莎士比亚戏剧女性形象的审美特征

试论莎士比亚戏剧中的女性形象莎士比亚被誉为英国文艺复兴时期最伟大的剧作家之一，他的戏剧作品中包含了丰富多样的女性形象。

在莎士比亚的戏剧中，女性形象不仅是高雅的、迷人的，而且还具有活力、智慧和独立性。

本篇文章将谈论莎士比亚戏剧中的女性形象，并分析其对小说发展和现代文化的影响。

一、初探莎士比亚戏剧中的女性形象莎士比亚的剧作中有许多出色的女性角色，她们在幅员辽阔、世界纷繁、形态各异的角色中，是不可或缺的重要一环。

如果说这些女性形象体现了当时社会的真实面貌，那么这个时代似乎是极其崇尚女人的。

“哈姆雷特”中的奥菲莉娅是一个被他的父亲和男朋友所支配的女孩，她通过自己的歌，表情和言辞来表达自己感情中的崩解。

“罗密欧与朱丽叶”中的朱丽叶是一个勇敢、聪明、热情洋溢的少女，她不答应父母的匹配，而是与罗密欧私奔。

她的感情才华和理智创造了她欲望之外的一种自主权。

“李尔王”中的康琳娜是一位强大的女性，她公开反对自己的父亲，保卫自己的爱情并对抗自己的丈夫的背叛。

她的人物形象表现了女性的独立精神和力量，使得她成为了全剧中的一段亮色。

总体来说，莎士比亚戏剧中塑造的女性形象既丰富又生动。

这些女性形象中的一些体现所在时代对女性的看法，反映了当时社会的变化以及女性在其中所处的角色和地位。

同时，这些女性也是印证了莎士比亚丰富的创造力、对女性个性和性格的多方面探索。

二、莎士比亚戏剧中的女性形象的启示从历史的角度来看，莎士比亚戏剧中的女性形象使得人们对文艺复兴时期的女性生活和社会地位有了新的认识和理解。

尽管这些女性角色的形象是在当时极具争议的，但是，它们促进了文艺复兴时期的女性权利运动。

与此同时，莎士比亚的人物形象也可以为女性成长和发展提供有用的启示。

这些女性形象中的很多都是聪明而自信的，她们超越了自己所处困境的限制，并证明了自己理解力和判断力的独特性和灵活性。

对于当代女性，我们发现，莎士比亚的女性角色提供了许多灵感。

无论是爱情、婚姻、事业、家庭，莎士比亚的女性有着各种各样的经历和规律，我们可以从其中吸取一些精神因素，作为现代生活中的指南。

莎士比亚戏剧中的女性形象莎士比亚（William Shakespeare）是英国文学史上最伟大的戏剧家之一，他的作品被广泛翻译、演出和研究。

在莎士比亚的戏剧中，女性形象扮演着重要角色，展现出丰富多样、复杂而富有内涵的特点。

爱情与婚姻莎士比亚的戏剧中经常描绘爱情和婚姻这两个永恒主题。

女性形象通过不同角色展示了对爱情和婚姻的态度和经历。

例如，在《罗密欧与朱丽叶》中，朱丽叶是一个浪漫而勇敢的年轻女子，她为了真爱而不惜违背家族仇恨；而在《简·爱》中，简·爱则展现了坚强独立但渴望真实感情和平等婚姻的一面。

权力与野心莎士比亚戏剧中许多女性形象都具有权力欲望和野心。

例如，在《麦克白》中，麦克白的妻子莱迪·麦克白是一个雄心勃勃的女性形象，她运用诡计和冷酷手段来达到自己的目标；而在《奥赛罗》中，女主角德斯代蒙娜则成为了权谋之局的牺牲品。

喜剧与幽默尽管莎士比亚戏剧中也有许多悲剧情节，但喜剧元素同样丰富。

女性形象在喜剧作品中扮演着重要角色，通过幽默和机智的言辞展现出其聪明才智和反叛个性。

例如，在《第十二夜》中，主人公维奥拉以男装身份引发一系列笑料和混乱；而在《无事生非》中，凯瑟琳·佩特丝则是一个语言机智、自我意识强烈的女主角。

社会地位与身份莎士比亚戏剧深刻探讨了社会地位与身份对个体命运的影响。

女性形象在不同社会地位和身份下经历不同命运，并展示出对社会规范和束缚的反抗。

例如，在《哈姆雷特》中，奥菲莉娅是一个受父亲和王子操控命运的女性；而在《威尼斯商人》中，波西娅则挣扎于被有效和社会约束之间的矛盾。

总结莎士比亚戏剧中的女性形象丰富多样，展示了不同个性、情感和冲突。

通过对爱情、婚姻、权力、野心、喜剧与幽默以及社会地位等主题的描绘，这些女性形象不仅为故事增添了色彩和动力，同时也反映了当时社会对女性地位和角色认知的复杂性。

莎士比亚喜剧中的女性形象解读摘要莎士比亚所创作的四大喜剧（《威尼斯商人》、《第十二夜》、《皆大欢喜》、《仲夏夜之梦》）代表着他在喜剧艺术创作方面的最高成就。

通过这些作品以及激情饱满的笔触，莎士比亚成功塑造了一系列个性鲜明的女性形象，在这些女性形象中，人文主义的理想美、浑然天成的和谐美以及爱憎分明的力量美得到了很好的体现。

但是由于当时社会以及历史的局限性，这些作品中所塑造的女性往往会回归于与传统女性更为相符的形象。

本文在对莎士比亚四大戏剧做出简单介绍的基础上，从女性形象的先进性以及局限性两个方面对莎士比亚戏剧中的女性形象做出了解读。

关键词：威廉·莎士比亚喜剧女性形象先进性局限性中图分类号：i106.3 文献标识码：a一引言莎士比亚的四大喜剧分别为《威尼斯商人》、《第十二夜》、《皆大欢喜》、《仲夏夜之梦》，四部作品主要描写的是友谊、婚姻以及爱情，在主题方面虽然略有差异，但是作品的故事情节却都错综复杂、生动丰富。

作品中的情节中往往有着很多的奇遇、欺骗、巧合与乔装打扮，对于喜剧爱好者和文学爱好者而言都有着较强的吸引力。

莎士比亚所创作的“四部喜剧”都处在作品创作的第一阶段，所以作品中所宣扬的人文主义精神十分明显，并且作品内容以及人物形象都具有着较强的乐观精神与乐观行为，对人类社会中友谊的真挚以及爱情的美好进行了歌颂。

《威尼斯商人》主要讲述了商人安东尼奥为了帮助朋友巴萨尼奥而向犹太高利贷者夏洛克借钱，同时签下了如果安东尼奥不能及时还债将要从安东尼奥身上割下一磅肉的契约。

由于安东尼奥出海遇到风暴而不能及时还债，所以夏洛克咄咄逼人要践行契约。

最后安东尼奥在鲍西亚的帮助下得救。

其中，鲍西亚女扮男装为安东尼奥辩护的情节充满了智慧光辉和语言魅力，是《威尼斯商人》中最为精彩的部分。

《第十二夜》主要讲述了孪生兄妹薇奥拉与瑟巴斯辛出海遇险并漂流到伊利里亚，这里的贵族奥西诺正在向同样身为贵族的奥利维亚求婚但是遭到拒绝。

28海外文摘OVERSEAS DIGEST 海外文摘2020年第16期总第815期No.16,2020Total of 815在欧洲文艺复兴时期涌现出了非常多的文学家，而其中的代表人物非莎士比亚莫属，其一生创作了大量文学作品，尤以喜剧的艺术成就最高，可称得上是广为流传的艺术经典。

