威尼斯商人英文剧本

2024-04-12

威尼斯商人英文剧本(精选6篇)

篇1:威尼斯商人英文剧本

威尼斯商人剧本

出场人物:安东尼奥、巴萨尼奥、夏洛克、鲍西娅、尼丽莎。

场景:大街上、鲍西娅家中一室、法庭。

[大街上]

(巴萨尼奥、安东尼奥上)

巴萨尼奥:安东尼奥,我的好朋友,你能借我一些钱,好让我能去看望一位小姐吗?

安东尼奥:对不起呀,巴萨尼奥。我的货物大多在海上,手头没有多少钱。不过我想我们可以去找那位放高利贷的犹太人——夏洛克借一些钱。

巴萨尼奥:他不是你的仇人吗?

(夏洛克上)

夏洛克:我就是夏洛克,是个放高利贷的犹太人。安东尼奥是我的死对头,因为他借别人钱却不收利息,所以找他借钱的人源源不断,搞得我都没生意了!啊,他怎么来了?我正好可以捉弄捉弄他。

安东尼奥:我来找你借三千两银子,期限三个月。

夏洛克:这样,我不要你一分钱利息,可如果你到期不还,我就要从你的胸口割下一磅肉来!哈哈哈,你同意吗?如果同意,我们这就来写借据。

安东尼奥:就这样说定了。巴萨尼奥,你不用为我担心,你该去探望那位小姐了。

巴萨尼奥:安东尼奥,你也太……好吧,我收拾行李去了。

(同下)

[鲍西娅家中一室]

(尼丽莎、鲍西娅上)

尼丽莎:小姐,外面有一个威尼斯人求见。

鲍西娅:让他进来。啊,该不会是巴萨尼奥吧?自从那次见到他后,我就对他念念不忘!

(巴萨尼奥上)

巴萨尼奥:鲍西娅小姐您好。

鲍西娅:果真是巴萨尼奥!我太想你了。可是,你不能就这样娶我。

尼丽莎:是这样,小姐的父亲说,谁要是想娶她,那么就得选出在三个盒子中间装有她画像的那一个盒子。(剧本 )这样,小姐就是他的人了,如果里面没有,那么他不仅不能告诉别人他选择了什么盒子,而且以后不能向任何女子求婚……怎么样,巴萨尼奥,你愿意选择吗?

巴萨尼奥:我愿意。

尼丽莎:盒子已经拿来了,它们分别是金的、银的和铅的。

巴萨尼奥:我选择铅盒子。让我把它打开——这里面是什么?鲍西娅的画像!噢,真是太美了!

鲍西娅:现在我是您的人了!

尼丽莎:不好了,您的朋友安东尼奥遇到了麻烦!这是他的来信。

鲍西娅:怎么了?

巴萨尼奥:什么?让我看看那封信!上面说……装着他的货物的船沉了?!那么就是说他得被割下一磅肉来!鲍西娅,你不了解,我的朋友向他的仇人借了三千两银子……

鲍西娅:哈哈哈,你说三千两?我给你六千两银子,去叫那狠心的犹太人别要那一磅肉了!

(巴萨尼奥下)

鲍西娅(向尼丽莎):如果犹太人非要那一磅肉不可,我们可以到我的表兄——培拉里奥博士那儿去请教请教他。

(同下)

[法庭]

(鲍西娅、尼丽莎、夏洛克、安东尼奥、巴萨尼奥上)

巴萨尼奥:听说公爵殿下请来了一位有学问的年轻博士来审判此案。

鲍西娅:事情的来龙去脉,我已经了解了,那一磅肉应归夏洛克所有。犹太人,快动手吧,但不能流一滴血。借据上只写着“一磅肉”,并没有说“一滴血”,所以你割肉时,不能让他流一滴血,而且如果多一点或者少一点,你的财产就得全部充公!

夏洛克:啊,要求这么多!那我就接受赔偿吧。

鲍西娅:那可不行。这个犹太人必须得到绝对的公道,快点动手,不能流一滴血。

巴萨尼奥:哦,英明的法官,您让我的朋友重获生的希望!

夏洛克:我不要打这场官司了!

鲍西娅:等一等,犹太人,根据威尼斯的法律,你有运用直接或间接的手段,危害被告生命的企图,所以你的一半财产充公,另一半财产归安东尼奥所有。

夏洛克:不,让我去死吧,你们夺去了我养家活命的根本。

安东尼奥:要是法官愿从宽发落,我的那一半我就不要了。但有个条件,他必须改信基督教。

夏洛克:好吧……我很满意……

(夏洛克下)

鲍西娅:巴萨尼奥,你看,我是谁?

巴萨尼奥:啊,我亲爱的妻子!

尼丽莎:安东尼奥阁下,我刚得到消息,您的船没有沉,正停在港口呢!

安东尼奥:太好了!让我们一起去吃顿饭,庆祝庆祝吧!

(同下)

(完)

篇2:威尼斯商人英文剧本

第一场

地点:威尼斯的街道上

人物:1安东尼奥--安 2萨莱尼奥--萨 3罗兰佐--罗 4巴萨尼奥--巴(安东尼奥同萨莱尼奥走在街道上,边走边谈)

安:真不知道我为什么会这样闷闷不乐。你们说你们见我的样子心里觉得很厌烦,其实我自己也觉得很厌烦,可是我怎样会让忧愁沾上身,这种简直让我成了一个傻子!(抱怨地举着双手,边说边摇头叹息)萨:您的心是跟着您那些扯着帆的大船在海上颠荡的,它们就像水上的达官富绅,炫示着它们的豪华。(顿一下)可是,相信我,老兄,要是我也有这么一笔买卖在外洋,我也会用一大部分心思牵挂它,我一定会常常观测风的方向,查看港口的名字,凡是足以使我担心的一切,也都会使我忧愁。

安:你说的对,我的朋友,但是我又相信,我的买卖的成败并不完全寄托在一艘船上,更不是依赖着一处地方,我的全部财产,也不会因为这一年的盈亏而受影响,所以单单是这些货船还不足以使我如此忧愁。萨:(有些惊讶,望着安)啊!那么您是在恋爱了?(开玩笑道)安:呕!不,不,不。你说的是那儿的话啊。(摇头摆手道)

萨:(依旧迷惑不解)既然不是这样,那么会是什么事呢?让我说您忧愁是因为您不快乐,就像您笑笑跳跳,说您很快乐,因为您不忧愁,实在简单不过了。

安:如何对你说呢?我亲爱的朋友,倘若我能用最明晰的语言将我心中的一切倾吐给你,那么我宁愿拿我的一艘货船来交换,可是我又真的连我自己都搞不清,我该怎样开口,该从何处说起!(满脸为难)萨:哈哈哈哈!您真会开玩笑,我的朋友。(抬头望前方)啊!前爱的安东尼奥,您看那边儿是谁!(用手指前方)

安:(抬眼望去)噢!原来是他们俩。(罗兰佐和巴萨尼奥同上)3 接上

安:你们好!我亲爱的朋友!

罗:您好,安东尼奥先生,还有您萨莱尼奥先生。(萨向二人附和)真幸运,在这儿找到您了,安东尼奥先生(向安道)

安:什么事?我的孩子,看你们匆忙得样子。(疑惑得目光望着)罗:是巴萨尼奥!他找您有重要的事,是吧,巴萨尼奥(望着巴萨尼奥)

巴:(搓着双手,作为难状看着安东尼奥,又转视罗兰佐和萨莱尼奥)是的安东尼奥,我是要找您说点事---萨:(看了看巴萨尼奥,又转向罗兰佐,笑着)亲爱的罗兰佐,你不是想同我一起去喝点酒吗?现在你有没有时间?

