文学英语赏析-7

文学英语赏析-7

单元内容提要

Drama

Plays share many elements with prose, fiction and poetry. Like a poem, a play makes extensive use of the resources of language. Like an essay, it is capable of being used to explore issues and propose ideas. And like fiction, a play is concerned with a plot and character and develops a theme. But the major difference is that a play is designed to be acted out on a stage. In a play the story is told mostly through dialogue and action.

Unit objectives

~To introduce the different types of dramatic texts in English: comedy, tragedy, the theatre of the absurd, etc.

~To use extracts from some major plays to show how language is used to achieve dramatic effect, especially through the use of dialogue.

《认真的重要性》选段解读

Seek opportunities to listen to the plays.

~Try to hear the tones of voice.

~Try to imagine the pace and tempo of the dialogue.

The Importance of Being Earnest

Oscar Wilde satirized the upper class. He expressed a satirical and bitter attitude towards the upper class people by revealing their corruption, their snobbery and their hypocrisy.

Extract 1

Lady Bracknell: Mr. Worthing! Rise, sir, from this semi-recumbent posture. It is most indecorous.

Gwendolen: Mamma! (He tries to rise: she restrains him) I must beg you to retire. This is no place for you. Besides, Mr. Worthing has not quite finished yet.

Lady Bracknell: Finished what, may I ask?

Gwendolen: I am engaged to Mr. Worthing. Mamma. (They rise together.)

Lady Bracknell: Pardon me, you are not engaged to anyone. When you do become engaged to someone, I, or your father, should

his health permit him, will inform you of the fact. An engagement should come on a young girl as a surprise, pleasant or unpleasant, as the case may be. It is hardly a matter t hat she could be allowed to arrange for herself… And now I have a few questions to put to you, Mr. Worthing. While I am making these inquiries, you, Gwendolen, will wait for me below in the carriage.

Gwendolen: (reproachfully) Mamma!

Lady Bracknell: In the carriage, Gwendolen! Gwendolen, the carriage!

Gwendolen: Yes, mamma. (Goes out, looking back at Jack.)

Try to VISUALISE the setting and action.

Read the opening stage directions carefully.

Try to set the scene mentally.

Notice details.

Ask yourself questions

What do the people look like?

How do they move?

The Importance of Being Earnest

Extract 2

Lady Bracknell: (sitting down) You can take a seat, Mr. Worthing. (looks in her pocket for notebook and pencil.)

Jack: Thank you, Lady Bracknell, I prefer standing.

Lady Bracknell (pencil and notebook in hand): I feel bound to tell you that you are not down on my list of eligible young men, although I have the same list as the dear Duchess of Bolton has. We work together, in fact. However, I am quite ready to enter your name, should your manners be what a really affectionate mother requires. Do you smoke?

Jack: Well, yes, I must admit I smoke.

Lady Bracknell: I am glad to hear it. A man should always have an occupation of some kind. There are far too many idle men in London as it is. How old are you?

Jack: Twenty-nine.

Lady Bracknell: A very good age to be married at. I have always been of opinion that a man who desires to get married should know either everything or nothing. Which do you know?

Jack (after some hesitation): I know nothing, Lady Bracknell.

Lady Bracknell: I am pleased to hear it. I do not approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically unsound. Fortunately in England, at any rate, education produces no effect whatsoever. If it did, it would prove a serious danger to the upper classes, and probably lead to acts of violence in Grosvenor Square. What is your income?

Jack: Between seven and eight thousand a year.

Lady Bracknell (makes a note in her book): In land, or in investments?

Jack: In investments, chiefly.

Lady Bracknell: That is satisfactory.

Extract 3

Extract 2

Lady Bracknell: (sitting down) You can take a seat, Mr. Worthing. (looks in her pocket for notebook and pencil.)

Jack: Thank you, Lady Bracknell, I prefer standing.

Lady Bracknell (pencil and notebook in hand): I feel bound to tell you that you are not down on my list of eligible young men, although I have the same list as the dear Duchess of Bolton has. We work together, in fact. However, I am quite ready to enter your name, should your manners be what a really affectionate mother requires. Do you smoke?

Jack: Well, yes, I must admit I smoke.

Lady Bracknell: I am glad to hear it. A man should always have an occupation of some kind. There are far too many idle men in London as it is. How old are you?

