阐释爱情故事内涵的语言巨匠：莎士比亚《爱的徒劳》、《仲夏夜之梦》、《罗密欧与朱丽叶》研究
发布时间：2018-08-27 20:16
【摘要】：济慈在其诗作《希腊古瓮颂》里说：“美即真，真即美”。人类对于美的追求和表达常常诉诸于音乐、舞蹈、美术、文学等各种艺术形式，而这些艺术形式所力求的情趣各异的美的外现之下又总是有共通、相融的内涵与实质。换句话说，伟大的艺术作品，基于其艺术形式，会作用于人的相应感官，但是在感官刺激享受之后往往会给人带来涤荡心灵、滋养灵魂的感悟和启迪，而这种感悟和启迪正是源于作品蕴含的“美”之中闪烁的真理。如果某个艺术领域的作品不断成为其他艺术领域创作者的灵感来源，那么这个作品中所蕴含的“美”就不仅仅是一种光彩璀璨、慑人心魄的表象的美，而是一种于无数细微处折射出真理的、永恒的“美”。这种美与真理的交织是艺术家们倾尽毕生所追求的状态，也是一种超脱出具体艺术形式局限的神圣的感召力。 从这一点来讲，莎士比亚的戏剧是具备无穷魅力的艺术作品。对于普通读者，他的作品不仅可以带来源于认同的愉悦，而且具备启迪心智、解放灵魂的功效；对于各个领域的艺术创作者，则是无数音乐、舞蹈、表演等伟大艺术作品的母体。而这其中，最引人瞩目的是莎士比亚的《罗密欧与朱丽叶》。仅在音乐领域，它便引燃了柏辽兹、普罗柯菲耶夫、柴可夫斯基等音乐巨匠的创作激情，催生出诸篇不朽的音乐作品，类似于这种文学作品对于音乐产生的宏大影响力应该是绝无仅有的。同时，作为最活跃于舞台的莎剧作品之一，它是舞蹈、表演等领域的宠儿，被巴黎国家歌剧院颂赞为“舞蹈家的梦想”。正是《罗密欧与朱丽叶》的这种熊熊燃烧于音乐、舞蹈、表演等领域的旺盛不息的生命力，引发了我对这部经典的爱情剧进行细读、欣赏和分析的热情。 但是，正像诗人艾略特所言，若想对莎士比亚的某一部作品有一个全面、到位的认识和把握，就得熟悉他前前后后的其余作品。换句话说，必须在了解莎士比亚的所有作品之后，才可能真正了解他其中的某一部作品。这当然是理想的状态，但对我的启迪是，我应该把他同时期的、相近题材的戏剧放在一起进行参照性分析和研究，这样才可能在更深的层次挖掘出莎士比亚笔下爱情故事的“美”之所在，感受、领悟这位人类最伟大的剧作家如何将爱情故事“讲”到极致，以期进而探讨作品所折射出的一些爱情“真理”。因此，本论文最终选定了莎士比亚在1590至1600年间创作的三部以爱情为主题的戏剧作为研究对象，分别是：《爱的徒劳》，《仲夏夜之梦》和《罗密欧与朱丽叶》。在对这三部剧的分析过程中，会引入莎翁《十四行诗》和其他一些戏剧作为对比、参照和例证。 经典的音乐作品，总是博得一代又一代表演大师们的青睐，他们不甘心止于前人的伟大努力、也不慑于他人的精彩表演，而是通过让作品与具备特质的自我进行美妙结合产生的独特魅力，在音乐表演史上留下自己或深或浅的印痕。在文学批评领域，情形亦然。数百年来，对于莎翁的作品，文学评论家们从不同的视角、采用不同的批评手法已经进行了深入的探索和演绎，其中包括文学新批评主义、结构主义、解构主义、心理分析、女性主义等等解读，各门各类的专家、学者为全世界文学爱好、研究者提供了浩如烟海的作品评论。对于我而言，文学新批评主义之于莎士比亚作品解读，就像德奥派的演奏风格之于巴赫或贝多芬的音乐，它是起源和根本，是为最大程度地忠实还原作品风貌、挖掘作品精神而做的努力。而文学作品的语言不仅是情绪、思想的外现，也是实现作者创作意图的最基本的媒介。因此，文学新批评主义是本论文中占主导地位的批评理论指导，论文通过对这三部戏剧的语言的细读和分析来解读莎士比亚对于爱情故事的阐释。 本论文由五部分组成。第一部分是引言。在引言中介绍了选择这三部戏剧的缘由和依据，对这三部作品的现有研究成果进行了梳理和概括，并提出本论文主要采用的文学批评理论。论文主体部分有三个章节，逐一分析了《爱的徒劳》、《仲夏夜之梦》和《罗密欧和朱丽叶》三部戏剧。在对每部戏剧的分析和诠释中，均以语言为切入点，从“主要语言特点”、“语言与人物刻画”以及“语言与主题”三个角度对戏剧进行了比较细致、深入的分析。论文的结尾部分对全文进行了回顾，并结合三个章节对戏剧的分析，提炼出三部作品交汇、互映之处，从美学的角度阐述作品折射出的永久魅力。 在第一章中，对《爱的徒劳》的两个主要语言特点进行了深入、细致的分析：词汇的极致丰富和并列句的豪华排场。《爱的徒劳》是三部作品中，或者是在莎士比亚的所有作品当中，最炫技语言的戏剧。所谓的“炫技”，从更准确地意义上说，是指剧中人物的刻意的自我展示，而非剧作者本人的语言操练。几乎作品中的每个人物，从国王到奴仆都无可救药地感染了炫耀自己语言才能的习性，他们像孔雀展屏般、不失时机地伸展自己五彩丰满的语言的羽毛。只可惜，在自然界里，羽毛越漂亮就越可以吸引异性，可是在人的世界里，漂亮的语言外表下一定要有能足够打动人心的内容，才能博得爱人的认可和倾慕。