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[转载]二战中的十大不解之谜,最后一个最牵动人心

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二战中的十大不解之谜,最后一个最牵动人心





斯大林为何不防范德军的闪电突袭?

1941年6月22日,德国突然在漫长的战线上对苏联发起猛攻,二战最重要的部分苏德战争打响。战争初期,苏军损失惨重,一个师一个军整建制地被德军消灭或俘虏。

不过,后来披露的内幕显示,在苏德战争爆发 前,苏联最高领导人斯大林曾从多个渠道得知德国将发动进攻的消息。其中一些情报准确地告知了德军的规模和战争开始的时间。按1973年的统计,斯大林至少 获得过84份类似的报告,但它们都被红军情报总局归入了“可疑情报来源”。斯大林为什么没有做出应有防范呢?

许多人指责斯大林在如此众多的警报下,居然还会轻信希特勒。但也有人认为,斯大林并没有相信希特勒,也没有完全忽视情报的存在。对此最有说服力的事实是:在庞大的德国战争机器缓缓向东部移动的同时,苏联的军事机器也在发动之中。

德国在战前曾获得瑞典驻苏武官的情报,宣称 苏联早在3月就把60%的军队集结到了西部地区。战后的苏联史料也承认,在5月13日,苏联内地军区已开始按总参谋部的命令,向第聂伯河和西德维纳河开进 并编入基辅、西部特别军区。另外,第20、24、28集团军也做好了变更部署的准备。为了隐蔽企图,上述部队的转移是在部队野营训练的伪装下,不改变铁路 正常运行时刻表而隐蔽地进行的。这和德军集结兵力的手法非常相似。

但是,希特勒到底比斯大林快了一步。先发制人,后发制于人。苏联因此吃了大亏。

希特勒为何在敦刻尔克网开一面?

1939年9月,纳粹德国占领波兰之后,对 西欧虎视眈眈,开始策划进攻西欧诸国的作战计划。1940年5月10日,德军从荷兰至法国全线发起攻击,荷兰、比利时、卢森堡等国相继投降。5月21日, 德军主力到达英吉利海峡沿岸,英法联军约40个师被包围在法、比边境的敦刻尔克地区。此时,英法联军在敦刻尔克地区三面受敌,一面临海,处境非常危急,惟 一的生路就是从海上撤往英国。

5月24日,希特勒下令装甲部队停止追击, 正是这个命令让英军和法军得以喘息,并最终成就了英国历史上辉煌的一页———敦刻尔克大撤退。这一命令让当时和后世很多军事历史学家认为不可理解,因此被 认为是军事史上的一个不解之谜。实际上,希特勒的这一命令有他的考虑,德军装甲部队是德国陆军的精华,也是德国赖以支持战争的支柱力量,还将要在对法国南 部和对苏联作战中发挥作用,如果用来消灭已经处在绝境之中的英法联军,固然可以将其全歼,但敦刻尔克是遍布沼泽的低洼地区,很不利于装甲部队的活动,而英 法联军困兽犹斗的顽抗必将导致德军遭受重大损失,那将得不偿失。此外,空军司令戈林向希特勒保证,德国空军完全有能力消灭敦刻尔克的英法联军残部,希特勒 自然不愿再让其宝贵的装甲部队遭受不必要的损失,与最高统帅部作战部长约德尔少将商议后决定将最后解决的任务交给了空军和远程炮兵。

促使希特勒下达这一命令还有一个原因是希特勒正打算与英国媾和,让一部分英军撤回英国。不管如何这就给了英国一个千载难逢的喘息之机,使其组织海上撤退成为可能。

纳粹德国是否拥有原子弹?

1938年,两位德国物理学家发现了核裂变。此后,一批德国科学家在纳粹的命令下开始紧锣密鼓地研制核武器。但是,纳粹德国在灭亡前是否已经拥有原子弹,史学界对此仍存在争论。

德国历史学家莱纳·卡尔施在其新书《希特勒 的炸弹》中提出,纳粹已经拥有原子弹。他说,当年纳粹的科学家至少先后试爆过三颗原子弹。其中一颗是在德国北部的吕根岛,另外两颗则在图林根的奥尔德鲁 夫。其中,奥尔德鲁夫的核试验是在1945年3月3日21时20分,它比同年7月16日美国在新墨西哥试爆的原子弹要早好几个月。

卡尔施还找到了一些目击者和证人证明核爆炸确实发生过。不过,尽管卡尔施提出了一些鲜为人知的新证据,但许多人依然认为缺乏足够说服力。

首先,纳粹德国当时缺钱少人,如何开展如此大规模的研究和试验?当年美国为实施“曼哈顿计划”曾投入了数十亿美元,调集了数以千计的科学家和技术人员参加了核武器的研制。而纳粹德国仅靠为数不多的科技人员就能把原子弹造出来吗?

另外,若真有其事怎能隐瞒60年?那些目击者和证人为什么直到现在才说出事实真相?

珍珠港遭袭是美国的苦肉计?

关于美国是否在日本偷袭珍珠港之前就得知了这一计划,一直是历史学家争论的问题。

支持这一说法的人引述说,1941年12月6日晚,美海军部长诺克斯、海军作战部长斯塔克、陆军部长史汀生、陆军参谋长马歇尔和商务部长霍普金斯曾罕见地齐聚白宫,与总统罗斯福一同消磨时光。他们在等待一件事———日军进攻珍珠港!

第二天,日军果然大举偷袭,重创美军太平洋舰队。12月8日,罗斯福总统在国会大厦发表慷慨激昂的演讲和战争咨文,正式对日宣战。美国一扫此前弥漫在公众中的孤立主义,投入到对轴心国的战争中。

1941年,美军监听机关“魔术”已能截获并破译出绝大多数日本人用九七式打字机发出的“紫色密码”外交电报。美国人发现,日本人异常关心美军太平洋舰队军舰在珍珠港的停泊位置和动向。

“魔术”将最重要的情报由特别信使及时递交给总统、陆军部和海军部的部长、作战部长、情报局长、国务卿等军政首脑,但华盛顿并没有将上述与珍珠港密切相关的情报通知太平洋舰队指挥官。

而且,奇怪的是,当日本飞机对珍珠港狂轰滥炸时,太平洋舰队的主力———3艘航空母舰恰巧全部外出,它们因此逃过劫难。此外,档案显示,美国红十字会和美军后勤医疗部队在珍珠港事件前一两个月曾进行过非常规的人员和储备物资紧急调动。

专家分析认为,面对国内浓厚的孤立主义情绪,具有远见卓识的罗斯福总统和他的高级幕僚们为了使美国在纳粹德国和日本法西斯全面征服欧亚大陆之前投入战争,上演了这出“苦肉计”。

但由于人们至今仍未找到最有力的直接证据,这一说法仍是个未解之谜。

希特勒自杀了吗?

希特勒果真在苏联红军攻克柏林之时自杀在地下指挥部吗?关于希特勒未死的传言是纳粹残余分子一厢情愿的信念,还是确有其事?这个问题在战后很长时间里一直困扰着德国、盟国,甚至普通人。

其实,1945年4月30日苏军攻克柏林这一天,希特勒和情妇爱娃自杀,希特勒的卫兵、司机、贴身随从目睹了希特勒自杀全过程,亲手焚烧并埋葬了希特勒的尸体。苏军攻克柏林时,两人被俘,向苏军交代了希特勒自杀的细节。俄特工部门几年前透露了两人在军事法庭上的供词。

20世纪60年代末,美国加利福尼亚大学牙 医专家列伊达尔·索格涅斯证实,苏军发现的希特勒遗骸牙齿与1943年希特勒通过X光拍下的牙齿照片完全一致。此外,一位俄罗斯克格勃的退役军官弗拉基米 尔·格里戈里耶维奇·古梅纽科透露,1970年初,克格勃在东德马格德堡市实施了一项绝密计划:再次焚烧希特勒遗骸,然后将骨灰顺风扬弃。

希特勒之死之所以成为一个谜团,主要是因为希特勒的忠实追随者们不希望随着希特勒的死亡,法西斯主义也被埋葬。因此,希特勒遗骸的埋葬地就成了一个意识形态和政治问题。

英国故意暴露荷兰间谍?

二战后期,纳粹德国曾一举逮捕了56名为英国效力的荷兰间谍,并将他们中大多数人秘密处死。至于纳粹情报部门当年究竟是如何得知这些荷兰间谍身份的,英国方面为何对此无动于衷,一直以来都是一个不解不谜。

英国广播公司(BBC)最近披露说,当年那批荷兰间谍最后一名幸存者认为:英国情报机关当年是将计就计,以牺牲荷兰间谍为代价,蒙骗纳粹德国,让后者误以为荷兰便是盟军大举反攻的地点!

这名幸存者名为胡伯·劳沃斯。他是一名为同 盟国英国效力的荷兰间谍,1942年3月被纳粹逮捕。被捕之后,他出于无奈的确向纳粹提供过一些情报,可是在给伦敦方面发送的电报中,他暗中掺杂着一些密 码,以期暗示伦敦“英国特别行动处”总部引起注意,自己已经处在德国人的掌控之中。

可是令胡伯大失所望的却是,英国方面没有任何反应。结果纳粹一举将56名荷兰间谍擒获,他们中大多数人后来送入纳粹集中营中被折磨而死或者秘密处决。

更蹊跷的是,“英国特别行动处”保存在其伦敦贝克街总部的大量战时档案已经于1946年毁于一场莫名的大火之中。当年那些关键人物在收山之后也从未有人出版回忆录,披露二战期间的那段秘闻。

墨索里尼尸骨去向何处?

关于意大利法西斯独裁者墨索里尼尸骨的去处,至今仍是人们议论的话题。英国《历史·今天》发表历史学家约翰·久特的文章,道出了其中的来龙去脉。

1943年7月,墨索里尼被“法西斯大委员 会”赶下了台。有关墨索里尼之死的说法充满争议。最可信的说法是他于1945年4月在科莫湖附近被处死。当时,他正化装成德国士兵准备逃走,遭意大利共产 党逮捕,与他一同被捕的还有其情妇拉雷蒂·佩塔西。被捕后第二天,他就被执行枪决。但到底是谁杀了墨索里尼,当时是个秘密。

后来,意共终于披露说,执行枪决的人是沃尔 特·奥迪西奥———意共指挥官,后来成为议会助理。执行完枪决后,墨索里尼的尸体被运到了米兰洛雷托广场。墨索里尼和他的情妇以及追随者的尸体,被倒挂在 一座车库大梁上。负责看守尸体的士兵根本无法阻止愤怒人群,他们将满腔怒火都发泄在了这些尸体上,吐唾沫、用脚踢,甚至向尸体上开枪。这一情景被在场的美 国军人拍下来,战后,许多电影都借用了这些镜头。

1946年4月22日,米兰一所监狱发生叛 乱,当晚墨索里尼的尸体突然失踪。很快,偷尸体的人被确认是法西斯分子,尸体丢失当晚正是世界各国庆祝打败法西斯一周年前夜。后来,有关尸体去向曾出现多 种版本。4个月后,意大利人终于在米兰郊外一个小镇找到了被盗尸体。在接下来的16个星期里,墨索里尼的尸体一直被移来移去。

后来,墨索里尼的尸骨终于被运到其出生地 ———埃米利亚的普雷达皮奥下葬。可是,关于尸骨的故事并未结束。1966年3月,美国一名外交人员前往普雷达皮奥拜访了墨索里尼遗孀。这名外交官带来了 一个皮包,里面除了一个小容器外,还装有一个黄色信封。容器里装的是墨索里尼的一部分大脑,这是美国人在1945年取去用于“实验”的,信封里则有一张小 纸条,上面写着:墨索里尼,大脑切片。拉凯拉后来把这部分大脑装进一个盒子,放进墨索里尼坟墓。被处死刑多年后,墨索里尼的尸骨总算是找齐了。

纳粹到西藏寻找什么?

在欧洲,长期流传着一个关于亚特兰蒂斯(大 西洲)的传说。在传说中,亚特兰蒂斯大陆无比富有,那里的人是具有超凡能力的神族。亚特兰蒂斯人在一次大地震后,乘船逃离,最后在中国西藏和印度落脚。这 些亚特兰蒂斯人的后代曾在中亚创建过灿烂文明,后来他们中的一部分人向西北和南方迁移,分别成为雅利安人和印度人的祖先。

1938年和1943年,经希特勒批准,纳粹党卫军头子希姆莱亲自组建了两支探险队,他们深入西藏,据说是为了寻找“日耳曼民族祖先”———亚特兰蒂斯神族存在的证据,寻找能改变时间、打造“不死军团”的“地球轴心”。

1943年5月,由海因里希·哈勒率领的纳粹五人探险小组秘密启程赴藏。他们在印度被英军逮捕。逃出战俘营后,哈勒冒充德国商品推销员开始了在西藏的七年之旅。

赫斯为何独自驾机去英国?

1941年5月10日下午,纳粹德国二号人 物鲁道夫·赫斯与妻子伊尔莎匆忙告别,之后驱车来到德国奥格斯堡机场。赫斯换上德国空军尉官制服,留给副官一封信:如果他离开4个小时之后仍未返回就得尽 快转交希特勒,然后单独驾驶战斗机飞往英国苏格兰。当晚,飞机坠毁在苏格兰,赫斯伞降在汉密尔顿公爵住宅区所在的格拉斯哥附近。赫斯求见汉密尔顿公爵,见 到后者时公开了自己的身份。

此后,赫斯一直为英国关押,直到战后接受纽 伦堡审判。赫斯为什么有此惊人之举?难道他真的像纳粹德国当时解释的那样“发疯”了?这成为二战中一个难解之谜。后来解密的克格勃绝密文件认为,赫斯飞英 是英国方面诱骗的结果。英国情报部门假意答应谈判一项和平解决方案,以把赫斯骗到英国。

纳粹宝藏在何处?

第二次世界大战中,纳粹法西斯对被侵略国的财宝大肆抢掠,贪得无厌。

据美国调查统计,德国共榨取被占领国财富金 额达1640亿马克(约合410亿美元)。希特勒政府除了掠夺别国金融财产外,还抢夺了无数珍贵文物。在征服波兰后,德国元帅戈林下令掠夺波兰文物。据德 国官方的一份秘密报告表明,到1944年7月为止,从西欧运到德国的文物共装了137辆铁路货车,计有4174箱,21903件,单绘画就有10890 幅,其中不乏名家杰作。

纳粹法西斯灭亡后,人们只见到宝藏中的极小一部分,纳粹的大量财宝藏在什么地方呢?

据说纳粹宝藏有相当一部分被隐藏在奥地利境内的阿尔卑斯山中,也有人说是在奥地利托普利兹湖区,奥地利的加施泰因、萨尔茨堡、萨尔茨卡梅尔克附近地区,或是奥斯小城周围。

这些地区在战后曾发生过离奇的凶杀案,看上去与寻找纳粹宝藏有关,这更增加了纳粹宝藏的神秘。不过,直到现在,有关纳粹宝藏的数量和隐藏地点仍没有一个明确的说法。

摘自  文风卓卓


 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

秦大川汉译:艾米莉•狄金森诗选(12)

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秦大川汉译:艾米莉•狄金森诗选(12)

 

Poems by Emily Dickinson
(12)


The morns are meeker than they were --
The nuts are getting brown --
The berry's cheek is plumper --
The Rose is out of town.
The Maple wears a gayer scarf --
The field a scarlet gown --
Lest I should be old fashioned
I'll put a trinket on.

 


秦大川 译:

 

清晨比前些时日较为温婉,
坚果正往成熟里变,
浆果也越发丰润可人,
玫瑰早已不见。
枫披上更加喜气的头巾,
田野仿佛一袭红裳。
只是怕自己老派、不入时,
我要戴上小小的饰品一样。

 


 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

[转载]所谓玉石,不外乎这25种

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一、翡翠

 


 

二、和田玉

 


 

三、独山玉

 


 

四、岫玉

 

 

五、绿松石

 


 

六、青金石

 


 

七、水晶

 


 

八、蓝田玉

 



九、孔雀石

 

  

  十、玛瑙与红玉髓

 


 

十一、寿山石

 

 



十二、南玉

 


 

十三、东陵石

 


 

十四、米黄玉

 


 

十五、象牙玉

 


 

十六、青海翠(也称乌兰翠)

 


 

七、蜜蜡黄玉石

 


 

十八、河南西峡玉

 


 

十九、卡瓦石

 


 

二十、紫袍玉

 


 

二十一、瑚珀与珊瑚、珊瑚玉

 


 

二十二、木变石

 


 

二十三、虎眼石

 


 

二十四、金星石

 


 

二十五、萤石




 

      

           信息来源:中华玉网


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[转载](绝句二首)读祈祷华夏游茂名的博客绝句二首 王述尧

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(绝句二首)祈祷华夏游茂名的博绝句二首

 

王述尧

其一

徘徊久立贵博中,感受情怀彻底红。

惊天黑幕时揭露,快意心扉自东风。

2015/3/21南昌)

其二

妙文风骨劲,浩气自苍苍。

日月心头贮,言深道义长。

(2015/5/4 南昌)

祈祷华夏游茂名的博地址:

http://blog.sina.com.cn/u/2842710931 

 

  佳友黄河老农冯赐玉

 

挥毫踏新浪,佳作润吉祥。

    空间有人气,文品播芬芳。

 

柳明佳友赐玉:
   
品诗
品味诗词如老酒,轻杯慢进趣常留。
三番五次从头读,阵阵清香可解愁。

 

 

佳友诗路花絮惠赐美玉:
王师风范感人钦,博苑琴弦和妙音。
诗富情深扬正气,胸怀广阔诉民心。
感谢丽妹佳友惠赐美玉 惶恐   高挂 以此作为激励  祝福佳友吉祥


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秦大川英译:苏轼(宋)《洗儿》

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秦大川英译:苏轼(宋)《洗儿》

 

人皆养子望聪明,
我被聪明误一生。
但愿孩儿愚且鲁,
无忧无虑到公卿。


 

On Child Bathing

 

By Su Shi
Tr. Qin Dachuan

 

All th' people raise children and wish them wise,
But I've been wrecked for being wise all my life.
I would my son lived dull and unadvised
To enjoy greatness without care and strife.