罗:(笑着回答)噢,有,当然有,我正想请您一块去喝点鸡尾酒呢,现在我们就去!(转向巴萨尼奥)巴萨尼奥先生,您现在已经找到你要找的人了,我们要少陪拉,可是你千万别忘了吃饭时咱们在什么地方会面。

巴:是的,罗兰佐,我不会忘的,你放心吧!

罗:(转向安东尼奥)安东尼奥先生,您的脸色不大好,您把世间的事看的太认真了,一个人思虑太多,就会失去做人的乐趣。相信我,您近来真是变的太厉害啦!安:放心吧!我亲爱的罗兰佐,我不会有事的。

萨:(催促道)好了,罗兰佐,仁慈的上帝会保佑我们尊敬的安东尼奥先生的,他是不会有事,让我们抓紧时间吧!

罗:那好吧!(向安东尼奥和巴萨尼奥)我们走了,你们好好谈谈吧!再见!(同萨莱尼奥下)(目送二人下)

安:(转眼望着巴萨尼奥)说吧,我的孩子,有什么事?不过你是答应今天告诉我您立誓要去秘密拜访的那位姑娘的名字的,现在请您告诉我吧!

巴:安东尼奥先生,您知道的很清楚,我怎样为了维持我外强中干的体面,把一份微薄的资产都挥霍光了现在我对于家道中落,生活紧迫,到也不在乎什么了。我最大的烦恼是怎样可以解脱我背上这一重重由于挥霍而积欠下来的债务,无论在钱财还是友谊,我欠您的都是顶多的,只因为我们交情深厚,和您的仁慈宽厚,我才敢把我的饿一切债务告诉您。

安:好,巴萨尼奥,请您告诉我,只要您的计划跟您向来的立身行事一样光明正大,那么我的钱可以任有您取用,我自己也尽可以供您驱使,我愿尽我的一切帮助您!

巴:您知道吗?安东尼奥先生,我在幼年练习射箭的时候,每次都会把一支箭射的不知去向,便用另一支箭朝着同一方向以同样的射程射击,这样就可以把两支箭都找到,不过有时这却意味着双重的冒险,有可能两支箭都找不到,但通常我是幸运的,我现在之所以提起这一件儿童时代的往事做誓喻,是想告诉您,假如你愿意向着您放的第一箭的方向再射出第二支箭,那么我一定会看准目标,把两支箭都找回,最起码,我能把第二支箭交还给您,让我仍旧对您先前给我的援助做一个知恩图报的负债者!

安:您是知道我的为人的,现在您用这样的譬喻来试探我的友谊,不过是浪费时间罢了,您要是怀疑我不肯尽力相帮,那就比你花掉我所有的钱还对不起我,所以您只要告诉我如何帮助你,并且是我的能力所能办到的就可以了,请您说吧,我的巴萨尼奥!

巴:在贝尔蒙特有一位富家的嗣女,长的非常美貌,尤其值得称道的是,她有非常卓越的德行,从她的眼睛里,我有时接到她脉脉含情的流盼。她的名字叫鲍西亚,比起古代凯图的女儿,勃鲁托斯的贤妻鲍西亚来,毫无逊色。这个大的世界也没有漠视她们的好处,四方的风从每一处海岸上带来了声明籍籍的求婚者,她光亮的发,有如传说中的金羊毛,引诱着无数的伊阿宋前来向她追求。啊!我的安东尼奥!只要我有相当的财力,可以和他们当中无论哪一个人匹敌,那么我都会有充分的把握,一定会达到愿望的!安:您知道,我亲爱的巴萨尼奥!我的财产全部在海上,现在我既没有钱也没有可以变换成现款的货物,所以我们还是去试一试我的信用,看它在威尼斯城有什么效力,我一定凭着我这一点面子,能借多少就借多少,尽我最大的力量,供给你到贝尔蒙特去见你那美丽的鲍西亚。走,我们良人分头去打听什么地方可以借到钱。(伸手拉巴萨尼奥)我就用我的信用做担保,或者以我的名义给你借下来!(两人同下)4 第二场

地点:贝尔蒙特,鲍西亚家中 人物:鲍西亚,尼利莎,仆人 道具:二桌二凳,三只盒子,一只花瓶

鲍西亚:真的,尼利莎,我这小小的身体已经厌倦了这个广大的世界了。

尼利莎:好了,我的小姐!您的不幸要跟您的好运一样大,那么无怪乎您会厌倦这个世界,可是照我的愚见来看,吃的太饱的人,跟挨饿不吃东西得人,一样是会害病的,所以中庸之道才是最好,富贵催人生白发,布衣蔬食易长年!鲍:多好的句子呀!

尼:要是你能照着它去做,那就更好了。

鲍:(低头叹息道)倘使做一件事,就跟知道应该做什么事一样容易,那么小教堂都要变成大礼堂,穷人的草屋都要变成王侯的宫殿了,一个好的教师才会遵从他自己的教诲,理智可以制定法律来约束感情,可是热情激动起来,就会把冷酷的法令蔑弃不顾,年轻人是一头不受拘束的野兔子,会跳过老年人所设的理智的藩篱,可是,我这样大发议论,既不会帮我选中我的意中人,又不能使我屏弃我所厌恶得人(用手依次抚过三个盒子,面向观众,抬起双手)一个活着的女儿的意志,却要被一个死了的父亲的遗嘱所钳制。尼利莎,像这样不能选择,也不能拒绝,不是太叫人难堪了吗?

尼利莎:老太爷生前德高望重,大凡有道君子临终之时,必有神悟,他既然定下这抽签取决的办法,叫谁能够在这金银铅三匣之中选中了他预定的一只,便可以跟您匹配成亲(用手掠过三个盒子,抓着鲍西亚的胳膊)那么能够选中得人一定是值得您倾心相爱的。可是在这些已经来向您求婚的王孙公子中,您对那一个最有好感呢? 鲍西亚:请你列举他们的名字,当你提到什么人的时候,我就对他下几句评语,凭着我的饿评语,你就可以知道我对于他们各人的印象。尼利莎:第一个是那不勒斯亲王。

鲍西亚:恩,他真是一匹马,他不讲话则已,讲起话来,老师说他们马怎么怎么,他因为能亲自替自己的马装上 蹄铁马厩自认是一件天大的本领,我很疑心他上辈子是不是个马夫。尼利莎:那巴拉廷伯爵呢?

鲍西亚:他一天到晚皱着眉头,好象说:“你要是不爱我,随你得便”‘他听见笑话也不露一丝笑容,我看他年纪轻轻就愁眉苦脸,到老只好一天到晚痛哭流涕了。我宁愿嫁给骷髅,也不愿嫁给这两个人中间的任何一个,上帝保佑我不要落在这两个人手里。尼利莎:你说那位法国贵族勒·谤先生怎样?

鲍西亚:既然上帝造下他来,就算他是个人吧。凭良心说,我知道讥笑人是一桩罪过,可是他!嘿他的马比那位那不勒斯亲王的那一匹好那么一点,可他皱眉头的坏脾气却也胜过那位伯爵。什么人的坏处他都有一点,可是一点没有他自己的特色,听见画眉唱歌,他就会手舞足蹈,见了自己的影子,也会跟他比剑,我倘然嫁给他,等于家给二十个丈夫,要是他瞧不起我,我会原谅他,因为即使他爱我爱到发狂,我也是永远不会答应他的。

尼利莎:那么您说哪个英国少年男爵富康勃立棋呢?

鲍西亚:你知道,我没有对他说过一句话,因我的话他听不懂,他的话我也听不懂,他不会说拉丁话,法国话,意大利话,至于我的英国话是如何高明,你是可以做证的。他的模样到还可以,可是--唉!谁乐意跟一个哑巴比比划划啊!还有他的装束也够古怪,我想他的紧身上衣是在意大利买的,裤子是在法国买的,软帽是在德国买的,至于他的行为举止,呐喊司从四面八方学来的。尼利莎:您觉得他的邻居那位苏格兰贵族怎样?

