《无事生非》的喜剧艺术探析

A Study of the Maternal Absence in Much Adoabout Nothing《无事生非》中母亲缺席的研究温惠越【摘要】威廉•莎士比亚，英国文学史上最杰出的戏剧家，1600年左右出版的《无事生非》凭借其中鲜明的人物塑造和狡黠的台词，成为莎翁浪漫爱情喜剧代表作品之一。

本文着重关注《无事生非》中希罗母亲缺席的现象，从南希•乔德罗母亲角色再生理论的角度分析《无事生非》中希罗母亲在场的缺席对希罗认识性别身份和性别关系的影响，从而指出女性的自我认同和性别平等的实现，需要从女性自身自我意识觉醒开始，比如对母亲角色和性别身份在母女关系中再生的反思。

通过莎士比亚及作品《无事生非》，阐明了目前的研究现状，阐释了南希•乔德罗母亲角色再生理论。

探究希罗在母亲缺席的情况下对女性角色的认识。

分析希罗在母亲缺席中对男性角色的认识。

分析希罗在母亲缺席中对性别关系的认识。

总结出《无事生非》中的母亲在场式缺席对希罗的影响.揭示了性别角色和性别关系在母女关系中继承和再生，呼吁对此进行反思，从女性自我意识觉醒开始去实现女性的自我认同和性别平等。