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视频: 第五届中国大学莎剧比赛 (2009) 岭南大学《维洛纳二绅士》

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点击欣赏:

http://v.youku.com/v_show/id_XNDQwMDYzNDg4.html


 

ACT I SCENE II  The same. Garden of Julia's house. 
[Enter JULlA and LUCETTA]
JULIA But say, Lucetta, now we are alone,
Wouldst thou then counsel me to fall in love?
LUCETTA Ay, madam, so you stumble not unheedfully.
JULIA Of all the fair resort of gentlemen
That every day with parle encounter me,
In thy opinion which is worthiest love?
LUCETTA Please you repeat their names, I'll show my mind
According to my shallow simple skill.
JULIA What think'st thou of the fair Sir Eglamour?
LUCETTA As of a knight well-spoken, neat and fine; 10
But, were I you, he never should be mine.
JULIA What think'st thou of the rich Mercatio?
LUCETTA Well of his wealth; but of himself, so so.
JULIA What think'st thou of the gentle Proteus?
LUCETTA Lord, Lord! to see what folly reigns in us!
JULIA How now! what means this passion at his name?
LUCETTA Pardon, dear madam: 'tis a passing shame
That I, unworthy body as I am,
Should censure thus on lovely gentlemen.
JULIA Why not on Proteus, as of all the rest? 20
LUCETTA Then thus: of many good I think him best.
JULIA Your reason?
LUCETTA I have no other, but a woman's reason;
I think him so because I think him so.
JULIA And wouldst thou have me cast my love on him?
LUCETTA Ay, if you thought your love not cast away.
JULIA Why he, of all the rest, hath never moved me.
LUCETTA Yet he, of all the rest, I think, best loves ye.
JULIA His little speaking shows his love but small.
LUCETTA Fire that's closest kept burns most of all. 30
JULIA They do not love that do not show their love.
LUCETTA O, they love least that let men know their love.
JULIA I would I knew his mind.
LUCETTA Peruse this paper, madam.
JULIA 'To Julia.' Say, from whom?
LUCETTA That the contents will show.
JULIA Say, say, who gave it thee?
LUCETTA Valentine's page; and sent, I think, from Proteus.
He would have given it you; but I, being in the way,
Did in your name receive it: pardon the 40
fault I pray.
JULIA Now, by my modesty, a goodly broker!
Dare you presume to harbour wanton lines?
To whisper and conspire against my youth?
Now, trust me, 'tis an office of great worth
And you an officer fit for the place.
Or else return no more into my sight.
LUCETTA To plead for love deserves more fee than hate.
JULIA Will ye be gone?
LUCETTA That you may ruminate.
[Exit]
JULIA And yet I would I had o'erlooked the letter: 50
It were a shame to call her back again
And pray her to a fault for which I chid her.
What a fool is she, that knows I am a maid,
And would not force the letter to my view!
Since maids, in modesty, say 'no' to that
Which they would have the profferer construe 'ay.'
Fie, fie, how wayward is this foolish love
That, like a testy babe, will scratch the nurse
And presently all humbled kiss the rod!
How churlishly I chid Lucetta hence, 60
When willingly I would have had her here!
How angerly I taught my brow to frown,
When inward joy enforced my heart to smile!
My penance is to call Lucetta back
And ask remission for my folly past.
What ho! Lucetta!
[Re-enter LUCETTA]
LUCETTA What would your ladyship?
JULIA Is't near dinner-time?
LUCETTA I would it were,
That you might kill your stomach on your meat
And not upon your maid.
JULIA What is't that you took up so gingerly? 70
LUCETTA Nothing.
JULIA Why didst thou stoop, then?
LUCETTA To take a paper up that I let fall.
JULIA And is that paper nothing?
LUCETTA Nothing concerning me.
JULIA Then let it lie for those that it concerns.
LUCETTA Madam, it will not lie where it concerns
Unless it have a false interpeter.
JULIA Some love of yours hath writ to you in rhyme.
LUCETTA That I might sing it, madam, to a tune. 80
Give me a note: your ladyship can set.
JULIA As little by such toys as may be possible.
Best sing it to the tune of 'Light o' love.'
LUCETTA It is too heavy for so light a tune.
JULIA Heavy! belike it hath some burden then?
LUCETTA Ay, and melodious were it, would you sing it.
JULIA And why not you?
LUCETTA I cannot reach so high.
JULIA Let's see your song. How now, minion!
LUCETTA Keep tune there still, so you will sing it out:
And yet methinks I do not like this tune. 90
JULIA You do not?
LUCETTA No, madam; it is too sharp.
JULIA You, minion, are too saucy.
LUCETTA Nay, now you are too flat
And mar the concord with too harsh a descant:
There wanteth but a mean to fill your song.
JULIA The mean is drown'd with your unruly bass.
LUCETTA Indeed, I bid the base for Proteus.
JULIA This babble shall not henceforth trouble me.
Here is a coil with protestation!
[Tears the letter]
Go get you gone, and let the papers lie: 100
You would be fingering them, to anger me.
LUCETTA She makes it strange; but she would be best pleased
To be so anger'd with another letter.
[Exit]
JULIA Nay, would I were so anger'd with the same!
O hateful hands, to tear such loving words!
Injurious wasps, to feed on such sweet honey
And kill the bees that yield it with your stings!
I'll kiss each several paper for amends.
Look, here is writ 'kind Julia.' Unkind Julia!
As in revenge of thy ingratitude, 110
I throw thy name against the bruising stones,
Trampling contemptuously on thy disdain.
And here is writ 'love-wounded Proteus.'
Poor wounded name! my bosom as a bed
Shall lodge thee till thy wound be thoroughly heal'd;
And thus I search it with a sovereign kiss.
But twice or thrice was 'Proteus' written down.
Be calm, good wind, blow not a word away
Till I have found each letter in the letter,
Except mine own name: that some whirlwind bear 120
Unto a ragged fearful-hanging rock
And throw it thence into the raging sea!
Lo, here in one line is his name twice writ,
'Poor forlorn Proteus, passionate Proteus,
To the sweet Julia:' that I'll tear away.
And yet I will not, sith so prettily
He couples it to his complaining names.
Thus will I fold them one on another:
Now kiss, embrace, contend, do what you will.
[Re-enter LUCETTA]
LUCETTA Madam, 130
Dinner is ready, and your father stays.
JULIA Well, let us go.
LUCETTA What, shall these papers lie like tell-tales here?
JULIA If you respect them, best to take them up.
LUCETTA Nay, I was taken up for laying them down:
Yet here they shall not lie, for catching cold.
JULIA I see you have a month's mind to them.
LUCETTA Ay, madam, you may say what sights you see;
I see things too, although you judge I wink.
JULIA Come, come; will't please you go? 140
[Exeunt]

......


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莎剧译选和比读:To leave my Julia, shall I  ...

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PROTEUS 
To leave my Julia, shall I be forsworn;
To love fair Silvia, shall I be forsworn;
To wrong my friend, I shall be much forsworn;
And even that power which gave me first my oath
Provokes me to this threefold perjury; 5
Love bade me swear and Love bids me forswear.
O sweet-suggesting Love, if thou hast sinned,
Teach me, thy tempted subject, to excuse it!
At first I did adore a twinkling star,
But now I worship a celestial sun. 10
Unheedful vows may heedfully be broken,
And he wants wit that wants resolved will
To learn his wit to exchange the bad for better.
Fie, fie, unreverend tongue! to call her bad,
Whose sovereignty so oft thou hast preferr'd 15
With twenty thousand soul-confirming oaths.
I cannot leave to love, and yet I do;
But there I leave to love where I should love.
Julia I lose and Valentine I lose:
If I keep them, I needs must lose myself; 20
If I lose them, thus find I by their loss
For Valentine myself, for Julia Silvia.
I to myself am dearer than a friend,
For love is still most precious in itself;
And Silvia--witness Heaven, that made her fair!-- 25
Shows Julia but a swarthy Ethiope.
I will forget that Julia is alive,
Remembering that my love to her is dead;
And Valentine I'll hold an enemy,
Aiming at Silvia as a sweeter friend. 30
I cannot now prove constant to myself,
Without some treachery used to Valentine.
This night he meaneth with a corded ladder
To climb celestial Silvia's chamber-window,
Myself in counsel, his competitor. 35
Now presently I'll give her father notice
Of their disguising and pretended flight;
Who, all enraged, will banish Valentine;
For Thurio, he intends, shall wed his daughter;
But, Valentine being gone, I'll quickly cross 40
By some sly trick blunt Thurio's dull proceeding.
Love, lend me wings to make my purpose swift,
As thou hast lent me wit to plot this drift!


 

朱生豪 译:

 

    普洛丢斯

    舍弃我的朱利娅,我就要违背了盟誓;恋爱美丽的西尔维娅,我也要违背了盟誓;中伤我的朋友,更是违背了盟誓。爱情的力量当初使我信誓旦旦,现在却又诱令我干犯三重寒盟的大罪。动人灵机的爱情啊!如果你自己犯了罪,那么我是你诱惑的对象,也教教我如何为自己辩解吧。我最初爱慕的是一颗闪烁的星星,如今崇拜的是一个中天的太阳;无心中许下的誓愿,可以有意把它毁弃不顾;只有没有智慧的人,才会迟疑于好坏二者间的选择。呸,呸,不敬的唇舌!她是你从前用二万遍以灵魂作证的盟言,甘心供她驱使的,现在怎么好把她加上个坏字!我不能朝三暮四转爱他人,可是我已经变了心了;我应该爱的人,我现在已经不爱了。我失去了朱利娅,失去了凡伦丁;要是我继续对他们忠实,我必须失去我自己。我失去了凡伦丁,换来了我自己;失去了朱利娅,换来了西尔维娅:爱情永远是自私的,我自己当然比一个朋友更为宝贵,朱利娅在天生丽质的西尔维娅相形之下,不过是一个黝黑的丑妇。我要忘记朱利娅尚在人间,记着我对她的爱情已经死去;我要把凡伦丁当作敌人,努力取得西尔维娅更甜蜜的友情。要是我不用些诡计破坏凡伦丁,我就无法贯彻自己的心愿。今晚他要用绳梯爬上西尔维娅卧室的窗口,我是他的同谋者,因此与闻了这个秘密。现在我就去把他们设计逃走的事情通知她的父亲;他在勃然大怒之下,一定会把凡伦丁驱逐出境,因为他本来的意思是要把他的女儿下嫁给修里奥的。凡伦丁一去之后,我就可以用些巧妙的计策,拦截修里奥迟钝的进展。爱神啊,你已经帮助我运筹划策,请你再借给我一副翅膀,让我赶快达到我的目的!


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莎剧译选和比读:Lucetta, as thou lovest me, let

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JULIA
Lucetta, as thou lovest me, let me have
What thou thinkest meet and is most mannerly.
But tell me, wench, how will the world repute me
For undertaking so unstaid a journey?
I fear me, it will make me scandalized.
   

 

朱生豪 译:
朱利娅

    如果你爱我的话,露西塔,就照你认为合适时兴的样子随便给我找一身吧。可是告诉我,我这样冒险远行,世人将要怎样批评我?我怕他们都要说我的坏话呢。

 


梁实秋 译:

露赛特,你既爱我,你认为怎样合适怎么好看就怎样给我准备吧。但是告诉我,姑娘,我这样放肆的出去走动,人们将要怎样议论我呢?我恐怕要招人耻笑。


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[转载]莎翁的《维洛那二绅士》想告诉你什么答案?

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维洛那二绅士(梁实秋译·文星丛刊·1965年再版).

维洛那二绅士(梁实秋译·文星丛刊·1965年再版).

《维洛那二绅士》莎士比亚早期的作品之一,虽然是一个结局快乐的喜剧,但其中却有着非常阴暗的地方。描写两个年轻的绅士,彼此有着深厚的友谊,是无所不谈的好朋友,然而命运真是捉弄人,竟叫他们两人爱上同一个女人,朋友间的信义与爱情的力量,到底该选择什么?又该放弃什么呢?世界上有没有百分之百的信义?存不存在百分之百的爱情?就让莎士比亚的《维洛那二绅士》告诉你答案。

这是莎士比亚的另一出早期喜剧,大约写于1594年,发表于1623年。剧情是双重的恋爱事件及其纠葛。“二绅士”指的是一对青年朋友:单纯而坦率的瓦仑丁和反复无常、诡计多端的普洛丢斯。普洛丢斯最初爱上了朱丽亚。此时瓦仑丁离开维洛纳到米兰去,在那里爱上了米兰公爵的女儿西尔维娅,而她也爱上了他。 但是,公爵为她选择的对象却是年纪大的求婚者修利奥。瓦仑丁打算与西尔维娅私奔。与此同时,普洛丢斯也被派往米兰。他一看到西尔维娅,就对她着了迷,并且不惜把自己的朋友和爱人全都背叛,向公爵揭发了瓦仑丁想要带走西尔维娅的意图。瓦仑丁受到放逐,成为一伙强盗的首领。西尔维娅从米兰逃走,去寻找瓦仑丁。普洛丢斯在一个森林里找到了她,要对她强行非礼,但被瓦仑丁制止。此时朱丽亚化装成一个小厮,也来寻找普洛丢斯。普洛丢斯悔过之后,重新为朱丽亚所接受,瓦仑丁也慷慨地宽恕了他,于是一切圆满结束。普洛丢斯有一个傻子仆人朗斯,只要他带着他那只狗克拉勃一上场,就使得这出戏充满欢笑。

这个戏讲了四角恋爱的故事。凡伦丁和普洛丢斯是好朋友,生活在维洛那。普洛丢斯和美丽的朱丽娅相爱,神魂颠倒,遭到朋友的嘲笑。凡伦丁去米兰发展,爱上了米兰公爵的女儿西尔维娅,这时才理解了朋友为什么对爱情发狂。普洛丢斯在父亲逼迫下也到米兰投靠公爵,一下子被西尔维娅迷住,进而出卖了朋友,凡伦丁被公爵放逐。朱丽娅为了寻找爱人,乔装改扮成男孩子,来到米兰,发现心上人变心了,忍痛做他的仆人……最后的结局是皆大欢喜,两对有情人都各遂心愿,友谊也得到修复。

剧中最可爱的人物是普洛丢斯的傻仆人朗斯,他疯疯癫癫、絮絮叨叨,却比他的风流老爷更明白女人的好处,他爱上了一个挤牛奶的姑娘,好处罗列在一张清单上:
第一条,她会挤牛奶;第二条,她会酿上好的麦酒;第三条,她会缝纫。第四条,她会编织。(有了这样的女人,可不用担心袜子破了)第五条,她会揩拭抹洗。第六条,她会织布。
缺点呢?第一条,口气很臭,未吃饭前不可和她接吻;第二条,她喜欢吃糖食;第三条,她常常睡梦里说话;第四条,她说起话来慢吞吞的。
朗斯立刻更正了:“他妈的,这怎么算是她的缺点?说话慢条斯理是女人最大的美德。把这条记到优点中去。”
第五条,她很骄傲。朗斯随后说:“女人是天生骄傲的,谁也对她无可如何。”
……
第十条,她的头发比智慧多,她的错处比头发多,她的财富比错处多。   
恩格斯高度评价这个人物,说“他和他狗就比全部德国喜剧加起来更有价值。”
这部戏里还有一些关于爱情的绝妙台词:
“最芬芳的花蕾中有蛀虫,最聪明人的心里,才会有蛀蚀心灵的爱情。”
“真正的爱情是不能用言辞表达的,行为才是忠心的最好说明。”
“你要是知道一个人在恋爱中的内心的感觉,你就会明白用空言来压遏爱情的火焰,正像雪中取火一般无益。”“你越把它遏制,它越燃烧得厉害。你知道汩汩的轻流如果遭遇障碍就会激成怒湍;可是它的路程倘使顺流无阻,它就会在光润的石子上弹奏柔和的音乐,轻轻地吻着每一根在它巡礼途中的芦苇,以这种游戏的心情经过许多曲折的路程,最后到达辽阔的海洋。”
“无言的珠宝比之流利的言辞,往往更能打动女人的心。”
“女人有时在表面上装作不以为意,其实心里是万分喜欢的。你应当继续把礼物送去给她,切不可灰心;起先的冷淡,将会使以后的恋爱更加热烈。她要是向你假意生嗔,那不是因为她讨厌你,而是因为她希望你更加爱她。她要是骂你,那不是因为她要你离开她,因为女人若是没有人陪着是会气得发疯的。无论她怎么说,你总不要后退,因为她嘴里叫你走,实在并不是要你走。称赞恭维是讨好女人的秘诀;尽管她生得又黑又丑,你不妨说她是天仙化人。”

一个人不走运时,自己的仆人也会像恶狗一样反过来咬他一口。这畜生,我把它从小喂大;它的三四个兄弟姊妹落下地来眼睛还没睁开,便给人淹死了,是我把它救了出来。我辛辛苦苦地教导它,正像人家说的,教一条狗也不过如此。我的主人要我把它送给西尔维娅小姐,我一脚刚踏进膳厅的门,这作怪的东西就跳到砧板上把阉鸡腿衔去了。唉,一条狗当着众人面前,一点不懂规矩,那可真糟糕!按道理说,要是以狗自命,作起什么事来都应当有几分狗聪明才对。可是它呢?倘不是我比它聪明几分,把它的过失认在自己身上,它早给人家吊死了。你们替我评评理看,它是不是自己找死?它在公爵食桌底下和三、四条绅士模样的狗在一起,一下子就撒起尿来,满房间都是臊气。一位客人说,“这是哪儿来的癞皮狗?”另外一个人说,“赶掉它!赶掉它!”第三个人说,“用鞭子把它抽出去!”公爵说,“把它吊死了吧。”我闻惯了这种尿臊气,知道是克来勃干的事,连忙跑到打狗的人面前,说,“朋友,您要打这狗吗?”他说,“是的。”我说,“那您可冤枉了它了,这尿是我撒的。”他就干脆把我打一顿赶了出来。天下有几个主人肯为他的仆人受这样的委屈?我可以对天发誓,我曾经因为它偷了人家的香肠而给人铐住了手脚,否则它早就一命呜呼了;我也曾因为它咬死了人家的鹅而颈上套枷,否则它也逃不了一顿打。你现在可全不记得这种事情了。嘿,我还记得在我向西尔维娅小姐告别的时候,你闹了怎样一场笑话。我不是关照过你,瞧我怎么做你也怎么做吗?你几时看见过我跷起一条腿来,当着一位小姐的裙边撒尿?你看见过我闹过这种笑话吗? 


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秦大川英译:王湾(唐)次北固山下

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秦大川英译:王湾(唐)次北固山下

 

客路青山外,
行舟绿水前。
潮平两岸阔,
风正一帆悬。

 

海日生残夜,
江春入旧年。
乡书何处达?
归雁洛阳边。


 

Passing by the Northern Mountains

 

By Wang Wan
Tr. Qin Dachuan

 

A traveller beyond the mountains blue,
I row my boat on th' water green and deep.
The river broadens with the rising tide,
My sail flutters in the tail wind with ease.

 

The sun rises from the last hours of th' night,
The spring air into the year-end does breathe.
Where are my letters home, where are they now?
They may've got close to Luoyang with th' wild geese.