鲍西亚:他很懂的礼尚往来的睦邻之道,因为哪个英国人曾经赏给他一记耳光,他就发誓一有机会立即奉,还我想哪个法国人是他的担保人,他已经签署契约,生命将来加倍报偿哩!尼利莎:您看那位德国少爷,萨克逊公爵的侄子怎样?

鲍西亚:他在早上清醒时,就已经够坏了,一到下午喝醉了,就更让人厌恶,当他顶好的时候,叫他是个人还有点不够资格,当他顶坏时,简直比牲畜还坏要是不幸的祸事降临到我身上,我也希望永远不要跟他在一起。

尼利莎:要是他要求选择,结果居然选中了预定的匣子,那时您倘然拒绝嫁给他,那不是违背老太爷的遗命了吗?

鲍西亚:所以,尼利莎为了预防万一,我要请你替我在错误的匣子上放好一杯满满的莱茵葡萄酒,要是魔鬼在他心理,诱惑在他的面前,我相信,他一定会选中那一只匣子的。尼利莎,我什么事都愿意做,只要别让我嫁给一个酒鬼。

尼利莎:小姐,您放心吧,您再也不会嫁给这些贵族人中间的任何一个的,他们已经把他们的决心告诉了我,说除了您父亲所规定的用选择匣子的方法取舍外,要是他们不能用别的办法得到您的应允的话,那么他们就立刻动身回国,决不麻烦您!

鲍西亚:要是没有人愿意照我父亲的遗命把我娶去,那么即使我活到一千岁,也只好终身不嫁,我很高兴这群求婚者都是这么懂事,因为他们中间没有一个人我不是唯望其速去的,求上帝赐给他们一路顺风吧1 尼利莎;小姐,您还记得当老太爷在世时,有一个跟着蒙特佛拉侯爵到这儿来的文武双全的哪个威尼斯人吗?

鲍西亚:是的是的。那是巴萨尼奥,我想这是他的名字。

尼利莎;正是,小姐,照我这双痴人的眼睛看起来,他是一切男子中最值得匹配一位佳人的!鲍西亚:我很记得他,他果然值得你的夸奖。(一仆人上)

仆人:小姐,那四位客人要来向你到别,另外还有第五位客人,是摩洛哥亲王他差了一个人先来报信。说他的主任亲王殿下要来这儿。鲍西亚:要是我能竭诚欢迎这第五位客人,就像我竭诚欢送那四位客人一样,那就好了。假如他有胜任般的德行,偏生着一副魔鬼的面貌,那么与其让我做他的妻子,还不如让他来听我忏悔,来吧,尼利莎,让我们去送他们上路(对仆人)你前面走--(同下)5 第三场

地点:威尼斯的广场上

人物:安东尼奥,夏洛克,巴萨尼奥

(夏洛克上,巴萨尼奥在后,二人边走边谈)夏;三千块钱,恩?

巴:是的,大叔,三个月为期。夏:三个月为期,恩?

巴:我已经对您说过了,这笔钱可以由安东尼奥签立借据!夏:安东尼奥签立借据(眼睛一亮),恩!

巴:(渴求道)您愿意帮我吗?您愿意应承我吗?可不可以让我知道您的答复? 夏:三千块钱,三个月为期限,安东尼奥签立借据。(自言自语)巴:(急切)您的答复呢?先生? 夏:安东尼奥是个好人。

巴:你有没有听见人家说他不是个好人?

夏:啊,不,不,不,我听说他是个好人,我的意思是说他是个有身价的人,可是他的财产却还有些问题,他有一艘商船开到特里泼里斯,另外一艘开到西印度群岛,在交易所里,我还听人说,他有第三艘船在墨西哥,第四艘到英国了,此外还有便布在海外各国的买卖--(面带不屑的狞笑 道)可是那些船只不过是几块木板钉起来的,水手也不过是些血肉之躯,岸上有老鼠,水里有老鼠,陆上有强盗,海上也有强盗,还有**,礁石各种危险,不过虽然这么说,他这这个人还是靠的住的,三千块钱,我想我还可以接受他的契约。

巴:你放心吧,不会有错的。

夏:我一定要放心才敢把债放出去,所以还是让我再考虑考虑吧,我可不可以跟安东尼奥谈谈? 巴:不知道你愿不愿陪我们吃一顿饭?

夏:是吗?让我去闻猪肉的味道,吃你们拿撒勒先知把魔鬼赶进身体的脏东西的身体(狞笑)我可以跟你们做买卖,讲交易,谈天散步,可我不能陪你们吃东西作祷告,交易所里有些什么消息?(转身望远处)那边是谁来了?(安东尼奥上)

巴:这位就是安东尼奥先生(向夏洛克介绍夏洛克傲慢的转过身去)你听见没有夏洛克--夏:(背着手,仰着头,傲然道)我正在估计我手头的现款,照我大概记得起来的数,要一时凑足三千块钱,恐怕难办到。可是那没有关系,我们族里,有的是富翁,我可以随便向他们开口,供给你必要的树目,且慢!您打算借几个月?(对安东尼奥)啊?您好!安东尼奥先生,哪阵子风把尊架吹来了?

安:(正色道)夏洛克,虽然我跟人家互通有无,从不讲利息,可是为了我的朋友的急需,这回我要破列一次例。(对巴萨尼奥)他知道你要多少钱吗? 夏:恩,是的,安东尼奥先生,三千块钱。(抢白)安:三个月为期。(伸出三个手指)

夏:我倒忘了,正是三个月,您对我说过,好,您的借据呢?让我瞧一瞧,可是听着,好象您说您从来不讲利息的。

安:是的,我从不讲利息。

夏:噢!我的上帝啊,您听见了吗?安东尼奥是多么仁慈,多么慷慨啊!巴:你想怎么样,夏洛克。

夏:我亲爱的安东尼奥先生,说真的,我凭着上帝起誓,我是真的敬爱您,正因为如此,我本想以同样的方式来对待您,可是亲爱的安东尼奥,倘若我也这样分文不取利息的话,恐怕您心里又过意不去,是吗?我亲爱的安东尼奥先生?

安:(同巴萨尼奥对视一下)你想说什么,夏洛克,你想让我接受怎样的条件才恳借给我钱。巴:(附和道)是啊,你直说吧,夏洛克,我们可不可以仰仗你这一次?

夏:(向安东尼奥,奸笑道)安东尼奥先生,我可是好多次听到您在交易所里骂我,说我盘剥重利,奸诈好财,我总是忍气吞声,一笑置之,并不同您争辩。因为忍受迫害本来就是我们民族的特色,您骂我为异教徒,杀人的狗,把唾沫溅到我的犹太长袍上,只因为我用自己的钱,博取几个利息,可现在您却求起我来,我应该怎么对您说呢?我要不要说:一条狗会有钱么?一条恶狗能借人三千块钱吗?”或者我应不应该躬下身子,像一个奴才似的低声下气,恭恭敬敬对您说:好先生,您在上周用唾沫吐在我身上,有一天您用脚踢我,还有一天,您骂我为狗,为了报答您这许多恩典,所以我应该借给您这么些钱,是吗?安东尼奥先生? 6 接上

安:我恨不得再这样骂你,唾你,踢你。要是你愿意把这些钱借给我,不要把它当作借给你朋友--那有朋友之间通融几个钱还要斤斤较量的计算利息?--你就尽管把它当作借给你的仇人吧!倘使我失去信用,你尽管照约处罚我就是了!(生气道)

夏:(嬉笑)哎呦,瞧您生这么大气!为何呢?我愿意交您这个朋友,得到您的友情。对于您从前加在我身上的侮辱,我愿意交您忘掉,您现在所需要的钱,我会如数奉上,而且不要您一个子儿的利息,可是(迟顿一下)--您愿不愿听我说下去,我可是一片好心。安:这到果然是一片好心!