【关键词】莎士比亚；《无事生非》；母亲缺席[Abstract]William Shakespeare,the most prominent dramatist in British literature,is famous in the world for his38plays and154sonnets.Published approximately in1600,MuchAdo about Nothing is one of the master romantic comedies of Shaskepeare for thewell-portrayed characters and witty lines.The present absence of Hero's mother isemphasized in this thesis from the perspective of Nancy Chodorow's motheringreproduction theory to analyze the influence of such maternal absence on Hero'srecognition of gender roles and gender relationship,thus indicating that theachievement of self-identification and gender equality needs to start from female'sself-awareness,such as the introspection of mother's role and the inheritance ofmother-daughter identity.The thesis consists of five parts.The first part is a briefintroduction to Shakespeare and Much Ado about Nothing as well as literature review,including an explanation of Nancy Chodorow's mothering reproduction theory and thesignificance of this study.The second part analyzes the female roles in the maternalabsence.The third part focuses on the male roles in the maternal absence.The fourth•044•part addresses the gender relationship in patriarchy.Based on the analysis hereinbefore,the fifth part concludes that by analyzing the influence of maternal absence on Hero itis revealed the inheritance and reproduction of gender roles and gender relationship inmother-daughter relation together with the introspection of this phenomenon andfemale self-awareness are demanded in order to achieve self-identification and genderequality.[Key Words]Shakespeare;Much Ado about Nothing;maternal absenceIntroductionIn the past four hundred centuries,William Shakespeare has been widely regarded as the greatest writer in the English language and one of the most extraordinary dramatists in the world, being famous for his38plays,154sonnets,two long narrative poems and a few other verses. Among his comedies,Much Ado about Nothing is an outstanding one for its witty dialogue and romantic story as well as impressive characters.This play tells a story that when Don Pedro,a Spanish prince from Aragon,returns from a successful battle and visits Leonato,the governor of Messina in Sicily,with his soldiers Claudio and Benedick,Claudio falls in love with Leonato's only daughter Hero while there is a kind of merry war between Benedick and Beatrice,Hero's cousin.Then Benedick and Beatrice are tricked into confessing their love for each other,by hearing others,talk about the other deeply falling in love with him and her respectively,while Claudio is tricked into rejecting Hero at the wedding ceremony on the erroneous belief that she has been unfaithful,resulting in that Claudio vows to humiliate Hero publicly.In the end, Benedick and Beatrice join forces to set things right,and all people celebrate the marriages of the two couples.During the recent fifteen years,more than one hundred and forty researches on Much Ado about Nothing have been done domestically,more than one hundred and twenty researches overseas, according to the statistics on CNKI.Most of them focus on the linguistic aspect,such as"On(Im) politeness of Discourses in Much Ado about Nothing，,and on Shakespeare's realization of love, such as"An Exploration of the Love Stories in Shakespeare's comedies".However,little research has been made about the phenomenon of maternal absence in this play. It is widely accepted that in Much Ado about Nothing Hero is an obedient and virtuous lady because she is a woman in high class at that time,concluding all the causes of personality formation to the environmental elements,like social convention and moral principles,in the16th century and neglecting that Leonato,Hero's father,has a silent wife named Innogen(Shakespeare2014:7)who does not have a single word in this play and forms a kind of maternal absence.Besides,a great number of feminism theories focus on the relation between mother and daughter and its influences.For instance,taking its cue from psychoanalytic object relations theory, The Reproduction of Mothering.Psychoanalysis and the Sociology of Gender(1978)by Nancy•045•Chodorow indicates that relying on the foundation of taking a prior place in family,females as mothers have the significant influence on the next generation in the aspect of identity,personality and other realization materially and psychologically in a reproduction way,and a daughter has more recognition about the mother image in many perspectives.Specifically,Chodorow explains her ideas in this profound book:“Women's mothering is central to the sexual division of labor. Women's maternal role has profound effects on women's lives,on ideology about women,on the reproduction of masculinity and sexual inequality,and on the reproduction of particular forms of labor reproduction.M(Chodorow1978:11)Therefore,by analyzing the influences of maternal absence on Hero in Much Ado about Nothing from the perspective of Nancy Chodorow's mothering reproduction theory,it is revealed that the achievement of self-identification and gender equality needs to start from female's self-awareness, such as the introspection of mother's role and the inheritance of mother-daughter identity.1The Female Roles in the Maternal AbsenceAs a well-known saying goes"like father like son",the influences of parents on children are too significant to be ignored.Nancy Chodorow believes that''Externality and internality,then,do not follow easily observable physiological boundaries but are constituted by psychological and emotional processes as well(Chodorow1989:103)."And here"intemality"一Hero's understanding of female roles(mother,daughter and wife)is under the circumstance of maternal absence.1.1Inactive MotherMost of the readers and audiences of Much Ado about Nothing realize that there is a phenomenon of maternal absence in this play,but hardly know that Hero's mother does exist.Many people notice that the heroine Hero seems to have no mother and her cousin Beatrice seems an orphan,never observing that Hero has not only one parent Leonato in this play,because there is not any word or diction of her mother but"Innogen,his silent wife"four words in the list of characters. Consequently,indeed many a stage or film adaptations of Much Ado about Nothing even does not have an actress to play Hero's mothe匚There is no single letter in the plot that can trace what Hero's mother might think or do. Chronologically she meets her future son-in-law Claudio,knowing that they make efforts to make her niece Beatrice and Benedick,a close friend of Claudio,fall in love with each other,attends her daughter's wedding ceremony while witnesses that her only child is framed up and insulted of adultery,falsely announces her daughter's death,sees all the misunderstandings ironed out and joins the dance on the two・couple's wedding ceremony.For people who are living,it is impossible to feel nothing when encountering all sorts of events.Nevertheless,during the whole story there is no slight evidence of her reaction.Hero's mother becomes a present absentee in the play.It is totally fine with everyone in this•046•play that Hero's mother is silent about everything,given the fact that no one has an idea to ask what she may feel or for her help,which is an evidence of patriarchal culture:females,personal thoughts cannot be expressed and have no importance.This kind of well・accepted phenomenon can be supported by Luce Irigaray,a French feminist,philosopher,linguist,psycholinguist, psychoanalyst and cultural theorist.She gives a bold perspective that the establishment of western culture is based on matricide:to found the primal horde and to establish a certain order in the polis,matricide is more archaic than patricide that Freud describes and theorizes as the root (Irigaray1991:36).Furthermore,American feminist sociologist and psychoanalyst Nancy Chodorow has some ideas in common:"We find the notion that having a child is enough to kill a woman or make a woman into a murderer.Being a mother is a matter of life and death;having a child destroys the mother or the child(Chodorow1989:87-87)/5For years and years the most important mission for women is giving birth,and when the mission is completed they inevitably become unimportant.Yan Liu shares some identical ideas in her book Research on the Identity of Mother in Modern Western Drama\For the male fertility is one of significant values of the female.However,the role and identity of mother are decided,judged and regulated by the male.This identity requires the female giving birth and raising children for the male,reducing the female to simple tool of fertility without independent thoughts.The individuality of the female is destroyed in such a social role(Yan Liu 2004:65).Thus,the female role that Hero first gets to know is mother,an extremely inactive,silent and submissive image.What a mother needs to do is nothing but giving birth and any other active behavior is unnecessary and unwelcome.1.2Obedient DaughterThe first gender role for Hero is daughter and from the script obedience is the most outstanding feature of Hero as a daughte匚Her cousin Beatrice says:"it is my cousin's duty to make curtsy and say'Father,as it please you'(Shakespeare2014:23)."When men plan to trick Benedick and Beatrice falling in love,she answers:"I will do any modest office(Shakespeare2014:23)." And when she is framed up at the wedding ceremony,she does not