 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

[转载]汉英潮语(1)

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原文地址:汉英潮语(1)作者:赵西征
预约券 reservation ticket
下午茶 high tea
微博 Microblog/ Tweets
平角裤 boxers
愤青 young cynic
小白脸 toy boy
精神出轨 soul infidelity
浪女 dillydally girl
公司政治 company politics
剩女 3S lady(single,seventies,stuck)/left girls
性感妈妈 yummy mummy ; milf
钻石王老五 diamond bachelor
时尚达人 fashion icon
御宅 otaku
上相的,上镜头的 photogenic
脑残体 leetspeak
哈证族 certificate maniac
偶像派 idol type
住房公积金 housing funds
个税起征点 individual income tax threshold

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[转载]汉英潮语(2)

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原文地址:汉英潮语(2)作者:赵西征
炫富 flaunt wealth
落后产能 outdated capacity
二房东 middleman landlord
入园难 kindergarten crunch
学历造假 fabricate academic credentials
高温费(防暑降温补贴)high temperature subsidy
文艺爱情片 chick flick
惊悚电影 slasher flick
死记硬背 cramming
面子工程 face job
指甲油 nail varnish
逃学 play hooky, 装病不上班 play hooky from work
一线城市 first-tier cities
老爷车 vintage car
保障性住房 indemnificatory housing
一决高下 Duke it out
差别电价 differential power prices
经济二次探底 double dip
限价房 capped-price housing
经适房 affordable housing

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[转载]汉英潮语(3)

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原文地址:汉英潮语(3)作者:赵西征

汉英潮语(3)

 

对口支援 partner assistance
潮人:trendsetter
发烧友: fancier
骨感美女:boney beauty
卡奴:card slave
蹦迪:disco dancing
电脑游戏迷:gamer
家庭主男:house-husband
小白脸,吃软饭的:kept man
二奶:kept woman
型男:metrosexual man(范指那些极度重视外貌而行为gay化的直男,型男属于其中的一种)
驴友:tour pal
全职妈妈:stay-at-home mom
百搭:all-match
片前广告:cinemads
期房:forward delivery housing
情侣装:couples dress
扎啤:jug beer
八卦,丑闻:kiss and tell
低腰牛仔裤:low-rise jeans


 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

[转载]汉英潮语(4)

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原文地址:汉英潮语(4)作者:赵西征

汉英潮语(4)

 

黄牛票:scalped ticket
透视装:see-through dress
扫货:shopping spree
烟熏妆:smokey-eye make-up
水货:smuggled goods
热裤:tight pants
舌钉:tongue pin
通灵:psychic
文凭热 degree craze
拜倒在某人的石榴裙下 throw oneself at sb's feet
正妹 hotty
对某人念念不忘 get the hots for
希望把好运带来给自己 touch wood
婚外恋 extramarital love; extramarital affair
职场冷暴力 emotional office abuse
笨手笨脚 have two left feet
演艺圈 Showbiz
解除好友关系 unfriend v.
发送色情短信 sexting
天书 mumbo-jumbo

情意绵绵的 lovey-dovey
非难 a kick in the pants
访谈节目 chat show
乐活族 LOHAS(Lifestyle Of Health And Sustainability)
私生子 a love child
一夜情 one-night stand
从众效应 bandwagon effect

 


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《鸿门宴》(谢百魁英译)

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司马迁·《史记·项羽本纪·鸿门宴》(谢百魁英译)

 

沛公旦日从百余骑来见项王,至鸿门,谢曰:“臣与将军戮力而攻秦,将军战河北,臣战河南,然不自意能先入关破秦,得复见将军于此。今者,有小人之言,令将军与臣有郤。” 项王曰:“此沛公左司马曹无伤言之,不然,籍何以至此?”

 

项王即日因留沛公与饮。项王、项伯东向坐;亚父南向坐——亚父者,范增也;沛公北向坐;张良西向侍。

 

范增数目项王,举所佩玉玦以示之者三。项王默然不应。范增起出,召项庄,谓曰:“君王为人不忍。若入,前为寿,寿毕,请以剑舞,因击沛公于坐,杀之。不者,若属皆且为所虏!”庄则入为寿。寿毕,曰:“君王与沛公饮,军中无以为乐,请以剑舞。”项王曰:“诺。”项庄拔剑起舞。项伯亦拔剑起舞,常以身翼蔽沛公,庄不得击。

 

于是张良至军门见樊哙。樊哙曰:“今日之事何如?”良曰:“甚急!今者项庄拔剑舞,其意常在沛公也。”哙曰:“此迫矣!臣请入,与之同命!”哙即带剑拥盾入军门,交戟之卫士欲止不内,樊哙侧其盾以撞,卫士仆地,哙遂入。披帷西向立,瞋目视项王,头发上指,目眦尽裂。项王按剑而跽曰:“客何为者?”张良曰:“沛公之参乘樊哙者也。”项王曰:“壮士!赐之卮酒!”则与斗卮酒。哙拜谢,起,立而饮之。项王曰:“赐之彘肩!”则与一生彘肩。樊哙覆其盾于地,加彘肩上,拔剑切而啖之。项王曰:“壮士!能复饮乎?”樊哙曰:“臣死且不避,卮酒安足辞!夫秦王有虎狼之心,杀人如不能举,刑人如恐不胜,天下皆叛之。怀王与诸将约曰:‘先破秦入咸阳者王之。’今沛公先破秦入咸阳,毫毛不敢有所近,封闭宫室,还军霸上,以待大王来。故遣将守关者,备他盗出入与非常也。劳苦而功高如此,未有封侯之赏,而听细说,欲诛有功之人,此亡秦之续耳,窃为大王不取也!”项王未有以应,曰:“坐!”樊哙从良坐。

 

坐须臾,沛公起如厕,因招樊哙出。沛公已出,项王使都尉陈平召沛公。

 

沛公曰:“今者出,未辞也,为之奈何?”樊哙曰:“大行不顾细谨,大礼不辞小让;如今人方为刀俎,我为鱼肉,何辞为!”于是遂去。乃令张良留谢。良问曰:“大王来何操?”曰:“我持白璧一双,欲献项王;玉斗一双,欲与亚父。会其怒,不敢献。公为我献之。”张良曰:“谨诺。”

 

当是时,项王军在鸿门下,沛公军在霸上,相去四十里。沛公则置车骑,脱身独骑,与樊哙、夏侯婴、靳彊、纪信等四人持剑盾步走,从郦山下,道芷阳间行。沛公谓张良曰:“从此道至吾军,不过二十里耳,度我至军中,公乃入。”

 

沛公已去,间至军中;张良入谢,曰:“沛公不胜桮杓,不能辞。谨使臣良奉白璧一双,再拜献大王足下;玉斗一双,再拜奉大将军足下。”项王曰:“沛公安在?”良曰:“闻大王有意督过之,脱身独去,已至军矣。”项王则受壁,置之坐上。亚父受玉斗,置之地,拔剑撞而破之,曰:“唉!竖子不足与谋!夺项王天下者,必沛公也!吾属今为之虏矣!”

 

沛公至军,立诛杀曹无伤。

 

 

谢百魁 译:

 

The Feast at Hongmen

Sima Qian

 

The next day Liu Bang, Lord of Pei, escorted by some one hundred horsemen, went to interview King Xiang. Upon their arrival at Hongmen, he apologized, “Your Highness joined hand with me to attack Qin. You fought north of the Yellow River, I battled south of it. But I did not expect that I should be the first to break through Han’gu Pass and annihilate the Qin Empire, and now have the fortune to visit Your Highness at this place. Because of the mischief done by some maligners, there exists some misunderstanding between me and Your Highness.” Xiang said, “It was your general Cao Wushang who said so. Otherwise, why should I have been like that?”

 

That day Xiang had Liu stay at his quarters and drank with him. Xiang and his uncle sat on the east side of the table, Fan Zeng, Xiang’s “Second Father”, on the south side and Liu on the north side, while Zhang Liang, as a companion of Liu, was seated on the west side.

 

Fan winked at Xiang several times, prompting him to take action by raising thrice a jade ring. Nevertheless, Xiang kept silent, ignoring his hint. Then Fan rose and went out to call Xiang Zhuang into the tent, saying to him, “As a sovereign, your cousin is too relenting. You just go in and give them a toast. Then you try to perform a sword dance, and striking Liu in his sitting posture, kill him. Failing this, you later will all be taken captive by him.” Acting upon this instruction, Xiang Zhuang entered the tent. Having toasted them both, he said, “As Your Highness drinks with General Liu and there is no other pleasure in the camp, please allow me to treat you a sword dance.” Xiang said, “Good.” So Xiang Zhuang drew his sword and started to dance. Xiang’s uncle followed suit, deliberately shielding Liu with his body, making it impossible for the young man to give him a thrust.

 

Zhang Liang hurried to the gate of the camp to see Fan Kuai, who asked, “How are things now?”

“Dangerous indeed!” he said. “Just now Xiang Zhuang unsheathed his sword and danced, aiming evidently at our lord.”

“As things are so emergent, I beg to go in and fight it out with them.” Fan Kuai rejoined. And he, bringing his sword and shield, attempted to enter the camp, but was denied admittance by the guards with crossed spears. So he turned his shield against them, knocking them down on the ground, and forced an entry. Then he drew aside the curtain of the tent and came to stand on the west, glaring at King Xiang with bristling hair and goggling eyes.

“What did he come for?” pressing his sword and drawing himself up, Xiang demanded.

“He is Fan Kuai, Lord of Pei’s bodyguard.” Zhang Liang replied.

“Bravo! Grant him a cup of wine!” Xiang said.

A waiter gave Fan a tankard of wine. Then the latter kowtowed to Xiang in token of gratitude and rose to his feet, emptying it at one gulp.

“Grant him a pig’s trotter!” Xiang ordered again.

As he was given a raw one, he put it on the shield which was placed upside down on the ground. Then he cut it with his sword into pieces and ate it up.

“Bravo!” Xiang applauded, “Can you have more wine?”

 

“I do not shun death, let alone a cup of wine!” Fan Kuai rejoined. Then he added, “The Emperor of Qin, having the heart of a wolfish tiger, could never sufficiently slaughter and torture people. So the whole country rebelled against him. King Huai of Chu made this pledge with the generals: ‘He who first overthrows the Qin dynasty and captures Xianyang is to be acclaimed King.’ Now Lord of Pei was the first to annihilate Qin and occupy Xianyang. Yet he dared not appropriate a single trifle, but sealed up the palaces and led his army back to Bashang to await the arrival of Your Highness. Although troops were dispatched to guard the Pass, it was to block the passage of bandits and provide against eventualities. Despite all his troubles and great merits, he was not awarded with a principality or a fief. On the contrary, you listened to some malicious gossips and wanted to slay a man of great merit. This is but a sequel of the history of the collapsed Qin. I presume to think it inadvisable for Your Highness to do like this!” King Xiang was rendered speechless and only said, “Be seated.” And Fan Kuai took a seat beside Zhang Liang.

 

Having sat for some time, Liu rose and went to a latrine, while beckoning Fan Kuai out. Xiang immediately sent his captain Chen Ping to call him back.

 

Liu said, “I did not take my leave when I went out, what is to be done?” Fan answered, “No need for mean prudence when doing a great deed, nor for petty courtesies when performing great rites. Since they behave towards us like knife and chopping board and we are looked upon as fish and meat, what need is there to take our leave?” So they decided to depart at once, leaving Zhang Liang to make due apologies. Zhang asked, “What did you bring along as gifts?” Liu replied, “I brought with me a pair of white jades, which I meant to present to King Xiang and a pair of jade rings, which I intended to give to Xiang’s Second Father. But I dared not do as planned, seeing that they were angry. Please present the gifts to them in my stead.” Zhang said, “Yes, I shall.”

 

At that time, the troops of King Xiang were stationed at Hongmen, while those of Lord of Pei at Bashang, separated from the former by a distance of forty li. The Lord, having left behind his equipage, rode off, followed by Fan Kuai, Xiahou Ying, Jin Qiang and Ji Xin, a retinue of four, who walked on foot, carrying their swords and shields. They escaped by skirting the foot of Lishan Mountain and by taking the bypaths through Zhiyang County. Before leaving, Lord of Pei had told Zhang Liang, “It is but twenty li’s walk to our camp by that route. When you reckon that I have arrived at home, do return to Xiang’s tent.”

 

After Lord of Pei had gone for some time, Zhang Liang thought that they must have reached their camp by taking the bypaths. So he entered the tent and apologized, “Lord of Pei, overwhelmed by the wine, was unable to take leave of Your Highness. However, he charged me to present a pair of white jades to Your Highness and a pair of jade rings to the Generalissimo.” King Xiang asked, “Where is Lord of Pei?” The answer was: “Having learned that Your Highness meant to find fault with him, he left all by himself and must be at home by now.” King Xiang accepted the gift and put it on the seat, while the Second Father took the jade rings, and casting them on the ground, broke them up with his sword, exclaiming, “Alas, the stupid fellow is no good for State affairs! The one who will seize the country from King Xiang is sure to be Lord of Pei! We shall all become his captives!”

 

After Lord of Pei had arrived at his camp, he had Cao Wushang executed without a moment’s delay.


 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

[转载]维洛那二绅士(The Two Gentlemen Of Verona)

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早期的喜剧之一,虽然谈不上什么很深刻的内涵,但是很好看就对了。

拥有一切喜剧应该有的因素,情节亦跌宕起伏,甚至隐约可见《罗密欧与朱丽叶》的雏形。

有人说是“Italianate 喜剧,maybe

 

凡伦丁(VENLENTINE)和普洛丢斯(PROTEUS)是来自维洛那(Verona)的两个绅士,是从小玩到大的好友。凡伦丁胸怀大志,渴望离开家乡实现自己的抱负,普洛丢斯则恋着一位富家小姐,为此甘愿守在家乡。当然,两位朋友经常因为“理想”与“爱情”而争论不休。

 

凡伦丁为了施展才华前往米兰公爵(DURE OF MILAN)府中供职,普洛丢斯在家乡与恋人朱莉亚(JULIA)打得火热,互许盟约。然而,一次阴差阳错的安排使得普洛丢斯被父亲安东尼奥(ANTONIO)送到米兰公爵府供职,虽然眷恋着朱莉亚,但父命难违,普洛丢斯还是告别恋人前往米兰。

 

两位老友在米兰公爵府重逢,吐露心声,缘来凡伦丁早已恋上公爵之女西尔维娅(SILVIA),而西尔维娅虽有未婚夫修里奥(THURIO),却也钟情凡伦丁——此时的凡伦丁终于饱尝爱情的滋味。而普洛丢斯却因为与心上人分别而失魂落魄。

 

不料,普洛丢斯在惊鸿一瞥之下也爱上了西尔维娅,于是他酝酿了一个阴险的诡计——向公爵泄露凡伦丁和西尔维娅打算私奔的计划。惊悉女儿打算逃走的公爵恼羞成怒,亲自将准备搭绳梯私会的凡伦丁抓获,并决定将其放逐出米兰。

 

此时的普洛丢斯又扮演起患难之友,催促凡伦丁速速离去,以实现独霸西尔维娅的目的。视普洛丢斯为心腹的公爵和修里奥为了安抚整日以泪洗面的西尔维娅,决定让普洛丢斯以凡伦丁旧友的身份去安慰她,同时造谣败坏凡伦丁的名声。可是,西尔维娅一下子便看穿了普洛丢斯丑恶的嘴脸。

 

另一方面,苦恋着普洛丢斯的朱莉亚女扮男装从维洛那前往米兰寻找心上人,承蒙好心的旅店主收留,无意中目睹普洛丢斯向西尔维娅献爱却被拒绝的丑态,心痛不已。不料普洛丢斯误把朱莉亚当做童仆并将自己的戒指摘下嘱托其将交给西尔维娅,朱莉亚在转交戒指的时候,得知了西尔维娅对凡伦丁的深爱,既感到欣慰,又觉得可怜。

 

西尔维娅终于无法忍受来自父王、修里奥和普洛丢斯的三重夹击,同时为了得见自己朝思暮想的情人。西尔维娅约上对爱人忠贞不渝的爱格勒莫(EGLAMOUR)同自己一起前往维洛那寻找心上人。

 

公爵知道此事后,与修里奥、普洛丢斯等兵分三路希望追回公主,公爵与修里奥双双被强盗俘虏。而西尔维娅在被强盗抓住后恰好被普洛丢斯救出,普洛丢斯想要用武力占有西尔维娅,附近的强盗首领闻声赶来,于是,西尔维娅、普洛丢斯、公爵、修里奥、强盗首领最终在丛林中相遇,真相大白。

 

强盗的首领就是昔日被驱逐的凡伦丁,归途中路遇强盗,众盗因钦佩凡伦丁的文武全才尊其为首领,普洛丢斯的真面目被拆穿,同时众人得知了事情的真相,凡伦丁决定宽恕昔日的好友,普洛丢斯在进行了真心的忏悔后,也得到了朱莉亚的原谅。强盗们也决定归顺米兰公国,故事在皆大欢喜中落幕。

 

1.       As in the sweetest bud the eating cankers dwells, so eating love inhabits in the finest wits of all.

2.       As the most forward bud is eaten by the canker were it below, even so by love the young and tender wit is turned to folly; blasting in the bud, losing his verdure even in the prime, and all the fair effects of future hopes.

3.       Ay, so true love should do :it cannot speak; For truth hath better deeds than words to grace it.

4.         The man that hath a tongue, I say, is no man, if with his tongue he cannot win a woman.

5.       song

Who is Silvia? What is she?

That all our swaius commended her?

Holy fair and wise is she,

The heaven such grace that lend her,

That she might admired be,

Is she kind as she is fair?

For beauty lives as kindness,

Love doth to her eyes repair.

To help him of his blindness,

And, being help’d, inhabit there,

Then to Silvia let us sing,

That Silvia is excelling,

She excels each mortal thing,

Upon the dull earth dwelling,

To her let us garlands bring.

6.       She dreams on him that has forgot her love, you dote her, that cares not for your love.

7.       Madem, it was Ariadne passioning for Theseus’ perjury and unjust flight.

8.       It is the lesser blot, modesty finds women to change their shapes then men their minds.

 

最近很常做的一个手势是五指如枪,抵在自己的额头上,会为身边的人一些无知的错误而大发雷霆,知道那个人生活得不好,还是要义无反顾坚持这样做下去。对别的人残忍,对自己决绝,你知道,我们活在这个世界的时间并不长,不要总是执迷于得失,对不起。


 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

莎剧译选和比读:Who is Silvia? what is she

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The Two Gentlemen of Verona 4.2: 40-54

 

William Shakespeare

朱生豪译吴兴华校

Who is Silvia? what is she,

西尔维娅伊何人,

That all our swains commend her?

乃能颠倒众生心?

Holy, fair, and wise is she;

神圣娇丽且聪明,

The heaven such grace did lend her,

天赋诸美萃一身,

That she might admired be.

俾令举世诵其名。

Is she kind as she is fair?

