Analysis of the Structure of Shakespeare's Sonnets

The sonnet is a kind of lyrics with restrict forms which cannot depart from the contents. Shakespeare's sonnets are like a valuable flower blossoming in the England poetry garden during the age of Renaissance and a bright pearl sparkling in the world's poetry treasury. This paper will analyze his sonnets from the perspective of the structure and then interpret the meanings behind those words, which can demonstrate the importance of the connection between the forms and the contents.

My Appreciation of Situational Irony in Shakespeare's Tragedies

This thesis carefully appreciated situational irony in some of Shakespeare's tragedies successively,and classified situational irony into four kinds:discrepancy between appearance and reality,expectation and fulfilment,intention and outcome,the actual circumstances and appropriateness.In the analysis of the first kind of situational irony,especially,the thesis focused on Antony and Cleopatra,together with Julius Caesar,questioned the common idea,and stated that Antony's failure was not because of his passion towards Cleopatra.Cleopatra was only his screen to cheat the world,an excuse of his " face-saving failure".

TRUE KINGLY HONOUR IN SHAKESPEARE′S HENRY IV PART I

Honour, one of the eternal themes in Shakespeare, is again in the spotlightin Henry IV Part I. In this play, the rivalry between Prince Hal and Hotspuremerges actually out of their cravings for the title of royal honour and valour.Hotspur appears to be formidable, courageous and energetic. He is exactly

Shakespeare＇ s Sonnets Dated

By using echoes in some sonnets to lines in certain plays, emphasizing those echoes which were not later repeated, and by applying dates to those plays, in 1926 Elizabeth Beckwith tentatively dated a third of the 154 in the entire sonnets cycle. Her belief was that an unintentional authorial pattern of usage would be less subjective than other approaches to dating the sonnets. Yet, by use of dates from external allusions later applied by Prof. Leslie Hotson and other scholars, this author suggests that it may be possible to extend the total number of datable sonnets to over half of the cycle. However, Beckwith did not use dates for the plays which were later to become a standard dating scheme accepted by most scholars today, and so adjustments of her dates would change the dates she awarded to many of her selected sonnets. This author suggests that even the standard dating scheme is flawed, particularly if Shakespeare was dead when the Sonnets were published in 1609. He suggests another dating regime that meshes quite well with both Beckwith＇s 52 and an additional 27. Thus, the result for the 79 sonnets is to avoid certain problems in the distribution that Beckwith＇s method generated. The net result is what Beckwith termed ＂a skeleton around which the remaining sonnets can be safely built＂, but for over half rather than only a third of the cycle. This author suggests a half＂skeleton＂ is more indicative of the chronology for the whole sonnets cycle than only a third.

Media Representing Shakespeare： Adaptation, Inter-Textuality, and Gender

Applying the theory of adaptation, Feminism, and Performance Studies, this paper explores the adaptation, inter-textuality, and gender in the three films The Tempest （2010） directed by Julie Taymor, Prospero＇s Books （1991） directed by Peter Greenaway, and Shakespeare in Love （1998） directed by John Madden, referenced to Gnomeo and Juliet （2011）, a cartoon animation. Both films of The Tempest show visual spectacle and technology images by CGI （Computer-Generated Cinematic Graphic Image） effect. The author argues the power struggle between Caliban and Prospero played by actress Helen Mirren, changes from post-colonial discourse in the male domain, to be more about the intellect contest between man and woman, and Taymor＇s adaptation is more focused on maternity than actor John Gielgud＇s on politics. Inter-textuality exists in Shakespeare in Love and Shakespeare＇s Romeo and Juliet, and Twelfth Night. Unlike the tragedy in the films, Gnomeo and Juliet ends happily as we can expect from most musicals and fairy tales. The inter-textuality of literature and art, dramatic plays, historical events, and biographical sketches are delicately intertwined. Media represent Shakespeare applied by Jean Baudrillard＇s ＂simulacra＂ and Richard Schechner＇s ＂simulation＂ to present the liminal threshold between reality, role-playing, and theatricality. Shakespeare represented by media rise to visual narratives.