夏:我要叫你们看看我到底是不是一片好心。跟我去找一公证人,就那儿签好了契约。我们不防开个玩笑,在契约里写明,您在什么日子什么地点,还我这一笔钱,如果违约,我将在您身上任何部分割下整整一磅肉,作为处罚,怎么样?我亲爱的安东尼奥先生。

安:很好,就这么办吧!我愿意同你签约,并且还要对别人说犹太人夏洛克先生心肠到还不坏呢!(揶揄道)巴:(上前对安道)我宁愿安守贫困,也不能让您为了我签这样的约。

安:(坦然道)你怕什么,我决不会受罚的,就在两个月内我就可以有九倍于这笔钱的数目收进来。还怕还不了他吗?

夏:亚伯兰老祖宗啊1您瞧见这些刻薄的基督教徒没,他们竟对我的一片好心不怀好意!难道安东尼奥的一磅肉比一磅羊肉,一磅牛肉更有价值吗?我是为了博得真诚的友谊才向他们伸出仁慈之手。您会见证我的一番诚意的,是吗,亚伯兰老祖宗。安:好,夏洛克,我愿意签约。

夏:恩,很好,您真是位值得尊敬的朋友,我知道您是信的过我的,那么来吧,朋友们,让我们去找一个公证人,在他那儿签上一份契约。--噢!还有,我还要立刻赶回家去,让一个靠不住的奴才为我看守门户,我可是放不下心的(说完下)

安:那你去吧,善良的犹太人,我们会马上赶到的,(转向巴萨尼奥)这犹太人快要成为基督教徒啦,他的心肠好多啦!

巴:我不喜欢口蜜腹剑的人!

安:好了,这又有什么要紧呢?只不过二个月的时间,我的船就回来了。我们去吧(下)7 第二幕 第1场

地点:鲍西亚家中

人物:鲍西亚,尼利莎,鲍尔萨泽,摩洛哥亲王,阿尔恭亲王 道具:二桌二椅,三个盒子,一副卷轴画,佩剑一柄(鲍西亚在屋中来回踱步,心情略显焦躁而又凝重)

鲍:这光明而神圣的太阳,你将光辉撒满世界,却为何不能照亮我暗淡的心房,仁慈的上帝,你为何让我遭受这样的磨难,您不知道我对您是多么虔诚,我的父亲啊!您最爱您的女儿,却为何让女儿忍受这样的煎熬。倘若不是我心爱的人选中这正确的匣子,我将如何面对以后的路。

尼:(上)我亲爱的小姐,请您坐下来歇一歇好不好,您已经这样来回走了一早上了,难道您想让您忧愁的心再承受身体上的疲惫吗?

鲍:呕,我亲爱的尼利莎,倘若这样能减轻我的忧愁,那么我宁愿走上一百年。

尼:好啦,小姐,您还是歇一会吧!那来选匣子的摩洛哥亲王和阿尔恭亲王恐怕马上就到了。鲍:这真是个恐怖的时刻!

仆人:(上)小姐,摩洛哥亲王殿下率侍从来了,就在大厅等候。鲍:让他进来吧1(双手合十,做祈祷状)(仆人下,摩洛哥亲王上)

摩:(独白)不要因为我的脸色而憎厌我,我是骄阳的近邻,我这一身黝黑的制服,便是它的威焰所赐予。给我在中年不见阳光冰山雪柱的极光找一个最白皙姣好的人来,让我们共享这美好幸福时光。(见鲍西亚)啊!我美丽的绝世无双的小姐,我这副容貌曾经吓破了无数勇士的胆,凭我的爱情起誓,我的国土里最有声誉的少女也为它害过相思,我不愿变更我的肤色,除非为了取得您的欢欣,我温柔的女王。

鲍;尊贵的亲王殿下,对今天您来选择,我倒并不单单凭信一双善于挑剔的少女的眼睛,而且我的命运,由抽签决定,自己也没有任意取舍的权利,可是我的父亲倘不曾用他的远见把我束缚了,使我只能委身于按照他所规定的方法,赢得我的男子,那么您,声明卓著的王子,您的容貌在忘我心目之中,并不比其他人逊色!

摩:单是您这一番美意,已使我激动万分了,所以请您带我去瞧瞧那几个匣子,试一试我的命运吧!我相信,上帝会垂青于我的。

鲍;您必须信任命运,或者死了心放弃选择的尝试,或者在您选择之前,立下一个誓言,要是选不中,终身不在向任何女子求婚,所以您是考虑考虑吧!8 接上

摩:我注意已决,不必考虑了,让我们去吧,让我们去试试我的运气吧。

鲍:(带亲王至桌前)那么好吧,我尊贵的亲王,您来看吧,这就是那些匣子。(亲王至近前做端详状)鲍:您仔细瞧瞧吧,亲王殿下,这三个匣子分别是金,银,铅作的,其中一个就装着我父亲的遗嘱,您可要仔细的选。

摩:(走向近前,一一看过)这第一只匣子是金的,上面课着几个字,谁选择了我,将要得到众人所希求的东西;第二只匣子是银的,上面刻着:谁选择了我,将要得到他所应得到的东西:第三只匣子是用沉重的铅打成的,上面刻着这样冷酷的警告:谁选择了我,必须准备把他所有的一切作为牺牲。我怎么能知道我选的不会错呢?

鲍:这三只匣子中间,有一只里面藏着我的小像,您要是选中了那一只,我就属于您了。

摩:求神明指示我,让我选中吧!(双手合拳向天祈求,而后转向桌前)我可得小心呀!(自言自语道)我且把那匣子上的字都仔细地推敲一遍,哪个铅匣子上说什么:“谁选择了我,必须准备把他所有的一切作为牺牲?”为什么?为了铅吗?为了这沉重的铅而牺牲一切,这话可有些吓人!那银匣子上写的:“谁选择了我,将要得到他所应该得到的东西。”得到他应得到的东西!(伸手向匣子,又顿住)且慢!凭我的财富难道配不上这位小姐吗?倘这样说那我未免太小看自己了,讲到家世,财产,人品,教养,我哪点,配不上她那么我所应得的东西一定就是这个了。(伸手去取,却又顿住)不忙,让我在来看看这只金匣子“谁选择了我,将得到众人所希求的东西”。啊!那正是这位小姐了,整个世界都在希求她,他们从地球的四角迢迢而来,顶礼这位尘世的真仙,那广瀚的海洋的沙漠已成了各国王子们前来瞻仰这美貌的天仙的通衢大道。这样一颗珍贵的珠宝,恐怕只有装在这昂贵的金匣子中才恰当,那么我就选它了!(说着双手捧起金匣子,向鲍西亚。

鲍:亲王,请您拿了钥匙,打开这匣子看看吧,如果里边有我的小像,那么我就属于您了。

摩:(欣然结果钥匙,开匣视之)啊!该死,这是什么?这分明是一具骷髅,那空空的眼眶里藏着一张有字的纸卷。且让我看看上面写的什么,发光的不是黄金,圣贤没有骗人,多少世人出卖了一生,不过看到了我的外形,蝼蚁占据着镀金的坟。你要是又大胆又聪明,就不会得到这样的回音!啊!悲伤充塞我的心胸,莫怪我这败军之将去的匆匆(做悲痛状下)

鲍:他去的到还知趣,但愿像他一样肤色的,都选不中。尼:(上)小姐,哪个亲王去的好狼狈呦!

鲍:唉!也难怪他只看重贵重的黄金,却不知美丽的外表下往往隐藏着罪恶的本质。尼:小姐,这下你可高兴了吧!鲍:姑且算过去了一劫吧!

