【摘要】：濟(jì)慈在其詩作《希臘古甕頌》里說：“美即真，真即美”。人類對于美的追求和表達(dá)常常訴諸于音樂、舞蹈、美術(shù)、文學(xué)等各種藝術(shù)形式，而這些藝術(shù)形式所力求的情趣各異的美的外現(xiàn)之下又總是有共通、相融的內(nèi)涵與實(shí)質(zhì)。換句話說，偉大的藝術(shù)作品，基于其藝術(shù)形式，會作用于人的相應(yīng)感官，但是在感官刺激享受之后往往會給人帶來滌蕩心靈、滋養(yǎng)靈魂的感悟和啟迪，而這種感悟和啟迪正是源于作品蘊(yùn)含的“美”之中閃爍的真理。如果某個藝術(shù)領(lǐng)域的作品不斷成為其他藝術(shù)領(lǐng)域創(chuàng)作者的靈感來源，那么這個作品中所蘊(yùn)含的“美”就不僅僅是一種光彩璀璨、懾人心魄的表象的美，而是一種于無數(shù)細(xì)微處折射出真理的、永恒的“美”。這種美與真理的交織是藝術(shù)家們傾盡畢生所追求的狀態(tài)，也是一種超脫出具體藝術(shù)形式局限的神圣的感召力。 從這一點(diǎn)來講，莎士比亞的戲劇是具備無窮魅力的藝術(shù)作品。對于普通讀者，他的作品不僅可以帶來源于認(rèn)同的愉悅，而且具備啟迪心智、解放靈魂的功效；對于各個領(lǐng)域的藝術(shù)創(chuàng)作者，則是無數(shù)音樂、舞蹈、表演等偉大藝術(shù)作品的母體。而這其中，最引人矚目的是莎士比亞的《羅密歐與朱麗葉》。僅在音樂領(lǐng)域，它便引燃了柏遼茲、普羅柯菲耶夫、柴可夫斯基等音樂巨匠的創(chuàng)作激情，催生出諸篇不朽的音樂作品，類似于這種文學(xué)作品對于音樂產(chǎn)生的宏大影響力應(yīng)該是絕無僅有的。同時，作為最活躍于舞臺的莎劇作品之一，它是舞蹈、表演等領(lǐng)域的寵兒，被巴黎國家歌劇院頌贊為“舞蹈家的夢想”。正是《羅密歐與朱麗葉》的這種熊熊燃燒于音樂、舞蹈、表演等領(lǐng)域的旺盛不息的生命力，引發(fā)了我對這部經(jīng)典的愛情劇進(jìn)行細(xì)讀、欣賞和分析的熱情。 但是，正像詩人艾略特所言，若想對莎士比亞的某一部作品有一個全面、到位的認(rèn)識和把握，就得熟悉他前前后后的其余作品。換句話說，必須在了解莎士比亞的所有作品之后，才可能真正了解他其中的某一部作品。這當(dāng)然是理想的狀態(tài)，但對我的啟迪是，我應(yīng)該把他同時期的、相近題材的戲劇放在一起進(jìn)行參照性分析和研究，這樣才可能在更深的層次挖掘出莎士比亞筆下愛情故事的“美”之所在，感受、領(lǐng)悟這位人類最偉大的劇作家如何將愛情故事“講”到極致，以期進(jìn)而探討作品所折射出的一些愛情“真理”。因此，本論文最終選定了莎士比亞在1590至1600年間創(chuàng)作的三部以愛情為主題的戲劇作為研究對象，分別是：《愛的徒勞》，《仲夏夜之夢》和《羅密歐與朱麗葉》。在對這三部劇的分析過程中，會引入莎翁《十四行詩》和其他一些戲劇作為對比、參照和例證。 經(jīng)典的音樂作品，總是博得一代又一代表演大師們的青睞，他們不甘心止于前人的偉大努力、也不懾于他人的精彩表演，而是通過讓作品與具備特質(zhì)的自我進(jìn)行美妙結(jié)合產(chǎn)生的獨(dú)特魅力，在音樂表演史上留下自己或深或淺的印痕。在文學(xué)批評領(lǐng)域，情形亦然。數(shù)百年來，對于莎翁的作品，文學(xué)評論家們從不同的視角、采用不同的批評手法已經(jīng)進(jìn)行了深入的探索和演繹，其中包括文學(xué)新批評主義、結(jié)構(gòu)主義、解構(gòu)主義、心理分析、女性主義等等解讀，各門各類的專家、學(xué)者為全世界文學(xué)愛好、研究者提供了浩如煙海的作品評論。對于我而言，文學(xué)新批評主義之于莎士比亞作品解讀，就像德奧派的演奏風(fēng)格之于巴赫或貝多芬的音樂，它是起源和根本，是為最大程度地忠實(shí)還原作品風(fēng)貌、挖掘作品精神而做的努力。而文學(xué)作品的語言不僅是情緒、思想的外現(xiàn)，也是實(shí)現(xiàn)作者創(chuàng)作意圖的最基本的媒介。因此，文學(xué)新批評主義是本論文中占主導(dǎo)地位的批評理論指導(dǎo)，論文通過對這三部戲劇的語言的細(xì)讀和分析來解讀莎士比亞對于愛情故事的闡釋。 本論文由五部分組成。第一部分是引言。在引言中介紹了選擇這三部戲劇的緣由和依據(jù)，對這三部作品的現(xiàn)有研究成果進(jìn)行了梳理和概括，并提出本論文主要采用的文學(xué)批評理論。論文主體部分有三個章節(jié)，逐一分析了《愛的徒勞》、《仲夏夜之夢》和《羅密歐和朱麗葉》三部戲劇。在對每部戲劇的分析和詮釋中，均以語言為切入點(diǎn)，從“主要語言特點(diǎn)”、“語言與人物刻畫”以及“語言與主題”三個角度對戲劇進(jìn)行了比較細(xì)致、深入的分析。論文的結(jié)尾部分對全文進(jìn)行了回顧，并結(jié)合三個章節(jié)對戲劇的分析，提煉出三部作品交匯、互映之處，從美學(xué)的角度闡述作品折射出的永久魅力。 在第一章中，對《愛的徒勞》的兩個主要語言特點(diǎn)進(jìn)行了深入、細(xì)致的分析：詞匯的極致豐富和并列句的豪華排場�！稅鄣耐絼凇肥侨孔髌分�，或者是在莎士比亞的所有作品當(dāng)中，最炫技語言的戲劇。所謂的“炫技”，從更準(zhǔn)確地意義上說，是指劇中人物的刻意的自我展示，而非劇作者本人的語言操練。幾乎作品中的每個人物，從國王到奴仆都無可救藥地感染了炫耀自己語言才能的習(xí)性，他們像孔雀展屏般、不失時機(jī)地伸展自己五彩豐滿的語言的羽毛。