On Shakespeare's License

All grammatical rules leak. Grammar, as a science of expression, should be more subtle and less rigid; it should address itself more to the speaker’s intentions and less to the rules and definitions. Grammatical rules are no more the articles of a criminal code than a gifted writer is a professional lawyer. Memory is the scribe

Analysing Shakespeare＇s Emblem Language in Midsummer Night＇s Dream

Shakespeare has been studied from many perspectives so far. However, his language style used in his literary works is still worth studying. First of all, this study explores changing sense of emblem and emblem language comparing Shakespeare＇s era and today. Secondly, it puts stress on the effects of emblem traditions on Shakespeare. Lastly, this article aims to shed light on his emblematical language in his Midsummer Night＇s Dream, which is one of his most leading works in terms of having highly visible emblematical interpretations.

An Analysis of Power Desire of Iago in Shakespeare＇s Othello From Psychological Perspectives

This study aims to investigate how powerful desires controlling and influence the play＇s characters. In particularly Iago＇s Power is probably the most important motive. Iago employed to manipulate Othello. It is clearly seen that Iago thrived in power because he loves manipulating people so that they do what he says. Othello indicates the power of desires, love and jealousy. The purpose of this study is to obtain a deeper understanding and analyze the character＇s power and how Shakespeare used Iago＇s power desires？ To cause the tragic downfall Othello by using the psychological approaches. Shakespeare＇s tragedies＇ characters motivated by the power desires. Shakespeare shows that the human need, feelings, emotions and passions or desires may lead their owners to be mad if they surrender to them to go beyond the limits. This paper looks how Shakespeare shows the humanism by describing Iago＇s desires in his play, Othello the most notable tragedies.

Faith and Meaning:A Study of the Chinese Translation of Shakespeare’s Midsummer Night’s Dream by Liang Shiqiu from the Perspective of Topology

Topology,as a branch of mathematics,studies on the invariability of topological spaces after topological transformation,whose essence is topological equivalence.From the perspective of cultural inheritance and coherence,translation is essentially topological deformation.In literary translation,complete equivalence is almost impossible.Topological equivalence can be used to transform the text dynamically,which means that the translation remains the fundamental properties of the original text.Therefore,people can understand the meaning of the text based on another culture from different cultural backgrounds.From the view point of topology,the present paper purports to examine Liang Shiqiu’s translation of Shakespeare’s Midsummer Night’s Dream,and found that the translation remains the features of source text by rendering effective topological strategies to realize topological equivalence and promote cultural exchanges between China and the West.

An Analysis of Shakespeare's Treatment of Women in King Lear

This paper analyzes Shakespeare’s different treatment of the male and female antagonists Edmond and Goneril in King Lear from their entrance,actions and ending,aiming at exploring his attitude toward women through the comparative studies of these two equally evil characters with different gender.Through the analysis,the author found that Shakespeare’s treatment of women is different from that of men.He is less tolerant and mercy to women than to men,from which a conclusion can be drawn that Shakespeare cannot totally get rid of the traditional conceptions that women is inferior than men even though he is a humanist.

The Triumph of Poetry over Time in Shakespeare's Sonnets

Since the study of Shakespeare's sonnets came to China,people come to an agreement that there is more than one theme running through these sonnets.The most popular and well-accepted ones are singing for fairness,kindness and truth,singing for friendship,and singing for love.Among all these themes,time,running through these sonnets from the beginning to the end,is absolutely one of the most important.In the eyes of the poet,time is cruel and destructive;however,he figures out poetry as a key way to triumph over it.This article attempts to argue for the triumph of poetry over time in Shakespeare's sonnets based on an analysis to the poetry.

On Implicit Information Translation of Shakespeare' s Works from the Perspective of Relevance Theory:In the Case of Zhu' s Translation and Liang' s Translation

The Relevance Theory put forward by Sperber and Wilson not only gives rise to a new research on pragmatics, but also provides a new theoretic foundation for other disciplines. Gutt applies the theory to translation and gives a relevance-theoretic account of translation. The relevance-theoretic communicative model provides rational explanation for existence of the implicit information. The appropri ate treatment of the implicit information is consistent with readers' cognitive environment and expectation. Human communication de pends on not only the text, but also the inferential context. The adequate contextual effect is derived from the correct judgment and infer ence of the implicit information in communication. Therefore, the translator should match the original author' s intention with target text readers' expectation to make sure that they yield adequate contextual effects with appropriate processing efforts. Implicitness is one of the features of Shakespeare' s works. It is more demanding for the translators to catch and transfer to the target readers the implicit information. Zhu Shenghao and Liang Shiqiu, the two famous translators adopt different translation strategies to deal with the implicit information in the works.