仆人:(上)小姐,阿尔恭亲王驾到。

鲍:(面带惊惧之色)啊!为何追的这样急迫,容不得我半点喘息!(以手抚胸)尼:小姐,您没事吧!要求让他改日再来? 鲍:(挥手阻拦)我没事,让他进来吧。(尼利莎,仆人同下,阿尔恭亲王上)

阿:(上,独白)我就是那英武的阿尔恭亲王,我显赫的英明早已远洋四方,我是人之至尊,唯有我才能配的上世间最貌美的少女,命运之伸必将赐予我神明的决断。

鲍:噢,尊贵的王子,您是如此的英武威武,却为了一个无名的小女子不远千里来到这里,这对您是多大的不敬啊!

阿;快不要这样说,我美貌的鲍西亚小姐,我一看到您我就知道您是主宰我命运的伟大女神!既是如此,那么所有的一切都不足挂齿,惟有您,才是我生命的终极!

鲍:尊贵的殿下,您瞧这些匣子,其中有一只藏有我的小像,如果您选中了,那我将属于您,可是您要失败了,那么殿下,您就必须离开这儿您知道吗?

阿:我已经宣誓遵守三项条件:第一,不得告诉任何人我所选的是那一只匣子:第二要是我选错了匣子,终身不的在向任何女子求婚,第三要是不中,我立刻离开这儿。

鲍:为了我这微贱的身子来此冒险的人,没有一个不曾立誓遵守这几个条件。(向观众)

阿:我已经有所准备了,但愿命运满足我的心愿!一只是金的,一只是银的,一只是铅的“谁选择了我,必须准备把他所有的一切作为牺牲。你要我为你牺牲,应该是再好看一点才是,哪个金匣子上面说的什么?啊!谁选择了我将要得到众人希求的东西!众人也许是无知的庸俗之人,他们只知取其外表,不知窥察到心。我是不会与这样的人为伍的,那么看这银匣子”谁选择了我,将要得到他所应得的东西!“说的好,一个人要是没几分长处,怎么可以妄图非分?尊贵显荣,原本就不是无德之人可以添窃的。人物表

1威尼斯公爵 2安东尼奥:威尼斯商人 3夏洛克:犹太富翁 4巴萨尼奥:安东尼奥好朋友,鲍西亚的丈夫 5萨莱尼奥:安东尼奥好朋友 6鲍西亚:贝尔蒙特富家女儿 7尼利莎:鲍西亚侍女

篇3:威尼斯商人英文剧本

1 Historical background of Shakespeare's transvestite drama

It is important for modern spectators to understand“Shakespeare’s celibate stage”[4],which indicates all the roles were played by males,according to the British laws during that period.The reason for casting out all female players from stage was partially because women in Renaissance were looked down upon as a creature required strict regulation against their strong sexual desire and dissolute manner.Hence all-male casts upheld the principle of restraining women and at the same time displaying the chaste,ideal and docile female characters on stage as moral examples.

On the other hand,in the Shakespearian age,Queen Elizabeth on the throne had a great social symbolic meaning on women’s liberty as well as on the trend of theatre performance[5].Observable facts during this period were the promotion of humanistic doctrines and the initial recognition of individuality.The inferiority of women together with the established male dominance began to be questioned or even challenged.Early modern England even saw the brave women in man’s attire,though only a few,in real society[6].Shakespeare made bolder attempts and achieved wide recognition in depicting transvestite heroines as well as transcending the limitation of hierarchical society.Moreover,for the female role is performed by an actor who is a real young man,transvestite performance as“a young man”can be more natural and spontaneous.

2 Gender reconstruction and androgyny

Sexual ambiguity caused by cross dressing has significant implication in gender reconstruction.Transvestism empowers the inferior women to embrace masculinity and feminity,at least temporarily reaching beyond the barrier.

Gender is a social construct.Poststructuralist feminist Judith Butler argued for the performativity of gender.Gender is referred to a system of manipulated codes,a show of costume or disguise.Hélène Cixious stands for the possibility of bisexuality and the recognition of plurality,and since Coleridge’s claim that the great mind is androgynous,many feminists,especially within the academy,advocate the fluid sexual identification for fuller humanity.June Singer defined“androgyny…in its broadest sense…as the One which contains the two;namely,the male(andro-)and the female(gyne-).Androgyny is an archetype inherent in the oldest archetype of which we have any experience”[3].It should be noted that androgyny is not an object of deformity or an image of the grotesque;every human embodies both masculinity and feminity[7].With an ideal goal of human completeness,androgyny emphasizes the fusion of bravery and grace,objectivity and subjectivity,reason and emotion.The prospect of androgyny embodied in those brave women lies in the potential aim of achieving unity,wholeness,harmony and perfection for humanity.It liberates the individuality from confines of binary opposition between male and female.

3 Cross dressing in The Merchant of Venice

Shakespeare expressed his interest towards androgyny through girl-into-boy disguise in many of his masterpieces.In The Merchant of Venice,Portia undoubtedly plays the most significant role,disruptively undoing the masculine authority by rescuing Antonio.Jessica’s disguise implies the transgression of both racial and gender boundaries.The burring of sexual identity resulted from transvestism consists of the possibility to reconstruct gender identity,to achieve fuller individuality and to pose a threat to the repressive system of patriarchal and hierarchical authority.

As an incarnation of ideal female,Portia is rich,fair,virtuous,intellectual and full of wit,attracting renowned suitors from every coast.But at the outset of the play,the audience will be very impressed by Portia’s chafing at the will of her dead father“I may neither choose who I would nor refuse who I dislike.”(Ⅰ.ⅱ.22-24)Explicitly Portia expresses her complains about the lacking of free choice.Compared with silent,obedient medieva women,Portia’s pursuit of free choice and determination towards her own ends is reaching beyond the confines of social norms,or at least touching the boundary of being a docile girl.It is not difficult to trace more natural extension of gender from Portia.The idea of putting a deep glass of Rhenish wine on the contrary casket for a drunken suitor from Germany is more likely to be produced by a naughty boy rather than a graceful lady.Though she is fully aware of the duty of a daughter,she still tries to win over through a curved approach against the patriarchal instruction.In the casket scene,Portia once again displays her exceptional wisdom to guide Bassanio’s choice skillfully enough without violating her father’s will.The awareness of sexual differences is expressed more explicitly when Portia told Nerissa of their plan to Venice:“…in such a habit…/With that we LACK”(Ⅲ.ⅳ.63-65).When emphasizing the manners they“lack”,on the one hand,Portia understand very clearly the difference between men’s gesture and hers;on the other,these remarks reveal her determination to overcome the“born defect”.Overall,feminine elegance and masculine ambition of Portia are easy to be noticed in the play,while wearing men’s attire further enables Portia at her own will to encroach upon the privileges of men,ultimately achieving a fuller Self.

As depicted in the play,Venice is a merchandised,disordered and harsh city whereas Belmont a fairy-tale,ordered and peaceful island far away from mutual deception and rivalry.The former represents masculine characteristics and the latter embodies feminine features.Therefore,cross dressing served as a bridge linking up Belmont and Venice,through which Portia is capable to find a way out and to assume masculine authority.Unlike Viola in Twelfth Night who had to disguise for the sake of basic survival,Portia in masculine attire manages to not only enter the masculine arena but also successfully rescue Antonio’s life in court.Barbara Everett highly praised Portia by saying that“Portia is the salvation of the play;her wealth,her wits,and her pleading of a feminine quality of mercy…is reserved for the women in the comedies…But they(Portia and Nerissa)do so in masculine disguise,in a masculine court of law,and at the service of a chivalric friendship between men”[8].Indeed,crossdressing plot is the turning point of the whole play.With men’s attire,Portia and her maid gave an excellent performance in the traditional exclusive playground of men.

