⑴ 英文版威尼斯商人創作背景
作品背景：從十六世紀初期開始，英國資本主義經濟迅速發展。專制王朝執行了有利於工商業發展的政策，得到新興資產階級的支持，王室和資產階級之間，形成了暫時的聯盟。到了十六世紀後期，在女王伊麗莎白一世的統治下，英國出現了經濟繁榮和政治安定的局面。
十六世紀九十年代，是莎士比亞創作的早期。這時，英國社會基本上保持著表面的繁榮。作為一個資產階級作家，莎士比亞對於解決當時社會上和生活中的矛盾，充滿著信心，因此他這一時期的創作，大都帶有愉快樂觀的色彩。他在八部喜劇以及正劇《羅密歐與朱麗葉》中，宣揚了資產階級人文主義的生活思想。
但是，從九十年代的後幾年開始，英國社會的各種矛盾逐漸尖銳化起來：在農村，「圈地運動」在加速進行；在城市，資本主義手工工廠大量出現，導致手工業者和貧民的狀況不斷惡化；1594—1598年間，又連續發生澇災和嚴寒，農業歉收，物價飛漲，農民和城市貧民紛紛起來反抗。這一時期，資產階級的力量也更加強大，它同王室的暫時聯盟瓦解。莎士比亞開始感到他的人文主義理想和英國現實間的矛盾，因此1596年以後寫的幾部喜劇里，雖然調子還是愉快樂觀的，但社會諷刺因素已有所增長。這時完成的《威尼斯商人》就是莎士比亞早期喜劇中最富有社會諷刺色彩的一部。
⑵ 莎士比亞寫作特點英文版
大概的脈來絡是這樣的：自
Shakespeare said:"Drama is the mirror of life reaction."
The characteristics of Shakespeare's drama:
No.1\ Shape rich artistic typical
No.2\ Personalized language
No.3\ Elegant dramatic monologue
No.4\ Rich plots clues
No.5\The fierce dramatic conflicts
你是要寫作文還是什麼？如果是作文就自己擴充一下好了~
只要每個目錄下寫點文字就可以得高分~
⑶ 莎士比亞寫作特點英文版誰能幫忙
這是我曾經的作文，大概的脈絡是這樣的：
Shakespeare said:"Drama is the mirror of life reaction."
The characteristics of Shakespeare's drama:
No.1\ Shape rich artistic typical
No.2\ Personalized language
No.3\ Elegant dramatic monologue
No.4\ Rich plots clues
No.5\The fierce dramatic conflicts
你是要寫作文還是什麼？如果是作迴文就自己擴充一下好了答~
只要每個目錄下寫點文字就可以得高分~
我當時就這么做的~
⑷ 用英文如何解釋威尼斯商人創作背景
《威尼斯商人》是莎士比亞著名喜劇之一，大約寫於1596-1597年，是莎士比亞從寫作喜劇轉向寫作悲劇的承前啟後的代表作，是一出具有悲劇因素的出色喜劇。莎士比亞生活的年代，英國正處於伊麗莎白女王當政的繁榮昌盛時期，尤其在1588年，英國打敗了西班牙的無敵艦隊，取得了海上霸權，海外貿易也盛極一時。當時人們對從事海外貿易的商人有好感，對高利貸者卻極端厭惡、痛恨。這部戲劇明顯地體現出莎士比亞的愛憎情感。
The merchant of Venice is one of Shakespeare's most famous comedies, probably written in 1596-1597 years, Shakespeare from writing comedy to tragedy writing as a connecting link between the preceding and the following representative for, is a tragedy factor of outstanding comedy. Shakespeare's times, Britain is in a prosperous period of the reign of Queen Elizabeth, especially in 1588, the British defeated the Spanish Armada, has obtained the marine hegemony, overseas trade also flourished. At that time, people engaged in overseas trade merchants have a good impression on the loan sharks are extremely disgusting, hate. This drama embodies Shakespeare's feelings.
⑸ 高分求英語學年論文《莎士比亞寫作的四個階段》
您的救星來了，要加分喲！！
Shakespeare』s Four Writing Periods
William Shakespeare altered his writing style significantly between his first play (1590-92) and his last (1613). For example, the Shakespeare style of 1590 was somewhat rigid in its adherence to established rules, though it did contain flashes of brilliance that astounded and delighted audiences. The style of the early 1600's, on the other hand, was more creative and free because Shakespeare had learned to listen more to his inner voice and less to the dictates of literary convention. In his later years–in particular when he wrote The Tempest–Shakespeare achieved a writing mastery that confirmed what earlier masterpieces such as Hamlet and King Lear suggested: that he was one of the greatest writers in history.
.......Scholars generally assign each of his plays to one of four periods, depending on the quality and maturity of the writing and characterization. Textbooks classify these as the Early Period, the Balanced Period, the Overflowing Period, and the Final Period. Not everyone agrees on which plays belong to which period. For example, some scholars place Hamlet in the Balanced Period while others place it in the Overflowing Period. Scholars also differ on the period to which The Merchant of Venice belongs. Some place it in the Early Period and others in the Balanced Period.
.......Such disagreement is understandable. After all, literature is not mathematics or physics. In King Lear, 2+2 may equal 7 or 9 in the mind of an old man wrecked by familial perfidy. And in Macbeth, darkness + nightfall may equal sunshine or dawn in the mind of a witch stewing "eye of newt and toe of frog, wool of bat and tongue of frog." The plays and characteristics of the four periods are as follows:
Early Period
Plays: Comedy of Errors, Henry VI Part I, Henry VI Part II, Henry VI Part III, King John, Love's Labour's Lost, Midsummer Night's Dream, Richard II, Richard III, Romeo and Juliet, Taming of the Shrew, Titus Andronicus, Two Gentlemen of Verona.