clarify herself clearly mainly because arguing with others is obviously a disobedient action.She always completes the task appointed by others and never has any quarrel with others.It is not only merely because obedience is a general merit of a lady in that period,but also maternal absence contributes to her such recognition.Nancy Chodorow demonstrates:both good and bad aspects given by mother or primary caretaker,feelings in caretaking experiences and the mothering relationship together form the self and a relational ego structure through unconscious mental processes that appropriate and incorporate all above.With maturation,these early images and perceived experience fragments are integrated into a self(Chodorow1989:105).Her mother,the only role model for her to learn how to behave,leaves her a silent and・047・submissive image to internalize and duplicate.Hero perceives her silence and forms obedience as a part of her self from this person,the first one whom she knows has the same sex as she does.Thus, unconsciously the obedience becomes Hero's"true self'or"central self\The first core gender identification for Hero can accord with the further analysis of Chodorow:It is built upon,and does not contradict,her primary sense of oneness and identification with her mother and is assumed easily along with her developing sense of self.Girls grow up with a sense of continuity and similarity to their mother,a relational connection to the world.For them,difference is not originally problematic or fundamental to their psychological being or identity.They do not define themselves as"not・men,"or''not-male,"but as T,who am female.(Chodorow1989:110)Thus,the development of Hero's gender identification stems from her mother due to the sense of continuity and similarity between mother and daughte匚Because of this fundamental interconnectedness,the similarity between Hero and her mother inevitably enlarges from the same sex to the identical gender identity.She identifies her mother's inactiveness and submissiveness and internalizes into her core gender identity:obedience.1.3Virtuous WifeAnother important role of Innogen is wife,a role that Hero will be in the future and by which she would be influenced,and a prominent feature of wife is virtuous.Based on the analysis on Innogen's inactive role of mother before,there is little possibility that she has any power over her husband or is unchaste.As a matter of fact,Hero does have such sense of identity of virtuousness and virginity.When she is framed of adultery,she answers to Friar Francis that"They know that do accuse me;I know none:If I know more of any man alive than that which maiden modesty doth warrant,let all my sins lack mercy(Shakespeare2014:71)!"On the one hand,it can be regarded as her explanation of being framed up,on the other hand,it shows that she has such understanding that virginity is the greatest thing for a woman.Furthermore,even after being insulted greatly by Claudio at wedding ceremony,Hero is still willing to marry him,which reveals one of the virtuousness:being faithful to one's husband unto death.In woman's life,the role of wife seems the one between daughter and mother,containing the obedience as a daughter and laying the foundation of the inactiveness of a mother.A woman holds and cherishes the virginity conventionally ruled by father through the life as a daughter then gets transferred from origin family to another one by her father,still being confined in family and dominated by males.The idea that the virginity is the most important value of a woman and can only be disposed by her husband consolidates in woman's mind when she acquires the role of wife.•048・In Nancy Chodorow's mothering reproduction theory,“women's mothering,like other aspects of gender activity,is a product of feminine role training and role identification(Chodorow1978: 31)."Individuals,personalities stem from the structure of the family units in which children acquire gender identities then components the social organization of gender—it is the major feature of the gendered society(Chodorow1978:39).As a daughter Hero is trained to become a wife by growing with a role model like her mother.She gradually understands every aspect of a wife from her mother in the family,such as the view that virginity is the most important part of a woman to be a wife.Therefore,even Hero is not a wife yet she has already acquired all the virtues for a wife: obedience,inactiveness and valuing virginity,never questioning the following path to become a wife or mother just like her mothe匚2The Male Roles in the Maternal AbsenceCorrespondingly,Hero also gets to know males under the circumstance of maternal absence, which promotes her understanding of male roles in a traditional way under the patriarchy system. Hero perceives male roles in family mainly from Leonato and Claudio and understands that the powerful statuses and roles in society are males5and they belong to males.2」Commanding FatherNaturally the first male role that Hero understands is the role of father,a commanding image. In a family where mother has no influential power at all and the only person who is in charge is father,like a great number of families in that period,Hero has acquaintance with the role of father as a commanding leader of the whole family.Quite a few lines in Much Ado about Nothing can prove the commanding figure of Hero's father Leonato.Having known that Claudio is qualified as his son-in-law,Leonato tells Hero: ''Daughter,remember what I told you:if the prince do solicit you in that kind,you know your answer(Shakespeare2014:23・24).‘‘When Claudio interrogates Hero in the wedding ceremony,he says to Leonato:"By that fatherly and kindly power that you have in her,bid her answer truly (Shakespeare2014:66).''And then Leonato tells Hero that"I charge thee do so,as thou art my child (Shakespeare2014:67)In addition,Hero herself entreats her father by saying:U O my father, prove you that any man with me conversed at hours unmeet,or that I yesternight maintain'd the change of words with any creature,refuse me,hate me,torture me to death(Shakespeare2014: 71)!"It is conveyed that daughter belongs to father and can be disposed by him at his will,and Hero understands as well as accepts it as the convention.Maternal absence is a greatly influential factor of the male's commanding role of father.It is said in Nancy Chodorow's Feminism and Psychoanalytic theory:"Another important aspect of・049・internalized feelings about others in relation to the self concerns a certain wholeness that develops through an internal sense of relationship with another(Chodorow1989:106).''On the basis of continuity and similarity as well as the maternal identification,the lack of speech and action of mother in the relation between Hero's parents,develops the realization of males in Hero's mind, leaving an impression of commanding,august,powerful and dominant.She perceives that in patriarchal system,father,a family supporter and controller,is the lord and commander of the universe who can never be challenged and whose wisdom and rule are absolute and should be obeyed by females with gratitude and respect.2.2Dominant HusbandThe second male role that Hero gets contact with is the role of husband.Still the first impression of husband is from her father,for he combining these two roles and demonstrating in the interaction with her mother though it is an unseen relation in the play.Because there is not any reaction from the wife,it can be concluded as the one-over-the-other marital relation for Hero's parents,which is not unusual under the patriarchy system,constructing Hero's realization of the role of husband.From Hero's perspective,husband is the principle,dominating his wife.When Claudio insults her tremendously at the wedding ceremony,such as“But you are more intemperate in your blood than Venus,or those pampered animals that rage in savage sensuality",she replies:"Is my lord well that he doth speak so wide(Shakespeare2014:66)?"And the truth that she tells is as pale as paper. Even though they are only engaged at that time,Hero has already regarded Claudio as her lord,her dominator,and cannot speak anything against the judgment of her"new・trothQd lord(Shakespeare 2014:45).”Hero's conception of dominant husband relates to the maternal absence.Nancy Chodorow's mothering reproduction theory reveals that"More generally,women's mothering as an organization of parenting is embedded in and fundamental to the social organization of gender (Chodorow1978:34)."It is partly because as mothers,women give their daughters the mothering capacities and the desire to be mothers that are based on and grow out of the mother-daughter relationship itself(Chodorow1978:7).Chodorow further quotes Robert Jay's opinion that during the growth of a daughter before her marriage the mother remains a girl's“primary figure of confidence and support(Chodorow1989:61)."Therefore a present absentee mother in family becomes Hero's primary figure about the wife image during her growth,creating the corresponding husband image in the dominant position.The husband takes over the commanding position of the father in a woman's life through marriage,continually ruling and disposing the woman after she acquires the new role of wife.Hero's mother exists but generally is invisible, living in a situation dominated by the male,her husband,thus a certain unequal marital relation created and projected to