只可惜，在自然界里，羽毛越漂亮就越可以吸引異性，可是在人的世界里，漂亮的語言外表下一定要有能足夠打動人心的內(nèi)容，才能博得愛人的認(rèn)可和傾慕。從這個角度講，《愛的徒勞》便是語言的徒勞。同時，論文通過對主要人物的語言進(jìn)行分析，闡明該劇中男、女兩組人物的團(tuán)體共同特質(zhì)大于個體差異，即四位男性和四位女性其實(shí)是各作為一個整體來被刻畫的，他們看似相異的語言和表達(dá)并沒有凸顯各自的迥異性格，而是強(qiáng)化了其所屬的整體的特點(diǎn)。而這種整體的人物刻畫非常有效地實(shí)現(xiàn)了對其主題的表達(dá)，即愛情產(chǎn)生于第一眼、愛情無往不勝、以及愛情需要考驗。 在第二章中，也是首先從詞匯和句法的角度分析了《仲夏夜之夢》的語言特點(diǎn)。從某種意義上說，《仲夏夜之夢》從另一個側(cè)面印證了《愛的徒勞》中的觀點(diǎn)：即語言的過度奢華只會彰顯心靈深處的“真實(shí)”的匱乏。萊散特和第米屈律斯在“愛[>花”的作用下，自以為愛上了別人時，求愛的語言里溢滿了“絲綢般的詞匯”，極盡贊美之能事，可是這在讀者或者他們傾訴的對象聽來，是那么的夸張和不真實(shí)。同時，論文對語言的節(jié)奏感和音樂感也進(jìn)行了探討。在人物刻畫方面，該戲劇與《愛的徒勞》的相通之處在于兩對年輕的男、女主角都是可以角色對換的，即兩位男性和兩位女性分別在出身、性格、對于愛情的態(tài)度等方面表現(xiàn)出極大的互通性，而正是這種互通性從根本上實(shí)現(xiàn)和表達(dá)了該劇的一個主題：愛情的不確定性和不穩(wěn)定性。另外，論文對該劇的另一個主題進(jìn)行了分析和詮釋，即婚姻是愛情的最終指向。 在第三章中，首先從詞匯、交互對白、意象三個方面分析了《羅密歐與朱麗葉》的語言特點(diǎn)，進(jìn)而分析了戲劇的人物刻畫和主題。與前面兩部戲劇不同的是，《羅密歐和朱麗葉》語言的震懾力在很大程度上源于反差和對比，這包括多對反義詞貫穿全劇的使用和一系列意象的嵌入。論文對羅密歐的語言表達(dá)也進(jìn)行了分析。他在遇到朱麗葉之前，苦苦地陷在一廂情愿的愛情的沼澤中無法自拔，但是他對所謂愛情的哀鳴更大程度上是詞藻的堆砌、句法的鋪張，是看似深厚的膚淺，這恰恰反映了他的自戀和不成熟。而當(dāng)他無意中涉入真愛的欲河中時，他的表達(dá)頓時變得清新流暢、純樸優(yōu)美，直白卻不乏智慧，繾綣而飽含真情。在人物刻畫方面，本論文認(rèn)為，與其語言特點(diǎn)相同，這部戲劇的人物塑造也是通過對比和反差來實(shí)現(xiàn)的。羅密歐和朱麗葉迥然于周遭的男男女女，凸顯了兩人之戀情的清純、熱烈和高潔。手段服務(wù)于目的，不同的人物手法有效地烘托了不同的寫作意圖、傳遞了不同的情緒、講述了不同的愛情故事、闡釋了不同的愛情主題。在我看來，《愛的徒勞》和《仲夏夜之夢》有一個共同點(diǎn)，即它們更多的是側(cè)重于表達(dá)、強(qiáng)調(diào)某一個愛情觀點(diǎn)或?qū)矍槟骋粋€側(cè)面進(jìn)行的探索，而非記述某一朵愛情玫瑰從含苞到怒放的珍奇過程，因而它們對于人物刻畫采用的手法有別于《羅密歐和朱麗葉》。前者用的是人物的“同類”并置，后者用的是人物的“另類”獨(dú)處；前者以“規(guī)模排場”制勝，后者靠“對比反差”出奇。撇開三部作品各自具備的獨(dú)特藝術(shù)感染力，就愛情故事本身而言，羅密歐與朱麗葉的愛情獨(dú)獨(dú)具有極為強(qiáng)大的震撼力，它創(chuàng)造了一個不可逾越的高度，并永遠(yuǎn)在制高點(diǎn)上散發(fā)迷人的光彩。而這在很大程度上，，是通過人物的強(qiáng)烈反差直接和間接取得的效果。在對愛情主題的探討方面，本論文依循愛情發(fā)展的自然過程，總結(jié)出該劇的主要的觀點(diǎn)和主題，其中包括“愛情產(chǎn)生于第一眼”、“愛情的力量壓倒一切”、“愛情的路途從不坦順”、“愛情通過婚姻變得圣潔”和“愛情在欲與靈的結(jié)合中實(shí)現(xiàn)”等。 愛情是復(fù)雜而微妙的，更何況是莎士比亞筆下的愛情故事。該論文通過對這三部彌漫著截然不同的情緒、展現(xiàn)了迥異的愛情狀態(tài)、結(jié)束于或悲、或喜、或懸而未決的愛情可能性的作品進(jìn)行互相關(guān)聯(lián)、互相參照性的研究，解讀莎士比亞如何對“愛情”這一主題進(jìn)行思考以及如何在其戲劇作品中通過各種層面、角度及創(chuàng)作技巧將他對愛情的理解和詮釋進(jìn)行了試驗、探討和實(shí)現(xiàn)。本文作者希冀通過對這三部戲劇的語言、人物刻畫以及愛情主題的探討，在可能的范圍內(nèi)更近一步靠向莎士比亞這位偉大的語言巨匠那深不可測的內(nèi)心。畢竟，那里是“美”和“真理”共同繁榮的圣地，是無數(shù)莎劇愛好者和莎翁崇拜者最渴望到達(dá)的朝拜地，雖然它永遠(yuǎn)都是越靠近卻發(fā)現(xiàn)越遙遠(yuǎn)的目的地。
