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VI. Эвфуистический стиль и ранний Шекспир
Euphues: the anatomy of wyt
William shakespeare
VII. Уильям Шекспир. «Сон в летнюю ночь»
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VI. Эвфуистический стиль и ранний Шекспир



Задания:

I.

1. Прочитайте отрывок из романа Джона Лили «Эвфуэс».

2. Найдите части фраз с одинаковым синтаксическим пост­роением.

3. Как по-вашему, для чего автор использует синтаксичес­кий параллелизм?

4. Можно ли передать содержание отрывка более простым слогом? Какие при этом происходят изменения?


EUPHUES: THE ANATOMY OF WYT


There dwelt in Athens a young gentleman of great patrimonie, and of so comely a personage, that it was doubted whether he were more bound to Nature for the liniaments of his person, or to fortune for the encrease of his possessions. But Nature impatient of comparisons, and as it were disdaining a companion, or copartner in hir working, added to this comlinesse of his body suche a sharpe capacitie of minde, that not onely shee proued Fortune counterfaite, but was haife of that opinion that she hir seife was onely currant. This younge gallant, of more wit then wealth, and yet of more wealth then wisdome, seeing himseife inferiour to none in pleasant concei pts, thought himselfe superiour to al in honest conditions, insomuch yt he deemed himselfe so apt to all things, that he gaue himselfe almost to nothing, but practising of those things comonly which areincident to these sharp wits,fine phrases,smoth quipping, merry taunting, vsing iesting without meane, and abusing mirth without measure. As therefore the sweetest Rose hath his prickel, the finest veluet his brack, the fairest flowre his bran, so the sharpest witte hath his wanton will, and the holiest heade his wicked waye. And true it is that some men write and most men beleeue, that in all perfecte shapes, a blemmish bringeth rather a liking euery way to the eyes, then a loathing any waye to the minde. Venus had hir Mole in hir cheeke which made hir more amiable: Helen hir scarre on hir chinne which Paris called Cos amoris, the Whetstone of loue. Aristippus his wart, Lycurgus his wenne: So likewise in the disposition of ye minde, either vertue is ouershadowed with some vice, or vice ouercast with some vertue. Alexander valiaunt in warre, yet gyuen to wine. Tullie eloquent in his gloses, yet vayneglorious: Salomon wyse, yet to too wanton: Dauid holye but yet an homicide: none more wittie then Euphues, yet at the first none more wicked. The freshest colours soonest fade, the teenest Rasor soonest tourneth his edge, the finest cloathe is soonest eaten wyth Moathes, and the Cambricke sooner stained then the course Canuas: whiche appeared well in this Euphues, whose witte beeinge lyke waxe apte to receiue any impression, and hauinge the bridle in hys owne handes, either to vse the raine or the spurre, disdayning counsayle, leauinge his countrey, loathinge his olde acquaintance, thought either by wytte to obteyne some conquest, or by shame to abyde some conflicte, and leaning the rule of reason, rashly ranne vnto destruction. [ who preferring fancy before friends, and his present humour, before honour to come, laid reaso in water being to salt for his tast, and followed vnbrideled affection, most pleasant for his tooth. When parents haue more care how to leaue their childre wealthy the wise, and are more desirous to haue them mainteine the name, then the nature of a gentleman: when they put gold into the hands of youth, where they should put a rod vnder their gyrdle, when in steed of awe they make them past grace, and leaue them rich executors of goods, and poore executors of godlynes, then is it no meruaile, yt the son being left rich by his fathers Will, become retchles by his owne will. But ]

It hath bene an olde an sayed sawe, and not of lesse truth then antiquitie, that witte is the better if it bee the deerer bought.


II.

1. Прочитайте начальные строки монолога короля Наварры, Фердинанда, открывающего комедию Шекспира «Бесплодные усилия любви».

2. Какие ключевые слова Возрождения в них встречаются? (См. установку к лекции VIII.)

3. Что думает Фердинанд о Славе, Чести и Вечности?

4. Что вы можете сказать о стиле его речи?
  1. Какие жанровые установки создает вступительный моно­лог Фердинанда и его первая часть?


WILLIAM SHAKESPEARE

LOVE'S LABOUR'S LOST (I, 1)

Let fame, that all hunt after in their lives,

Live regester'd upon our brazen tombs,

And then grace us in the disgrace of death;

When, spite of cormorant devouring

Time, The endeavour of this present breath may buy 5

That honour which shall bate his scythe's keen edge,

And make us heirs of all eternity. 9


III.

1. Прочитайте слова Бирона, звучащие в ответ на решение короля Фердинанда посвятить три года учению и вести при этом самый аскетический образ жизни, в том числе избегать женщин.

2. Как влияет адресат высказывания на способ его выра­жения?


Berowne:

I will swear to study so,

To know the thing I am forbid to know; 60

As thus: to study where I well may dine,

When I to feast expressly am forbid;

Or study where to meet some mistress fine,

When mistresses from common sense are hid;

Or, having sworn too hard-a-keeping oath,

Study to break it, and not break my troth,

If study's gain be thus, and this be so,

Study knows that which yet it doth not know.

Swear me to this, and I will ne'er say no.


IV.

1. Прочитайте «Эпитафию на смерть оленя, убитого прин­цессой», написанную учителем Олоферном.

2. Насколько в ней выдержан жанр? Какие есть жанровые нарушения?

3. Какие взаимоисключающие задачи ставит перед собой ав­тор Эпитафии?


Holofernes (IV, 2):

...to humour the ignorant, I have call'd the deer the princess kiled,

a pricket. 53

The preyful princess pierc'd and prick'd a pretty pleasing pricket;

Some say a sore; but not a sore, till now made sore with shooting.