伊人颜色如花浓,

For beauty lives with kindness:

伊人宅心如春柔;

Love doth to her eyes repair,

盈盈妙目启瞽矇,

To help him of his blindness;

创平痍复相思瘳,

And, being help'd, inhabits there.

寸心永驻眼梢头。

Then to Silvia let us sing,

弹琴为伊歌一曲,

That Silvia is excelling;

伊人美好世无伦;

She excels each mortal thing

尘世萧条苦寂寞,

Upon the dull earth dwelling;

唯伊灿耀如星辰;

To her let us garlands bring.

穿花为束献佳人。

 

(选自《维罗纳二绅士》第四幕第二场)


 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

《维洛那二绅士》选段

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原文地址:《维洛那二绅士》选段作者:

《维洛那二绅士》是莎士比亚最早的、未成熟的喜剧, 

以下迻录一节西尔维娅的对白

The Two Gentlemen of Verona 4.3:11-36

 

William Shakespeare

朱生豪译 吴兴华校

O Eglamour, thou art a gentleman--

啊,爱格勒莫,你是一个正人君子,

Think not I natter, for I swear I do not--

不要以为我在恭维你,我发誓我说的是真心话,

Valiant, wise, remorseful, well-accomplish'd.

你是一个勇敢、智慧、慈悲、能干的人。

Thou art not ignorant what dear good will

你知道我对于被放逐在外的凡伦丁

I bear unto the banish'd Valentine,

抱着怎样的好感;

Now how my father would enforce me marry

你也知道我的父亲要强迫我

 

Vain Thurio, whom my very soul abhors.

嫁给我所憎厌的骄傲的修里奥。

Thyself hast lov'd; and I have heard thee say

你自己也是恋爱过来的,我曾经听你说过,

No grief did ever come so near thy heart

没有一种悲哀比之你真心的爱人

As when thy lady and thy true love died,

死去那时候更使你心碎了,

Upon whose grave thou vow'dst pure chastity.

你已经对你爱人的坟墓宣誓终身不娶。

Sir Eglamour, I would to Valentine,

爱格勒莫先生,我要到曼多亚

To Mantua, where, I hear he makes abode;

去找凡伦丁,因为我听说他住在那边;

And, for the ways are dangerous to pass,

可是我担心路上不好走,

I do desire thy worthy company,

想请你陪着我去,

Upon whose faith and honour I repose.

我完全相信你为人可靠。

Urge not my father's anger, Eglamour,

爱格勒莫,不要用我父亲将要发怒的话来劝阻我;

But think upon my grief, a lady's grief,

请你想一想我的伤心,一个女人的伤心吧;

And on the justice of my flying hence,

而且我的逃走是为要避免

To keep me from a most unholy match,

一门最不合适的婚姻,

Which heaven and fortune still rewards with plagues.

它将会招致不幸的后果。

I do desire thee, even from a heart

我从我自己充满了像海洋中沙砾

As full of sorrows as the sea of sands,

那么多的忧伤的心底向你请求,

To bear me company and go with me:

请你答应和我作伴同行;

If not, to hide what I have said to thee,

要是你不肯答应我,那么也请你把我对你说过的话保守秘密,

That I may venture to depart alone.

让我一个人冒险前去吧。

 

以下迻录一节凡伦丁的独白,

The Two Gentlemen of Verona 5.4:1-18

 

William Shakespeare

朱生豪译 吴兴华校

How use doth breed a habit in a man!

习惯是多么能够变化人的生活!

This shadowy desart, unfrequented woods,

在这座浓阴密布、人迹罕至的荒林里,

I better brook than flourishing peopled towns.

我觉得要比人烟繁杂的市镇里舒服得多。

Here can I sit alone, unseen of any,

我可以在这里一人独坐,

And to the nightingale's complaining notes

和着夜莺的悲歌调子,

Tune my distresses and record my woes.

泄吐我的怨恨忧伤。

O thou that dost inhabit in my breast,

唉,我那心坎里的人儿呀,

Leave not the mansion so long tenantless

不要长久抛弃你的殿堂吧,

Lest, growing ruinous, the building fall

否则它会荒芜而颓圮,

And leave no memory of what it was!

不留下一点可以供人凭吊的痕迹!

Repair me with thy presence, Silvia!

我这破碎的心,是要等着你来修补呢,西尔维娅!

Thou gentle nymph, cherish thy forlorn swain!

你温柔的女神,快来安慰你的寂寞孤零的恋人呀!

What halloing and what stir is this to-day?

今天什么事这样吵吵闹闹的?

These are my mates, that make their wills their law,

这一班是我的弟兄们,他们不受法律的管束,

Have some unhappy passenger in chase.

现在不知又在追赶哪一个倒楣的旅客了。

They love me well; yet I have much to do

他们虽然厚爱我,可是我也费了不少气力,

To keep them from uncivil outrages.

才叫他们不要作什么非礼的暴行。

Withdraw thee, Valentine: who's this comes here?

且慢,谁到这儿来啦?待我退后几步看个明白。

 

以下迻录一节凡伦丁的独白,

The Two Gentlemen of Verona 1.1:1-10

 

William Shakespeare

朱生豪译 吴兴华校

Cease to persuade, my loving Proteus:

不用劝我,亲爱的普洛丢斯;

Home-keeping youth have ever homely wits.

年轻人株守家园,见闻总是限于一隅。

Were't not affection chains thy tender days

倘不是爱情把你锁系在

To the sweet glances of thy honour'd love,

你情人的温柔的眼波里,

I rather would entreat thy company

我倒很想请你跟我一块儿去

To see the wonders of the world abroad

见识见识外面的世界,

Than, living dully sluggardiz'd at home,

那总比在家里无所事事,

Wear out thy youth with shapeless idleness.

把青春销磨在懒散的无聊里好得多多。

But since thou lov'st, love still, and thrive therein,

可是你现在既然在恋爱,那就恋爱下去吧,

Even as I would when I to love begin.

祝你得到美满的结果;我要是着起迷来,也会这样的。

 

以下迻录一节凡伦丁的对白,

The Two Gentlemen of Verona 2.4:63-75

 

William Shakespeare

朱生豪译 吴兴华校

I know him as myself; for from our infancy

我知道他就像知道我自己一样,

We have conversed and spent our hours together:

因为我们从小就在一起同游同学的。

And though myself have been an idle truant,

我虽然因为习于游惰,

Omitting the sweet benefit of time

不肯用心上进,

To clothe mine age with angel-like perfection,

 

Yet hath Sir Proteus,—for that's his name,—

可是普洛丢斯--那是他的名字--

Made use and fair advantage of his days:

却不曾把他的青春蹉跎过去。

His years but young, but his experience old;

他少年老成,虽然涉世未深,识见却超人一等;

His head unmellow'd, but his judgment ripe;

他的种种好处,我一时也称赞不尽。

And, in a word,—for far behind his worth

总而言之,他的品貌才学,

Come all the praises that I now bestow,—

都是尽善尽美,

He is complete in feature and in mind

凡是上流人所应有的美德,

With all good grace to grace a gentleman.

他身上无不具备。

 

以下迻录一节凡伦丁的对白,

The Two Gentlemen of Verona 5.4:127-31

 

William Shakespeare

朱生豪译 吴兴华校

Thurio, give back, or else embrace thy death;

修里奥,放手,否则我马上叫你死。

Come not within the measure of my wrath;

不要惹我发火,

Do not name Silvia thine; if once again,

要是你再说一声西尔维娅是你的,

Verona shall not hold thee. Here she stands;

你就休想回到维洛那去。她现在站在这儿,

Take but possession of her with a touch;

你倘敢碰她一碰,

I dare thee but to breathe upon my love.

或者向我的爱人吹一口气的话,就叫你尝尝厉害。

 

以下迻录一节普洛丢斯的对白,

The Two Gentlemen of Verona 5. 4: 73-77

 

William Shakespeare

朱生豪译 吴兴华校

My shame and guilt confound me.

我的羞愧与罪恶使我说不出话来。

Forgive me, Valentine. If hearty sorrow

饶恕我吧,凡伦丁!如果真心的悔恨

Be a sufficient ransom for offence,

可以赎取罪愆,那么请你原谅

I tender't here: I do as truly suffer

我这一次吧!我现在的痛苦

As e'er I did commit.

决不下于我过去的罪恶。

 

以下迻录一节修里奥的对白,

The Two Gentlemen of Verona 5.4:132-35

 

William Shakespeare

朱生豪译 吴兴华校

Sir Valentine, I care not for her, I.

凡伦丁,我不要她,我不要。

I hold him but a fool that will endanger

谁要是愿意为一个不爱他的女人而去

His body for a girl that loves him not:

冒生命的危险,那才是一个大傻瓜哩。

I claim her not, and therefore she is thine.

我不要她,她就算是你的吧。


 

以下迻录一节公爵的对白,原诗为素体诗,一般的,是抑扬格五音步诗行,语词谨严庄重。朱生豪的译文是口语化的散文,基本上是对等迻译,但过多强调了情感色彩,尤其是对修里奥的愤怒,有明显的汉化,例如“现在我愿忘记以前的怨恨,准你回到米兰去,为了你的无比的才德,我要特别加惠于你;”(Know then, I here forget all former griefs,/ Cancel all grudge, repeal thee home again,/ Plead a new state in thy unrivall'd merit,

The Two Gentlemen of Verona 3.1170-87

 

William Shakespeare

朱生豪译 吴兴华校

The more degenerate and base art thou,

你这卑鄙无耻的小人!

To make such means for her as thou hast done,

从前那样向她苦苦追求,

And leave her on such slight conditions.

现在却这样把她轻轻放手。

Now, by the honour of my ancestry,

凡伦丁,凭我的门阀起誓,

I do applaud thy spirit, Valentine,

我很佩服你的大胆,

And think thee worthy of an empress' love.

你是值得一个女皇的眷宠的。

Know then, I here forget all former griefs,

现在我愿忘记以前的怨恨,

Cancel all grudge, repeal thee home again,

准你回到米兰去,

Plead a new state in thy unrivall'd merit,

为了你的无比的才德,我要特别加惠于你;

To which I thus subscribe: Sir Valentine,

另外,我还要添上这么一条:凡伦丁,

Thou art a gentleman and well deriv'd;

你是个出身良好的上等人,

Take thou thy Silvia, for thou hast deserv'd her.

西尔维娅是属于你的了,因为你已经可以受之而无愧。

 

  朱利娅(The Two Gentlemen of Verona 1. 4: 73-77)

可是我希望我曾经窥见这信的内容。

我把她这样责骂过了,

现在又不好意思叫她回来,反过来恳求她。

这傻丫头明知我是一个闺女,

偏不把信硬塞给我看。

一个温淑的姑娘嘴里尽管说不,

她却要人家解释作是的。

唉!唉!这一段痴愚的恋情是多么颠倒,

正像一个坏脾气的婴孩一样,

一会儿在他保姆身上乱抓乱打,

一会儿又服服贴贴地甘心受责。

刚才我把露西塔这样凶狠地撵走,

现在却巴不得她快点儿回来;

当我一面装出了满脸怒容的时候,

内心的喜悦却使我心坎里满含着笑意。

现在我必须引咎自责,叫露西塔回来,

请她原谅我刚才的愚蠢。

喂,露西塔! 

 


西尔维娅上。 

史比德  (旁白)嘿,这出戏真好看!真是个头等的木偶!这回该他唱几句词儿了。 

凡伦丁  小姐,女主人,向您道一千次早安。 

史比德  (旁白)道一次晚安就得了!干吗用这么多客套? 

西尔维娅  凡伦丁先生,我的仆人,我还你两千次。 

史比德  (旁白)该男的送礼,这回女的倒抢先了。 

凡伦丁  您吩咐我写一封信给您的一位秘密的无名的朋友,我已经照办了。我很不愿意写这封信,但是您的旨意是不可违背的。(以信给西尔维娅。) 

西尔维娅  谢谢你,好仆人。你写得很用心。 

凡伦丁  相信我,小姐,它是很不容易写的,因为我不知道受信的人究竟是谁,随便写去,不知道写得对不对。

西尔维娅  也许你嫌这工作太烦难吗? 

凡伦丁  不,小姐,只要您用得着我,尽管吩咐我,就是一千封信我也愿意写,可是—— 

西尔维娅  好一个可是!你的意思我猜得到。可是我不愿意说出名字来;可是即使说出来也没有什么关系;可是把这信拿去吧;可是我谢谢你,以后从此不再麻烦你了。 

史比德  (旁白)可是你还会找上门来的,这就又是一个“可是”。 

凡伦丁  这是什么意思?您不喜欢它吗? 

西尔维娅  不,不,信是写得很巧妙,可是你既然写的时候不大愿意,那么你就拿回去吧。嗯,你拿去吧。(还信。) 

凡伦丁  小姐,这信是给您写的。 

西尔维娅  是的,那是我请你写的,可是,我现在不要了,就给了你吧。我希望能写得再动人一点。 

凡伦丁  那么请您许我另写一封吧。 

西尔维娅  好,你写好以后,就代我把它读一遍;要是你自己觉得满意,那就罢了;要是你自己觉得不满意,也就罢了。 

凡伦丁  要是我自己觉得满意,那便怎样? 

西尔维娅  要是你自己满意,那么就把这信给你作为酬劳吧。再见,仆人。(下。) 

史比德  人家说,一个人看不见自己的鼻子,教堂屋顶上的风信标变幻莫测,这一个玩笑也开得玄妙神奇!我主人向她求爱,她却反过来求我的主人;正像当徒弟的反过来变成老师。真是绝好的计策!我主人代人写信,结果却写给了自己,谁听到过比这更妙的计策? 

 


 

SCENE 3.—The Same. A Street.

Enter Launce, leading a dog.

Launce. Nay,'t will be this hour ere l have done

weeping: all the kind of the Launces have this

very fault. I have received my proportion^likethe

prodigious son, and am going with Sir Proteus

to me imperial's court. I think Crab my dog be

the sourest-natured dog that lives: my mother

weeping, my father waning, my sister crying, our

maid howling, our cat wringing her hands, and

all our house in a great perplexity, yet did not

this cruel-hearted cur shed one tear. He is a

stone, a very pebble stone, and has no more pity

in him than a dogj a Jew would have wept to

have seen our parting: why, my grandam, having

no eyes, look you, wept herself blind at my

parting. Nay, I'll show you the manner of it.

This shoe is my father; no, this left shoe is my

father: no, no, this left shoe is my mother;

nay, that cannot be so neither:—yes, it is so; it

is so; it hath the worser sole. This shoe, with

the hole in, is my mother, and this my father. A

vengeance on't! there 'tis: now, sir, this staff is

my sister; for, look you, she is as white as a lily

and as small as a wand: this hat is Nan, our

maid: I am the dog; no, the dog is himself, and

I am the dog,—O! the dog is me, and I am myself:

ay, so, so. Now come I to my father; 'Father,

your blessing;' now should not the shoe

speak a word for weeping: now should I kiss my

father; well, he weeps on. Now come I to my

mother;—O, that she could speak now like a

wood woman! Well, I kiss her; why, there 'tis;

here's my mother's breath up and down. Now

come I to my sister; mark the moan she makes:

Now the dog all this while sheds not a tear nor

speaks a word; but see how I lay the dust with

my tears. 36

Enter PANTHINO.

Pant. Launce, away, away, aboard! thy master

is shipped, and thou art to post after with

oars. What's the matter? why weepest thou,

man ? Away, ass! you'll lose the tide if you tarry

any longer. 41

Launce. It is no matter if the tied were lost;

for it is the unkindest tied that ever any man tied.

Pant. What's the unkindest tide? 44

Launce. Why, he that's tied here, Crab, my

dog.

Pant. Tut, man, I mean thou'lt lose the

flood; and. in losing the flood, lose thy voyage,

and, in losing thy voyage, lose thy master; and,

in losing thy master, lose thy service; and, in

losing thy service,—Why dost thou stop my

mouth? 52

Launce. For fear thou shouldst lose thy

tongue.

Pant. Where should I lose my tongue?

Launce. In thy tale. 56

Pant. In thy tail!

Launce. Lose the tide, and the voyage, and

the master, and the service, and the tied! Why,

man, if the river were dry, I am able to fill it

with my tears; if the wind were down, I could

drive the boat with my sighs.

Pant. Come, come away, man; I was sent to

call thee. 64

Launce. Sir, call me what thou darest.

Pant. Wilt thou go?

Launce. Well, I will go. [Exeunt.

 

第三场  同前。街道

     朗斯牵犬上。

朗斯

  嗳哟,我到现在才哭完呢,咱们朗斯一族里的人都有这个心肠太软的毛病。我像《圣经》上的浪子一样,拿到了我的一份家产,现在要跟着普洛丢斯少爷上京城里去。我想我的狗克来勃是最狠心的一条狗。我的妈眼泪直流,我的爸涕泗横流,我的妹妹放声大哭,我家的丫头也嚎啕喊叫,就是我们养的猫儿也悲伤得乱搓两手,一份人家弄得七零八乱,可是这条狠心的恶狗却不流一点泪儿。他是一块石头,像一条狗一样没有心肝;就是犹太人,看见我们分别的情形,也会禁不住流泪的;看我的老祖母吧,她眼睛早已盲了,可是因为我要离家远行,也把她的眼睛都哭瞎了呢。我可以把我们分别的情形扮给你们看。这只鞋子算是我的父亲;不,这只左脚的鞋子是我的父亲;不,不,这只左脚的鞋子是我的母亲;不,那也不对。——哦,不错,对了,这只鞋子底已经破了,它已经穿了一个洞,它就算是我的母亲;这一只是我的父亲。他妈的!就是这样。这一根棒是我的妹妹,因为她就像百合花一样的白,像一根棒那样的瘦小。这一顶帽子是我家的丫头阿南。我就算是狗;不,狗是他自己,我是狗——哦,狗是我,我是我自己。对了,就是这样。现在我走到我父亲跟前:“爸爸,请你祝福我;”现在这只鞋子就要哭得说不出一句话来;然后我就要吻我的父亲,他还是哭个不停。现在我再走到我的母亲跟前;唉!我希望她现在能够像一个木头人一样开起口来!我就这么吻了她,一点也不错,她嘴里完全是这个气味。现在我要到我妹妹跟前,你瞧她哭得多么伤心!可是这条狗站在旁边,瞧着我一把一把眼泪挥在地上,却始终不流一点泪也不说一句话。 

      潘西诺上。 

潘西诺

  朗斯,快走,快走,好上船了!你的主人已经登船,你得坐小划子赶去。什么事?这家伙,怎么哭起来了?去吧,蠢货!你再耽搁下去,潮水要退下去了。 

朗斯

  退下去有什么关系?它这么不通人情就叫它去吧。 

潘西诺

  谁这么不通人情? 