莎士比亚的喜剧创作以深刻的社会现实为来源，借助塑造人物角色对当时的社会现象、人们的思想状态予以反映[1]。

通过分析其创作的喜剧能够看出，整个故事中占据主导的是女性，而这也是其一个鲜明特点。

其喜剧多有复杂的情节，且每个人物的性格特点都不同，十分鲜明。

同时也肯定了女性自由恋爱和自由结婚权利，其一直表现的重点就是实现女性自身社会价值，思考女性性别地位。

但这部分“新女性”均有一个共同的特点，那就是温柔贤淑、忠贞不二，而这些刚好与男性心中的形象相符。

由此能够看出，虽然莎士比亚将女性先进的一面表现了出来，但其中还是有矛盾的一面存在，他的思想最终还是一致于当时男权社会主流的意识形态。

1莎士比亚喜剧中的女性形象１．１大胆叛逆的新女性在莎士比亚喜剧中的众多女性形象中，最让人印象深刻的便是性格大胆叛逆的新女性，从她们身上，我们能够看到文艺复兴时期，整个英国甚至欧洲社会的新兴资产阶级女性对个性自由的追求以及当时追求个性解放的时代风气[2]。

她们认为爱情和门第、等级以及金钱无关，只有当事人自己才拥有决定终身大事的权利。

为了获得自由幸福的爱情生活，她们勇敢地从封建的藩篱中挣脱，面对父权、政权毫无畏惧。

比如，《仲夏夜之梦》中的赫米娅小姐就是这样一位代表女性，即使面对父亲的逼迫以及国家专制政权的威慑，她也没有表现出丝毫畏惧，仍然大胆追求自己的爱情。

剧中，她的父亲让她嫁给贵族狄米特律师，但她却早已对贵族青年拉山德芳心暗许。

为了争取婚姻自由，身材娇小的她竟公然违背父亲的意愿与法律。

面对威胁（不嫁狄米特便立即处死），她据理力争。

在公爵告诉她如果不听从父亲的安排，就会永远与男人隔绝时，她依然未表现出一丝畏惧，还大声说道：“我不愿意向我心里并不敬服的人奉献自己的贞操。

“戏剧天才”笔下的女性——浅谈莎士比亚喜剧中的女性形象摘要：“人类最伟大的戏剧天才”莎士比亚创作了许许多多脍炙人口的经典之作，在他的作品中不仅赋予悲剧崇高的力量，同样赋予喜剧神气的魔力；不仅探索男性的心灵世界，同样关注女性的内心情感。

他一反以往讽刺喜剧中尊男卑女，在作品中塑造的一系列丰富生动、光彩动人的女性的特征，这些“可爱而奇特”的新女性，她们是文艺复兴时代的女儿。

莎士比亚在创作中即肯定女性的智慧, 讴歌女性的美德, 赞美女性不畏强暴勇于追求的气概，还在她们身上体现出了对新人文主义的生活原则和理想的追求,她们是人文主义的典范。

关键词：莎士比亚喜剧女性形象“戏剧天才”笔下的女性——浅谈莎士比亚喜剧中的女性形象目录一、摘要 (1)二、引言 (3)三、本论………………………………………………………………3—11（一）莎士比亚喜剧创作中的主要女性形象（二）莎士比亚心目中优秀女性的典型特点（三）莎士比亚喜剧中女性的个性色彩四、结语…………………………………………………………………11-12五、参考文献 (12)引言认识莎士比亚是因为他的四大悲剧之作，生活压力较大的当今时代中都有一些抑郁，为了调节自我常常看一些幽默书刊、视频、及小说，莎士比亚喜剧中的女性形象深深地吸引了我。

他在特殊环境下一反以往讽刺尊男卑女，崇上抑下的因袭惯例，以更大的创作热情，更饱满的精力塑造了一系列值得歌颂的女性形象，活灵活现的将个性不同女性形象展现在我们的眼前，和现代肥皂剧中的女性形象有共同的特点，甚至更加逼真更加丰富，很有远见，思想非常前卫。

威廉•莎士比亚（1564-1616）是文艺复兴时期英国伟大的戏剧大师，是人文主义的最杰出的代表，近代欧洲文学的奠基者之一。

马克思不仅非常欣赏莎士比亚，称赞他为“人类最伟大的戏剧天才”，而且还提出了“莎士比亚化”的美学原则。

同时代人本•琼生也称赞莎士比亚是“时代的灵魂”，说他“不属于一个时代，而属于所有的世纪”。

人文主义思想与莎士比亚喜剧作品中的女性形象人文主义思想与莎士比亚喜剧作品中的女性形象“人类最伟大的戏剧天才〞莎士比亚，创作了一部又一部脍炙人口的剧作，历经几个世纪都经久不衰，尤其是他的喜剧，更是为人们所熟知，成为经典。

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，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。

在这片“乖僻而又多情的妇女的国土〞上，女性拥有男人一样的智慧。

?皆大欢喜?中说道：“假设用一扇门把一个女人的才情关起来，它会从窗子里钻出来的。

〞莎翁笔下喜剧中的女主人公，她们不仅幽默，而且十分熟练地掌握着男人们具有的知识，可以在男人的天地里准确运用这些知识。

在男人的世界里行走的女性，她们是无往不胜的。

一、莎士比亚喜剧中女性形象特征(一)机智聪敏、有胆有识这类女性的典型代表就是?威尼斯商人?中的鲍希娅，她的性格的主导方面就是机智，正是由于她的机智，才使得一场生死官司巧妙地化险为夷。

在威尼斯法庭上，她乔装打扮成一个年轻的法律博士，采取欲擒故纵的计谋，先成认夏洛克的契约符合法律，允许他照约割肉。

就在人们为安东尼奥的性命捏着一把汗的时候，她突然把话锋一转，沉着不迫的对夏洛克说：“这一张借据并没有规定你可以取他的一滴血；写明的只是‘一磅肉’，那就割一磅肉，照你的条款执行吧。

〞她的机智又是与胆识连结在一起的，按照封建礼教的规定，女人只能拜倒在男人脚下，没有独立人格不能走出家门，更不能参与社会活动。

而鲍希娅却勇敢地参与了社会事务，在政治斗争中施展聪明才智，表现出文艺复兴时代新女性的特征来。

意志坚强，蔑视世俗观念。

?无事生非?中的贝特丽斯就是这一代表。

她爱笑，其明朗的笑声成为新时代妇女性格特征。

她标榜单身主义，“听人谈到‘丈夫’她就不耐烦〞，一提起结婚，她就把男性横加挖苦。

她大胆率直，无所顾忌，她要主宰自己的命运，而不想依傍于他人，她宁可终身不嫁也要保持自己独立的人格和意志。

莎士比亚喜剧作品中的女性形象第一篇：莎士比亚喜剧作品中的女性形象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。