[Abstract]:In his poem Ode to the Ancient Greek Urn, Keats said, "Beauty is truth, truth is beauty." Human beings'pursuit and expression of beauty often resort to music, dance, art, literature and other artistic forms, and these artistic forms strive for the beauty of different tastes under the external expression of the same, the connotation and essence of integration.In other words, great. A work of art, based on its artistic form, acts on the corresponding senses of the human being, but after sensory stimulation and enjoyment, it tends to bring about a feeling and enlightenment that cleanses the soul and nourishes the soul, and this feeling and enlightenment is precisely derived from the truth glittering in the "beauty" contained in the work. The source of inspiration for artists in the field of art, the "beauty" contained in this work is not only a kind of brilliant and awe-inspiring beauty, but also a kind of eternal "beauty" which reflects the truth in innumerable subtleties. The interweaving of beauty and truth is the state that artists have been pursuing all their lives, and is also a kind of super-beauty. Out of the divine charisma of specific artistic forms.
From this point of view, Shakespeare's plays are works of art with infinite charm. For ordinary readers, his works not only bring joy from identification, but also have the effect of enlightening the mind and liberating the soul; for artists in all fields, they are the mother of countless great works of art, such as music, dance, performance and so on. Among them, Shakespeare's Romeo and Juliet is the most remarkable. Only in the field of music, it has ignited the creative passion of Berlioz, Prokofiev, Tchaikovsky and other music masters, resulting in immortal musical works, similar to this literary works for music should be absolutely immortal influence. At the same time, as one of the most active works of Shakespeare's opera on the stage, it is the darling of dance, performance and other fields, praised by the National Opera House of Paris as "the dream of the dancer". It is the "Romeo and Juliet" burning in music, dance, performance and other fields of vitality, caused me to this classic. Love plays a passion for close reading, appreciation and analysis.
But, as the poet Eliot said, if one of Shakespeare's works is to have a comprehensive, in-place understanding and grasp, one must be familiar with the rest of his works before and after. In other words, one of his works can only be truly understood after all of Shakespeare's works have been known. But what inspires me is that I should put his contemporary dramas with similar themes together for