Hero's understanding of husband,which naturally seems an unquestionable moral truth to Hero through the mother-daughter relation and daughter's mature・050・process in the maternal absence.2.3Powerful Social MenIn Much Ado about Nothing,all the powerful characters who have social influences are male. The heroes in this play,Benidick and Claudio are companions to Don Pedro,the prince of Aragon, and together they win a war before the story happening then visit Hero's father Leonato,the governor of Messina.And even the villain in this play is the illegitimate brother of Don Pedro一Don John,who is caught by two funny characters who are constables in charge of the Watch.All female characters,however,are confined within family and lack of influence.It is heart-broking but predictable that Hero fails explaining her innocence on wedding,yet her cousin Beatrice,a woman with some self-awareness,still cannot make men believe Hero's virtue.Then,what are the social roles for women?Luce Irigaray points out that"Mother,virgin, prostitute:these are the social roles imposed on women(Irigaray1985:186)."And obviously,these are decided by males judging from the usage of female's bodies.Thus,in the play under this discourse system it can be interpreted that as a virgin who will become a mother,Hero confronts with the frame-up of prostitute accusation,showing a process of deciding and disposing by males—a contrast in weak females and powerful males.Or in other words,apart from the roles in family,there is no place for women in society,which is also an approval for most of women.The conception that all the jobs in society should be done and can only be done by males and females are completely incapable to do them and should not do too,is a general acceptance for both males and females for a long time.Presumably,Hero's mother Innogen is such a believer.She never questions it and nothing(even the malice of slander on her daughter hardly)can change her mind and stop her from being a present absentee.The preconception that all the coils need,should and can only be solved by males eliminates her speech and action through the play.The direct influence of that is that it is solidly planted into the next generation by growing with a present absentee mother,which exactly is the form of labor reproduction that Nancy Chodorow argues.''Legitimating ideologies themselves...and families which perpetuate ideologies,contribute to social reproduction(Chodorow1989:35)."Certain expectations are created in people about what is normal and appropriate in the society and how they should act-men play the key role in the society while women are confined to the family chores.Therefore,mother's inactiveness causes the reproduction in social division:Hero who inevitably has a second place in the society for the labor division under the patriarchy system and has the recognition of such division,naturally holds the view that those positions in the society belong to males,and never thinks about stepping out of family.She believes that there is no place that is made for females except family and that the well-known pattern of breadwinning men and homemaking women is the indisputable arrangement for the society.・051・3The Gender Relationship in the PatriarchyFacing with and having all the typically patriarchal social statuses,Hero naturally accepts the gender relationship in patriarchy.Approving all the social rules and social roles for both males and females,she never questions the situation of male's dictatorship and discourse power like Beatrice does.Based on the inheritance of mother-daughter identity,she obeys them,enjoys the sisterhood and submits to the male.3.1Inheritance of Mother-Daughter IdentityNot only Hero's personality and gender identification are influenced by her mother,but also what Hero pursues is quite identical with the life of her mother.As it is discussed above,lack of subjectivity,Hero is obedient and submissive to males,directly inheriting the inactive characteristic of her mother.Besides,the main position for her mother is in the family,leaving Hero no other thought of being outside of family.A significant part of domestic life for a woman is marrying a decent husband,who almost provides security of everything for his spouse at that time,like Hero's father Leonato,the governor of Messina.Therefore,she commonly accepts the arrangement of Claudio,a companion to Don Petro,as her future husband.Out of the sense of maternal identification,inevitably Hero inherits the mind of her mother and pursues the life that her mother has.It is because the mother's role shows the daughter a female'social statuses and recognition of such identity.Having the same sex,Hero doubtlessly has all the social statuses of a female like her mother does.Moreover,she acquires the recognition of female roles and male roles in the maternal absence.There is a vivid description in The Second Sex(1953)by Simone de Beauvoir,a French existentialist philosopher,political activist,feminist and social theorist:"The mother likes to rule alone over her feminine universe;she wants to be unique,irreplaceable;and now she finds herself reduced by her young helper to the status of one among many who merely perform a general function(de Beauvoir1953:580)."Moreover,to some degree,mother shares the"primary identification(a sense of oneness)"(Chodorow1978:59)with daughter and daughter has sort of recognition with mother correspondingly.The social statuses and identity that once mother has will come to daughter one day,thus daughter becomes“really her double,a substitute for herself,(de Beauvoir1953:580).Because Hero's mother exists as a present absentee in the family,"a central agent of women's oppression as well as the major institution in women's lives^,(Chodorow1978:13),Hero perceives certain"feminine role training and role identification^^(Chodorow1978:31),which become a certain inheritance and reproduction,in the relationship between mother and daughter.It can be supported by Nancy Chodorow's ideas:Women grow up to have both the generalized relational capacities and needs and how women and men come to create the kinds of interpersonal relationships which make it likely・052・that women will remain in the domestic sphere-in the sphere of reproduction-and will in turn mother the next generation.Women's mothering as an institutionalized feature of family life and of the sexual division of labor reproduces itself cyclically.In the process,it contributes to the reproduction of those aspects of the sexual sociology of adult life which grow out of and relate to the fact that women mother(Chodorow1978:38-39).Hero's mother sets a fixed life pattern for her."Now she is married,and before her there is no other future,this is to be her whole lot on earth.She knows just what her tasks are to be:the same as her mother's(de Beauvoir1953:444)."She maintains this basic position that is unknown by the society and the culture,given the fact that"the maternal function underpins the social order and the order of desire,but it is always kept in a dimension of need(Irigaray1991:36)."So the family-confined position together with inactiveness and obedience of Hero's mother that accords with the social need is the following path for Hero who inherits all of them and maintains the social order without any interference or change.3.2Sisterhood Among FemalesHero,an obvious obedient and passive girl,shares a sort of sisterhood with other female characters in Much Ado about Nothing,showing a lively side of her personality.About her cousin Beatrice,she can openly speak her judgment"she is too disdainful;I know her spirits are as coy and wild as Haggards of the rock(Shakespeare2014:45)."Correspondingly,Beatrice can joke with her by saying"Speak,cousin;or,if you cannot,stop his mouth with a kiss,and let not him speak neither(Shakespeare2014:31)."With her gentlewomen Margaret and Ursula,she can freely discuss her dresses together with ornaments and even things about love-making.And in the scene of frame-up on wedding ceremony,even without solid proof,Beatrice chooses to believe in Hero and stands out to defend for her virginity."Because women experience themselves as part of a relational triangle in which their father and men are emotionally secondary,or at most equal,in importance to their mother and women^^ (Chodorow1989:71),they need and tend to be intimate with other women.Nancy Chodorow further explains that female self-relationship is a product of development,related to her mother's sense of self,not just to gender identity or gender-role learning.The object-relation-cultural perspective also regards the conscious gender identity and the gender construction or the unconscious meaning of them(Chodorow1989:187).After internalization of the gender relations and the maternal identification,there is a kind of sense developed in Hero,which is a more comfortable feeling when being among women.In patriarchy,the female becomes an oppressed group that shares a united sense of sisterhood:empathy,sympathy,intimacy,dependence and assistance.This sisterhood provides females a room of their own to speak comfortably and freely without any interference from males.Developed in the patriarchal system,the realization of gender relationship of a female naturally circles females in the same camp.Also,out of the identity of the same sex,females feel inclined to relax themselves and behave livelily among females.And in the•053•。