浅谈莎翁喜剧中的女性形象莎翁喜剧是莎翁戏剧创作中的重要组成部分，较之其悲剧创作，莎翁的喜剧创作更富有乐观和浪漫的基调，它们反映了莎翁的人文理想和对封建传统的反叛。

其喜剧中的女性形象，更是大异于常，充满了智慧和活力，与中世纪社会对女性的压抑和贬低大相径庭。

她们的出现，丰富了莎翁的女性画廊。

莎翁喜剧中的女性是具有大胆叛逆性格的新女性，在她们身上体现了文艺复兴时期英国乃至整个欧洲社会中新兴资产阶级女性追求个性自由、个性解放的时代风气，在她们的心目中，门第、等级与金钱不再是爱情的基础，终身大事的决定权握在了自己手中。

为追求幸福、美满、自由的爱情生活，她们敢于冲破封建的樊篱，有自己的主见，不畏父权与政权。

《仲夏夜之梦》中的赫米娅小姐在面对父亲的逼迫、国家专制政权的威慑之下表现出非凡的胆识。

父亲将其许配给“门当户对”的贵族狄米特律师，而她却钟情于贵族青年拉山德。

为了争取婚姻自主，这个娇小玲珑的姑娘竟敢对簿公堂，违抗父亲的意志和法律。

她不顾父亲伊吉斯“不嫁狄米特”便“立即处死”的威胁，针锋相对、据理力争。

当公爵宣布她若不遵从父命就“不是受死刑便是永远和男人隔绝”时，她毫不畏惧地回答：“我不愿意把我的贞操奉献给我心里并不敬服的人。

”这种爽直倔强的性格，这种不顾封建礼教束缚无视法庭尊严而为自己的恋爱权利进行斗争的行为，突出地表现了资产阶级新女性勇敢无畏的性格特征。

在《维洛那二绅士》里，西尔维娅这位米兰公爵的千金不爱有万贯家财的修里奥，却爱上了一贫如洗的凡伦丁，不爱“正人君子”普洛丢斯，却爱上了勇敢真诚、品德高尚的凡伦丁。

在妇女恋爱不自由、婚姻不自主的文艺复兴时代，西尔维娅大胆择夫的标准，引得公爵大发其火，他对女儿，犹如私人财产，执意要将西尔维娅许配给修里奥。

在遭到女儿拒绝后，公爵一怒之下，流放了西尔维娅的心上人凡伦丁。

但此时西尔维娅更坚强了，发誓非凡伦丁不嫁。

诸如此类的女性在莎翁喜剧创作中比比皆是，像鲍西娅“三匣选亲”的壮举早已被世界各国喜爱莎翁戏剧的人们传为美谈。

莎士比亚戏剧中的人物形象深度解析莎士比亚是英国文学史上最伟大的戏剧家之一，他的作品流传至今，深受世人喜爱。

莎士比亚的戏剧作品中，人物形象是其作品的核心，他以鲜明的个性和复杂的内心世界塑造了许多经典的角色。

本文将深入探讨莎士比亚戏剧中的人物形象，分析他们的性格、动机以及与其他角色的关系。

首先，我们来看莎士比亚戏剧中的女性形象。

莎士比亚笔下的女性形象多样而丰富，她们有着强烈的个性和独立的思想。

例如，《哈姆雷特》中的奥菲利亚，她是一个善良而纯洁的女孩，但在父亲的死和哈姆雷特的变心之后，她逐渐陷入疯狂。

奥菲利亚的形象展现了女性在男权社会中的无助和被动，她的悲剧也成为了对社会不公的一种控诉。

另一个经典的女性形象是《罗密欧与朱丽叶》中的朱丽叶。

她是一个勇敢而坚定的女孩，为了爱情，她不惜违背家族的意愿，选择与罗密欧私奔。

朱丽叶的形象展现了女性的独立和追求自由的勇气，她的悲剧也让人们反思了家族和社会对于个人幸福的限制。

除了女性形象，莎士比亚的男性形象同样令人难忘。

他们有着复杂的内心世界和矛盾的性格。

例如，《麦克白》中的麦克白，他是一个勇敢而野心勃勃的将军，但在权力面前，他逐渐变得冷酷无情。

麦克白的形象展现了权力对人性的腐蚀和人性的复杂性，他的悲剧也是对权力欲望的一种警示。

另一个经典的男性形象是《奥赛罗》中的奥赛罗。

他是一个正直而忠诚的将军，但在妻子的背叛和谗言的煽动下，他陷入了疯狂和愤怒之中。

奥赛罗的形象展现了对爱情的盲目和对嫉妒的无法控制，他的悲剧也成为了对人性弱点的一种揭示。

莎士比亚戏剧中的人物形象不仅仅是个体的形象，他们之间的关系也是戏剧的重要组成部分。

例如，《哈姆雷特》中的哈姆雷特和克劳迪斯之间的关系，哈姆雷特对克劳迪斯的仇恨和复仇成为了整个剧情的核心。

他们之间的斗争展现了权力与道德、正义与邪恶的对立，也反映了社会的不公和腐败。

另一个例子是《罗密欧与朱丽叶》中的罗密欧和提伯尔特之间的关系。

他们来自两个敌对的家族，但他们的爱情却超越了家族的仇恨。

莎士比亚戏剧中的女性形象特征综述【摘要】：莎士比亚戏剧作品大都以爱情、友谊、婚姻为主题，情节异常生动丰富。

他在刻画女性时，摆脱了封建教会和各种封建思想的影响，开创了描写女性的新天地。

他强调了女性的聪明才智和力量，主张女性有追求财富和幸福的权力，反对天主教的禁欲思想，用博爱来反对封建压迫，用歌颂友谊爱情个人品德来反对中世纪的等级制度。

【关键词】：莎士比亚戏剧女性形象封建斗争自由爱情莎士比亚生活在封建制度开始瓦解，新兴资产阶级开始上升的大转折时期，他的戏剧作品大都以爱情、友谊、婚姻为主题，而情节却异常生动丰富，非同凡俗。

他看清理想与现实之间不可逾越的鸿沟，但他把这些归结为善与恶的道德冲突，他反对暴力，强调理性的作用，创作了一批辉煌而又抑郁愤怒的悲剧剧作，揭露了资本主义原始积累时期已开始出现的社会罪恶与资产阶级的利已主义，表现了人文主义美好理想与残酷现实之间的矛盾。