reference analysis and research, so that I can dig deeper into the beauty of Shakespeare's love stories, feel, and understand how the greatest playwright of mankind "tells" love stories to the extreme. Therefore, this thesis finally chooses three plays written by Shakespeare between 1590 and 1600 with the theme of love as the object of study, namely, Love in vain, Midsummer Night's Dream and Romeo and Juliet. In contrast to Shakespeare Sonnet and other plays, reference and illustration.
Classical music works have always won the favor of masters from generation to generation. They are unwilling to stop at the great efforts of their predecessors and are not deterred by the wonderful performances of others. Instead, they leave their own deep or shallow impressions in the history of music performance through the unique charm of the wonderful combination of their works and their special selves. In the field of literary criticism, the same is true. Over the centuries, literary critics have explored and deduced Shakespeare's works from different perspectives, using different critical techniques, including new literary criticism, structuralism, deconstruction, psychoanalysis, feminism, and so on. For me, literary neo-criticism is to Shakespeare what the German-Austrian style of play is to Bach or Beethoven's music. It is the origin and the root of it. The language of literary works is not only the expression of emotion and thought, but also the most basic medium to realize the author's creative intention. Therefore, literary neo-criticism is the dominant theory of criticism in this paper.
This thesis consists of five parts. The first part is the introduction. In the introduction, the reasons and basis of choosing these three plays are introduced, the existing research results of these three works are summarized and the literary criticism theory adopted in this paper is put forward. Dream of the Night and Juliet are three dramas. In the analysis and interpretation of each drama, the author takes language as the breakthrough point, and makes a detailed and in-depth analysis of the drama from the three angles of "main linguistic features", "language and characterization" and "language and theme". Gu, combined with the analysis of the three chapters of the drama, extracts the intersection of the three works, reflecting each other, from the aesthetic point of view of the work reflects the permanent charm.