《无事生非》导读《无事生非》是一部格调欢快带有这里思想的喜剧，大概写作于莎士比亚喜剧最成熟时期：1598-99年，内容热闹欢乐，富有哲思。

该剧主题旨在揭示面具、伪装或游戏，唤起人们对男女关系中真诚与尊重的意识。

在伊莉莎白时期的英国，「无事」（nothing）的发音与noting 极为类似，因此「无事生非」也有「注意」、「纪录」、「窃听生非」的双关语暗示。

「窃听」在剧中不仅常见，而且至关重要，是造成误解或澄清事实的关键。

《无事生非》故事发生于中世纪时期的意大利西西里岛风光秀丽的梅西纳。

当地总督里奥那托有一个美貌的女儿叫希罗，希罗的表姐贝特丽斯也是个漂亮的姑娘。

彼德罗亲王率领他的部下凯旋归来，他的左右手克劳迪奥伯爵和培尼迪克伯爵，以及他的同父异母弟弟约翰也在其中。

他们受到总督的盛情款待，年轻的克劳迪奥伯爵与希罗一见钟情；生性傲慢的培尼迪克与言辞尖刻的贝特丽斯却互相攻击，几乎成了冤家。

彼德罗亲王不但促使情投意合的克劳迪奥和希罗订下婚约，还与他们一起设圈套使培尼迪克与贝特丽斯也堕入了情网。

正当他们为此而洋洋得意时，却落进了由约翰设下的陷井之中……该剧中的架构主要由这两对情侣所组成。

希罗和贝特丽丝是情同手足的表姊妹，克劳狄奥和培尼狄克是亲王彼德罗的好友，四人双双演出两种截然不同的爱情。

希罗优雅沉静，克劳狄奥叱吒战场，两人代表传统的结合。

贝特丽丝和培尼狄克之间则是永无休止的唇枪舌战，尽管最终配对成功，但两人都仍坚持戴著原本尖酸嘲讽的面具。

这两条故事线，是莎士比亚取材不同故事改编而成。

希罗和克劳狄奥的故事似乎是根据意大利的亚瑞欧托的《愤怒的奥兰多》，以及邦代罗版的《小说》中的第二十二个短篇小说所改写而成。

这则包含悲剧成分的故事，带有浪漫多情的意大利风味。

希罗温驯听话，并不像希腊神话里的希罗，为爱打破宗教誓约，甚至牺牲性命。

克劳狄奥对他和希罗的婚事很慎重，他请求亲王作媒，在确定希罗和她父亲都同意了之后才安心。

这段姻缘理性而有计划，一切都遵循社会规范与门第观念。

王尔德的戏剧作品《无事生非》的讽刺意义引言王尔德是19世纪末英国著名的戏剧家和作家，他以其独特的幽默和精妙的语言驰名于世。

而《无事生非》（The Importance of Being Earnest）则是他最后一部也是最受欢迎的戏剧作品之一。

这部悲喜剧不仅展现了王尔德独特的才华，更深刻地讽刺了当时维多利亚时代上流社会虚伪、自负及道德标准的荒谬性。

描述戏剧情节《无事生非》通过一系列错综复杂的爱情纠葛、误解和身份欺骗来展开故事。

主要角色包括杰克·厄恩斯特（Jack Worthing）、阿尔吉农·蒙克里夫（Algernon Moncrieff）、格温代琳·费尔法克斯（Gwendolen Fairfax）和塞西莉亚·卡迪欧（Cecily Cardew）。