莎士比亚十四行诗中“summer’s(s’)…”词组的翻译

"夏天"是莎士比亚十四行诗中一个重要的意象。而由"夏日的……"组成的词组所传达的意象较"夏日"单独使用时的翻译要难。通过对梁宗岱、屠岸和梁实秋3位先生译文的对比,试图探究并评价3位译家在处理"夏日的……"词组的异同之处,以期为今后重译莎翁十四行诗的译者提供一些借鉴。

The Eternity of Hamlet --Talk briefly about Hamlet's character

The character of Hamlet is evidently designed by its illustrious author as a picture of an amiable prince, an affectionate son, a fast friend, and a fine gentleman. Yet in no one of these respects is it by any means intitled to our approbation. From the beginning of the play till his killing the king at the end of the fifth act we find him irresolute, unnatural, inconstant, melancholy and brutal. That Hamlet’s character, thus formed by nature, and thus modelled by situation, is often variable and uncertain. I will content myself with the supposition that this is the very character which Shakespeare meant to allot him.

Comparing Two Latin Poetic Dedications by Anthony Munday and Robert Greene

This article compares two Latin poem dedications which may contain hidden sub-meanings and possible displays of a basic puzzle method called acrostics, each dedicated to the same nobleman. The Latin verse in 1579 by Anthony Munday follows acrostic English poems and may refer to his patron as ＂a lover of Pallas Athena＂ （the Spear-shaker of Greek mythology）. The Latin verse in Robert Greene＇s 1584 book may contain a Latin acrostic and appears to identify Cupid, the ＂winged Love,＂ as a companion of the same patron as Munday＇s from five years earlier. That Cupid trope appears similar to ＂the little love god＂ allusions to Cupid in several of Shakespeare＇s sonnets （e.g., #s 153 and 154）. More than these discussions, this article explores difficulties of translating from Latin into English, or vice versa, and the pitfalls which can occur.

A Contrastive Study of the Heroines in A Doll's House and Macbeth

A Doll's House and Macbeth obviously belong to different categories in content. However, the two heroines in these two plays, Nora Helmer and Lady Macbeth, demonstrate similar feminist qualities. By staging an overall contrastive analysis on the personality and tragic life of two protagonists from the perspective of feminism, it is founded that both of them are victims oppressed by the patriarchal system and they all have feminine consciousness against this system. Nevertheless, their distinctive complex personalities and different story settings make the reasons for their rebellion differ in many ways and they end up with different endings.

A Comparative Study of A Midsummer Night's Dream and The Tempest

Despite that A Midsummer Night's Dreamand The Tempest were written at almost the beginning and the closing of Shakespeare's career respectively, they demonstrate a surprising similarity in so many ways. This article intends to compare and analyze the two plays in terms of their similarities in technique, structure, characters as well as the application of a Chain of Beings.

UNDERSTANDING SHAKESPEARE'S TIMON OF ATHENS

So far, relatively few scholars have shown special interests in Timon of Athens and those who have, were, more often than not, concerned with textual problems. Wilson Knight, in his essay about the play, offers a praising tone that Timon of Athens possesses "the nature of a tragic movement more precipitous and unimpeded than any other in Shakespeare; one which is conceived on a scale even more tremendous than that of Macbeth and King Lear; and one whose universal tragic significance is of all most clearly apparent." Aside from this point of view, most critics seem to look at the play as

Shakespeare’s Sonnets

去年,一位美国的莎士比亚学者来京讲学,当我们问起近年美国在莎士比亚研究上有何振奋人心的大事时,他当即举了耶鲁大学出版斯蒂芬·布思(Stephen Booth)编注的《莎士比亚十四行诗集》(Shakespeare’s Son-nets)这件事。这部书出版第二年即荣获美国现代语文协会1978年度J.R.洛厄尔奖。美国书评界对这本书评价很高。

A Watershed Event: China's Shakespeare Festival

1986年4月10日至23日,中国举办首届莎士比亚戏剧节,北京,上海两地上演了26台莎剧。英国广播公司驻北京记者马克·布雷恩应邀观看了北京地区的部分演出,颇有所感。他为本刊撰写了这篇短评,文中称:中国首届莎士比亚戏剧节虽在舞台演出上非为世界上乘,却是大胆之举,很可能是现代中国文化生活中一个开创性的事件。