无论他的喜剧还是悲剧都塑造了各种各样典型的戏剧人物，特别是塑造了一批勇气过人又执着、风趣、机智、温柔的女主人公形象。

他在刻画女性时，摆脱了封建教会和各种封建思想的影响，开创了描写女性的新天地。

他强调了女性的聪明才智和力量，主张女性有追求财富和幸福的权力，反对天主教的禁欲思想，用博爱来反对封建压迫，用歌颂友谊爱情个人品德来反对中世纪的等级制度。

她们不仅仅有追求自己自由恋爱的权力和勇气，还敢于与各种邪恶势力做不屈不挠的斗争，在戏剧舞台上放射出耀眼的光芒。

1. 敢于追求自由爱情，敢于宣扬真善美的女性莎士比亚笔下的许多卓越女性，认为爱情不应该受出身门第和财富的限制，男女相爱才是真正的爱情，她们敢于大胆地追求爱情，注重的是人的本质和精神。

为了自己的幸福，她们敢于同封建家长制度抗争。

1.1在《威尼斯商人》中，贵族小姐鲍西娅性格纯朴、富有才华和正义感,她是莎士比亚塑造的一个理想的资产阶级女性形象。

她年轻、貌美、智慧超人，芳名远播，面对纷沓而来的求婚者，她把人的品行作为考虑的第一条件，而并不看重门第财富。

在教学中由朱丽叶人物形象分析莎士比亚前期创作中的女性人物形象的特点莎士比亚，世界戏剧史上里程碑式的人物。

他塑造了形形色色、有血有肉的形象，在他的作品中主角往往是男人，但女性角色也有着举重若轻的地位。

莎士比亚出生在文艺复兴时期的英国，他所生活的时代是英国社会发生重大变革的时代，这也是女性被束缚和禁锢的时代，她们没有完全的思想和行动的自由。

本篇文章就是以英国变革的大背景为时间轴，主要分析莎士比亚前期戏剧暨历史剧、喜剧时期的女性角色。

在那个男权至上的社会，女性也有反抗，虽然那时的她们的力量还是很单薄，很难撼动男权的主流思想，但也体现出女权运动先驱者们的勇气和气魄。

标签：文艺复兴;女性形象;男权社会;禁锢莎士比亚是历史上的一个传奇人物，其在戏剧史上的成就是一座难以逾越的高峰。

在中国明代，有一位和莎士比亚生活在同一时期伟大的戏曲家——汤显祖，他著有“临川四梦”。

汤显祖后世称为“东方的莎士比亚”，其作品可以称得上是世界戏剧艺术大餐中的珍馐美馔，由此可见，莎士比亞对世界戏剧史的影响可见一斑。

莎士比亚出生在一个富裕的商人家庭，虽经历了父亲破产的危机，但此时的英国在伊丽莎白统治下国力大增。

这样的时代背景深深的影响着年轻的莎士比亚，他对生活充满乐观主义情绪，并坚信着人文主义思想会在他这一代人的努力下得以实现。

本篇文章就是从这样的时代背景下开始对莎士比亚前期戏剧的不同女性形象进行分析。

1590——1600年，莎士比亚前期创作的时期，这一时期被称为历史剧、喜剧时期，这一时期的英国一派繁荣的景象，莎士比亚的创作基调也是乐观明朗的。

这一时期，他写出了《理查三世》《亨利四世》上、下篇和《亨利五世》等九部历史剧，《仲夏夜之梦》《第十二夜》和《威尼斯商人》等十部喜剧，《罗密欧与朱丽叶》等三部悲剧。

男性形象在莎士比亚戏剧中似乎是永远的主角，如相信真爱的罗密欧、杀兄娶嫂的克劳狄斯、还有精神上备受煎熬的忧郁王子哈姆莱特等等，都给人留下了深刻的印象。

论莎士比亚喜剧的女性形象摘要:莎士比亚的喜剧主要是以爱情为中心的。

刻画了一系列具有人文主义思想的女性形象,她们是美的化身,爱的天使;是封建道德的叛逆者;是贤妻良母;是机智勇敢的生活强者。

她们对爱情的坚贞,对社会邪恶势力不妥协的抗争和她们的聪明才智体现了一种追求个性解放,要求爱情自由的精神。

关键词:莎士比亚喜剧爱情女性莎士比亚是英国十六、十七世纪之间的大戏剧家,同时也是欧洲文艺复兴时期人文主义思想的宣传家。

在欧洲文艺复兴时期,资产阶级还是一个正在成长中的革命阶级,它具有与封建、宗教等黑暗势力作斗争的革命朝气。

莎士比亚作为这一阶级的人文主义者,运用人道主义的思想武器来抨击封建和宗教的世界观,他这样做不仅为资产阶级制造舆论,而且还符合广大人民的愿望和利益,在历史上起了很大的作用。

在莎士比亚的37部作品中,有歌颂当时时代精神的,有歌颂人文主义的,还有批判阻碍时代发展的。

从而塑造了一系列人文主义者的典型形象。

这些形象充分体现了文艺复兴时期资产阶级进取热情的生气勃勃的时代精神。

莎士比亚的戏剧创作分为三个时期,后期传奇剧以宽容与和解为主题,中期的悲剧常以人格的分裂和死亡为主题,历史剧多以权利和人性的扭曲为主题。

而他的早期是喜剧,主要表达的是爱情和狂欢等内容,并以此来表达其思想。

德国的歌德就曾经说过:“当我读到莎士比亚第一页时,我的一生就属于他了。

当我首次读完他的一部作品,我觉得我好像原来是一个先天盲人,这时一瞬间有一只神奇的手赋予了我双目的视力,我很清楚的体会到我的生活被无限的扩大了,莎士比亚对人性已经从一切方向上,在一切深度和高度上,都发挥到淋漓尽致。

”正如歌德所说,莎士比亚就是一位人性记录的大师,在他的作品中生动的展示了男女主人公的遭遇,揭示了人物思想性格的深度,给读者以思想上的深刻感受和灵魂上的巨大震撼力。

他敏感的注意到封建专制下最大的牺牲者是妇女,他同情这些受害最深的弱者,为她们鸣不平,他希望她们能摆脱封建专制的束缚,与男子享受同等的待遇,因此,他塑造出一系列勇于反抗的资产阶级女性形象来鼓励这些弱者起来反抗封建制度和禁欲制主义的束缚。

莎士比亚戏剧人物形象分析本页仅作为文档封面，使用时可以删除This document is for reference only-rar21year.March莎士比亚《无事生非》一剧中女主角贝特丽斯是莎士比亚创作的最伟大的女性之一，可以与《威尼斯商人》中女主角鲍西亚媲美。

下面将从几个方面浅析贝特丽斯的形象。

一、活泼、开朗、刚强的性格与其表姐希罗柔弱、内向的传统女性的性格相比，贝特丽斯机智开朗、风趣幽默，俏皮话妙趣横生。

剧中贝特丽斯和培尼狄克互不相让、唇枪舌战式的斗嘴让人忍俊不禁。

贝特丽斯幽默的语言足以体现他的机智聪明，天真活泼。

活泼可爱的贝特丽斯同时又是正直刚强的。

当表姐希罗深陷苦难时，她凭借对表姐的信任始终相信希罗的无辜，并为其主张正义。

对希罗不幸的遭遇的强烈同情表现了她善良、正直的天性。

她和培尼狄克在帮助希罗上志趣相投，他们仿佛正是因为一起帮助希罗才更亲密起来，进一步使他们之间的爱情得到发展，并最终达到完满。

剧中贝特丽斯一出场，戏剧情节立刻变得生动、活泼、幽默。

作者通过对贝特丽斯这一喜剧角色的塑造，大大增强戏剧的喜剧性，使整个剧本洋溢着浓郁的喜剧色彩。

二、执着追求女性独立在剧中，贝特丽斯认同独身主义，并在一开始的时候坚持独身主义，在误打误撞之下与培尼狄克相恋，说明她的内心是情感丰富的，她也有着对爱的认同。

戏剧中她和培尼狄克的斗嘴不相上下，她在一开始的时候摒弃爱情，并嘲弄狂妄的又自以为是的培尼狄克，但是，当表姐希罗和克劳迪奥相恋并准备成婚时，贝特丽斯还是支持和祝福希罗和克劳迪奥的，这说明了贝特丽斯心中是充满感情的，并非冷漠无情。