整个故事以诙谐幽默的对话和离奇事件为主线。

虚伪的上流社会《无事生非》描绘了维多利亚时代上流社会充满虚伪、假面和不道德的一面。

王尔德以夸张和讽刺的手法揭示了那个时代统治阶级表面的礼节规范、道德标准和对财富地位的追逐。

所有角色都被迫戴着社会期望和身份压力的假面具，试图隐藏真实的自我。

爱情与婚姻的荒谬性这部戏剧通过角色们错综复杂而荒诞的爱情纠葛，暗示了王尔德对当时文化中关于爱情与婚姻观念的批判。

他通过杰克使用两个不同名字来解决同时两地交往女性问题以及塞西莉亚和阿尔吉农相遇后立刻陷入热恋来讽刺人们对浪漫关系过分重视，忽视真挚感情。

演员与观众之间的互动《无事生非》还涉及到了观众和演员之间对话交流以及舞台剧表现形式本身的讽刺。

王尔德通过角色间的尖锐对话和幽默插科打诨使观众产生共鸣，同时也在某种程度上将观众带入了剧中。

总结王尔德的戏剧作品《无事生非》通过讽刺和幽默手法，深刻地揭示了维多利亚时代上流社会的虚伪与荒谬。

他通过夸张的角色和情节反映了当时社会中对爱情、婚姻和道德标准不合理的追求。

这部戏剧不仅是王尔德才华横溢的展示，也是对当时英国社会制度及价值观念进行挑战的力作。

莎士比亚《无事生非》读书报告一个替代丘比特设下的“爱情圈套”两段毫不相像的爱情这是一场无人受伤的战争，恶人早已中途退场……——英国TNT剧院“黑色幽默”话剧《无事生非》与莎士比亚许多举世闻名的杰出作品相比，《无事生非》可能并非算得上是名篇，在我们的课本中也只是以“莎士比亚喜剧长做的高峰，是以三部‘欢快喜剧’为标志的。

即：《无事生非》、《皆大欢喜》、和《第十二夜》”一句草草带过。

但它艺术地位却并不逊色于其它作品。

比起莎翁的其他喜剧。

本剧的特征是场景和语言都较为接近真实生活。

它包括三条线索，一条是总督的女儿希罗受不贞的诬蔑但最后恢复名誉，一条是意大利青年贵族培尼狄克和总督的侄女贝特丽丝相互斗嘴，受人背后怂恿、牵线、终至相爱，最后一条是一群无知的警察们制造的闹剧。

“一个情人受骗，误以为他的未婚妻不贞，因为看到了一个男人在他的未婚妻的闺房窗前。

”—这便是这个剧的核心，类似这样的故事在文学中数见不鲜，其实该剧也正是莎士比亚是根据意大利的亚瑞欧托的《愤怒的奥兰多》，以及邦代罗的《小说》中的第二十二个短篇小说改编而成。

读完过后的感觉跟梁实秋先生的感受一样。

觉得该剧吸引人的不是克劳狄奥与希罗“棒打鸳鸯”的故事，培尼狄克与希罗堂姐贝特丽丝的爱情故事才是该剧的精髓所在。

他们虽然一开始是作为陪衬人物出现的，但事实上，在喜剧演变的过程中，他们与希罗和克劳狄奥的角色悄悄发生了变化，成为这部戏真正的主角。

培尼狄克和贝特丽丝之间的唇枪舌剑是使这部剧定义成为喜剧的关键。

培尼狄克和贝特丽丝之间的对话随便拿一段出来单独欣赏都是妙语连珠，精辟而暗藏深机。

两个机智开朗又都有些骄傲的独身主义者，一见面就是唇枪舌战，冷嘲热讽。

也许连他们自己都没发现火药味下暗藏的情愫。

幸好由于他们两人平时都喜欢开别人的玩笑，他们的亲朋好友便联合起来设计一个精妙的局，想用月老的红线，丘比特的将他们套起来。

于是一面是男士们让培尼狄克“偷听”到贝特丽丝爱他爱到痴狂却有说不出口，另一面是女士们让贝特丽丝“无意”知道培尼狄克深爱着她。

莎士比亚喜剧作品中的女性形象文艺复兴时期著名的文学大师莎士比亚，一向以人物形象的刻画著称。

在他的喜剧中，我们也可以看到各种各样富有鲜明个性的人物，有勇敢直爽的青年，老成持重的绅士，风趣聪敏的仆人，他们每个人都是一个生动的个体，在剧中都有各自存在的位置和意义。

在如此众多的人物形象中，又以女性形象最为突出、最为显眼。

有人说莎士比亚喜欢表现女性，也善于描写女性，把这种说法拿到他的喜剧中来看，是一点也不过分的。

一莎士比亚的喜剧一般都以男女主人公自由恋爱成功，最后有情人终成眷属而结束，借此来正面宣扬人文主义的生活理想，如个性解放、爱情自由，力求摆脱宗教禁欲主义和封建伦理道德的束缚等。

在这些喜剧中，他塑造出许多贵族青年妇女形象，描写她们与封建习俗、封建道德、封建传统的冲突，最后争取到爱情和婚姻的幸福结局。

这些女性身上存在着不少共同的特点，是莎士比亚心目中优秀女性的典型。

首先，莎士比亚喜剧中的女性全都具有高尚纯洁的心灵，对爱情严肃认真，忠心不二。

在文艺复兴时期的其他名著中，作者为了反对禁欲主义而往往走向它的反面，他们笔下的女性常常是纵欲放荡的，比如《十日谈》就是如此。

而莎士比亚的道德观念与他们有着很大的不同。

他在肯定男女爱情的合理性的同时，又坚决反对淫乱行为，主张维护爱情的真挚纯洁。

因而他笔下的女性既向往热烈的爱情，又能洁身自好，重视贞操。

《仲夏夜之梦》中的赫米娅与爱人拉山德一起跑到森林中去，拉山德提出要“一块草地可以作为我们两人枕首的地方”，这对于已立誓白头偕老的一对情侣来说，要求并不过分，但赫米娅却庄重地回答道：“好朋友，为着爱情和礼貌的缘故，请睡的远一些；在人间的礼法上，保持这样的距离对于束身自好的未婚男女是最合适的”。

