwright or merely signified a changing trend in Elizabethan theatre (=theater) at the time.

27. 悲劇 • 羅密歐與朱麗葉(Romeo and Juliet) • 馬克白(Macbeth)又譯：麥克白、麥克白斯、麥克佩斯 • 李爾王(King Lear) • 哈姆雷特(Hamlet)又譯：漢姆雷特、漢姆萊特、哈姆雷、王子復仇記 • 奧賽羅(Othello)又譯：奧瑟羅 • 泰特斯·安特洛尼克斯(Titus Andronicus) • 裘力斯·凱撒(Julius Caesar) • 安東尼與克莉奧佩屈拉(Antony and Cleopatra) • 科利奧蘭納斯(Coriolanus) • 特洛埃圍城記(Troilus and Cressida) • 雅典的泰門(Timon of Athens)

28. To throw, or not to throw, that is the question. VS

29. Ophelia(想像中落水的奧菲麗雅)

31. 喜劇 • 錯中錯(The Comedy of Errors)又譯：錯中錯喜劇、錯誤的喜劇 • 終成眷屬(All's Well That Ends Well)又譯：如願 • 皆大歡喜(As You Like It) • 仲夏夜之夢(A Midsummer Night's Dream) • 無事生非(Much Ado About Nothing)又譯：捕風捉影 • 一報還一報(Measure for Measure)又譯：請君入甕、量罪記、將心比心 • 暴風雨(The Tempest) • 馴悍記(Taming of the Shrew) • 第十二夜(Twelfth Night or What You Will) • 威尼斯商人(The Merchant of Venice) • 溫莎的風流娘們(The Merry Wives of Windsor) • 愛的徒勞(Love's Labour's Lost) • 維洛那二紳士(The Two Gentlemen of Verona)又譯：兩貴親 • 泰爾親王佩力克爾斯(Pericles Prince of Tyre) • 辛白林(Cymbeline) • 冬天的故事(The Winter's Tale) • 暴風雨(The Tempest)

33. 歷史劇 • 亨利四世，第一卷（Henry IV, part 1） • 亨利四世，第二卷（Henry IV, part 2） • 亨利五世（Henry V） • 亨利六世，第一卷（Henry VI, part 1） • 亨利六世，第二卷（Henry VI, part 2） • 亨利六世，第三卷（Henry VI, part 3） • 亨利八世（Henry VIII） • 約翰王（King John） • 里查二世（Richard II） • 里查三世（Richard III）

34. 詩 • 十四行詩（The Sonnets） • 愛人的怨訴（A Lover's Complaint）又譯：情女怨 • 魯克麗絲失貞記（The Rape of Lucrece）又譯：露克麗絲遭強暴記 • 維納斯和阿多尼斯（Venus and Adonis） • 熱情的朝聖者（The Passionate Pilgrim）又譯：激情飄泊者 • 鳳凰和斑鳩（The Phoenix and the Turtle）

35. The Sonnets

36. Origin • The sonnet was arguably可以認為the most popular bound verse form in England when Shakespeare was writing. • Imported from Italy (as the Petrarchan or Italian sonnet), the form took on a distinctive English style of three distinctively rhymed quatrains capped by a rhymed couplet對句comprising 14 total lines of verse. • This allowed the author to build a rising pattern of complication in a three-act movement, followed by the terse 精練的denouement 收場of the final two lines. • Conventional subject matter of the Elizabethan sonnet concerned love, beauty, and faith.

37. Shakespeare's sonnets • At some point in the early 1590s, Shakespeare began wring a compilation 編輯of sonnets. • The first edition of these appeared in print in 1609. However, Frances Meres mentions Shakespeare sharing at least some of them among friends as early as 1598, and two (138 and 144) appear as early versions in the 1599 folio The Passionate Pilgrim. • Shakespeare's seeming ambivalence toward having the sonnets published stands in remarkable contrast to the poetic mastery they demonstrate.

38. Form • With only a few exceptions—Sonnets 99, 126, and 145—Shakespeare's verses follow the established English form of the sonnet. • Each is a fourteen-line poem in iambic pentameter, comprising four sections: three quatrains, or groups of four lines, followed by a couplet of two lines. • Traditionally, a different—though related—idea is expressed in each quatrain, and the argument or theme of the poem is summarized or generalized in the concluding couplet.