她虽然倔强，但是善良、富有人情味。

当克劳迪奥冤枉了希罗，并当众羞辱希罗时，贝特丽斯内心充满了不平和愤懑，她同情希罗，并始终支持和帮助希罗。

男子的轻易负心使贝特丽斯替希罗感到冤屈和不满。

所以，在剧中她说：“亲爱的希罗！她负屈含冤，她的一生从此完了！”“什么亲王！什么伯爵！好一个作见证的亲王！好一个甜言蜜语的风流伯爵！啊，为了他的缘故，我但愿自己是一个男人；或者我有什么朋友愿意为了我的缘故，做一个堂堂男子！可是人们的丈夫气概，早已丧失在奉承阿谀里了；他们已经变得只剩下一条善于拍马吹牛的舌头，谁会造最大的谣言，谁就是个英雄好汉。

055威廉 ·莎士比亚是西方最伟大的戏剧家和诗人，他的作品就像一颗璀璨的明星照亮了西方文艺复兴时期的文坛，对西方文学，甚至对世界文学都产生了巨大的影响，可以说，莎士比亚的作品是世界文学宝库中的珍品。

在莎士比亚的作品中，喜剧是非常出色的，他的喜剧情节生动出奇，所塑造的人物形象富有个性，作品的艺术构思极为巧妙，作品所表现的人文主义思想符合时代发展的需要，可以说莎士比亚的每一部作品都是精品，受到世人的推崇。

莎士比亚喜剧创造主题凸显出人文主义色彩，所涉及的题材是非常广泛的，能够对丰富的现实世界进行艺术性的反映。

在喜剧的创造中，莎士比亚塑造了大量追求爱情的女性形象，这些女性能够积极地追求自己的爱情，敢于挑战权威，敢于冲破封建伦理道德的束缚，并且富有追求幸福的智慧和勇气，坚定自己的追求，可以说这些女性形象是莎士比亚喜剧作品中最富有魅力的。

一、莎士比亚喜剧中的女性形象（一）她们都是美的化身莎士比亚喜剧中的女性人物，大都是天生丽质、容貌超群，个个美貌无比，凡是见过她们的人都被她们的容貌所吸引，认为她们是人间难寻的美人。

莎翁笔下的茱莉亚眼睛就像天空中的星星一样闪闪发光，贝特丽丝也是少有的美人，她的脸色像五月的春潮一样娇媚无比，赫米娅的嗓音是非常甜美的，说出的话就像动听的音乐，发出的声音比牧羊人耳中云雀的歌声还要动听。

可以说，莎士比亚喜剧中的女性形象多数是非常美丽的，她们天生丽质，深深地吸引着人们。

莎士比亚喜剧中的女性美并不仅限于外貌的美，她们内在的美也是非常突出的。

她们是内外兼美的。

莎士比亚所塑造的鲍西亚就是内外兼美的人间尤物，鲍西亚心地善良，为了救助安东尼奥，女扮男装，这种行为在当时社会是要遭人诟病的，是不符合传统的礼教思想的。

鲍西亚在出庭辩证的时候，也表现出非凡的智慧，并且她的表现也是充满正气的，这些都为她的人设加分。

另外，维奥拉这个形象也是内外兼美的。

维奥拉真心地爱慕着奥希诺公爵，为了接近他，敢于乔装成仆人。

摘要本文首先分析莎士比亚主要的喜剧作品中的女性形象，综合得出莎士比亚在其喜剧作品中塑造的一系列丰富生动、光彩动人的女性群像的共同特征，即肯定女性的智慧, 讴歌女性的美德, 赞美女性不畏强暴勇于追求的气概；还提出在她们身上体现出了对新人文主义的生活原则和理想的追求,她们是人文主义的典范；最后指出当时的政治经济背景以及文艺复兴运动时期的人文主义思潮对当时的社会以及莎士比亚的深刻的影响，即伊丽莎白统治下的社会以及以人为本的社会思潮。