从这个角度讲，《爱的徒劳》便是语言的徒劳。同时，论文通过对主要人物的语言进行分析，阐明该剧中男、女两组人物的团体共同特质大于个体差异，即四位男性和四位女性其实是各作为一个整体来被刻画的，他们看似相异的语言和表达并没有凸显各自的迥异性格，而是强化了其所属的整体的特点。而这种整体的人物刻画非常有效地实现了对其主题的表达，即爱情产生于第一眼、爱情无往不胜、以及爱情需要考验。 在第二章中，也是首先从词汇和句法的角度分析了《仲夏夜之梦》的语言特点。从某种意义上说，《仲夏夜之梦》从另一个侧面印证了《爱的徒劳》中的观点：即语言的过度奢华只会彰显心灵深处的“真实”的匮乏。莱散特和第米屈律斯在“爱[>花”的作用下，自以为爱上了别人时，求爱的语言里溢满了“丝绸般的词汇”，极尽赞美之能事，可是这在读者或者他们倾诉的对象听来，是那么的夸张和不真实。同时，论文对语言的节奏感和音乐感也进行了探讨。在人物刻画方面，该戏剧与《爱的徒劳》的相通之处在于两对年轻的男、女主角都是可以角色对换的，即两位男性和两位女性分别在出身、性格、对于爱情的态度等方面表现出极大的互通性，而正是这种互通性从根本上实现和表达了该剧的一个主题：爱情的不确定性和不稳定性。另外，论文对该剧的另一个主题进行了分析和诠释，即婚姻是爱情的最终指向。 在第三章中，首先从词汇、交互对白、意象三个方面分析了《罗密欧与朱丽叶》的语言特点，进而分析了戏剧的人物刻画和主题。与前面两部戏剧不同的是，《罗密欧和朱丽叶》语言的震慑力在很大程度上源于反差和对比，这包括多对反义词贯穿全剧的使用和一系列意象的嵌入。论文对罗密欧的语言表达也进行了分析。他在遇到朱丽叶之前，苦苦地陷在一厢情愿的爱情的沼泽中无法自拔，但是他对所谓爱情的哀鸣更大程度上是词藻的堆砌、句法的铺张，是看似深厚的肤浅，这恰恰反映了他的自恋和不成熟。而当他无意中涉入真爱的欲河中时，他的表达顿时变得清新流畅、纯朴优美，直白却不乏智慧，缱绻而饱含真情。在人物刻画方面，本论文认为，与其语言特点相同，这部戏剧的人物塑造也是通过对比和反差来实现的。罗密欧和朱丽叶迥然于周遭的男男女女，凸显了两人之恋情的清纯、热烈和高洁。手段服务于目的，不同的人物手法有效地烘托了不同的写作意图、传递了不同的情绪、讲述了不同的爱情故事、阐释了不同的爱情主题。在我看来，《爱的徒劳》和《仲夏夜之梦》有一个共同点，即它们更多的是侧重于表达、强调某一个爱情观点或对爱情某一个侧面进行的探索，而非记述某一朵爱情玫瑰从含苞到怒放的珍奇过程，因而它们对于人物刻画采用的手法有别于《罗密欧和朱丽叶》。前者用的是人物的“同类”并置，后者用的是人物的“另类”独处；前者以“规模排场”制胜，后者靠“对比反差”出奇。撇开三部作品各自具备的独特艺术感染力，就爱情故事本身而言，罗密欧与朱丽叶的爱情独独具有极为强大的震撼力，它创造了一个不可逾越的高度，并永远在制高点上散发迷人的光彩。而这在很大程度上，，是通过人物的强烈反差直接和间接取得的效果。在对爱情主题的探讨方面，本论文依循爱情发展的自然过程，总结出该剧的主要的观点和主题，其中包括“爱情产生于第一眼”、“爱情的力量压倒一切”、“爱情的路途从不坦顺”、“爱情通过婚姻变得圣洁”和“爱情在欲与灵的结合中实现”等。 爱情是复杂而微妙的，更何况是莎士比亚笔下的爱情故事。该论文通过对这三部弥漫着截然不同的情绪、展现了迥异的爱情状态、结束于或悲、或喜、或悬而未决的爱情可能性的作品进行互相关联、互相参照性的研究，解读莎士比亚如何对“爱情”这一主题进行思考以及如何在其戏剧作品中通过各种层面、角度及创作技巧将他对爱情的理解和诠释进行了试验、探讨和实现。本文作者希冀通过对这三部戏剧的语言、人物刻画以及爱情主题的探讨，在可能的范围内更近一步靠向莎士比亚这位伟大的语言巨匠那深不可测的内心。毕竟，那里是“美”和“真理”共同繁荣的圣地，是无数莎剧爱好者和莎翁崇拜者最渴望到达的朝拜地，虽然它永远都是越靠近却发现越遥远的目的地。
[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.
【学位授予单位】：上海外国语大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：I561.073
本文编号：2208340
[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.
【学位授予单位】：上海外国语大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：I561.073
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