朗斯

  就是它,克来勃,我的狗。 

潘西诺  呸,这家伙!我说,潮水要是退下去,你就要失去士这次航行了;失去这次航行,你就要失去你的主人了;失去你的主人,你就要失去你的工作了;失去你的工作——你干么堵住我的嘴? 

朗斯

  我怕你会失去你的舌头。 

潘西诺

  舌头怎么会失去? 

朗斯  说话太多。 

潘西诺

  我看你倒是放屁太多。 

朗斯

  连潮水、带航行、带主人、带工作、外带这条狗,都失去了!我对你说吧,要是河水干了,我会用眼泪把它灌满;要是风势低了,我会用叹息把船只吹送。 

潘西诺

  来吧,来吧;主人派我来叫你的。 

朗斯

  你爱叫我什么就叫我什么好了。 

潘西诺

  你到底走不走呀? 

朗斯

  好,走就走。(同下。)

 


Duke.

  How shall I fashion me to wear a cloak?

I pray thee, let me feel thy cloak upon me. 136

[Pulls open VALENTINE'S cloak.

What letter is this same? What's here?—To Silvia!

And here an engine fit for my proceeding!

I'll be so bold to break the seal for once.

My thoughts do harbour with my Silvia nightly; 140

And slaves they are to me that send them flying:

O! could their master come and go as lightly,

Himself would lodge where senseless they are lying!

My herald thoughts in thy pure bosom rest them;

While I, their king, that thither them importune,

Do curse the grace that with such grace hath bless'd them,

Because myself do want my servants' fortune:

I curse myself, for they are sent by me, 148

That they should harbour where their lord would be.

What's here?

Silvia, this night I will enfranchise thee.

'Tis so; and here's the ladder for the purpose.

Why, Phaethon,—for thou art Merops' son,—

Wilt thou aspire to guide the heavenly car

And with thy daring folly burn the world?

Wilt thou reach stars, because they shine on thee? 156

Go, base intruder! overweening slave!

Bestow thy fawning smiles on equal mates,

And think my patience, more than thy desert,

Is privilege for thy departure hence. 160

Thank me for this more than for all the favours

Which all too much I have bestow'd on thee.

But if thou linger in my territories

Longer than swiftest expedition 164

Will give thee time to leave our royal court,

By heaven! my wrath shall far exceed the love

I ever bore my daughter or thyself.

Be gone! I will not hear thy vain excuse; 168

But, as thou lov'st thy life, make speed fromhence.

[Exit.

公爵

  外套应当怎样穿法才对?请你让我试穿一下吧。(拉开凡伦丁的外套)这封是什么信?上面写着的是什么?——《给西尔维娅!》这儿还有我所需要的工具!恕我这回无礼,把这封信拆开了。 

   相思夜夜飞,飞绕情人侧;

  身无彩凤翼,无由见颜色。

  灵犀虽可通,室迩人常遐,

  空有梦魂驰,漫漫怨长夜!

这儿还写着什么?

“西尔维娅,请于今夕偕遁。”

原来如此,这就是你预备好的梯子!哼,好一副偷天换日的本领!你因为看见星星向你闪耀,就想上去把它们采摘吗?去,你这妄图非分的小人,放肆无礼的奴才!向你的同类们去胁肩谄笑吧!不要以为你自己有什么了不起的地方,我因为不屑和你计较,才叫你立刻离开此地,不来过分为难你。我从前已经给过你太多的恩惠,现在就向你再开一次恩吧。可是你假如不立刻收拾动身,在我的领土上多停留一刻工夫,哼!那时我发起怒来,可要把我从前对你和我女儿的心意都抛开不管了。快去!我不要听你无益的辩解;你要是看重你的生命,就立刻给我走吧。(下。)


 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

[转载]《维洛那二绅士》(The Two Gentlemen of Verona)

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The Two Gentlemen of Verona

From Wikipedia, the free encyclopedia

File:FirstFolioTwoGentlemen.jpg

A facsimile of the first page of The Two Gentlemen of Verona from the First Folio, published in 1623.

    The Two Gentlemen of Verona is a comedy by William Shakespeare, believed to have been written in 1590 or 1591. It is considered by some to be Shakespeare's first play,[1] and is often seen as his first tentative steps in laying out some of the themes and tropes with which he would later deal in more detail; for example, it is the first of his plays in which a heroine dresses as a boy. The play also deals with the themes of friendship and infidelity, the conflict between friendship and love, and the foolish behaviour of people in love. The highlight of the play is considered by some to be Launce, the clownish servant of Proteus, and his dog Crab, to whom "the most scene-stealing non-speaking role in the canon" has been attributed.[2]
    Two Gentlemen has the smallest cast of any play by Shakespeare and has traditionally been seen as one of his weakest plays.[3]

Characters

Valentine and Proteus – the Two Gentlemen of Verona
Silvia – beloved of Valentine
Julia – beloved of Proteus
Duke of Milan – father to Silvia
Lucetta – waiting woman to Julia
Antonio – father to Proteus
Thurio – a foolish rival to Valentine
Eglamour – agent for Silvia in her escape
Speed – a clownish servant to Valentine
Launce[4]— the like to Proteus
Panthino – servant to Antonio
Host – of the inn where Julia lodges in Milan
Outlaws
Crab – Launce's dog
Servants
Musicians

Synopsis

    In the beginning of the play, Valentine is getting ready to leave Verona to visit Milan so as to broaden his horizons. He begs his best friend, Proteus, to come with him, but Proteus is in love with a girl named Julia, and refuses to leave. As such, after bidding Proteus farewell, Valentine goes on alone. Meanwhile, Julia is discussing Proteus with her maid, Lucetta. She tells Julia that she thinks Proteus is fond of her, but Julia acts coyly, embarrassed to admit she likes him. Lucetta then produces a letter. She will not say who gave it to her, but teases Julia that it was Valentine's servant, Speed, who brought it from Proteus. Julia, still unwilling to reveal her love in front of Lucetta, angrily tears up the letter, and then, having sent Lucetta away, kisses the fragments, and tries to piece them together.
    Meanwhile, Proteus' father, Antonio, has decided that like Valentine, Proteus should also travel, and has thus decided to send him to Milan to join Valentine. Antonio informs the dismayed Proteus that he must leave the next day, prompting a tearful farewell with Julia, to whom Proteus swears eternal love. The two exchange rings and vows and Proteus promises to return as soon as he can.
    As soon as he arrives in Milan, Proteus finds Valentine in love with Silvia, the daughter of the Duke. Despite his love for Julia, Proteus falls instantly in love with Silvia and vows to do everything he can to ensure he win her, even to the point of betraying Valentine. Unaware of Proteus' feelings, Valentine takes him into his confidence, explaining to him that the Duke wants Silvia to marry the foppish but wealthy Thurio, against her wishes. To ensure that Silvia and Valentine cannot be together, the Duke has locked her in a tower. Valentine however, plans to go free her, and together they plan to flee Milan. Proteus immediately goes to the Duke, telling him that his daughter and Valentine plan to elope. The Duke then catches and banishes Valentine. While wandering outside of Milan, Valentine runs afoul of a band of outlaws. They tell him that they, too, were once gentlemen and were banished from the city. Valentine lies to them, saying he was banished because he killed a man in a fair fight, and the outlaws decide to make him their leader.

    Back in Verona, Julia decides to join her lover in Milan. She convinces Lucetta to dress her in boy's clothes and help her fix her hair so she will not be harmed on the journey. Once in Milan, Julia quickly discovers Proteus' love for Silvia, watching him attempt to serenade her. She then becomes his page - a youth named Sebastian - until she can decide upon a course of action. Proteus sends Sebastian to Silvia with a gift of the same ring that Julia gave to him before he left Verona, but Julia discovers that Silvia scorns Proteus' affections and is disgusted that he would forget about his love back home i.e. Julia herself. Instead, Silvia is deeply mourning the loss of Valentine (whom Proteus has told her is rumoured dead).
    Meanwhile, not convinced that Valentine is dead, Silvia has decided to flee the city with the help of Eglamour, a former suitor to Julia. They escape into the forest, but they are confronted by the outlaws. Eglamour flees and Silvia is taken captive. The outlaws head to their leader (Valentine), but on the way, they encounter Proteus and Julia (still disguised as Sebastian). Proteus rescues Silvia, and then pursues her deeper into the forest. Secretly observed by Valentine, Proteus attempts to convince Silvia that he loves her, but she refuses to return his affections, and, furious and mad with desire, he insinuates that he will rape her ("I'll force thee yield to my desire").
    At this point, Valentine intervenes, and denounces Proteus. Horrified at what has happened, Proteus vows that the hate Valentine feels for him is nothing compared to the hate he feels for himself. Convinced that Proteus' repentance is genuine, Valentine forgives him and seems to offer Silvia to him. At this point, overwhelmed, Julia faints, revealing her true identity. Upon seeing her, Proteus suddenly remembers his love for her and vows fidelity to her once again. The Duke and Thurio then arrive, and Thurio reminds Valentine that Silvia is his. Valentine warns Thurio that if he makes one move towards her, he will kill him, and terrified, Thurio quickly denounces Silvia. The Duke, impressed by Valentine's actions, approves his and Silvia's love, and vows to allow them to marry. The play ends with the two couples happily unified, and the Duke pardons the outlaws, telling them they may return to Milan.

Sources

    In writing The Two Gentlemen of Verona, Shakespeare drew on the Spanish prose romance Diana Enamorada by the Portuguese writer Jorge de Montemayor. In the second book of Diana, Don Felix, who is in love with Felismena, sends her a letter explaining his feelings. Like Julia, Felismena pretends to reject the letter, and to be annoyed with her maid for delivering it. Like Proteus, Felix is sent away by his father, and is followed by Felismena, who, disguised as a boy, becomes his page, only to subsequently learn that Felix has fallen in love with Celia. Felismena is then employed by Felix to act as his messenger in all communications with Celia, who scorns his love. Instead, Celia falls in love with the page (i.e. Felismena in disguise). Eventually, after a combat in a wood, Felix and Felismena are reunited. Upon Felismena revealing herself however, Celia, having no counterpart to Valentine, dies of grief.
    Diana was published in Spanish in 1542, translated into French in 1578, and published in English in 1598, although the translation by Nicholas Collin was made some years earlier, probably in 1582.[5] It is believed that Shakespeare could have read the story in French, or in an unpublished English version, or he could have learned of it from an anonymous English play, The History of Felix and Philiomena, which may have been based on Diana, and which was performed for the court at Greenwich Palace by the Queen's Men on 3 January 1585. The History of Felix and Philiomena is now lost.[6]
    Another major influence on Shakespeare was the story of the intimate friendship of Titus and Gisippus as told in Thomas Elyot's The Boke named the Governour in 1531 (the same story is told in The Decameron by Giovanni Boccaccio, but verbal similarities between The Two Gentlemen and The Governor suggest it was Elyot's work Shakespeare used as his primary source, not Boccaccio's).[7] In this story, Titus and Gisippus are inseparable until Gisippus falls in love. He introduces the woman to Titus, but Titus is overcome with jealousy, and vows to seduce her. Upon hearing of Titus' plan, Gisippus arranges for them to change places on the wedding night, thus placing their friendship above his love for the woman.
    Also important to Shakespeare in the composition of the play was John Lyly's Euphues, The Anatomy of Wit, published in 1578. Like The Governor, Euphues presents two close friends who are inseparable until a woman comes between them, and, like both The Governor and Two Gentlemen, the story concludes with one friend sacrificing the woman so as to save the friendship. However, as Geoffrey Bullough argues "Shakespeare's debt to Lyly was probably one of technique more than matter."[8] Lyly's Midas may also have influenced the scene where Launce and Speed run through the milkmaid's virtues and defects, as it contains a very similar scene between Lucio and Petulus.
    Other minor sources include Arthur Brooke's narrative poem The Tragical History of Romeus and Juliet. Obviously Shakespeare's source for Romeo and Juliet, it features a character called Friar Laurence, as does Two Gentlemen, and a scene where a young man attempts to outwit his lover's father by means of a corded ladder (as Valentine does in Two Gentlemen). Philip Sidney's The Countess of Pembroke's Arcadia may also have influenced Shakespeare insofar as it contains a character who follows her betrothed, dressed as his page, and later on, one of the main characters becomes captain of a group of Helots.

Date and text

    The exact date of the creation of The Two Gentlemen of Verona is unknown, but it is generally believed to have been one of Shakespeare's earliest works. The first evidence of its existence is in a list of Shakespeare's plays in Francis Meres's Palladis Tamia, published in 1598, but it is thought to have been written in the early 1590s. Norman Sanders (1968), for example, suggests 1590-1594; Clifford Leech (1969) argues for 1591; The Riverside Shakespeare (1974 and 1996) places the date at 1590-1593; The Oxford Shakespeare: The Complete Works (1986 and 200) suggests 1589-1591; Kurt Schlueter (1990) posits 1593; The Norton Shakespeare: Based on the Oxford Shakespeare (1997 and 2008) suggests 1591; Mary Beth Rose (2000) suggests 1590; William C. Carroll (2004) posits 1590-1593; Roger Warren (2008) tentatively suggests 1587, but acknowledges 1590/1591 as more likely.

    It has been argued that Two Gentlemen may have been Shakespeare's first work for the stage. This theory was first suggested by Edmond Malone in 1778, at which time the dominant theory was that the Henry VI trilogy had been Shakespeare's first work.[9] More recently, the play was placed first in both The Oxford Shakespeare: The Complete Works of 1986, and again in the 2nd edition of 2005, and in The Norton Shakespeare of 1997, and again in the 2nd edition of 2008.
    A large part of the theory that this may be Shakespeare's first play is the quality of the work itself. Writing in 1968, Norman Sanders argued "All are agreed on the play's immaturity".[10] The argument is that the play betrays a lack of practical theatrical experience on Shakespeare's part, and as such, it must have come extremely early in his career. Stanley Wells, for example, has written that any scenes involving more than, at most, four characters, "betray an uncertainty of technique suggestive of inexperience."[11] This uncertainty can be seen in how Shakespeare handles the distribution of dialogue in such scenes. Whenever there are more than three characters on stage, at least one of those characters tends to fall silent. For example, Speed is silent for almost all of Act 2, Scene 4, as is Thurio, Silvia and Julia for most of the last half of the final scene. It has also been suggested that the handling of this final scene in general, in which the faithful lover seemingly offers his beloved to the man who has just attempted to rape her as a token of his forgiveness, is a sign of Shakespeare's lack of maturity as a dramatist.[12]
    In his 2008 edition of the play for the Oxford Shakespeare, Roger Warren argues that the play is the oldest surviving piece of Shakespearean literature, suggesting a date of composition as somewhere between 1587 and 1591. He hypothesises that the play was perhaps written before Shakespeare came to London, with an idea towards using the famous comic actor Richard Tarlton in the role of Launce (this theory stems from the fact that Tarlton had performed several extremely popular and well known scenes with dogs). However, Tarlton died in September 1588, and Warren notes several passages in Two Gentlemen which seem to borrow from John Lyly's Midas, which wasn't written until at least late-1589. As such, Warren acknowledges that 1590/1591 is most likely the correct date of composition.[13]
   The play was not printed until 1623, when it appeared in the First Folio of Shakespeare's plays.

Criticism and analysis

Critical history
    Perhaps the most critically discussed issue in the play is the sequence, bizarre by modern Western European standards, in Act 5, Scene 4 in which Valentine seems to 'give' Silvia to Proteus as a sign of his friendship. For many years, the general critical consensus on this issue was that the incident revealed an inherent misogyny in the text. For example, Hilary Spurling wrote in 1970, "Valentine is so overcome [by Proteus' apology] that he promptly offers to hand over his beloved to the man who, not three minutes before, had meant to rape her".[14] Modern scholarship however is much more divided about Valentine's actions at the end of the play, with some critics arguing that he does not give Silvia to Proteus at all. The ambiguity lies in the line "All that was mine in Silvia I give to thee" (5.4.83). Many critics (such as Stanley Wells for example) interpret this to mean that Valentine is indeed handing Silvia over to her would-be rapist, but another school of thought suggests that Valentine simply means "I will love you [Proteus] with as much love as I love Silvia," thus reconciling the dichotomy of friendship and love as depicted elsewhere in the play. This is certainly how Jeffrey Masten, for example, sees it, arguing that the play as a whole "reveals not the opposition of male friendship and Petrarchan love but rather their interdependence." As such, the final scene "stages the play's ultimate collaboration of male friendship and its incorporation of the plot we would label "heterosexual"."[15]
    This is also how Roger Warren interprets the final scene. Warren cites a number of productions of the play as evidence for this argument, including Robin Phillips' Royal Shakespeare Company (RSC) production at the Aldwych Theatre in 1970, where Valentine kisses Silvia, makes his offer and then kisses Proteus. Another production cited by Warren is Edward Hall's in 1998, at the Swan Theatre. In Hall's version of the scene, after Valentine says the controversial line, Silvia approaches him and takes him by the hand. They remain holding hands for the rest of the play, clearly suggesting that Valentine has not 'given' her away. Warren also mentions Leon Rubin's 1984 Ontario production (where the controversial line was altered to "All my love to Silvia I also give to thee"), David Thacker's 1991 Swan Theatre production, and the 1983 BBC Shakespeare television adaptation as supporting the theory that Valentine is not giving Silvia away, but is simply promising to love Proteus as much as he loves Silvia.
    There are other theories regarding this final scene however. For example, in his 1990 edition of the play for the Cambridge Shakespeare, Kurt Schlueter suggests that Valentine is indeed handing Silvia over to Proteus, but the audience is not supposed to take it literally; the incident is farcical, and should be interpreted as such. Schlueter argues that the play provides possible evidence it was written to be performed and viewed primarily by a young audience, and as such, to be staged at university theatres, as opposed to public playhouses. Such an audience would be more predisposed to accepting the farcical nature of the scene, and more likely to find humorous the absurdity of Valentine's gift. As such, in Schlueter's theory, the scene does represent what it appears to represent, Valentine does give Silvia to her would-be rapist, but it is done purely for comic effect.[16]
    Another theory is provided by William C. Carroll in his 2004 edition for the Arden Shakespeare, 3rd Series. Carroll argues, like Schlueter, that Valentine is indeed giving Silvia to Proteus, but unlike Schlueter, Carroll detects no sense of farce. Instead, he sees the action as a perfectly logical one in terms of the notions of friendship which were prevalent at the time; "the idealisation of male friendship as superior to male-female love (which was considered not romantic or compassionate but merely lustful, hence inferior) performs a project of cultural nostalgia, a stepping back from potentially more threatening social arrangements to a world of order, a world based on a 'gift' economy of personal relations among male social equals rather than one based on a newer, less stable economy of emotional and economic risk. The offer of the woman from one male friend to another would therefore be the highest expression of friendship from one point of view, a low point of psycho-sexual regression from another." As in Schlueter, Carroll here interprets Valentine's actions as a gift to Proteus, but unlike Schlueter, and more in line with traditional criticism of the play, Carroll also argues that such a gift, as ridiculous as it is, is perfectly understandable when one considers the cultural and social milieu of the play itself.[17]

Language
    Language is of primary importance in the play insofar as Valentine and Proteus speak in blank verse, but Launce and Speed speak (for the most part) in prose. More specifically, the actual content of many of the speeches serve to illustrate the pompousness of Valentine and Proteus' exalted outlook, and the more realistic and practical outlook of the servants. This is most apparent in Act 3, Scene 1. Valentine has just given a lengthy speech lamenting his banishment and musing on how he can possibly survive without Silvia; "Except I be by Silvia in the night/There is no music in the nightingale./Unless I look on Silvia in the day/There is no day for me to look upon" (ll.178-181). However, when Launce enters only a few lines later, he announces that he too is in love, and proceeds to outline, along with Speed, all of his betrothed's positives; "She brews good ale"; "She can knit"; "She can wash and scour", and negatives; "She hath a sweet mouth"; "She doth talk in her sleep"; "She is slow in words". After weighing his options, Launce decides that the woman's most important quality is that "she hath more hair than wit, and more faults than hairs, and more wealth than faults" (ll.343-344). He announces that her wealth "makes the faults gracious" (l.356), and chooses for that reason to wed her. This purely materialistic reasoning, as revealed in the form of language, is in stark contrast to the more spiritual and idealised love espoused by Valentine earlier in the scene.