关键词：莎士比亚；喜剧；形象；共同特征；背景ABSTRACTThis paper first analyzes some women images in Shakespeare‘s main comedies, on such basis, it concludes the common features of the series of those rich female imagery in Shakespeare‘s comedies. It affirms women‘s wisdom; eulogize the virtues of women; and praise the courage of not fear for violence and the spirit of pursuing their ideals. The paper also explores the life principles and the pursuit of ideals of new humanist that reflected on them. They are the models of humanism. At the end of this paper, it points out the profound influence of the political and economical backgrounds and the thoughts of humanism of the Renaissance period on the society as well as on Shakespeare at that time, that is, the society under the rule of Elizabeth I and the people-centered social thoughts.Keywords：Shakespeare; comedies; imagery; common feature; backgroundsContents1. Introduction (1)2. The common features of the females in shakespeare’s comedies (2)2.1 External beauty (2)2.2 Internal beauty (2)2.2.1 The pursuit of love (2)2.2.2 Loyalty to friendship (3)2.2.3 Extinguished wisdom (3)2.2.4 Noble morality (4)2.3 Round personality (4)3. Reasons of shaping those female images (6)3.1 Backgrounds (6)3.1.1 Political and social background (6)3.1.2 Economic background (8)3.1.3 Humanism (9)3.2 Symbol meaning of those female images (11)4. Conclusion (13)Acknowledgements (14)References (15)1．IntroductionShakespeare is perhaps the most quoted author in liter ature. Shakespeare‘s early years was his comedy times, he created many famous comedies such as "The Merchant of Venice", "A Midsummer Night's Dream", "Twelfth Night" and so on. In those comedies, he made an analysis of the unique style and the witty remarks in the description of the beauty of women images and the profound connotations of thought in Shakespeare‘s comedies, holding that the beauty of women images should be embodied in the harmony of self-respect, independence, amiability, devotion to love and the relationship of human beings and that of human beings and nature. Starting from the exploration of human civilization and the progress of society, the paper expounds the truth that mercy conquers cruelty; friendship conquers enmity; wisdom conquers ignorance, and justice conquers evil. Therefore the ideal beauty of humanism is realized. All of those women images symbolize the impact of humanism.2. The common features of the femalesIn Shakespeare’s comediesWomen images in Shakespeare‘s comedies have unique style and the witty remarks in the description of the beauty and the profound connotations of thought. The beauty of women images were embodied in the harmony of self-respect , independence , amiability , devotion to love and the relationship of human beings and that of human beings and nature.2.1 External beautyFemales in Shakespeare‘s comedies always had beautiful outside. In ―The Merchant of Venice‖ Bassanio once said, ―In Belmont is a lady richly left; And she is fair, and, fairer than that word, Of wondrous virtues: sometimes from her eyes I did receive fair speechless messages: Her name is Portia, nothing undervalued To Cato's daughter, Brutus' Portia: Nor is the wide world ignorant of her worth, For the four winds blow in from every coast Renowned suitors, and her sunny locks Hang on her temples like a golden fleece; Which makes her seat of Belmont Colchos' strand, And many Jasons come in quest of her. O my Antonio, had I but the means To hold a rival place with one of them, I have a mind presages me such thrift, That I should questionless be fortunate‖[1]1. That is Portia. Beatrice in ―M uch Ado About Nothing‖is a "precious jade" which is worthy of "all the world's wealth". Viola in ―Twelfth Night‖ causes Miss Count to fall in love with her at first sight even she is dressed as a man.2.2 Internal beautyWomen in Shakespeare‘s comedies are all beautiful ladies with rich inner beauty and rich Personality such as their special opinions about purchasing their true love, great loyalty to friendship, having outstanding wisdom and noble morality.2.2.1 Pursuit of loveIn Portia‘s mind, the nobles are all dull and have nothing available but enjoy their lives. ―First, she said that the Neapolitan prince is a colt indeed. Then there is theCounty Palatine. He doth nothing but frown. The French lord, Monsieur Le Bon hath a horse better than the Neapolitan's, a better bad habit of frowning than the Count Palatine; he is every man in no man. Then, to Falconbridge, the young baron of England, How oddly he is suited. The young German, the Duke of Saxony's nephew is very vilely in the morning, when he is sober, and most vilely in the afternoon, when he is drunk: when he is best, he is a little worse than a man, and when he is worst, he is little better than a beast. ‖ [1]1 Portia would not be controlled by power or property. In order to find the true love, she went against her father‘s will.Beatrice in ―M uch Ado About Nothing‖is a noble, but her mind is filled with humanism. She thinks that the qualification of an individual is the basic standard of choosing her lover, not the property or noble classical or power. She calls for the equality of both male and female; stick to individual independence, and safeguards women's dignity. She said ―But manhood is melted into courtesies, valour into compliment, and men are only turned into tongue, and trim ones too: he is now as valiant as Hercules that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving.‖ [2]42.2.2 Loyalty to friendshipPortia is a generous lady. When she heard that Bassanio‘s friend is in danger, she said to Bassanio, ―Pay him six thousand, and deface the bond; double six thousand, and then treble that, before a friend of this description shall lose a hair through Bassanio's fault. First go with me to church and call me wife, and then away to Venice to your friend; for never shall you lie by Portia's side with an unquiet soul. You shall have gold to pay the petty debt twenty times over: When it is paid, bring your true friend along. My maid Nerissa and myself meantime Will live as maids and widows.‖ [1]3 After saying this to her husband, she later dresses up as a man and finds a way to release Antonio from his bond with Shylock, when no one else is able to. She proves to the audience and to her friends that even though she might have been perceived as an unlesson'd, unschool'd, unpractic'd girl, her inner self, posses the strength, intelligence and experience that enables her to do what she did.When Beatrice‘s cousin Hero is wronged and slandered by Hero‘s husband Claudio in the wedding part, she insisted that her cousin was innocent and angrily said ―O God, that I were a man! I would eat his heart in the market-place.‖ [2]42.2.3 Extinguished wisdomIn Shakespeare‘s works, women are always wiser than men. They stay calm and never draw back when confronting frustration and difficulties. Portia in ―The Merchant of Venice‖is learned and capable. She saved Antonio‘s life with her wise and talent words: ―Therefore prepare thee to cut off the flesh. Shed thou no blood, nor cut thou less nor more But just a pound of flesh: if thou cut'st more Or less than a just pound, be it but so much As makes it light or heavy in the substance, Or the division of the twentieth part Of one poor scruple, nay, if the scale do turn But in the estimation of a hair, Thou diest and all thy goods are confiscate.‖ [1]4Another example is Viola who in "Twelfth Night" falls in love with the Duke Orsino. She boldly posed as a boy and masquerading as a young castrato under the name Cesario. Viola is lively and enthusiastic, with gentle but masculine, and her intelligence, eloquence eventually made her gain the goodwill of the Duke.2.2.4 Noble moralityFemale in S hakespeare‘s comed ies have had the lofty morality strength, they always have appeared before the common people with friendly consummate attitude. They can always help others and embody the harmony between humans. They cherish friendship, love. They go completely the opposite way to the code of ethics and go against tradition. Such description and narration by Shakespeare embody that harmonious relationship should be established. Those women images reflect the strength of love and hate.Celia in ―As You Like It‖ was a person who cherish friend much more than her life. She comforted Rosalind whose father was exiled, ―You know my father hath no child but I, nor none is like to have: and, truly, when he dies, thou shalt be his heir, for what he hath taken away from thy father perforce, I will render thee again in affection; by mine honour, I will; and when I break that oath, let me turn monster: therefore, my sweet Rose, my dear Rose, be merry.‖[3]1Celia fought against her father in order to safeguard her pure friendship with Rosalind.2.3 Round personalityWomen in Shakespeare‘s comedies are those female have original characters. Whatthey reflect is the purchase of personality freedom, the character of personality liberty of the new bourgeoisie females in the United Kingdom or even the whole European continent in the renaissance period. In their opinions, family status, grade and money are no longer the amatory basis; they hold the power to make decision of happiness on their own hands. In order to pursue a life of happiness and free love, they dare to break through the feudalism fence, having self-judgment, defying father rights and the regime.Hermia in ―A Midsummer Night's Dream‖ dared to fight against her father in order to have marriage freedom. ―So will I grow, so live, so die, my lord, Ere I will my virgin patent up Unto his lordship, whose unwished yoke My soul consents not to give sovereignty.‖[4]1 Such frank character, such disregard of feudal dignity, and behavior to fight for the right of free love prominently displayed the courage of the new bourgeois female.3. Reasons of shaping those female imagesThe Elizabethan Age –the period during which Elizabeth I (1558–1603) was England‘s ruling monarch – is often thought of as a golden age in the cou ntry‘s history. It was the highpoint, for example, of the English Renaissance, and poetry and literature truly thrived. It was the time of Elizabethan theatre, when William Shakespeare and his contemporaries wrote new, dynamic, groundbreaking plays. Moreover, the Elizabethan era was one of unprecedented expansion and exploration abroad, while within England itself, the Protestant Reformation was influencing the thought and approach of the population as a whole.Elizabeth‘s reign was marked by her effective use of Parliament and the Privy Council, a small advisory body of the important state officials, and by the development of legal institutions in the English counties. Elizabeth firmly established Protestantism in England, encouraged English enterprise and commerce, and defended the nation against the powerful Spanish naval force known as the Spanish Armada. Her reign was noted for the English Renaissance, an outpouring of poetry and drama led by William Shakespeare, Edmund Spenser, and Christopher Marlowe that remains unsurpassed in English literary history.3.1 Backgrounds of Shakespeare‘s time3.1.1 Social and political backgroundShakespeare‘s comedies are almost created in his early time, in which is the peak of Elizabethan era. The Elizabethan Age is viewed so highly because of the contrasts with the periods before and after. It was a brief period of largely internal peace between the English Reformation and the battles between Protestants and Catholics and the battles between parliament and the monarchy that engulfed the seventeenth century. The Protestant or Catholic divide was settled, for a time, by the Elizabethan Religious Settlement, and parliament was not yet strong enough to challenge royal absolutism. England was also well-off compared to the other nations of Europe. England held on to the Church of England throughout Elizabeth's reign and those who disagreed on religious grounds, such as the Puritans set out for the Americas and settled in andaround Boston, Massachusetts.Elizabeth realized the importance of securing the cooperation of powerful men in order to rule effectively. She made extensive use of the Privy Council and summoned ten parliaments during her reign. She used Parliament to raise taxes and to endorse her policies, but also allowed its members to suggest laws regarding local issues, something rarely permitted by prior monarchs. The House of Lords and the House of Commons both grew in size during her reign.Elizabeth effectively expanded royal government by increasing the role of sheriffs in the counties and by relying upon justices of the peace to perform the basic administrative work of local government. Thousands of gentlemen served in this capacity, each an official, if unpaid, member of the regime. Meeting in quarter sessions, justices enforced everything from the Poor Laws to statutes against theft. At the center of her government, Elizabeth was fortunate in having a succession of capable ministers.Elizabeth‘s accession marked the final change in the nation‘s official religion. Elizabeth inherited a highly charged religious situation, which she handled with great skill. Although there was never any doubt she would return England to Protestantism, Elizabeth had to contend with opposition from both Catholics and radical Protestants. Catholic bishops and peers controlled the House of Lords and fought Elizabeth‘s first