Style in General: Technically rigid; somewhat immature. The plots generally are well organized.
Characterization: Often superficial or shallow compared with the characterization in later plays. Romeo and Juliet, in which characterization is strong, is an exception.
Dialogue: Sometimes stilted, unnatural. Shakespeare tries hard–maybe too hard–to be consistent in the structure of his lines, making his words fit established conventions rather than making them express the mercurial, inner voice that guided him in later plays. Puns and other rhetorical devices abound, making the wording clever but not always profound. In Richard II, John of Gaunt makes puns even as he is dying. When the king asks how he is, Gaunt uses his name (the same as the adjective gaunt, meaning thin, bony and haggard) in a "punny" reply:
Oh, how that name befits my composition!
Old Gaunt indeed, and gaunt in being old,
With me grief hath kept a tedious fast,
And who abstains from meat that is not gaunt?
Balanced Period
Plays: All's Well That Ends Well, As You Like It, Hamlet*, Henry IV Part I, Henry IV Part II, Henry V, Julius Caesar, Measure for Measure*, Merchant of Venice*, Merry Wives of Windsor, Much Ado About Nothing, Othello*, Troilus and Cressida, Twelfth Night.
Style in General: Less technically rigid; more creative. The plots are generally well designed. Shakespeare demonstrates his range by writing outstanding works in three genres: comedy (As You Like It, Twelfth Night), tragedy (Hamlet, Julius Caesar) and history (Henry IV Part I, Henry V). In addition, he presents a highly tragic character, Shylock, in a comedy (The Merchant of Venice).
Characterization: Strong and rounded, reflecting deep insight into human nature. Among the magnificent character portrayals of this period are those of Hamlet, Macbeth, Shylock, Othello, Iago, and Brutus. In Henry IV Parts I and II, Shakespeare achieves a wonderful balance between the comic (represented by Sir John Falstaff) and the serious (represented by Hotspur and others).
Dialogue: A mixture of verse and prose. Shakespeare also uses the soliloquy as more than a device to disclose the direction of the plot, to present pretty poetry, or to deliver long-winded asides. In Hamlet, Macbeth, and Julius Caesar, for example, soliloquies plumb the depths of the characters' souls, revealing doubt, indecision, fear, and ambition. The "To be or not to be" soliloquy in Hamlet, perhaps the most famous passage in English literature, reveals all of these emotions:
.
Overflowing Period
Plays: King Lear, Antony and Cleopatra, Macbeth, Coriolanus, Timon of Athens
Style in General: Highly creative; bursting with insight. Shakespeare ignores many rules to allow his genius to "overflow." The plots of this period sometimes twist and turn, challenging the reader with their complexity.
Characterization: Superb, deeply insightful
Dialogue: Often highly suggestive of the speaker's state of mind and suffused with memorable metaphors, similes and other figures of speech. Many passages are in prose. The following prose passage in the storm scene in Act III, Scene IV, of King Lear reveals all of these characteristics. Lear is addressing Edgar in the presence of the Fool. After speaking the lines, Lear tears off his clothes.
Why, thou wert better in thy grave than to answer with thy uncovered body this extremity of the skies. Is man no more than this? Consider him well. Thou owest the worm no silk, the beast no hide, the sheep no wool, the cat no perfume. Ha! here's three on 's are sophisticated! Thou art the thing itself: unaccommodated man is no more but such a poor bare, forked animal as thou art. Off, off, you lendings! Come unbutton here.
The Fool then rejoins in prose with a surprising touch of humor and more of the same type of imagery:
Prithee, nuncle [Lear], be contented; 'tis a naughty night to swim in. Now a little fire in a wild field were like an old lecher's heart; a small spark, all the rest on 's body cold. Look, here comes a walking fire. [Gloucester enters with a torch.]
Final Period
Plays: Cymbeline, Henry VIII, Pericles, The Tempest, The Winter's Tale
Style in General: Masterly. Shakespeare has just the right mix of technical skill, creativity, and wisdom while exhibiting hope for flawed humanity. Shakespeare tends to prefer times and places far removed from Elizabethan England–as in The Tempest, Pericles, and Cymbeline–although Henry VIII is certainly an exception here.
Characterization: Several plays of this period–including Pericles, The Winter's Tale, and Cymbeline–introce characters who suffer loss, then regain what they have lost. Superb, deeply insightful
Dialogue: Highly creative, with many memorable passages in both verse and prose. The following passages, the first in verse and the second in prose, are from The Tempest:
Ariel's Song, Act I, Scene II
.
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell
Prospero Speaking to Ferdinand and Miranda, Act IV, Scene I
.
Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant faded.
⑹ 莎士比亞寫作特點英文版是什麼
大概的脈絡是這樣的：
Shakespeare said:"Drama is the mirror of life reaction."
The characteristics of Shakespeare's drama:
No.1\ Shape rich artistic typical
No.2\ Personalized language
No.3\ Elegant dramatic monologue
No.4\ Rich plots clues
No.5\The fierce dramatic conflicts
你是要寫作文還是什麼？如果是作文就自己擴充一下好了版~
只要每個權目錄下寫點文字就可以得高分~