Themes
    One of the dominant theories as regards the value or importance of Two Gentlemen is that thematically, it represents a 'trial run' of sorts, in which Shakespeare deals briefly with themes which he would examine in more detail in later works. E.K. Chambers, for example, argued that the play represents something of a gestation of Shakespeare's great thematic concerns. In 1905, he wrote that Two Gentlemen "was Shakespeare's first essay at originality, at fashioning for himself the outlines of that romantic or tragicomic formula in which so many of his most characteristic dramas were afterwards to be cast. Something which is neither quite tragedy nor quite comedy, something which touches the heights and depths of sentiment and reveals the dark places of the human heart without lingering long enough there to crystallise the painful impression, a love story broken for a moment into passionate chords by absence and inconstancy and intrigue, and then reunited to the music of wedding bells".[18] As such, the play's primary interest for critics has tended to lie in relation to what it reveals about Shakespeare's conception of certain themes before he became an accomplished playwright. A.C. Swinburne, for example, wrote "here is the first dawn of that higher and more tender humour that was never given in such perfection to any man as ultimately to Shakespeare."[19] Similarly, Warwick R. Bond writes "Shakespeare first opens the vein he worked so richly afterwards - the vein of crossed love, of flight and exile under the escort of the generous sentiments; of disguised heroines, and sufferings endured and virtues exhibited under their disguise; and of the Providence, kinder than life, that annuls the errors and forgives the sin."[20]
    Other critics have been less kind however, arguing that if the later plays show a skilled and confident writer exploring issues of the human heart, Two Gentlemen represents the initial, primarily unsuccessful attempt to do likewise. H.B. Charlton, for example, writing in 1938, argues that "clearly, Shakespeare's first attempt to make romantic comedy had only succeeded so far as it had unexpectedly and inadvertenly made romance comic."[21] Another such argument is provided by Norman Sanders; "because the play reveals a relatively unsure dramatist and many effects managed with a tiro's lack of expertise, it offers us an opportunity to see more clearly than anywhere else in the canon what were to become characteristic techniques. It stands as an 'anatomie' or show-through version, as it were, of Shakespeare's comic art."[22] Not all critics agree with this however, arguing that the play does stand on its own, that it deals successfully with its themes, and that it possesses its own unique merits, irrespective of what it tells us about Shakespeare's artistic development.[23]

Love and friendship
    Norman Sanders calls the play "almost a complete anthology of the practices of the doctrine of romantic love which inspired the poetic and prose Romances of the period".[24] At the very centre of this is the contest between love and friendship; "an essential part of the comicality of The Two Gentlemen of Verona is created by the necessary conflict between highly stylised concepts of love and friendship"[25] This is manifested in the question of whether the relationship between two male friends is more important than that between lovers, encapsulated by Proteus' rhetorical question at 5.4.54; "In love/Who respects friend?". This question "exposes the raw nerve at the heart of the central relationships, the dark reality lurking beneath the wit and lyricism with which the play has in general presented lovers' behaviour".[26] In the program notes for John Barton's 1981 RSC production at the Royal Shakespeare Theatre, Anne Barton, his wife, wrote that the central theme of the play was "how to bring love and friendship into a constructive and mutually enhancing relationship." This is a common theme in Renaissance literature, since some aspects of the culture of the time celebrated friendship as the more important relationship (because it is pure and unconcerned with sexual attraction), and contended that they could not co-exist. As actor Alex Avery argues, "The love between two men is a greater love for some reason. There seems to be a sense that the function of a male/female relationship is purely for the family and to procreate, to have a family. But a love between two men is something that you choose. You have arranged marriages, [but] a friendship between two men is created by the desires and wills of those two men, whereas a relationship between a man and a girl is actually constructed completely peripheral to whatever the feelings of the said boy and girl are."[27]
    William C. Carroll sees this societal belief as vital in interpreting the final scene of the play, arguing that Valentine does give Silvia to Proteus, and in so doing, he is merely acting in accordance with the practices of the day. However, if one accepts that Valentine does not give Silvia to Proteus, as critics such as Roger Warren argue, but instead offers to love Proteus as much as he loves Silvia, then the conclusion of the play can be read as a final triumphant reconciliation between friendship and love; Valentine intends to love his friend as much as he does his betrothed. Love and friendship are shown to be co-existent, not exclusive.

Foolishness of lovers
    Another major theme is the foolishness of lovers, what Roger Warren refers to as "mockery of the absurdity of conventional lovers' behaviour".[28] Valentine for example, is introduced into the play mocking the excesses of love; "To be in love, where scorn is bought with groans/Coy looks with heart-sore sighs, one fading moment's mirth/With twenty watchful, weary, tedious nights" (1.1.29-31). Later, however, he becomes as much a prisoner of love as Proteus, exclaiming, "For in revenge of my contempt for love/Love hath chased sleep from my enthrall'd eyes/And made them watchers of my own heart's sorrow" (2.4.131-133).
    The majority of the cynicism as regards conventional lovers however comes from Launce and Speed, who serve as foils for Proteus and Valentine and "supply a mundane view of the idealistic flights of fancy indulged in by Proteus and Valentine."[29] Several times in the play, after either Valentine or Proteus has made a grandiose speech about love, Shakespeare introduces either Launce or Speed (or sometimes both), whose speeches undercut what has just been heard, exposing Proteus and Valentine to mockery. A good example is found in Act 2, Scene 1. As Valentine and Silvia engage in a game of flirtation, hinting at their love for one another, Speed provides constant asides which serve to directly mock the couple. For example,
VALENTINE
Peace, here she comes.

Enter Silvia

SPEED (aside)
O excellent motion! O exceeding puppet! Now he will interpret her.

VALENTINE
Madame and mistress, a thousand good-morrows.

SPEED (aside)
O, give ye good e'en. Here's a million of manners.

SILVIA
Sir Valentine and servant, to you two thousand.

SPEED (aside)
He should give her interest, and she gives it him
(2.1.85-94)

Inconstancy
    A third major theme is inconstancy, particularly as manifested in Proteus, whose very name hints at his changeable mind (in Ovid's Metamorphoses, Proteus is a sea-god forever changing its shape). At the start of the play, Proteus has only eyes for Julia. However upon meeting Silvia, he immediately falls in love with her (although he has no idea why). He then finds himself drawn to the page Sebastian (Julia in disguise) whilst still trying to woo Silvia, and at the end of the play, he announces that Silvia is no better than Julia and vows he now loves Julia again. As Silvia says of Proteus, "O heaven, were man/But constant, he were perfect. That one error/Fills him with faults, makes him run through all th'sins;/Inconstancy falls off ere it begins" (5.4.109-112).

Performance

    There is no record of a performance in Shakespeare's era, down to the closing of the theatres in 1642, although due to its inclusion in Francis Meres's Palladis Tamia in 1598, we know it was certainly performed during Shakespeare's lifetime. The earliest known performance occurred at the Theatre Royal, Drury Lane in 1762. However, this production was of a version of the play rewritten by Benjamin Victor. The earliest known performance of the straight Shakespearean text was at the Royal Opera House in Covent Garden in 1784, advertised as "Shaxespeare's with alterations." Although the play was supposed to run for several weeks, it closed after the first night.[30]
From the middle of the eighteenth century, even if staging Shakespeare's original play (as opposed to Victor's rewrite) it was common for directors to cut the lines in the final scene where Valentine seems to offer Silvia to Proteus, who has just attempted to rape her, as a sign of his forgiveness and friendship. This practice prevailed until William Charles Macready reintroduced the lines in 1841 in a production at Drury Lane, although they were still being removed as late as 1952, in Denis Carey's production at the Bristol Old Vic.[31] Other eighteenth century performances include Charles Kean's in 1848 at the Haymarket Theatre, Samuel Phelps' in 1857 at the Sadler's Wells Theatre and William Poel's in 1892 and 1896.[32]
    During the twentieth century, the play has been produced sporadically, often with little success, in the English-speaking world; although it has proved more popular in Europe.[33] Indeed, there have been only a handful of major English speaking productions worth noting. Little is known, for example, about Harley Granville-Barker's 1904 production at the Royal Court Theatre, F.R. Benson's at the Shakespeare Memorial Theatre in 1910, Robert Atkins' 1926 production at the Apollo Theatre, starring John Gielgud, or Ben Iden Payne's 1938 production at Stratford-upon-Avon. Indeed, most critics now agree that the first major 20th century production didn't take place until 1956, at the Old Vic, directed by Michael Langham and starring Keith Mitchell as Proteus and Barbara Jefford as Julia. In this production, set in late nineteenth century Italy and grounded very much in high Romanticism, Proteus threatens to kill himself with a pistol at the end of the play, prompting Valentine's hasty offer of Silvia.
    Perhaps the most notable 20th century production was Peter Hall's 1960 presentation at the Royal Shakespeare Theatre in Stratford, starring Denholm Elliott as Valentine, Derek Godfrey as Proteus, Susan Maryott as Silvia, Frances Cuka as Julia, and featuring a much lauded performance by Patrick Wymark as Launce. Hall had only recently been appointed as Artistic Director of the RSC, and, somewhat unexpectedly, he chose Two Gentlemen as his inaugural production, relocating the play to a late medieval milieu.[34]
    Ten years later, in 1970, Robin Phillips' RSC production at the Aldwych Theatre, starred Peter Egan as Valentine, Ian Richardson as Proteus, Helen Mirren as Julia, Estelle Kohler as Silvia, and Patrick Stewart as Launce. This production concentrated on the issues of friendship and treachery, and set the play in a decadent world of social elitism. Valentine and Proteus were presented as aristocratic students, the Duke was a Don, and Eglamour an old scout master. On the other hand, the poverty stricken outlaws were dressed in animal skins.
    The RSC again staged the play at the Royal Shakespeare Theatre in 1981, under the direction of John Barton, with Peter Land as Proteus, Peter Chelsom as Valentine, Julia Swift as Julia and Diana Hardcastle as Silvia. This production saw the actors not involved in the current on-stage scene sit at the front of the stage and watch the performance. Leon Rubin directed another major performance at the Stratford Shakespeare Festival in Ontario, Canada in 1984, where the actors were dressed in modern clothes and contemporary pop music was featured within the play (for example, the outlaws are portrayed as an anarchic rock group).
    A 1991 RSC production at the Swan Theatre saw director David Thacker use an on-stage live band for the duration of the play, playing music from the 1930s, such as Cole Porter and George Gershwin. Thacker's production featured Barry Lynch as Proteus, Richard Bonneville as Valentine, Clare Holman as Julia and Saskia Reeves as Silvia. In 1992, Thacker's production moved to the Barbican Centre in London, and in 1993 went on regional tour. In 1996, Jack Shepherd directed a modern dress version at the Globe Theatre starring Lenny James as Valentine, Mark Rylance as Proteus, Stephanie Roth Haberle as Julia and Anastasia Hille as Silvia. Another RSC production took place at the Swan in 1998, under the direction of Edward Hall, and starring Tom Goodman-Hill as Valentine, Dominic Rowan as Proteus, Lesley Vickerage as Julia and Poppy Miller as Silvia. This production set the play in a grimy unnamed contemporary city where material obsession was all-encompassing. Another performance took place in 1999 at the Cottesloe Theatre, directed by Julie Anne Robinson.

    In 2001, Douglas C. Wager directed a version of the play set in the 1950s and featuring the music of Bill Haley and Connie Francis, with Gregory Wooddell as Valentine, Paul Whitthorne as Proteus, Julia Dion as Julia and Louise Zachry as Silvia. In 2004, Fiona Buffini directed a regional touring production for the RSC. Premiering at the Swan, the production starred Alex Avery as Valentine, Laurence Mitchell as Proteus, Vanessa Ackerman as Julia and Rachel Pickup as Silvia, and was performed under the title The Two Gents. Buffini set the play in a swinging 1930s milieu, and featuring numerous dance numbers. Additionally, London and New York replaced Verona and Milan; initially, Valentine and Proteus are shown as living in the English countryside, in a rural paradise devoid of any real vitality, the sons of wealthy families who have retired from the city. When Valentine leaves, he heads to New York to pursue the American Dream and falls in love with Silvia, the famous actress daughter of a powerful media magnate. Another change to the play was that the roles of the outlaws (represented here as a group of paparazzi) were increased considerably. Scenes added to the play show them arriving in New York and going about their daily business, although none of the new scenes featured any dialogue.

    Another performance worth noting occurred at the Courtyard Theatre in Stratford in 2006. A non-professional acting company from Brazil, named Nós do Morro ('We of the hillside'), in collaboration with a Gallery 37 group from Birmingham, gave a single performance of the play during the RSC's presentation of the Complete Works, directed by Guti Fraga. This production was spoken in Portuguese, with the original English text projected as surtitles onto the back of the stage. It also featured two 17 years olds in the roles of Valentine and Proteus (usually, actors in their 20s are cast), and Crab was played not by a dog, but by a human actor. In 2009, Joe Dowling directed the play at the Guthrie Theater as a 1955 live television production, with large black-and-white monitors set on either side of the stage, and cameras feeding the action to them. Additionally, period advertisements appeared both before the show and during the intermission. The actors spoke the original dialogue, but wore 1950s clothing and used 1950s-era sets. Rock and roll music and dance sequences were occasionally mixed with the action.
    Taken together, these various productions, with their frequent use of music, their geographical and temporal relocations, and their general modifications of the original serve to lend credence to Stanley Wells' claim that the play "has succeeded best when subjected to adaptation, increasing its musical content, adjusting the emphasis of the last scene so as to reduce the shock of Valentine's donation of Silvia to Proteus, and updating the setting."[35]

Adaptations

Theatrical
    Henry Roberts' engraving of Richard Yates as Launce in the 1762 Drury Lane adaptation.
Benjamin Victor rewrote the play some time prior to 1762, when it was performed at the Theatre Royal in Drury Lane. Directed by David Garrick, and starring Richard Yates as Launce, and his wife, Mary Anne Yates as Julia, Victor brought all the Verona scenes together, removed Valentine's 'gift' of Silvia to Proteus and increased the roles of Launce and Crab (especially during the outlaw scenes, where both characters are intimately involved in the action). He also switched the emphasis of the play away from the love-friendship divide and instead focused on the issues of fidelity, with the last line of the play altered to, "Lovers must be faithful to be bless'd." This necessitated rewriting Valentine as a near flawless protagonist who represents such faithfulness, and Proteus as a traditional villain, who doesn't care for such notions. The two are not presented as old friends, but simply as acquaintances. Thurio was also rewritten as a harmless, but lovable fool, not unlike Launce and Speed. Although not a major success (the play initially ran for only six performances), it was still being performed as late as 1895. In 1790, John Philip Kemble staged his own production of the play at Drury Lane, maintaining many of Victor's alterations, and again at Covent Garden in 1808. In the 1808 production, Kemble, who was fifty years old at the time, played Valentine.[36]
    Frederic Reynolds staged an operatic version in 1821 at Covent Garden as part of his series of adaptations of the works of Shakespeare. Reynolds wrote the lyrics, and Henry Bishop wrote the music. The production ran for twenty-nine performances, and included some of Shakespeare's sonnets set to music. Augustin Daly revived the opera in 1895 at Daly's Theatre, in a production which George Bernard Shaw argued was much better than Shakespeare's original text.[37]
    In 1971, Galt MacDermot, John Guare and Mel Shapiro adapted the show into a rock musical under the same name as the play. Guare and Shapiro wrote the book, Guare the lyrics, and MacDermot the music. Opening at the St. James Theatre on 1 December 1971, with Shapiro directing and Jean Erdman as choreographer, it ran for 614 performances, closing on 20 May 1973.[38] During its initial run, the play won two Tony Awards; Best Musical and Best Book. The original cast included Clifton Davis as Valentine, Raúl Juliá as Proteus, Jonelle Allen as Silvia and Diana Dávila as Julia. The play moved to the West End in 1973, playing at the Phoenix Theatre from 26 April, and running for 237 performances. It was revived in 1996 at the New Jersey Shakespeare Festival, directed by Robert Duke, and again in 2005, directed and choreographed by Kathleen Marshall as part of the Shakespeare in the Park festival. Marshall's production was performed at the Delacorte Theater in Central Park, and starred Norm Lewis as Valentine, Oscar Isaac as Proteus, Renee Elise Goldsberry as Silvia and Rosario Dawson as Julia
Stuart Draper adapted the play into a gay version called Two Gentlemen of Verona which played at the Greenwich Playhouse in New York City from 20 April to 18 May 2004.[39] In this version of the play, Valentine is in love with Proteus, but Proteus' father would rather see him marry the wealthy Julia. Valentine leaves to seek his fortune in Milan, where he meets and falls in love with Silvia, daughter of the Duke. Leaving Julia behind, Proteus follows Valentine to Milan determined to win him over. Proteus is in turn followed by Julia (disguised as a boy), determined to woo him away from Valentine.