attempts to bring back Protestantism. Protestants exiled under the reign of Mary I returned to England, and many brought with them new and radical Protestant ideas, especially those of John Calvin, a French religious reformer. Calvin stressed the importance of predestination, the belief that salvation was predetermined for some people and not for others. Calvin also wanted the clergy to play a less important role in the state church and to concern themselves with preaching the gospel rather than in becoming bishops.Under Elizabeth, England again broke with the pope, Catholic services were forbidden, priests were allowed to marry, and relics and decorations were removed from the churches. In attempting to diffuse the religious situation, Elizabeth tried to accommodate Catholic sensibilities in matters she judged less essential. She used Parliament to establish the official doctrine of the new church, which ensured that the voice of Catholic peers would be heard. Under the Act of Supremacy, she assumed the title of Supreme Governor of the Church, rather than the title of Supreme Head, a move to placate critics because Supreme Governor sounded less powerful. She would not allow retaliation against those who had assisted Mary, and she treated with someleniency those who refused to swear an oath to her supremacy.Elizabeth viewed the church as an inseparable part of her monarchy and would not tolerate challenges to it. Such challenges came from both Catholics, who clung to the old faith and plotted to remove the queen, and from Puritans, radical Protestants who wanted to abolish all traces of Catholicism.3.1.2 Economic backgroundEconomically, the country was beginning to benefit enormously from the new horizons offered by trans-Atlantic trade. Elizabethan England had an active role in the slave trade and the repression of Catholic Ireland. Despite the great achievements seen during the Elizabethan era itself, it is worth noting that the country descended into the Civil War (1642-51) less than forty years after Elizabeth‘s death.All told, Elizabeth certainly provided the country with increasing overall prosperity. Having inherited a practically bankrupt nation, her cautious, frugal approach instigated a new sense of economic responsibility. The founding of the Royal Exchange (1565) –the first stock exchange in England and one of the earliest in Europe –proved an enormously valuable step for the economic development of England and, subsequently, for the world in general. Taxes were lower in England than other European countries at the time, as the economy expanded although the nation‘s wealth was undoubtedly distributed unevenly, there was certainly more money in the s tate‘s coffers at the end of Elizabeth‘s reign than there had been before her accession. And, it was precisely this general peace and prosperity that allowed the wonderful achievements that are associated with the era –with the ‗golden age‘ of Elizabethan England.The nation that Elizabeth inherited was experiencing a steady increase in population. The continued population growth placed strains on the economy, which was made worse by serious harvest failures in every decade of Elizabeth‘s reign. Prices for food and clothing skyrocketed in what became known as the Great Inflation. The 1590s were the worst years of the century, marked by starvation, epidemic disease, and roving bands of vagrants looking for work.Elizabeth‘s government enacted legislation kno wn as the Poor Laws, which made every local parish responsible for its own poor, created workhouses, and severely punished homeless beggars. Parliament also passed bills to ensure fair prices in times of shortage and to regulate wages in times of unemploym ent. One of the queen‘s most important economic decisions was to issue a new currency that contained a standardamount of precious metal. This raised confidence in the currency and also allowed businesses to enter into long-term financial contracts.During Elizabeth‘s reign, England expanded trade overseas and the merchant community grew. Private shipbuilding boomed and navigational advances made long sea voyages safer. England‘s chief commodity was woolen cloth, traded mostly at the Dutch port of Antwerp for finished goods and such luxuries as French wines. Cloth exports grew over the course of the reign, but suffered from competition from finer Spanish products and from Antwerp‘s decline after its harbor silted up and became impassable by the mid-1560s. In the 1560s financier Sir Thomas Gresham founded the Royal Exchange to help merchants find secure markets for their goods.At the same time, new enterprises like the Muscovy Company were chartered to find outlets for English products. In 1600 the government granted the English East India Company a monopoly to trade in Asia, Africa, and America. The desire to expand overseas trade was also a motive in the ventures of English explorers such as Sir Francis Drake, Sir Humphrey Gilbert, and Sir Walter Raleigh. Such adventurers established the first English outposts in North America.3.1.3 HumanismThe word humanism has been freely applied to a variety of beliefs, methods, and philosophies that place central emphasis on what it means to be human. Frequently, the term is used with reference to a system of education and mode of inquiry that developed in northern Italy during the 14th century and later spread through Europe and England. Alternately known as "Renaissance humanism," this program was so broadly and profoundly influential that it is one of the chief reasons why the Renaissance is viewed as a distinct historical period.Humanities meant the development of human virtue, in all its forms, to its fullest extent. The term thus implied not only such qualities as are associated with the modern word humanity--understanding, benevolence, compassion, mercy--but also such more aggressive characteristics as fortitude, judgment, prudence, eloquence, and even love of honors. Consequently the possessor of humanities could not be merely a sedentary and isolated philosopher or man of letters but was of necessity a participant in active life. Just as action without insight was held to be aimless and barbaric, insight without action was rejected as barren and imperfect. Humanities called for a fine balance of action and contemplation, a balance born not of compromise but of complementarities. The goal ofsuch fulfilled and balanced virtue was political in the broadest sense of the word. The purview of Renaissance humanism included not only the education of the young but also the guidance of adults (including rulers) via philosophical poetry and strategic rhetoric. It included not only realistic social criticism but also utopian hypotheses, not only painstaking reassessments of history but also bold reshaping of the future. In short, humanism called for the comprehensive reform of culture, the transfiguration of what humanists termed the passive and ignorant society of the "dark" ages into a new order that would reflect and encourage the grandest human potentialities.Humanism emphasizes the belief in human beings, his environment and doings and his brave fight for the emancipation of man from tyranny of the church and religious dogmas. The most important content is assurance of human values. From art to social life, people should focus on human history, human activities, human spirit, and human images and so on. People's nature, life purpose and happiness ought to be the subject of study.Humanists advocate contending with destiny: they think everybody was born equal; they oppose the feudalism hierarchical system of judging individual family background with the social position, family status. They believe that individual social position should be decided by morality and physical labor, not comes from family status or rights of inheritance.The humanists all regard ethics as the centre: They think science and perfect morality degree determine the destiny of a country. Human should perfect themselves through education. People should respect both their body and mind. Everyone, including lawyer, doctor and philosopher, ought to be responsible for the society.Humanism is the rebirth of classical learning- especially philosophy and ethics, but also the art of politics. Humanism was inspired by the ideas of the reformer, Erasmus of Rotterdam, based on respect of the human being, tolerance and Christian love ethics Renaissance Humanism is the spirit of learning that developed at the end of the Middle Ages with the revival of classical letters and a renewed confidence in the ability of human beings to determine truth and falsehood for themselves.The period from the 14th century to the 17th worked in favor of the general emancipation of the individual. Individualism and the instinct of curiosity were vigorously cultivated. Honest doubt began to replace unreasoning faith. The skeptical viewpoint proposed by Abelard reached high development and wide acceptance among the humanists. Finally, the spirit of individualism to a certain degree incited theProtestant revolt, which, in theory at least, embodied a thorough application of the principle of individualism in religion.3.2 Symbol meaning of those female imagesWilliam Shakespeare‘s comedies are almost created in his early time. At that time, he was influenced by the idea of humanism; therefore, his thoughts were mostly active and pure. Shakespeare expressed his thoughts of individual values by creating those wise pretty kind females in his works. Those images are a mirror of history and society.When William Shakespeare wrote, The Merchant of Venice, he included a female character that influences the play dramatically. In most of Shakespeare's plays, the women have little power and intelligence. In The Merchant of Venice, however, Portia is a woman that saves the life of a man with her wit and intelligence. Another woman created by Shakespeare that posses qualities similar to Portia is Beatrice, from Much Ado about Nothing. Both women add to the main themes of the play because of their ability to use their intelligence and witty remarks as well as having a loving heart. The women share many similarities as well as many differences which seem to be inevitable because Portia seems to be put on a pedestal that very few can reach. Portia is one of Shakespeare's great heroines, whose beauty, lively intelligence, quick wit, and high moral seriousness have blossomed in a society of wealth and freedom. She is known throughout the world for her beauty and virtue, and she is able to handle any situation with her sharp wit.The one female, Shakespearean character that is most like Portia would be Beatrice, from Much Ado about Nothing. Both of the women are known for their wit and intelligence. Beatrice is able to defend her views in any situation, as does Portia. Shakespeare gives each of them a sense of power by giving their minds the ability to change words around, use multiple meanings and answer wisely to the men surrounding them. By adding a loving heart to both of these women, Shakespeare makes their intelligence more appealing. Even though Beatrice hides the loving side of her character for most of the play, she still expresses her kindness and love in other ways. Like Portia, she is a dear friend and an obedient daughter. In the fourth act, after Portia has saved the life of Antonio, she uses her wit, just as Beatrice does to test Benedict's love, to convince Bassanio to surrender the ring that he vowed he would never part with.Portia displays all the graces of the perfect Renaissance lady. She is not ambitious, she is quiet rather than restrictive. She is modest in her self-estimation. Her generousspirit makes her wish she had more virtue, wealth, and friends so that she can better help those she loves. When Shakespeare created Portia's character, he contributed the likeness of Beatrice and added the elements of a perfect Renaissance woman. Even though Portia is a woman, she still posses the intelligence to use manipulates words, the beauty to women, and the soul that stands above many others. Her appearance adds to her angelic reputation and her wisdom allows the audience of the play to acknowledge the theme of deceptive appearances.All the examples show to us that Shakespeare creates those female images to express the influence of the revolution society and especially the idea of humanism.4．ConclusionThe tune of Shakespeare‘s comedies is active. Women images in Shakespeare‘s comedies have unique style and the witty remarks in the description of the beauty and the profound connotations of thought. First, women‘s images in Shakespeare‘s comedies are all beautiful ladies with rich inner beauty and rich Personality such as their special opinions about purchasing their true love, great loyalty to friendship, having outstanding wisdom and noble morality. Second, Shakespeare creates those rich images under the society of Elizabethan era, in which the politics, religion and economy are considerably stable and prosperous. Most important, it was the Renaissance period, in which the idea of humanism developed. Shakespeare create those rich female images in his comedies in order to express the central idea of Renaissance, and that human beings should change their traditional opinions of judging people. 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莎士比亚喜剧作品中的女性形象分析阴詹雨芹莎士比亚的作品在全世界范围内享有极高的知名度与美誉度，莎翁本人也成为世界文坛的“巨匠”之一。