The dogs did yell; put L to sore, then sorel jumps from thicket; 60

Or pricket, sore, or else sorel; the people fall a hooting.

If sore be sore, then L to sore makes fifty sores one sorel!

Of one sore I a hundred make, by adding but one more L. 63


V.

1. Прочитайте размышления Олоферна о природе таланта.

2. Что вы можете сказать о персонаже по его высказыванию?

3. Что в структуре высказывания заставляет вас именно так отнестись к персонажу?


Holofernes (IV, 2):

This is a gift that I have, simple, simple; a foolish extravagant spirit, full of forms, figures, shapes, objects, ideas, apprehensions, motions, revolutions: these are begot in the ventricle of memory, nourished in the womb of pia mater, and delivered upon the mellowing of occasion. But the gift is good in those in whom it is acute, and I am thankful for it. 74


VI.

1. Согласны ли вы с мнением о том, что Шекспир на ран­нем этапе творчества прошел школу эвфуистического письма, от которого отказался впоследствии?

2. Можно ли считать раннего Шекспира мастером слова, разнообразно и творчески пользующимся эвфуистической манерой для решения многочисленных жанрово-стилистических задач?

VII. Уильям Шекспир. «Сон в летнюю ночь»


I. Прочитайте текст комедии.

II. Ответьте на следующие вопросы:
  • Своеобразие организации пространства в пьесе:
  • мир людей и его неоднородность;
  • мир лесных духов и его иерархичность.
  • способность к взаимопроникновению сказочного и «реального» миров.
  • Функции сна в пьесе. Физические и душевные метамор­фозы персонажей комедии.


III. Сопоставьте высказывания шекспировских героев о при­роде сна и сновидений:


Hamlet to Rosencrantz (II, 2):

I could be bounded in a nutshell, and count myself a king of infinite space, were it not that I have bad dreams.

Я бы мог замкнуться в ореховой скорлупе и считать себя власти­телем бесконечного пространства, если бы мне не снились дурные сны.

Пер. М. Лозинского


Prospero to Ferdinand. — The Tempest (IV, 1):

We are such stuff

As dreams are made on (of ?); and our little life

Is rounded with a sleep.


Мы сделаны из вещества того же,

Что наши сны, и сном окружена

Вся наша жизнь.


Macbeth to Lady Macbeth (II, 2):

Methought I heard a voice cry "Sleep no more!

"Macbeth does murder sleep," — the innocent sleep,

Sleep that knits up the ravell'd sleave of care,

The death of each day's life, sore labour's bath,

Balm of hurt minds, great nature's second course,

Chief nourisher in life's feast...


IV. Вернитесь к вопросу о функции сна в пьесе.


V. У. Шекспир. Монолог Меркуцио о королеве Маб из траге­дии «Ромео и Джульетта»

1. Прочитайте трагедию «Ромео и Джульетта».

2. Ответьте на вопросы:
  • Где и при каких обстоятельствах Меркуцио произносит свой монолог?
  • Какие приемы драматической техники делают возможным помещение в текст пьесы пространного монолога?

3. Прочитайте монолог Меркуцио.

4. Ответьте на вопросы:
  • Как Шекспир держит внимание читателя и зрителя?
  • В чем Ромео не согласен с Меркуцио?


I, 4

She is the fairies' midwife, and she comes 55

In shape no bigger than an agate-stone

On the fore-finger of an alderman,

Drawn with a team of little atomies

Athwart men's noses as they lie asleep:

Her waggon-spokes made of long spinners' legs; 60

The cover, of the wings of grasshoppers;

The traces, of the smallest spider's web;

The collars, of the moonshine's watery beams;

Her whip,of cricket's bone; thelash.of film;

Her waggoner, a small grey-coated gnat, 65

Not half so big as a round little worm

Prick'd from the lazy finger of a maid;

Her chariot is an empty hazelnut,

Mad by the joiner squirrel or old grub,

Time out o'mind the fairies' coach-makers. 70

And in this state she gallops night by night

Through lovers' brains, and then they dream of love;

O'er courtiers' knees, that dream on curtsies straight;

O'er lawyers' fingers,who stright dream on fees;

O'er ladies' lips,who straight on kisses dream; 75

Which oft the angry Mab with blisters plagues,

Because their breaths with sweetmeats tainted are.

Sometimes she gallops o'er a courtier's nose,

And then dreams he of smelling out a suit;

And sometimes comes she with a tithe-pig's tail, 80

Tickling a parson's nose as a' lies asleep,

Then dreams he of another benefice;

Sometime she driveth o'er a soldier's neck,

And then dreams he of cutting foreign throats,

Of breaches, ambuscadoes, Spanish blades, 85

Of healths five fathom deep; and then anon

Drums in his ear, at which he starts and wakes;

And, being thus frighted, swears a prayer or two,

And sleeps again. This is that very Mab

That plats the manes of horses in the night; 90

And bakes the elf-locks in foul sluttish hairs,

Which once untangled much misfortune bodes;

This is the hag, when maids lie on ther backs,

That presses them and learns them first to bear,

Making them women of good carriage:

This is she — 95

Rom.: Peace, peace! Mercutio, peace!

Thou talk'st of nothing.

Mer.: True, I talk of dreams,

Which are the children of an idle brain,

Begot of nothing but vain fantasy;

Which is as thin of subatance as the air, 100

And more inconstant than the wind, who woos

Even now the frozen bosom of the north,

And, being anger'd, puffs away from thence,

Turning his face to the dew-dropping south. 104