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題 名 | Blinded by Passion: Antony's Disillusionment and Downfall=情令智昏--安東尼之幻滅與墮落 |
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作 者 | 許玉長; | 書刊名 | 大仁學報 |
卷 期 | 31 2007.09[民96.09] |
頁 次 | 頁169-185 |
分類號 | 841.83354 |
關鍵詞 | 安東尼; 克利歐佩特拉; 奧塞羅; 馬克白; 埃狄帕斯王; Antony; Cleopatra; Othello; Macbeth; Oedipus Rex; |
語 文 | 英文(English) |
中文摘要 | 感情在文學上是常被討論之主題,若再將感情與現實一併討論,其勢必引發讀者之心境困惑與矛盾衝突,實有增無減。莎士比亞之戲劇中之安東尼與克利歐佩特拉所討論現實之問題。如同題目所暗示讀者之感情有可能被現實所掩蓋。申言之,利令智昏與情令智昏大有其差異性,因利令智昏是人類一般常情,然而情令智昏乃是人在愛情中沖昏過頭,因而造成諸多現實面在愛情沖擊下產生幻滅與墮落。 安東尼與克利歐佩特拉是莎士比亞之戲劇中最長一部,既有3,964行,易是分景數目最多一部,此齣戲是莎士比亞三大羅馬劇之一,就整體而言,其可能比莎士比亞被公認之四大悲劇略有遜色,然其絢爛多資之處在全集中仍有傑出之地位。 本劇之故事自西撤被刺後四年開始,即紀元前四十年,至安東尼之死;亦即紀元前四十年,前後十年,於開始時,安東尼是羅馬三巨頭之一,統治富饒之東方,正值其鼎盛時代,此經普魯塔克有相當完備之記載,然莎士比亞援例之選擇數個片段加以安排,有時非常忠於普魯塔克,幾乎採用精緻散文為更細膩之無韻詩。譬如對安東尼初次見面克利歐佩特拉之一段絢爛描述,預諸與安東尼之一段對話,以及最後克利歐佩特拉死時之情節,皆明顯可見莎士比亞發揮高度之精闢創作。 安東尼與克利歐佩特拉在莎士比亞所有之歷史劇中,其絕對是最令人所驚嘆,因其在細節是一部最終於史實之劇,同時亦再很少作品中具有如此深刻令人感覺到一種美妙之力量。 |
英文摘要 | Shakespeare's Antony and Cleopatra shares with Troilus and Cressida the obsessive and self-consuming rage of the tragic figure as he confronts and attempts to define "reality." But, more extravagantly than Troilus and Cressida, this reality is layered with masquerade; forms that are often as lyric as brutal shift and change and baffle expectation. The constant refinement of brute reality into lyric illusion is the work not simply of Antony, Shakespeare's hero, but the lifelong work of Shakespeare himself. Thus, there is a curious, rather decadent air in this play of flamboyant desires having as much import-if not ultimately as much political strength-as events themselves. It is reality that is defeated in this play, and its defeat goes unmounted. The uses of poetry are nowhere in Shakespeare so well imagined as in this work about godly creatures who delight in their humanity, and who leave their traces upon all comers of their gigantic world. Illusion could not be sustained in Hamlet's gloomy Denmark, or on the wild fields of Scotland; it requires the light-drenched world of old Egypt, a world that exists nowhere except in this play and then only within its words, by the strenuous magic of its language. In Shakespeare's works after antonym and Cleopatra, language will expand its uses to become both "action" and "theme," moving toward the purely lyric. |
本系統中英文摘要資訊取自各篇刊載內容。