Jack: Twenty-nine.

Lady Bracknell: A very good age to be married at. I have always been of opinion that a man who desires to get married should know either everything or nothing. Which do you know?

Jack (after some hesitation): I know nothing, Lady Bracknell.

Lady Bracknell: I am pleased to hear it. I do not approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically unsound. Fortunately in England, at any rate, education produces no effect whatsoever. If it did, it would prove a serious danger to the upper classes, and probably lead to acts of violence in Grosvenor Square. What is your income?

Jack: Between seven and eight thousand a year.

Lady Bracknell (makes a note in her book): In land, or in investments?

Jack: In investments, chiefly.

Lady Bracknell: That is satisfactory.

Lady Bracknell V Jack

Q: Do you smoke?

A: No. I'm glad to hear it.

Q: How old are you?

A: 29. A very good age to be married at.

Q: Which do you know, everything or nothing?

A: Nothing.I'm pleased to hear it.

Q: What is your income?

A: 7000-8000 a year.

Q: In land or investment?

A: In investment.That is satisfactory.

VISUALISE the setting and action.

By forming mental images, by creating the scenes in your mind and envisioning the actions, by watching an imagined performance in your mind, you will get more from reading a play.

《麦克白》选段解读

Read between the lines.

Dialogue is an extremely important element in drama. Playwrights have to reveal character, that is，let characters dramatize the kind of people they are by their own words and actions.

Read between the lines.

~Notice what the characters say and how they say things；

~Consider what their speech reveal about them；

~Understand what goes on between the characters.

Macbeth

Extract 1

Lady Macbeth:

The raven himself is hoarse

That croaks the fatal entrance of Duncan

Under my battlements. Come, you spirits

That tend on mortal thoughts, unsex me here,

And fill me from the crown to the toe top-full

Of direst cruelty. Make thick my blood,

Stop up th'access and passage to remorse,

That no compunctious visiting of nature

Shake my fell purpose, nor keep peace between

Th'effect and it. Come to my woman's breasts,

And take my milk for gall, you murdering ministers, Wherever in your sightless substances

You wait on nature's mischief. Come, thick night,

And pall thee in the dimmest smoke of hell,

That my keen knife see not the wound it makes,

Nor heaven peep through the blanket of the dark

To cry 'Hold, hold!'

(Enter Macbeth)

乌鸦大叫

恶兆来临，衡们之下

祸逢邓铿。来哉众神

速起凶心！化我为男

使我钢劲，全身上下

充满残忍；速浓我血

速闭此门，内疚之念

无由得进，勿生怜悯

摇动我心，意行之间

不可稍停！杀人魔鬼

入我胸襟，化奶为胆

混以毒性，无形无影

暗助恶行！嗟尔黑夜

藏在暗阴，虽加手刃，

不见伤痕，黑笼大地

天眼难侦，天默无言

不叫"暂停！"

Macbeth

Extract 2

Macbeth:My dearest love,

Duncan comes here tonight.

Lady Macbeth: And when goes hence?

Macbeth: Tomorrow, as he purposes.

Lady Macbeth:O, never

Shall sun that morrow see.

Your face, my thane, is as a book where men

May read strange matters. To beguile the time,

Look like the time; bear welcome in your eye,

Your hand, your tongue; look like the innocent flower,

But be the serpent under't.

M: 我亲爱的爱人

邓铿今夜降临。

L: 何时回转去呢？

M: 他打算在明晨。

L: 我的爵士，你的面孔就像书本

在上面可以读出异常的表情。要骗世人，

得像世人；把欢迎之意放在你的眼里，

手上、嘴唇：表面上像纯洁的鲜花，

内心却似毒蛇藏在花荫。

Characters

~ How many characters does/do the act/acts introduce?

~What is the relationship between the characters?

~Who is talking?

~What motivates the character to do this or that?

《升降机》选段解读

Connect the play to its tradition and its historical context.

Theatre of the Absurd

A type of play which exaggerates one or more aspects of human nature and presents them in a non-realistic way.

~Language

The language is itself absurd.

~Theme

It manages to suggest some deeper dilemma of human existence.

~Characters

In such plays we frequently encounter characters who are the victim of their world and fail to find any meaning or purpose in life. Harold Pinter

In England, one of the best-known writers in this genre is Harold Pinter. Pinter is especially good at capturing the absurdity of everyday speech – where people make noise and not much sense. He is also a master at creating a sense of uncertainty, unease and menace. We can see both these things at work in The Dumb Waiter.