Film
    The only cinematic adaptation of the play is Yī jiǎn méi (more commonly known by its English title A Spray of Plum Blossoms), a 1931 silent film from China, directed by Bu Wancang and written by Huang Yicuo. A loose adaptation of the play, the film tells the story of Bai Lede (Wang Chilong) and Hu Luting (Jin Yan), two military cadets who have been friends since they were children. After graduating, Hu, a playboy uninterested in love, is appointed as a captain in Guangdong and leaves his home town in Shanghai. Bai however, deeply in love with Hu's sister, Hu Zhuli (Ruan Lingyu) stays behind. At Guangdong, Hu falls in love with the local general's daughter, Shi Luohua (Lam Cho-Cho), although the general, Shi (Wang Guilin), is unaware of the relationship, and instead wants his daughter to marry the foolish Liao Di'ao (Kao Chien Fei). Meanwhile, Bai's father uses his influence to get Bai posted to Guangdong, and after a sorrowful farewell between himself and Zhuli, he arrives at his new post and instantly falls in love with Luohua. In an effort to have her for himself, Bai betrays his friend, by informing General Shi of his daughter's plans to elope with Hu, leading to Shi dishonourably discharging Hu. Bai tries to win Luohua over, but she is uninterested, only concerned with lamenting the loss of Hu. In the meantime, Hu encounters a group of bandits who ask him to be their leader, to which he agrees, planning on returning for Luohua at some point in the future. Some time passes, and one day, as Luohua, Bai and Liao are passing through the forest, they are attacked. Luohua manages to flee, and Bai pursues her into the forest. They engage in an argument, but just as Bai seems about to lose his temper, Hu intervenes, and he and Luohua are reunited. General Shi arrives in time to see Liao flee the scene, and he now realises that he was wrong to get in the way of the relationship between Hu and his daughter. Hu then forgives Bai his betrayal, and Bai reveals that he has discovered that his only true love is in fact Zhuli back in Shanghai.
    The film is notable for being one of many Chinese films of the period which, although performed in Mandarin when filming, used English intertitles upon its original release. In the English intertitles and credits, the characters are named after their counterparts in the play; Hu is Valentine, Bai is Proteus, Zhuli is Julia and Luohua is Silvia. Liao is named Tiburio rather than Thurio.

Television
    The first television adaptation was in 1952, when BBC One broadcast Act 1 of the play live from the Bristol Old Vic. Directed by Denis Carey, the production starred John Neville as Valentine, Laurence Payne as Proteus, Gudrun Ure as Silvia and Pamela Ann as Julia.
    In 1956, the entire play was broadcast on German TV channel Das Erste from a performance at the Munich Kammerspiele, under the title Zwei herren aus Verona. The theatrical production was directed by Hans Schalla, with the TV adaptation directed by Ernst Markwardt. The cast included Rolf Schult as Valentine, Hannes Riesenberger as Proteus, Helga Siemers as Julia and Isolde Chlapek as Silvia.
    In 1964, the play was made into a TV movie in Germany, under the title Die zwei herren aus Verona, directed by Hans Dieter Schwarze and starring Norbert Hansing as Valentine, Rolf Becker as Proteus, Katinka Hoffman as Julia and Heidelinde Weis as Silvia.

    Proteus (Tyler Butterworth) and Valentine (John Hudson) in the 1983 BBC Shakespeare adaptation.
The play was adapted for the BBC Shakespeare series in 1983. Directed by Don Taylor, it starred Tyler Butterworth as Proteus, John Hudson as Valentine, Tessa Peake-Jones as Julia and Joanne Pearce as Silvia. For the most part, the BBC Shakespeare adaptation is word-for-word taken from the First Folio, with only some very minor and inconsequential differences. For example, omitted lines include the Duke's "Knowing that tender youth is soon suggested" (3.1.34), and Julia's "Her eyes are grey as glass, and so are mine" (4.4.189). Other differences include a slightly different opening scene to that indicated in the text. Whereas the play seems to open with Valentine and Proteus in mid-conversation, the adaptation begins with Mercatio and Eglamour attempting to formally woo Julia; Mercatio by showing her a coffer overflowing with gold coins, Eglamour by displaying a parchment detailing his family history. However, there is no dialogue in this scene, and the first words spoken are the same as in the text ("Cease to persuade my loving Proteus"). Eglamour is also present in the final scene, albeit once again without any dialogue, and, additionally, the capture of Silvia and the flight of Eglamour is seen, as opposed to merely being described.
    In 1995, a production of the play aired on Polish TV channel TVP1 under the title Dwaj panowie z Werony, directed by Roland Rowinski and starring Marek Bukowski as Proteus and Rafal Krolikowski as Valentine.
    In 2000, a Season 4 episode of Dawson's Creek entitled "Two Gentlemen of Capeside" loosely adapted the plot of the play. Written by Chris Levinson and directed by Sandy Smolan, the episode depicted how Dawson and Pacey, formally best friends, have been driven apart over their love for the same woman. The play is referenced early in the episode as the characters are reading it for their English class.

Radio
    In 1923, extracts from the play were broadcast on BBC Radio 1, performed by the Cardiff Station Repertory Company as the first episode of a series of programs showcasing Shakespeare's plays, entitled Shakespeare Night.[40] In 1924, the entire play was broadcast by the BBC, directed by Joyce Tremayne and R.E. Jeffrey. Treymane played Silvia and Jeffrey played Valentine, along with G.R. Harvey as Proteus and Daisy Moncur as Julia. In 1927, the scenes between Julia and Lucetta were broadcast on BBC Radio 1 as part of the Echoes from Greenwich Theatre series. Betty Rayner played Julia and Joan Rayner played Lucetta. BBC National Programme broadcast the full play in 1934, adapted for radio by Barbara Burnham and produced by Lance Sieveking. Ion Swinley played Valentine, Robert Craven was Proteus, Helen Horsey was Silvia and Lydia Sherwood played Julia.
In 1958, the entire play was broadcast on BBC Third Programme. Produced and directed for radio by Raymond Raikes, the play starred John Westbrook as Valentine, Charles Hodgson as Proteus, Caroline Leigh as Silvia and Perlita Neilson as Julia. It also featured Frankie Howerd as Launce.
BBC Third Programme aired another full production of the play in 1968, produced and directed by R.D. Smith and starring Denys Hawthorne as Valentine, Michael N. Harbour as Proteus and Judi Dench as Julia.
    In 2007, producer Roger Elsgood and director Willi Richards adapted the play into a radio play called The Two Gentlemen of Valasna, setting it in two fictional Indian princely states called Malpur and Valasna, in the weeks leading up to the Indian Mutiny of 1857. The play was first broadcast on BBC Radio 3 on 29 July 2007.[41] It was recorded on location in Maharashtra, India earlier in 2007 with a cast drawn from Bollywood, Indian television and the Mumbai English-speaking theatre traditions; actors included Nadir Khan as Vishvadev (i.e. Valentine), Arghya Lahiri as Parminder (Proteus), Anu Menon as Syoni (Silvia), Avantika Akerkar as Jumaana/Servi (Julia/Sebastian), Sohrab Ardishir as The Maharaja (Duke of Milan) and Zafar Karachiwala as Thaqib (Thurio). Besides the new character names, some other substitutions suitable to the new setting (e.g. "by Ran" for "by Jove", "Vishnu's shrine for "the north gate", "the mighty gods' wrath's appeased" for "the Eternal's wrath's appeas'd", sahiba for lady, sahib for sir, and sari for robe), and the addition of some Indian dialogue, the production used Shakespeare's text.
[edit]References


Notes
All references to The Two Gentlemen of Verona, unless otherwise specified, are taken from the Oxford Shakespeare (Warren), based on the First Folio text of 1623. Under its referencing system, 2.3.14 means act 2, scene 3, line 14.
^ It is placed first in both The Oxford Shakespeare: The Complete Works (1986 and 2005) and The Norton Shakespeare: Based on the Oxford Shakespeare (1997 and 2008); see also Leech (1969: xxx), Wells et al. (1987: 3), Carroll (2004: 130) and Warren (2008: 26-27)
^ Wells et al. (1986: 4)
^ Carroll (2004: 110)
^ Most modern editors of the play tend to rename this character 'Lance', on the basis that 'Lance' represents a modernisation of 'Launce'. See, for example, Kurt Schlueter (Cambridge Shakespeare - 1990), William C. Carroll (Arden Shakespeare - 2004) and Roger Warren (Oxford Shakespeare - 2008)
^ Schlueter (1990: 1)
^ Greenblatt et al (1997: 80)
^ Warren (2008: 15-16)
^ Bullough (1975: 204)
^ Edmund Malone, Plays and Poems, (1821), 7
^ Sanders (1968: 7)
^ Wells et al. (1986: 3)
^ Greenblatt et al (1997: 79)
^ Warren (2008: 26-27)
^ Program notes for 1970 RSC production of The Two Gentlemen of Verona
^ Masten (1997: 41, 46-47)
^ Schlueter (1990: 3)
^ Carroll (2004: 15-16)
^ E.K. Chambers, Introduction to The Two Gentlemen of Verona, Red Letter Shakespeare, 1905
^ Quoted in Carroll (2004: 115)
^ Bond (1906: xxxiv)
^ H.B. Charlton, Shakesperean Comedy (London: Routledge, 1938), 43
^ Sanders (1968: 15)
^ See, for example, Schlueter (1990), Carroll (2004) and Warren (2008)
^ Sanders (1968: 8)
^ Schlueter (1990: 17)
^ Warren (2008: 53)
^ The Two Gentlemen of Verona Study Guide
^ Warren (2008: 44)
^ Sanders (1968: 10)
^ Schlueter (1990: 23)
^ Greenblatt et al (1997: 79)
^ Carroll (2004: 85)
^ Halliday (1964: 506)
^ The Two Gentlemen of Verona Study Guide
^ Wells et al. (1986: 3)
^ Schlueter (1990: 23-25)
^ The Two Gentlemen of Verona Study Guide
^ Green (1980: 350)
^ Two Gentlemen of Verona homepage
^ Unless otherwise noted, all information in this section comes from the British Universities Film and Video Council
^ BBC - Radio 3 - Drama on 3
[edit]Editions of The Two Gentlemen of Verona
Bate, Jonathan and Rasmussen, Eric (eds.) The RSC Shakespeare: The Complete Works (London: Macmillan, 2007)
Bond, R. Warwick (ed.) The Two Gentlemen of Verona (The Arden Shakespeare, 1st Series; London: Arden, 1906)
Carroll, William C. (ed.) The Two Gentlemen of Verona (The Arden Shakespeare, 3rd Series; London: Arden, 2004)
Evans, Bertrand (ed.) The Two Gentlemen of Verona (Signet Classic Shakespeare; New York: Signet, 1964; revised edition, 1988; 2nd revised edition 2007)
Evans, G. Blakemore (ed.) The Riverside Shakespeare (Boston: Houghton Mifflin, 1974; 2nd edn., 1997)
Greenblatt, Stephen; Cohen, Walter; Howard, Jean E. and Maus, Katharine Eisaman (eds.) The Norton Shakespeare: Based on the Oxford Shakespeare (London: Norton, 1997; 2nd edn., 2008)
Jackson, Berners A.W. The Two Gentlemen of Verona (The Pelican Shakespeare; London: Penguin, 1964; revised edition 1980)
Jackson, Russell (ed.) The Two Gentlemen of Verona (The New Penguin Shakespeare 2nd edition; London: Penguin, 2005)
Leech, Clifford (ed.) The Two Gentlemen of Verona (The Arden Shakespeare, 2nd Series; London: Arden, 1969)
Quiller-Couch, Arthur and Wilson, John Dover (eds.) The Two Gentlemen of Verona (The New Shakespeare; Cambridge: Cambridge University Press, 1921; 2nd edn. edited by only Dover Wilson, 1955)
Rose, Mary Beth (ed.) The Two Gentlemen of Verona (The Pelican Shakespeare, 2nd edition; London: Penguin, 2000)
Sanders, Norman (ed.) The Two Gentlemen of Verona (The New Penguin Shakespeare; London: Penguin, 1968; revised edition 1997)
Schlueter, Kurt (ed.) The Two Gentlemen of Verona (The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1990)
Warren, Roger (ed.) The Two Gentlemen of Verona (The Oxford Shakespeare; Oxford: Oxford University Press, 2008)
Wells, Stanley; Taylor, Gary; Jowett, John and Montgomery, William (eds.) The Oxford Shakespeare: The Complete Works (Oxford: Oxford University Press, 1986; 2nd edn., 2005)
Werstine, Paul and Mowat, Barbara A. (eds.) The Two Gentlemen of Verona (Folger Shakespeare Library; Washington: Simon & Schuster, 1999)

Secondary Sources
Bullough, Geoffrey. Narrative and Dramatic Sources of Shakespeare (Volume 1): Early Comedies, Poems, Romeo and Juliet (Columbia: Columbia University Press, 1957)
Carlisle, Carol J. and Derrick, Patty S. "The Two Gentlemen of Verona on Stage: Protean Problems and Protean Solutions" in M.J. Collins (editor), Shakespeare's Sweet Thunder: Essays on the Early Comedies (Newark: Associated University Presses, 1997), 126-154
Duthie, G.I. Shakespeare (London: Hutchinson, 1951)
Ewbank, Inga-Stina. ""Were man but constant, he were perfect": Constancy and Consistency in The Two Gentlemen of Verona", Stratford-Upon-Avon Studies, 14 (1972), 31-57
Godshalk, William L. "The Structural Unity of The Two Gentlemen of Verona", Studies in Philology 66 (1969), 168-181
Green, Stanley. The World of Musical Comedy (San Diego: Da Capo Press, 1974; 4th edn., 1980)
Halliday, F.E. A Shakespeare Companion, 1564-1964 (Baltimore: Penguin, 1964)
Holmberg, Arthur. "The Two Gentlemen of Verona: Shakesperean Comedy as a Rite of Passage", Queen's Quarterly, 90:1 (Spring, 1983), 33-44
Masten, Jeffrey. Textual Intercourse: Collaboration, Authorship and Sexualities in Renaissance Drama (Cambridge: Cambridge University Press, 1997)
Morozov, Mikhail M. Shakespeare on the Soviet Stage (London: Open Library, 1947)
Morse, Ruth. "Two Gentlemen and the Cult of Friendship", Neuphilologische Mitteilungen, 84:2 (Summer, 1983), 214-224
Muir, Kenneth. The Sources of Shakespeare's Plays (London: Routledge, 1977; rpt 2005)
Onions, C.T. A Shakespeare Glossary (Oxford: Oxford University Press, 1953; 2nd edn. edited by Robert D. Eagleson, 1986)
Rackin, Phyllis. Shakespeare and Women (Oxford: Oxford University Press, 2005)
Schlueter, June (ed.) The Two Gentlemen of Verona: Critical Essays (New York: Routledge, 1996)
Speaight, Robert. Shakespeare on the Stage: An Illustrated History of Shakespearean Performance (London: Collins, 1973)
Tillyard, E.M.W. Shakespeare's Early Comedies (London: The Athlone Press, 1965; rpt. 1992)
Wells, Stanley. "The Failure of The Two Gentlemen of Verona", Shakespeare Jahrbüch West, 99 (1963), 161-173
Wells, Stanley; Taylor, Gary; Jowett, John and Montgomery, William. William Shakespeare: A Textual Companion (Oxford: Oxford University Press, 1987)
Williams, Gordon. A Glossary of Shakespeare's Sexual Language (London: The Athlone Press, 1997)


The Two Gentlemen of Verona 


Type of Work
    The Two Gentlemen of Verona is a stage play in the form of a comedy. It centers on the friendship of two young men and the women they love. It is an early attempt by Shakespeare at high comedy, a type of comedy focusing on the life of upper classes. The dialogue in high comedy contains an abundance of witty dialogue. 

Key Dates

Date Written: Probably 1592 and 1593. 
Date Published: 1623 in the First Folio, the first authorized collection of Shakespeare's plays.

Sources

    Shakespeare based The Two Gentlemen of Verona on Bartholomew Young’s translation of Los Siete Libros de la Diana (The Seven Books of the Diana), by Jorge de Montemayor (1520-1561) and possibly on tales in Renaissance literature. 

Settings 
    The action takes place in Italy, including Verona, Milan, and a forest near Mantua. Milan and Mantua are in Lombardy, a province in north-central Italy. Verona is in Veneto, a province in northeastern Italy. 

Characters 
Protagonist: Valentine 
Antagonist: Adversity in the Form of Characters and Circumstances 
Valentine, Proteus: Two young gentlemen of Verona who are best friends. But love for the same woman comes between them. 
Silvia: Beloved of Valentine. She rebuffs the advances of Proteus. 
Julia: Young woman who loves Proteus. She remains loyal to him even though he becomes infatuated with Silvia. 
Duke of Milan: Father of Silvia. He attempts to force her to marry the vain Thurio. 
Antonio: Father of Proteus. 
Thurio: A foolish rival of Valentine. 
Eglamour: Agent for Silvia in her escape. 
Host: Host of the establishment where Julia lodges after she goes to Milan.  
Outlaws: Three men who capture Valentine in a forest outside Milan. 
Speed: Clownish servant of Valentine. 
Launce: Clownish servant of Proteus. 
Crab: Launce's dog. 
Panthino: Servant of Antonio. 
Lucetta: Waiting-woman of Julia. 
Minor Characters: Servants, musicians.