再如《一报还一报》中依莎贝拉把贞操看的比什么都重要。

当安哲鲁用她弟弟的性命作为要挟手段，企图凌辱她时，她无比坚定地说：“宁可让一个兄弟在片刻中死去，不要让他的姐姐因为救他而永远沉沦。

”就连，《温莎的风流娘儿们》两位大娘对待男女之事也不马虎，当女王驾幸温莎时，她身边那么多伯爵、随从争着打她们的主意，可她俩却不为所动。

《文学作品中的喜剧与讽刺手法》1. 引言：1.1 概述喜剧与讽刺手法作为文学作品中常见的元素，对于塑造故事情节、描绘人物形象以及传递社会信息起着重要的作用。

这两种手法通过幽默、夸张和讽刺等方式，为读者提供了欢乐的娱乐体验，并且引发对现实问题的思考。

本文将探讨文学作品中喜剧与讽刺手法的运用，以及它们对读者和社会的意义。

1.2 文章结构本文分为五个部分进行讨论：引言、喜剧手法、讽刺手法、文学作品中喜剧与讽刺手法对于读者和社会的意义以及结论部分。

在“喜剧手法”一节中，将重点探讨角色扮演和夸张、对话和对白的幽默性以及笑话和双关语等喜剧元素的运用。

而在“讽刺手法”一节中，则将聚焦于社会讽刺与颠覆现实规则、人物描写与形象讽刺以及反讽与嘲弄悖论的使用。

进一步，通过“文学作品中的喜剧与讽刺手法对于读者和社会的意义”一节，我们将探究喜剧与讽刺手法在娱乐消遣功能、深入思考社会问题以及反思自身与道德背离行为的镜像效应等方面所带来的影响。