In the courtroom,confronting the cruel,relentless Shylock apparently three gentlemen are at the end of their wits.Antonio melancholic by nature,is the man in sorrow,resigned to his fate Belligerent Gratiano shouts at Shylock with his haste and fury while Bassanio could only plead for Duke in vain.On the contrary,disguised as learned lawyer Balthazar,Portia is calm,clear and determined.She calls for mercy from the Jew in the firs place.When Bassanio begs for stretch of the laws,Portia refuses him in just and severe terms,pronouncing“It must not be.There is no power in Venice/Can alter a decree established…It canno be”(Ⅳ.ⅰ.221-230).Her decision and composure wins the trus from Shylock,which paves the way for final solution.Undoubtedly,the trial scene highlights Portia’s masculine characteristics Portia under the attorney's robe wields male authority with conviction,manipulates the whole court,and finally reverses the situation,suddenly yet wonderfully.And at the same time,Shakespeare didn’t dismiss her feminine grace.The speech for exhorting the Jew exemplifies Portia’s goodness and benevolence as a woman.Her feminity and masculinity are interacted and inseparable,contributing to a whole.The performance of androgynous Portia goes beyond what she could make as an ordinary woman and eclipses all other mediocre male characters in the play.In a word,Portia’s impersonation of a man not only seriously questioned one sex or male dominance,also manifested Shakespeare’s respect for a complete humanity.

4 Conclusion

As an all-embraced humanist,Shakespeare expressed his concern and care toward women’s fate and their subordinated position in society.In conclusion,through cross-dressing device Shakespeare’s female characters rediscover their androgynous potential,reconstruct the gender identity,and try their best to demonstrate the full value of individuality.The significance aswell as impact of transvestite women is far reaching,both in his-tory and till today.

摘要:性别易服(又名男扮女装)是多部莎剧中重要的舞台表现形式,不仅使情节跌宕起伏,也能产生戏剧化的效果。易服后的女主人公兼具男女两性的特质,超越了性别的羁绊,身心获得了极大的自由和解放。象征着全体、力量、和谐的“雌雄同体”(或称两性兼体)是人类普遍的天性,孕育着两性平等,和睦相处的深刻内涵。文章主要运用后结构女性主义理论,分析莎剧《威尼斯商人》中性别易服现象,论证性别身份是社会建构的结果,雌雄同体颠覆了父权制社会“二元对立”的等级模式,挑战了传统的男权文化;其强调的男女两性特质互不排斥,反而可以达到更为理想的男女性别观。

关键词:性别易服,雌雄同体,后结构女性主义,二元对立,威尼斯商人

参考文献

[1] Christopher W.Cross-Dressing and John Lyly’s Gallathea[J]. Studies in English Literature,2001,41(2):241-256.

[2] Phyllis R.Androgyny,Mimesis,and the Marriage of the Boy Heroine on the English Renaissance Stage[J].PMLA,1987,102 (1):29-41.

[3] Robert K.Androgyny Seen Through Shakespeare’s Disguise[J]. Shakespeare Quarterly,1982,33(1):17-33.

[4] Michael J.Shakespeare’s Celibate Stage:The Problem of Ac- commodation to the Boy -Actress [C]//Shakespearian G I, Duthie.As You Like It,Antony and Cleopatra,and The Winter’ s Tale in Papers.Edinburgh:Oliver and Boyd.1964:21-39.

[5] Angela P.Shakespeare's Women [M].London:David and Charles,1981.

[6] Jean E H.Crossdressing,The Theatre,and Gender Struggle in Early Modern England [J].Shakespeare Quarterly,1988,39(4): 418-440.

[7] Joseph C.The Hero with a Thousand Faces [M].Princeton: Princeton University Press,1972:152-153.

篇4:怎样欣赏英文戏剧剧本

首先,戏剧作品作为一种文学形式,也和小说一样有plot(情节),character portrayal (人物),setting (背景),theme (主题) 和style (风格),但他们的表现形式却与小说有所不同,阅读时自然需要不同的技巧。

小说分章(chapters)分节(sections),戏剧则分幕 (acts), 分场 (scenes)。幕,是剧本写作和演出的一个完整段落,按剧情发展的时间、地点划分。场,则是幕中的部分。有的剧只分幕,不分场。

小说中的对话、描写和评论说明都交织在情节发展的过程中,读者是在听人家讲故事。但剧本的故事却完全在角色的直接对话中展开,读者要通过这些直接对话的内容、遣词造句、语言风格(也包括一些简单的动作描述)去揣摩每个人物的性格、心理、为人、价值观念、教育程度和社会背景等等。其次,读者还要从这些对话中分析人物之间的关系或冲突,进而推断出作者的写作目的,即对某一类社会现象或某一类人的思想态度或赞扬或批评。因此,读英语戏剧作品必须仔细琢磨每个人物的每一句话,不但要看这句话的表面意义,还要看这句话的暗示意义,以及作者想通过这句话所展示剧中人的某个特点和它的社会意义。

下面以英国著名戏剧文学家萧伯纳(Bernard Shaw, 1856_1950 )的作品“Augustus Does His Bit”(《奥古斯都尽了他的本份》)为例,看看如何欣赏剧本。这是一部讽刺剧,剧中主要人物奥古斯都是一个政府要员,一个上流社会的贵族。他与手下一个小职员和一位女士有这样一段对白:

The clerk: (entering) Are you engaged?

Augustus: What business is that of yours? However, if you will take the trouble to read the society papers for this week, you willsee that I am engaged to the Honourable Lucy Popham, youngest daughter of...

The clerk: That isn't what I mean. Can you see a female?

Augustus: Of course, I can see a female as easily as a male. Do you suppose I'm blind?

The clerk:You don't seem to follow me, somehow. There's a female downstairs: what you might all a lady. She wants to know can you see her if I let her up.

Augustus: Oh, you mean am I disengaged. Tell the lady I'm busy.( The Clerk goes) Stop! Does she seem to be a person of consequence?

The clerk: A regular marchioness, if you ask me.

Augustus: Hm! Beautiful, did you say?

The clerk: A human chrysanthemum, sir, believe me.

Augustus: It will be extremely inconvenient for me to see her; but the country is in danger; and we must not consider our own comfort. Think how our gallant fellows are suffering in the trenches! Show her up. (The Clerk goes out. Augustus produces a mirror and a comb from the drawer of his writing-table, and sits down before the mirror to put some touches to his toilet. The Clerk returns, showing in a very attractive lady, brilliantly dressed. Augustus hastily covers up his toilet apparatus with The Morning Post, and rises in an attitude of pompous condescension.)

The clerk (to Augustus): Here she is. (to the lady) May I offer you a chair, lady? (He places a chair at the writing-table opposite Augustus and steals out on tiptoe.)

Augustus: Be seated, madam.

The lady: (sitting down) Are you Augustus Highcastle?

Augustus: Madam, I am.

The lady: (with awe) The great Lord Augustus?

Augustus: I should not dream of describing myself so, madam; but no doubt I have impressed my country-men-and (bowing gallantly) may I say my country-women—as having some exceptional claims to their consideration.

The lady: (emotionally) What a beautiful voice you have!

Augustus: What you hear, madam is the voice of my country.

通过这样一段简单的对白,你对主人公奥古斯都产生了什么样的印象?他有什么样的性格特点与价值观念?作者对主人公持什么态度,是褒还是贬?作者的写作目的是什么?作者是在讲一个人的故事,还是在讽刺抨击一种社会时弊?