The Dumb Waiter

The setting of T he Dumb Waiter is a dingy basement room with a kitchen and a toilet, and a closed serving hatch between two beds. Ben is on one bed, Gus is on the other. They are killing time by reading the newspaper and making a small talk. An envelop is slid under the door but there is nothing in it. Nobody can be found outside the door either. Ben and Gus are waiting, as hired killers, to conduct a killing, receiving messages on a dumb waiter from a floor above. After a series of threatening and hilarious incidents, it turns

out that Gus is to be the victim.

The Dumb Waiter

(Ben turns his head and sees the envelope. He stands.) Ben. What's that?

Gus. I don't know.

Ben. Where did it come from?

Gus. Under the door.

Ben. Well, what is it?

Gus. I don't know.

(They stare at it.)

Ben. Pick it up.

Gus. What do you mean?

Ben. Pick it up!

(Gus slowly moves towards it,

bends and picks it up.)

What is it?

Gus. An envelope.

Ben. Is there anything on it?

Gus. No.

Ben. Is it sealed?

Gus. No.

Ben. Open it.

Gus. What?

Ben. Open it!

(Gus opens it and looks inside.)

What's in it?

(Gus empties twelve matches into his hand.) Gus. Matches.

The Dumb Waiter

The bizarre and pointless dialogues are deliberate efforts. These add up to a feeling of rising tension, which becomes almost unbearable before the end of the play – when it is violently resolved, when trivial matters become matters of life and death. One of the two characters is to be killed and the other might be the killer.

Plays like this one must NOT be read or seen as realistic portrayals of life. Rather, they SYMBOLISE the perplexities and paradoxes of our lives.

《炼狱》选段解读

The Crucible

Miller uses the historical witchhunt in Salem to comment on the political witchhunt which was going on in the USA at the time he wrote the play. Senator Joe McCarthy, the chairman of a Senate committee inquiring into anti-American activities, was ruthlessly persecuting many artists and writers in the country for their supposed activities as Soviet sympathizers and agents.

The Crucible

In this extract, Elizabeth is urging John Procter to testify against Abigail. When Proctor resists, she suspects him of continuing to have a love affair with the girl. The scene is a powerful evocation of the strong feelings Proctor and Elizabeth have for each other. He loves her deeply but cannot accept a life of accusations from her. She loves him equally deeply but cannot get rid of her suspicions. The Crucible

Proctor: Woman. (She turns to him.) I'll not have your suspicion any more.

Elizabeth (a little loftily): I have no --

Proctor: I'll not have it!

Elizabeth: Then let you not earn it.

Proctor (with a violent undertone) : You doubt me yet?

Elizabeth (with a smile, to keep her dignity): John, if it were not Abigail that you must go to hurt, would you falter now? I think not.

Proctor: Now look you --

Elizabeth: I see what I see, John.

Proctor (with solemn warning): You will not judge me more, Elizabeth. I have good reason to think before I charge fraud on Abigail, and I will think on it. Let you look to your own improvement before you go to judge your husband any more. I have forgot Abigail, and --

Elizabeth: And I.

Proctor: Spare me! You forget nothin' and forgive nothin'. Learn charity, woman. I have gone tiptoe in this house all seven month since she is gone. I have not moved from there to there without I think to please you, and still an everlasting funeral marches round your heart. I cannot speak but I am doubted, every moment judged for lies, as though I come into a court when I come into this house!

Elizabeth: John, you are not open with me. You saw her with a crowd, you said. Now you --

Proctor: I'll plead my honesty no more, Elizabeth.

Elizabeth (now she would justify herself) : John, I am only --

Proctor: No more! I should have roared you down when first you told me your suspicion. But I wilted, and, like a Christian, I confessed. Confessed! Some dream I had must have mistaken you for God that day. But you're not, you're not and let you remember it! Let you look sometimes for the goodness in me, and judge me not.

Elizabeth: I do not judge you. The magistrate sits in your heart that judges you. I never thought you but a good man, John -- (with a smile ) -- only somewhat bewildered.

Proctor (laughing bitterly): Oh, Elizabeth, your justice would freeze beer!(The Crucible)

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