39. It should be noted that many of Shakespeare's couplets do not have this conventional effect. Shakespeare did, however, employ the traditional English sonnet rhyme-scheme: abab, cdcd, efef, gg.

40. 141 In faith I do not love thee with mine eyes,For they in thee a thousand errorsnote;But `tis my heart that loves what theydespise,Who in despite of view is pleased todote.Nor are mine ears with thy tongue`s tunedelighted;Nor tender feeling to base touchesprone,Nor taste, nor smell, desire to beinvitedTo any sensual feast with theealone.But my five wits, nor my five sensescanDissuade one foolish heart from servingthee,Who leaves unswayed the likeness of aman,Thy proud heart`s slave and vassal wretch tobe.Only my plague thus far I count mygain,That she that makes me sin awards mepain.

41. Content • The sonnets are poignant深刻的expressions on love, beauty, mortality, and the effects of time. • They also defy many expected conventions of the traditional sonnet by addressing praises of beauty and worth to the fair youth, or by using the third quatrain 四行詩as part of the resolution of the poem.

42. Shakespeare's 154 sonnets, taken together, are frequently described as a sequence, and this is generally divided into two sections. • Sonnets 1-126 focus on a young man and the speaker's friendship with him, and Sonnets 127-52 focus on the speaker's relationship with a woman. • However, in only a few of the poems in the first group is it clear that the person being addressed is a male.

43. And most of the poems in the sequence as a whole are not direct addresses to another person. • The two concluding sonnets, 153 and 154, are free translations or adaptations of classical verses about Cupid; some critics believe they serve a specific purpose—though they disagree about what this may be—but many others view them as perfunctory.

44. 英美文學史 莎士比亞的十四行詩

45. Sonnet 18 • Quatrain 1 (four-line stanza) • A  Shall I compare thee to a summer's DAY? • (If I compared you to a summer day)  • B  Thou art more lovely and more temperATE • (I'd have to say you are more beautiful and serene) • A   Rough winds do shake the darling buds of MAY • (By comparison, summer is rough on budding life)  • B   And summer's lease hath all too short a DATE • (And doesn't last long either)  

46. Sonnet 18 • Quatrain 2 (four-line stanza) C   Sometime too hot the eye of heaven SHINES • (At times the summer sun [heaven's eye] is too hot)   D   And often is his gold complexion DIMM'D • (And at other times clouds dim its brilliance)  • C  And every fair from fair sometime deCLINES (Everything fair in nature becomes less fair from time to time) • D   By chance or nature's changing course unTRIMM'D • (No one can change [trim] nature or chance)  

47. Sonnet 18 • Quatrain 3 (four-line stanza) • E    But thy eternal summer shall not FADE (However, you yourself will not fade)  F    Nor lose possession of that fair thou OWEST (Nor lose ownership of your fairness)  E    Nor shall Death brag thou wander'st in his SHADE (Not even death will claim you)   F    When in eternal lines to time thou GROWEST (Because these lines I write will immortalize you) 

48. Sonnet 18 Couplet (two rhyming lines) G   So long as men can breathe or eyes can SEE (Your beauty will last as long as men breathe and see)   G    So long lives this and this gives life to THEE (As Long as this sonnet lives and gives you life)   The rhyme scheme is as follows:   ............First stanza (quatrain): ABAB   ............Second stanza (quatrain): CDCD   ............Third stanza (quatrain): EFEF   ............Couplet: GG. 

49. Sonnet 23 Quatrain 1 (four-line stanza) As an unperfect actor on the stage Who with his fear is put besides his part, Or some fierce thing replete with too much rage, Whose strength's abundance weakens his own heart. Quatrain 2 (four-line stanza) So I, for fear of trust, forget to say The perfect ceremony of love's rite, And in mine own love's strength seem to decay, O'ercharged with burden of mine own love's might.

50. Sonnet 23 Quatrain 3 (four-line stanza) O, let my books be then the eloquence And dumb presagers of my speaking breast, Who plead for love and look for recompense More than that tongue that more hath more express'd. Couplet (two rhyming lines) O, learn to read what silent love hath writ: To hear with eyes belongs to love's fine wit.