In Chapter One, the two main linguistic features of Love's Futility are analyzed in depth and in detail: the extreme richness of vocabulary and the luxury of juxtaposition. Almost every character in the play, from the king to the slave, is hopelessly infected with the habit of showing off their language abilities. Like peacocks, they stretch out their colorful plump language feathers at every opportunity. The more beautiful a feather is, the more attractive it is to the opposite sex. But in the human world, a beautiful language must have something appealing enough to win the recognition and admiration of a lover. From this point of view, the futility of love is the futility of language. The group characteristics of the two groups of women are more common than the individual differences, that is, four men and four women are depicted as a whole. Their seemingly different language and expression do not highlight their different personalities, but strengthen the characteristics of the whole to which they belong. The expression of the theme is love at first sight, love invincible, and love needs trial.
In the second chapter, the linguistic features of A Midsummer Night's Dream are first analyzed from the lexical and syntactic perspectives. In a sense, A Midsummer Night's Dream confirms the view in Love's Futility that the excessive luxury of language only reveals the lack of "truth" in the heart. Under the influence of love [> flower], the language of courtship is full of "silk words" and full of praise, but it is so exaggerated and untrue to the readers or the objects they confide in. At the same time, the paper also discusses the rhythm and musical sense of language. The similarity between the play and the futility of love lies in the fact that the two young men and the heroines can be replaced by each other, that is, the two men and the two women show great interoperability in terms of origin, personality and attitude towards love, and it is this interoperability that fundamentally realizes and expresses one of the themes of the play: love. Uncertainty and instability. In addition, the thesis analyzes and interprets another theme of the play, that is, marriage is the ultimate direction of love.
In the third chapter, the linguistic features of Romeo and Juliet are analyzed from three aspects: vocabulary, interactive dialogue and imagery, and then the characterization and theme of the play are analyzed. The use of the play and the embedding of a series of imagery. The paper also analyzes Romeo's language expression. Before he met Juliet, he was trapped in the swamp of wishful love, but his so-called sadness for love is to a greater extent a pile of words and algae, syntactic extravagance, seemingly deep superficiality, this. It just reflects his narcissism and immaturity. When he inadvertently gets involved in the desire for true love, his expression becomes fresh and smooth, simple and graceful, straightforward but full of wisdom, misty and full of true feelings. Romeo and Juliet are quite different from the men and women around them. They highlight the purity, warmth and purity of their love. Means serve the purpose. Different characters effectively set off different writing intentions, convey different emotions, tell different love stories and explain different love themes. Love's futility and Midsummer Night's Dream have one thing in common, that is, they are more focused on expression, emphasizing a certain point of view of love or the exploration of a certain side of love, rather than describing the exotic process of a love rose from budding to blooming, so their approach to characterization is different from Romeo and Julie's. Leave aside the unique artistic appeal of each of the three works, Romeo and Juliet's love story itself is extremely strong. It creates an insurmountable height and always gives off a fascinating glory on the top. To a large extent, it is achieved directly and indirectly through the strong contrast between the characters. In the study of the theme of love, this paper follows the natural process of the development of love and summarizes the main points of the play. The themes include "love comes from the first eye", "the power of love overwhelms everything", "the road of love is never smooth", "love becomes holy through marriage" and "love is realized in the union of desire and spirit".
Love is complex and delicate, let alone the love stories written by Shakespeare. Through these three works, which are filled with distinct emotions and show different states of love, this paper makes a cross-related and cross-referential study of Shakespeare's works which end in either sorrow, or joy, or the pending possibility of love. The author of this paper hopes to make a further study of the language, characterization and themes of love in these three plays. Depend on the unfathomable heart of Shakespeare, the great master of language. After all, it is the holy land where "beauty" and "truth" flourish together, the place of worship that countless Shakespeare fans and Shakespeare worshippers most desire to reach, although it always gets closer and finds more.
【學(xué)位授予單位】：上海外國語大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2012
【分類號】：I561.073

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