在这里我们首先看到,当那位职员问道:“Are you engaged?”本意是“你现在忙吗?”奥古斯都却偏偏把这句话理解为“你订婚了吗?”(该句的另一个可能的意思)。这一问一答,不仅说明奥古斯都身为重要政府官员整天满脑子里只有个人私事,答非所问,也说明他不学无术,语言能力低下。因为,在英国的文化中,一名低级的普通政府职员是绝对不可能在公务场合直接问一个重要政府官员的婚姻状况的,那么,“Are you engaged?”的意义只能是“你现在忙吗?"

另外,奥古斯都的答话“What business is that of yours? However, if you will take the trouble to read the society papers for this week, you willsee that I am engaged to the Honourable Lucy Popham, youngest daughter of...”可以使我们清楚地看到,他一方面自恃清高,傲慢无理,不让人家多管它的私事,另一方面又迫不及待地向别人炫耀他的高贵身份。这又足见他的肤浅。

后来,当那个职员不得不改口说:“Can you see a female?”,本意是“你能否接见一位女士?”时,奥古斯都又错误地理解为“你能看见一位女士吗?。所以,他便回答说他的眼睛并不瞎,他能像看到男性那样容易地看到女性。这完全是驴唇不对马嘴。

对这样一个虚伪,傲慢,无知,低能的家伙,那位可怜的小职员只能选用适用于儿童的直白语言与奥古斯都对话:“You don't seem to follow me, somehow. There's a female downstairs: what you might call a lady. She wants to know can you see her if I let her up.”。

当奥古斯都终于明白有一位女士要见他时,先是推说公务繁忙: "Tell the lady I'm busy...",后来, 听说是一位漂亮的女人时,又一心想见,却又要找出一堆根本不搭边的冠冕堂皇的理由:“It will be extremely inconvenient for me to see her; but the country is in danger; and we must not consider our own comfort. Think how our gallant fellows are suffering in the trenches! Show her up." 似乎他见这个女人是为了国家的利益而做出了重大的自我牺牲。好一付“高大无私的君子”形象。

很明显,作者是借奥古斯都来映射那些虚伪、傲慢、自私、无能的政府官僚阶层,用讽刺与夸张的手法来抨击时弊,让观众和读者在捧腹大笑的过程中像看漫画一样从中悟出了一个非常严肃的社会问题。

其实,读英语戏剧作品需要更多的创造性想象。同时,还要不断地变换自己的角度,不仅要找到每一个角色的感觉,还要找到作者与观众的感觉。不仅要去“听”对话,还要想象舞台的背景、演员的动作和神情。

另外,还要注意英语戏剧文学的特殊格式,调整自己的阅读习惯。如,有关地点、背景、动作等说明部分都用括号括起,一般用斜体字印出;每段话之前都标有说话人的名字;有时每行的文字很短,阅读时要频繁移行。

下面的剧本节选自挪威著名剧作家易卜生(Henrik Ibsen)作品《人民公敌》(An Enemy of the People)。 剧中主人公史塔克曼(Dr. Stockmann)是一位医生,是社会的一个支柱。他所住的小城是一个疗养圣地,其中心是该城的公共浴场。主人公发现浴场的水被当地的一个皮革厂污染了。他将他的发现公布后希望成为当地的英雄因为他挽救了小城的名声,防止了疗养的客人被感染。但相反地他被当地人视为"人民公敌",后来甚至有人向他的家扔石头。最后他被迫离开了小城。对观众来说小城和医生都面临着一场显而易见的灾难,但当地的社会不愿面对事实。阅读时注意体会对话的内在意义,认真分析人物特征与作者的目的。然后试着回答后面的问题。

Excerpts from "An Enemy of the People"

by Henrik Ibsen

Dr. Stockmann: It is I who have the real good of the town at heart! I want to lay bare the defects that sooner or later must come to the light of day. I will show whether I love my native town.

Petra Stockmann: You, who in your blind obstinacy want to cut off the most important source of the town's welfare?

Dr. Stockmann: The source is poisoned, man! Are you mad? We are making our living by retailing filth and corruption! The whole of our flourishing municipal life derives its sustenance from a lie!

Petra Stockmann: All imagination -- or something even worse. The man who can throw out such offensive insinuations about his native town must be an enemy to our community.

Dr. Stockmann: (going up to him) Do you dare to -- !

Mrs. Stockmann: (throwing herself between them) Thomas!

Petra: (catching her father by the arm) Don't lose your temper, father!

Petra Stockmann: I will not expose myself to violence. Now you have had a warning; so reflect on what you owe to yourself and your family. Good-bye. (Goes out)

Dr. Stockmann: (walking up and down) Am I to put up with such treatment as this? In my own house, Katherine! What do you think of that!

Mrs. Stockmann: Indeed it is both shameful and absurd, Thomas --

Petra: If only I could give uncle a piece of my mind --

Dr. Stockmann: It is my own fault. I ought to have flown out at him long ago! -- shown my teeth! -- bitten! To hear him call me an enemy to our community! Me! I shall not take that lying down, upon my soul!

Mrs. Stockmann: But, dear Thomas, your brother has power on his side --

Dr. Stockmann: Yes, but I have right on mine, I tell you.

Mrs. Stockmann: Oh yes, right -- right. What is the use of having right on your side if you have not got might?

Petra: Oh, mother! -- how can you say such a thing!

Dr. Stockmann: Do you imagine that in a free country it is no use having right on your side? You are absurd, Katherine. Besides, haven't I got the liberal-minded independent press to lead the way, and the compact majority behind me? That is might enough, I should think!

Mrs. Stockmann: But, good heavens, Thomas, you don't mean to -- ?

Dr. Stockmann: Don't mean to what?

Mrs. Stockmann: To set yourself up in opposition to your brother.

Dr. Stockmann: In God's name, what else do you suppose I should do but take my stand on right and truth?

1. The author's purpose in the scene is to establish the theme of the play: namely, that

a. a liberal-minded, independent press will always guarantee that the truth will be accepted

b. my country, be it right or wrong, is my country

c. right makes might

d. the compact majority is always right

2. Mrs. Stockmann interprets Dr. Stockmann's position as simply a desire on his part to oppose his brother: actually, the opposition is between

a. power and science

b. family and duty

c. the citizen and his government

d. pragmatism and truth

3. In general, Dr. Stockmann's attitude may be described as

a. hostile, aggressive, and unreasonable

b. selfishly oblivious of his family's welfare

c. extremely idealistic

d. naive and old-fashioned

4. Petra sides with her father because

a. she intensely dislikes her uncle

b. her mother chooses to support her uncle

c. she is a very obedient daughter

d. she sincerely believes in her father's principles

5. If this play is classified as realistic, then the reader may infer from this scene that later on

a. Mrs. Stockmann will divorce Dr. Stockmann

b. Peter Stockmann will relent and side with his bother out of family loyalty

c. the community will reject all economic advantage in favor of Dr. Stockmann's revelation of the truth

d. Mrs. Stockmann will eventually support her husband, but the town will turn against him

篇5:《茶馆》英文剧本

王:Seems like something happen in my teahouse.(入座时用毛巾拍凳子)(同时二德子嚣张入场,走在旁边找座位)常:(入座)I don’t think they are going to fight.If so, you may see them out of the town instead of in this teahouse.(高声道

说给二得子听,二得子听装)二:Who’s talking behind my back?(拍桌子)常:Are you asking me? I paid to drink here and have right to do whatever I want.(微笑状 无所谓 瞧不起)

二:I’m a military, you’d better not make trouble for yourself.常:Sounds like you are a powerful man, then why don’t you fight against the invaders.The British and French troops fired the imperial Summer Palace, and you taking official rates, was seen nowhere in the battle fields.二德子一下子翻手要抓常四爷的脖领 常(闪过)What do you want to do? 二:Eh? I can’t deal with the foreigners but pretty enough to beat you.王:Brother, we are all friends, there is nothing we can’t settle peacefully.(挥手调停)二(向常四爷):Fine, I’ll let you off this time.(二德子下 常王 边说边坐下)