Plot Summary 
By Michael J. Cummings

    Valentine and Proteus, two young gentlemen of Verona, have always been the best of friends. But Valentine says it is time to bid his pal farewell and, with a servant named Speed, goes off to seek his place in the world at the court of the Duke of Milan. Proteus, however, is quite satisfied  to remain in Verona, for he loves the city’s fairest lady, Julia. When Julia receives a love letter from Proteus, she pretends to her maid that it means nothing to her. Secretly, though, she loves Proteus as much as he loves her, and she sends a letter of her own back to him. While Proteus reads it, his father, Antonio, informs his son that he, too, must go to Milan to educate and improve himself. Antonio, believing that the letter Proteus holds is from Valentine, is unaware of his son’s love for Julia.  
    In Milan, meanwhile, Valentine has also found love. The object of his affection is the duke’s daughter, the beautiful Silvia. Although her father wishes her to marry an asinine fellow named Thurio, Silvia turns her attentions toward Valentine, asking him to act as a kind of secretary. Valentine’s servant Speed teases him about his crush on Silvia, saying he mopes around as if he had a disease. Speed provides additional advice:

SPEED   If you love her, you cannot see her. 
VALENTINE   Why? 
SPEED   Because love is blind. O, that you had mine eyes; or your own eyes had the lights they were wont to have when you chid at1 Sir Proteus for going ungartered!2 
VALENTINE   What should I see then? 
SPEED   Your own present folly and her passing deformity: for he [Proteus], being in love, could not see to garter his hose3, and you, being in love, cannot see to put on your hose. (2.1.44-48)

    Valentine's job as Silvia’s secretary is to write love letters for a friend of Silvia, but it soon becomes obvious that the letters are a ploy that she is using to tell Valentine, in a roundabout way, that she loves him.  
    When Proteus arrives at the court with his servant Launce, Valentine introduces Proteus to Silvia, and Proteus falls immediately in love with her—or so he thinks. All thoughts of Julia vanish from his mind. Valentine then shares with him his plan to elope with Silvia by using a rope ladder to effect Silvia’s escape from her room in a tower.  
    Back in Verona, Julia pines for Proteus. Unable to endure separation from him any longer, she disguises herself as a page and leaves for Milan to be with him. While Julia is en route, Proteus—desperate to have Silvia for himself—betrays Valentine and informs the duke of the planned elopement. The duke then discovers the evidence, the rope ladder, and banishes Valentine from Milan. 
    Proteus accompanies Valentine to the city gate to bid farewell, all the while pretending innocence. Proteus then tries another trick. To worm his way into Silvia’s presence, he pretends to help the hapless Thurio in his suit. But when the moment is right, he takes over and woos Sylvia himself. However, Sylvia spurns him with insults, for she loves only Valentine. Moreover, she is well aware that it was Proteus who betrayed Valentine.  
    In the meantime, Valentine is captured by outlaws in a forest outside Mantua. But so impressed are they with his manner and bearing that they offer to make him their chief. He accepts on condition that they do not victimize women or the poor.  
    Back in Milan, Julia, who has been spooking around in her page disguise, learns of her beloved’s unfaithfulness. Her heart nearly breaks. Calling herself Sebastian, she then gets herself hired by Proteus as a page. Proteus, still hoping to win Silvia, tells “Sebastian” his first job is to carry to Silvia a token of affection. It is a ring—the same ring Julia had given to Proteus as a going-away present. Silvia, of course, refuses to accept the ring. Then, determined to be with Valentine, she escapes the city with the help of Sir Eglamour to look for him. Eglamour, a wise and valiant gentleman, sympathizes with Silvia, for he knows well the pangs of love. As Silvia observes: 
Thyself hast lov’d; and I have heard thee say  
No grief did ever come so near thy heart  
As when thy lady and thy true love died, 
Upon whose grave thou vow’dst pure chastity.4 (4.3.23-26) 

    Proteus follows Silvia, and the page (Julia) follows him. In the forest, the outlaws capture Silvia, but Proteus rescues her and resumes his wooing. He threatens to force himself upon her if she does not yield. Hidden nearby, Valentine hears everything and shows himself, then orders Proteus to unhand Silvia. Shame and guilt overwhelm Proteus, and he begs forgiveness. Valentine not only absolves him but, as proof of his good will, reverses himself and says he will allow Proteus to woo Silvia.  
    Upon hearing Valentine offer Silvia to Proteus, Julia, still in disguise as the page of Proteus, faints. When she comes to, she reveals her true identity, and Proteus decides that it is she he loves after all. Julia then forgives him. How will the Duke of Milan receive all of this news? Everyone soon finds out; for the duke, too, has been searching for Silvia and, with Thurio in tow, comes upon Valentine and the others. When Thurio attempts to claim Silvia as his, Valentine challenges him: “Thurio, give back, or else embrace thy death” (5.4.137). Thurio cowers and backs off, saying, 
Sir Valentine, I care not for her, I;  
I hold him but a fool that will endanger  
His body for a girl that loves him not:  
I claim her not, and therefore she is thine. (5 4.143-146) 
The duke strongly rebukes Thurio, then turns to the brave Valentine and says, 
Now, by the honour of my ancestry,  
I do applaud thy spirit, Valentine,  
And think thee worthy of an empress’ love:  
Know then, I here forget all former griefs,5  
Cancel all grudge, repeal thee home again,  
Plead a new state in6 thy unrivall’d merit,  
To which I thus subscribe: Sir Valentine,  
Thou art a gentleman and well deriv’d;  
Take thou thy Silvia, for thou hast deserv’d her. (5.4.150-158)

    The play ends happily as Valentine and Proteus prepare for a double wedding followed by “one feast, one house, one mutual happiness” (5. 4. 184).. 

Climax 
    The climax of a play or another narrative work, such as a short story or a novel, can be defined as (1) the turning point at which the conflict begins to resolve itself for better or worse, or as (2) the final and most exciting event in a series of events. The climax of The Two Gentlemen of Verona occurs, according to the first definition, in Act 5, when Valentine defends Silvia against the advances of Proteus, shames him, and causes him to repent his untoward behavior, both to Silvia and to Julia. Consequently, Valentine is reunited with Silvia and Proteus with Julia.  
    According to the second definition, the climax occurs later in the same act and scene when Valentine faces down Thurio, saying: 
Thurio, give back, or else embrace thy death;  
Come not within the measure of my wrath;  
Do not name Silvia thine . . . . (5.4.137-139) 
When Thurio backs off, the Duke—impressed with Valentine’s bold defense of his daughter—has a change of heart: 
I do applaud thy spirit, Valentine,  
And think thee worthy of an empress’ love:  
Know then, I here forget all former griefs,7  
Cancel all grudge, repeal thee home again. (5.4.151-154).

Themes 

    True love is steadfast and strong while infatuation is fickle and weak. Valentine and Silvia never waver in their love for one another. Nor does Julia in her love for Proteus. But Proteus, who is infatuated with Silvia, hardly blinks when he abandons his suit for her to return to Julia. 
    Disloyalty and perfidy cannot defeat constancy. Proteus (whose very name—that of a Greek god who could change his appearance at will—symbolizes caprice and inconstancy) betrays both Valentine and Julia when he woos Silvia on a whim. But he discovers his flighty, immature behavior is no match for true fidelity. 
    Father does not always know best. Silvia's father, the Duke of Milan, attempts to force her to marry Thurio, a haughty buffoon. Silvia refuses—and rightly so—for her heart and soul are with Valentine. 
    Forgive and forget. Valentine and Julia forgive Proteus for his reprehensible behavior, and the Duke of Milan pardons the outlaws.  
    Lovers exhibit irrational, unpredictable, or silly behavior. Proteus first loves Julia, then Silvia, then Julia. Julia wears a disguise to be close to Proteus. Silvia dictates loves letters to Valentine, pretending they are for someone else when they are really for Valentine.  
    Nature heals. Notice that everyone who enters the forest becomes better for the experience. Shakespeare used the "nature heals" theme in other plays as well, including A Midsummer Night's Dream, Love's Labour's Lost, As You Like It, and The Tempest. But nature does not always behave well in Shakespeare. King Lear found that out during a raging storm, and Macbeth fell victim to the trees of Birnham Wood. 

Use of Disguises 
    Time and again, Shakespeare disguises women as men to further a plot. For example, In All's Well That Ends Well, Helena wears the attire of a pilgrim to get close to Bertram. In Cymbeline, Imogen becomes a page boy to win back Posthumous. Julia also becomes a page boy in The Two Gentlemen of Verona, as does Viola in Twelfth Night. In The Merchant of Venice, Portia disguises herself as a male judge to save the friend of her lover in a court of law. Rosalind, in As You Like It, dons the garb of a man to become a shepherd as she seeks out her love, Orlando. In each of these plays, the women disguised as men eventually reveal their true female identities All of this could have been quite confusing to playgoers in Shakespeare's day, for only men played women's roles. Thus, in the above-mentioned plays, men played women disguised as men who at some point doffed their male identities to reveal themselves as females. 

Characterization Blunder? 
    Shakespeare appears to commit a serious characterization blunder in the fourth scene of Act 5, when Valentine confronts Proteus after the latter attempts to force himself on Silvia. Valentine first declares that he will never again trust Proteus, a declaration that is entirely understandable. A moment later, he forgives Proteus his transgressions after Proteus expresses remorse. That change of heart, too, is understandable. After all, Proteus had been his best friend. Moreover, Proteus's contrition seems genuine, and it may signal a rejection of his fickle ways and the beginning of his maturation.  
    What is not understandable, however, is that Valentine—in reconciling with Proteus—actually offers him Silvia as a goodwill token. Here is the dialogue that takes place: 
        PROTEUS   My shame and guilt confounds me. 
        Forgive me, Valentine: if hearty sorrow 
        Be a sufficient ransom8 for offence, 
        I tender9 't here; I do as truly suffer 
        As e'er I did commit. 
        VALENTINE   Then I am paid; 
        And once again I do receive thee honest. 
        Who by repentance is not satisfied 
        Is nor of heaven nor earth, for these are pleased. 
        By penitence the Eternal's wrath's appeased: 
        And, that my love may appear plain and free, 
        All that was mine in Silvia I give thee. (5. 4. 80-91) 
 
    Here, Shakespeare seems to go too far in asking his audience to believe this surprising reversal. Would Valentine—deeply in love with Silvia and, just moments before, ready to cancel his friendship with Proteus—really surrender her to Proteus as a kind of peace offering? Common sense says no. However, at least one Shakespeare scholar says Valentine's gesture is not at all surprising: "It was a common belief in Shakespeare's time that the love of a man for his friend, especially his 'sworn brother,' was stronger and nobler than the love of man for woman" (Harrison, G.B., ed. Shakespeare: The Complete Works. New York: Harcourt, 1952, Page 366). Other scholars maintain that the last line of the passage—All that was mine in Silvia I give thee—actually means this: I love you as a friend in the same way that I love Sylvia as my future wife. 

Verbal Razzle-Dazzle 
    Shakespeare wrote The Two Gentlemen of Verona very early in his career, about 1592 or 1593, when he was still in his twenties and his writing was in its formative stage. In this period of his development, he relied primarily on the flash and panache of clever wordplay—rather than character growth and subtle language—to impress audiences and critics. Consequently, The Two Gentlemen of Verona contains many puns, quips, and other forms of verbal razzle-dazzle.  
    The following exchange in the second scene of Act 1, between Julia and her servant, Lucetta, is an example of the repartee in the dialogue. Here is the context: When Julia asks which gentleman of Verona would be best for her, Lucetta selects Proteus. 
JULIA...And wouldst thou have me cast my love on him? 
LUCETTA...Ay, if you thought your love not cast away. 
JULIA...Why he, of all the rest, hath never moved me. 
LUCETTA Yet he, of all the rest, I think, best loves ye. 
JULIA...His little speaking shows his love but small. 
LUCETTA...Fire that's closest kept burns most of all. 
JULIA...They do not love that do not show their love. 
LUCETTA...O, they love least that let men know their love. (1. 2. 27-34)

Epigrams
    In the dialogue of The Two Gentlemen of Verona and other Shakespeare plays, characters sometimes speak wise or witty sayings couched in memorable figurative language. Although these sayings are brief, they often express a profound universal truth or make a thought-provoking observation. Such sayings are called epigrams or aphorisms. Because many of Shakespeare’s epigrams are so memorable, writers and speakers use them again and again.  
    Many of Shakespeare's epigrams have become part of our everyday language; often we use them without realizing that it was Shakespeare who coined them. Examples of phrases Shakespeare originated in his plays include “all’s well that ends well,” “[every] dog will have its day,” “give the devil his due,” “green-eyed monster,” “my own flesh and blood,” “neither rhyme nor reason,” “one fell swoop,” “primrose path,” “spotless reputation,” and “too much of a good thing.” 
    Among some of the more memorable sayings in The Two Gentlemen of Verona are the following:

Home-keeping youth have ever homely wits. (1.1.4) 
Valentine, eager to leave home and see the world, uses a play on words (home-keeping, homely) and alliteration (home, have, and homely) to express a truth: confining oneself to the same environment day in and day out dulls the wits (intelligence, perception, ability to think).
O! they love least that let men know their love. (1.2.34) 
Paradox and alliteration help make this line memorable. The paradox occurs when Lucetta tells Julia that the women who love least are the women who express their love. Alliteration occurs in love, least, let, and love.

His years but young, but his experience old;  
His head unmellow’d, but his judgment ripe. (2.4.60-61) 
Valentine praises Proteus to the Duke of Milan, using antithesis and paradox to make his point.

How use doth breed a habit in a man. (5.4.3) 
Valentine observes that repeated use of—or exposure to—anything can result in a habit. He speaks these words when he becomes used to living in the peace and solitude of the forest. He realizes, however, that he needs to break his “habit” and rejoin the company of people—in particular Silvia—who can fill a void within him.

Symptoms of Love 
    What does it feel like to be in love? Speed, Valentine's servant, observes that Valentine is in love with Silvia. When Valentine asks Speed how he came to that conclusion, Speed uses a series of similes to describe the symptoms of love (all of which afflict Valentine). Here is what Speed tells Valentine:
Marry,10 by these special marks:11 first, you have 
learned, like Sir Proteus, to wreathe12 your arms, 
like a malecontent;13 to relish a love-song, like a  
robin-redbreast; to walk alone, like one that had 
the pestilence; to sigh, like a school-boy that had 
buried her grandam; to fast, like one that takes 
diet; to watch like one that fears robbing; to 
speak puling,14 like a beggar at Hallowmas.15  (2.1.18-28)

Notes

1.....chid at: Scolded. 
2.....ungargerted: Without garters (devices that keep stockings from drooping). 
3.....hose: Stockings. 
4.....Upon . . . chastity: Eglamour took a vow of celibacy after his beloved died. 
5.....griefs: Grievances, complaints. 
6.....Plead . . . in: Have a new insight into.  
7.....griefs: Grievances, complaints. 
8.....ransom: Reparation, atonement. 
9.....tender: Give. 
10...Marry: By the Virgin Mary. 
11...marks: Signs, symptoms. 
12...wreathe: Fold. 
13...malecontent: Play on words (like a malcontent or like a male who is content). 
14...puling: Whimpering, whining. 
15...Hallowmas: All Saints' Day (November 1).

Study Questions and Essay Topics

The name Valentine comes from a Latin word, valentia, meaning worth, capacity, or value. Is this an appropriate name for the young man in love with Silvia? 
Which character in the play do you most admire? Which character do you least admire?
In Greek mythology, Proteus was a minor sea god who could change his shape at will. Why is Proteus an apt name for Valentine’s friend? Suggestion: Look up the noun Proteus and the adjective protean in a good dictionary. 
After Valentine goes to the duke’s court at Milan to better himself, Antonio orders his son, Proteus, to do the same. Antonio’s servant, Panthino, had advised Antonio to send him there. Does Proteus, in fact, "better himself" at the court? Explain your answer.
Write an essay centering on the differences between true love and infatuation in Shakespeare’s plays. 
Is Proteus truly in love with Julia at the end of the play? 
Which characters in the play consistently exhibit good judgment? Which characters exhibit bad judgment? 
In an essay, explain how the presence of minor characters—such as servants and outlaws—helps to expose and develop the major characters.


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[转载]天主教、东正教、基督新教的联系与区别

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    联系
    1.基督教是一个总称,天主教、东正教、基督新教是三大分支,在我国习惯上称基督新教为基督教。 
    2.三者都相信耶和华是唯一真神、耶稣基督是救世主。 
    3.三者都相信原罪,相信基督的死为世人赎了罪。 
    4.三者都相信世界将有末日,届时所有人将复活,接受神(天主、上帝)的审判。 
    5.三者都以《圣经》即新约旧约为经典。 
    区别
    1.历史不同。
    最初基督教只有一个教会,1054年西部、东部教会分裂,以罗马为中心的西部教会自称“公教”即天主教,以君士坦丁堡为中心的东部教会称“正教”即东正教。
    16世纪,西欧和北欧发生宗教改革运动,从天主教中分离出革新教会,统称基督新教。 
    2.教会形式不同。
    天主教至今仍保留统一的教会,自称“至圣、至公、至一,从宗徒传下来的教会”,罗马教廷为世界天主教中心。
    东正教原有以居士坦丁为中心的统一教会,随着东罗马帝国的灭亡,各国教会不相统属,但驻在今天土耳其伊斯坦布尔的君士坦丁牧首保留“普世牧首”的称号。
    新教从产生即无统一教会,主要的新教派别有加尔文宗、路德宗、英国国教(圣公会)等。 
    3.宗教语言不同。
    天主教以拉丁语为宗教语言,但现在也允许各地以民族语言祈祷。
    东正教最初以希腊语为宗教语言,但因为现在已不存在统一的东正教会,所以一般用各民族语言。
    新教从产生之日即主张用各民族语言为宗教语言。 
    4.对教会与神职的认识不同。
    天主教、东正教认为,人必须通过教会并由神职人员才可以与神沟通,故教会与神职具有神圣性。
    新教则认为,人可以凭借信仰与神沟通,不必通过教会与神职人员,教会只是教徒的团体,神职只是承担教会工作的教徒。 
    5.对神职的要求不同。
    天主教的神职人员不可以结婚。
    东正教原也如此,但现在已不严格。
    新教的神职完全可以结婚。
    天主教、东正教神职须为男性,女性只可为修女。
    新教女性也可以为神职。 
    6.神职的称谓不同。
    天主教为教宗(教皇)、枢机主教(红衣主教)、主教、神父。
    东正教为牧首、神父。
    新教称牧师、长老(加尔文宗)。 
    7.对圣母、圣徒的认识不同。
    天主教、东正教崇拜圣母玛利亚和圣徒,教堂设圣母、圣徒像。
    新教认为圣母、圣徒都是人,不能崇拜,设置圣像是偶像崇拜,有悖《圣经》。 
    8.圣事不同。
    东正教、天主教有7件圣事,即圣洗、坚振、圣体、告解、神品、终傅、婚配。
    新教只保留了两件圣事:圣洗、圣餐(圣体)。 
    9.仪式不同。
    天主教举行洗礼时采取注水式(往头上倒水),举行弥撒成圣体时用无酵饼,神职人员领圣体、圣血,信徒一般只领圣体,祈祷时划圣号以整个手掌在胸前自上而下、自左向右划十字。
    东正教举行洗礼时采取浸水式,举行弥撒成圣体时用发酵饼,神职人员和信徒领圣体、圣血,祈祷时划圣号以3个手指(拇指、食指、中指)在胸前自上而下、从右向左划十字。
    新教的洗礼一般是注水式,有时也采取浸水式,圣餐是纪念式的,不像东正教、天主教那样认为基督体血的真实临在,祈祷时不划圣号。 
    10.节日不同。
    东正教的一些节日与天主教节日大体相同,只是称呼上有区别。
    天主教的节日分为四大节日(也称四大瞻礼,即复活节、圣诞节、圣神降临节、圣母升天节)、一般节日(如耶稣升天节、主显节、天主圣三节、预报救主降生节、耶稣圣体圣血节、耶稣圣心节、普世君王节、圣母无染原罪节、天主之母节等等)、圣徒们的纪念日等,最大最重要的节日也是复活节。
    新教只有复活节和圣诞节。 
    11.历法不同。
    天主教、基督新教用公历。
    东正教用儒略历。 
    12.《圣经》的版本不同。
    东正教和基督新教对于旧约中的《多俾亚传》、《友弟德传》、《玛加伯传》(上、下)、《智慧书》、《德训篇》、《巴路克》认为是次经,不予收录。
    天主教则完全采用。故天主教版《圣经》比东正教、基督新教的《圣经》多7卷。

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