最后，在结论部分，我们将总结喜剧与讽刺手法在文学作品中的重要性和成就，并展望未来喜剧与讽刺在文学领域中发展的方向和可能面临的挑战。

1.3 目的本文旨在通过对文学作品中喜剧与讽刺手法的研究，探讨其艺术特点、意义以及对读者和社会产生的影响。

通过分析这些手法在文学作品中的运用，我们可以更好地理解作家如何利用幽默和讽刺塑造故事情节，揭示人物性格，并引导读者反思社会问题。

同时，本文也将探索喜剧与讽刺在未来文学领域中可能面临的挑战，并提出展望。

通过深入研究喜剧与讽刺手法，我们可以增进对这两种艺术形式的理解，拓宽对文学作品的解读和赏析，以及为文学创作提供启示。

2. 喜剧手法：2.1 角色扮演和夸张:角色扮演和夸张是文学作品中常见的喜剧手法。

角色扮演通过对角色的塑造和行为的夸张，带来欢乐和笑料。

在许多经典喜剧作品中，我们可以看到主角或配角以荒谬可笑的方式展示自己，从而引发观众的笑声。

这种手法通常通过夸大人物特征、行为举止以及使用滑稽搞笑的对白等方式来营造出搞笑效果。

西方喜剧浅析及中西方喜剧对比一、西方喜剧浅析喜剧是西方戏剧的主要体裁之一。

它指以可笑性为外在表现特征的一类戏剧。

它源于古希腊，由在收获季节祭祀酒神时的狂欢游行演变而来。

在喜剧中，主人公一般以滑稽、幽默及对旁人无伤害的丑陋、乖僻，表现生活中或丑、或美、或悲的一面。

由于模型表现的对象不同，艺术家的角度不同，手法不一致，所以，喜剧可划分出不同的类型。

其中包括讽刺喜剧、幽默喜剧、欢乐喜剧、正喜剧、荒诞喜剧与闹剧等。

喜剧与悲剧最重要的不同在于它的主题。

典型的喜剧处理的当时的政治或艺术问题，战争与和平的问题，以及喜剧作家所不喜爱的人或作为。

他们通常也不依神话故事，自创情节，并且常常提及当时的任务局势，因此对现代人来说，故事便显得模糊不清。

西方喜剧的发展史1、古希腊喜剧：政治讽刺喜剧和世态喜剧。

古希腊喜剧之父是阿里斯托芬。

政治讽刺喜剧以阿里斯托芬为代表，主要内容是批评雅典政治中的弊端，抨击某些权势人物。

世态喜剧以米南达为代表，主要内容是家庭生活与爱情故事。

米南达（约前342—约前292）是生活在希腊化时期的重要喜剧作家，曾得过3次剧作奖。

他创作过近百个剧本。

《公断》、《卫兵》、《剪过毛的羊》。

他的唯—一部完整作品《恨世者》是在不久前发现的。

喜剧作家，米南达的创作经常被后人模仿，尤其是在罗马的戏剧界。

普劳图斯、泰伦提乌斯等人的剧本，绝大部分是模仿米南达的。

2、15世纪欧洲流行的喜剧：闹剧（笑剧）。

代表作是《巴特林先生的故事》。

3、文艺复兴抒情喜剧：莎士比亚为代表，大多以爱情故事为题材，充满幽默的情趣、生活的欢乐与浪漫主义的抒情色彩。

4、16世纪即兴喜剧。

又称假面喜剧，流行于意大利，由职业旅行剧团在民间演出，没有固定剧本，人物定型化，演出程式化。

5、17世纪古典主义喜剧。

莫里哀的讽刺喜剧是代表。

6、18世纪性格喜剧。

欧洲喜剧的繁荣期，代表是德国的博马舍和意大利的哥尔多尼。

哥尔多尼的“性格喜剧”，注重人物性格的塑造，又称“风俗喜剧”，因为作品充满生活的情趣。

出尔反尔的誓言——莎士比亚《无事生非》的人性刻画作者：潘昱蓉来源：《名作欣赏·评论版》 2019年第2期摘要：莎士比亚的剧作《无事生非》中存在着两条爱情线索，即克劳狄奥与希罗的爱情以及培尼狄克与贝特丽丝的爱情。

而誓言恰恰是爱情故事中不可或缺的元素。

值得一提的是，在这部剧作中，誓言不仅存在于两对恋人的爱情之中，同时也存在于父女关系和君臣关系的维系之中。

笔者将从人物的誓言入手，对剧中关键人物的语言进行细致分析，以期对莎士比亚关于人性问题的思考有更好的理解和认知。

关键词：誓言恋人父女君臣出尔反尔誓言，通常指的是立定决心时的言辞，是契约的一种口头化表现。

古往今来，誓言和契约于我们并不陌生，是人与人之间订立的共同承诺，规约并维护着人类正常的生产和生活活动，具有约束性。

在西方，犹太教和基督教的经典《圣经》，历来便被认为是上帝和人类订立的契约，具有神圣而不可侵犯的地位。

而在中国，我们于“上邪，我欲与君相知，长命无绝衰。

山无棱，江水为竭，冬雷震震，夏雨雪，天地合，乃敢与君绝”（汉乐府《上邪》）中，同样看到了女子对爱情誓死不渝的誓言。

莎士比亚的剧作《无事生非》中存在着两条爱情线索，即克劳狄奥与希罗的爱情以及培尼狄克与贝特丽丝的爱情。

而誓言恰恰是爱情故事中不可或缺的元素。

值得一提的是，在这部剧作中，誓言不仅存在于两对恋人的爱情之中，同时也存在于父女关系和君臣关系的维系之中。

笔者将从人物的誓言入手，对剧中关键人物的语言进行细致分析，以期对莎士比亚关于人性问题的思考有更好的理解和认知。

一、恋人间：破绽百出的誓言当我们每每读及白居易《长恨歌》时，虽常常慨叹唐明皇和杨贵妃的爱情悲剧，但更感念于他们那“在天愿作比翼鸟，在地愿为连理枝”的爱情誓言；当我们翻阅里克尔的诗集时，“熄灭掉我的眼睛：我仍能看见，猛关上我的耳朵：我仍能听见你”，这爱情的炙热常常撩拨着我们的内心，久久难以平静；而当我们看到叶芝在《当你年老时》这首诗中轻轻诉说着温馨的爱情时，原本炙热的内心却悄悄泛起了静谧的涟漪……或炙热，或静谧的爱情诗，是恋人间吐不尽的情语，说不尽的情谊。

第33卷第7期湖南科技学院学报V ol.33 No.7 2012年7月Journal of Hunan University of Science and Engineering Jul.2012“喜剧性”及莫里哀的喜剧成就欧阳菁夏海玲（赣南教育学院 外语系，江西 赣州 341000）摘 要：论文分析了“喜剧性”在喜剧不同发展阶段所呈现出的不同特性，并且通过阐释莫里哀对前人的超越和对后人的启发来见证莫里哀的喜剧成就。

关键词：喜剧性；莫里哀；突破；传承中图分类号：I13文献标识码：A 文章编号：1673-2219（2012）07-0058-02一“喜剧性”在新古典主义之前的呈现古希腊喜剧从民间的祭仪和滑稽戏演变而成，因此从故事情节、人物形象到台词、动作，都非常夸张、滑稽，甚至 有些荒诞、粗俗，这也就奠定了喜剧自诞生就带有的主要基调——滑稽，也因此喜剧落了个“俗文学”的口碑。

当时留传下完整作品的只有阿里斯多芬，故他是世人所熟知的第一个喜剧家。

他的作品《阿卡奈人》体现了反战的主题，而流传至今惟一以神话幻想为题材的喜剧作品《鸟》是欧洲文学中最早的乌托邦思想的表现。

由此可见，阿里斯多芬已经使古希腊的喜剧具有了现实意义，表达了严肃的主题，具有了民主倾向性。

他的艺术手法上明显呈现出了浪漫主义色彩。

在创作中虽保留了喜剧特有的粗俗的插科打诨，但也有优美的抒情诗歌，作者驰骋丰富的想象力，虚构出种种离奇的戏剧情节，诙谐生动，色彩绚丽，艺术性较高。

阿里斯多芬被称为“喜剧之父”，他的创作对后世的喜剧和小说都有一定的影响。

喜剧到了莎士比亚时期，这种浪漫主义的“喜剧性”得到了明显的传承，而阿里斯多芬喜剧中呈现的现实主义严肃性已分流到莎士比亚的悲剧中去表现了。

《威尼斯商人》、《无事生非》、《皆大欢喜》、《第十二夜》，这四大喜剧其基本主题是歌颂爱情和友谊，主要描写的是青年男女为追求爱情自由，与封建意识、封建顽固势力和各种自私欺骗行为所进行的斗争。