王:Watch your tongue.Many of the men here work for the foreigners.They believe the foreign religion, speak the foreign language.You may offend them.常:I can’t help looking down on these people.(刘麻子领着康六上,招手示意上台 刘麻子不敢)刘(向常四爷):Good morning Sir,(请安 掏出鼻烟壶倒烟)try this new good, very authentic, made in England, the snuff is fine and pure.常(叹气):Even the snuff is imported from oversea.How much silver flows out in this way!(接过,王使用)刘:(愁眉苦脸)The Qing Kingdom’s gold and silver are too abundant to be used up, we don’t need to worry about that.Enjoy yourself Sir;I’ll go to run some affairs.刘麻子转向康六 刘:Give me a reply, if ten teals of silver is OK with you?(摆弄茶具)Time is running out.I’m busy and couldn’t waste any more time on you.康:Milord, how can a 15-year-old girl worth just ten teals? 刘:Of course worth more if sold to the brothels.The point is you don’t allow that.康:That’s my own daughter, how can I……(刘抢康话)刘:Who is to blame if you cannot raise your own daughter.康:(叹气)We live with the land in the countryside but couldn’t feed ourselves.If only we have plain porridge each meal, I’ll not sell my daughter or I’m not human being.刘:That’s your business.I’m honest to you and can get your daughter a place where she can eat her fill.康:Who on earth is pursuing her? 刘:I promise you will be satisfied!He serves the king in the palace.It can only be your daughter’s fate which leads her to such a bigwig.康:Who is that?(向前打听)刘:(笑,站起来竖拇指)Eunuch Pang!You must know him;he is the favorite of Queen mother.Even the vinegar bottle in his home is made of agate!康:(愣的一下坐下)Milord, it doesn’t make sense to marry daughter to a eunuch.刘:(绕道康身边)Think about your daughter, It’s quite fair to her.When she is married, both of the food and clothes she have will be the best.What a good fortune it is.Come on, let’s make it done.康:How absurd……(转念)Does he only afford ten teals of silver? 刘:You know that.It’s impossible to find that money even if you dig through your village.Be grateful, it is the public secret there that two kilograms of flour exchanges a child.康:I(叹气)I have to discuss with my daughter.(背景 茶馆敲鼓背景声音 沉重一点)

刘:Tell you what? Chance doesn’t always wait for you.Don’t regret after missing it.康:(叹气,痛苦的拍大腿 转身走)I’ll be back soon.刘:Waiting here.康六下

刘:(自言自语)What these villagers only can do is to delay your plan.王:王坐刘站(对刘麻子)You got a big fish, right? 刘:I was truly flattered, I just earn the difference.常:(对刘麻子):What’s going on in the countryside to make people sell children this way? 刘:Who knows? Didn’t you hear the saying “A dog won’t give birth to her children until she makes it to the Beijing City”.(一边挽袖子一边说,带着微笑)常:In my opinion, Qing the kingdom is doomed to ruin in no time.秦仲义上

众人作揖(寒暄,弯腰请安)刘(对常四爷低声):He is the big boss of the teahouse.秦(环视茶馆经营对王利发)Let me see if you have a gift for doing business.王(叹气):As work as learn.I make my living through this.My father passed away early, but thanks to his old friends, they often visit here and don’t mind my carelessness.Thousands of greetings and sweet words are few.No big trouble was made.Let me get you a seat and make tea for you.秦:No, I don’t drink or sit.王:Please ,it’s my honor to have you sit here.(站着)

秦:Fine, but sooner or later, I’ll re-entry the house(坐着,玩茶具)

王:You must be kidding.I know you are kind to me and treat me like son.You won’t watch me ending up as a tramp.秦(对众人):I mean it.I want to stop the teahouse.王(对秦仲义):Why’s that?

篇6:中秋英文话剧剧本

It’s all right.Allison, Apple, Annie, Amy and I are good friends.We‘ll talk something aboutMid-Autumn-Festival.Allison, you are a learned person, can you introduce something about Mid-Autumn-Festival to us? Annie: That sounds great!Apple: I’m god to hear that!Amy: It sounds mysterious? Allison: It is a legend.Can you help me to show it? Ann: It’s my pleasure.Annie: It’s my honor.Amy: Ok.Apple: Ok.ACT 2 The role play begins.Allison: Let’s begin.Long long ago, the sky appareled 10 sons.The common people couldn’t live any more.A hero, HouYi, appealed.(Apple: I’m Hou Yi , I’m strong.)He boarded the Kunlun peak with his gold arrow and shot down 9 extra suns.Apple(HouYi): “One, two, ……nine , now people can live normally.”

Allison: From then on, Hou Yi got the respect and affection of the people.Change was one of them.Chang’e(Annie): I’m Chang’e.He is so handsome, maybe ,I fall in love with him.Common people(Ann and Amy): He is so brave.He is my dream lover.Allison: Before long, HouYi married with Chang’e.she was a beautiful and kind-heard woman.Excepthunting outside, HouYi stayed with his wife.Apple: Oh, my dear have a rest.Tonight, the moon is so bright, let’s enjoy the moon together.Allison: People all admired HouYi and Chang’e.One day, HouYi visited his old friend in Kunlun mount.On the way, he met the holy-mother.Apple: Oh, holy-mother.What are you doing here? Amy(holy-mother): I’m here just for you.Apple: For me? Amy: Yeah, I hear that you have shot 9 extra suns for the benefits of mankind.I’ll give you undead medicine.As a prize.Apple: What function about the medicine? Amy: Who takes the medicine can become the god and live forever.Apple: That sounds magical.Could you give me another one? Amy: Only one.Apple: Thank you.Allison: Then HouYi came back.Apple: Oh, dear, I’ll give you a surprise.Annie: What’s the surprise? Apple: Today, I met the hole-mother and she gave me the undead medicine.I just want you to eat it.Annie: Only one? Apple: Yes.Annie: How about you after I eat it? Apple: You know I love you very much, if you’re happy, I’m happy.I’m not important.Annie: Oh, no, I can’t eat it alone.I hide it somewhere.Ann: Oh, I see it!

Allison: Three days later, when HouYi went outside to hunt.PengMeng(Ann:I’mPengMeng.)came into the house.Ann: Chang’e, give me the medicine.Annie: Oh ,I don’t know what you say.What’s the medicine? Ann: Don’t make fool of me!I see the medicine undead medicine.Houyi gave it to you.Give me, or I‘ll kill you!Annie: I don’t know, I don’t know.Ann: Shit!You want death.Annie: Wait a moment.I will go to take it to you.(Annie filed away)Allison: Ta that moment, Hou Yi came back.Apple: Oh, my dear.What happened? Don’t leave me!Annie: Oh, I really don’t want to leave you.PengMeng is a bad man.Apple: Oh, it’s him.I’ll kill the bad guy.Allison: That day was mid-autumn.In the evening, HouYi saw the heaven.He saw his wife in the moon.Apple:Tonight’s moon is bright and clear, but my wife isn’t here.I really miss her.Allison: Then he placed the table in the backyard, put on her favorite sweets.Apple: Moon cakes, dumplings are allmy wife’s favorite food.Allison: People heardChang’e became immortal, every one year in mid-autumn, they place cencer table in the yard for goddess to pray for lucky and peace, from then on, the customs spread in folk.ACT3 Annie: I got it.It’s a love story.Apple: it’s a little sad but beautiful.Amy: it’s a wonderful story.Ann: apple, can you tell me something about Mid-Autumn-Festival? Apple: what about you want to know? Ann: is there any custom in your hometown? Apple: Yes, that is in the Mid-Autumn-Festival night people often buy many moon cakes and face the moon to eat moon cakes.Amy: what does it mean?

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