在其塑造出来的众多角色中，尤以喜剧作品中的女性形象更为广大读者留下了极其深刻的印象。

而这些个性鲜明的女性角色也反映出处于文艺复兴时期的欧洲女性所具有的智慧、勇敢、独立的品质与风貌。

一、女性形象不再是“陪衬”在莎翁创作的喜剧作品中，一个巨大的突破便是将女性角色赋予了新的意义，其不再作为男权的陪衬，而是成为具有独立精神、高尚品格、顽强意志的个体，这些光辉伟大的女性角色，同样成为了故事中的主角，这也对长久以来女性受到束缚、忽视的情况作出改变，也为冲破传统写作内容的桎梏创造了有益条件。

二、女性角色不仅“美貌”而且“智慧”在文艺复兴之前，文学作品中关于西方人物的形象设置通常是较为单薄的，而自莎翁之后一个个灵动、饱满的角色跃然纸上，而优秀的女性形象的加入，更是为喜剧作品增添了最为靓丽的色彩。

在其早期创作的喜剧作品中这中特色就已经显现出来，《皆大欢喜》、《无事生非》以及《第十二夜》三步作品也被读者用“娇艳明媚”来予以形容。

这些故事通常以家庭、婚姻、情感为主题，而这些女性角色却是一改过去“花瓶”类的存在效果，具有了可爱的个性、高尚的情操，既美丽大方又机智过人，让读者在阅读过程中感受到女性角色所散发出的耀眼光芒[1]。

以《威尼斯商人》为例，文中的鲍迪亚便是一个兼具了美貌与智慧的女子，智计多端的挫败头号反派夏洛克的阴谋，使得商人安通尼奥免于灾难；《第十二夜》中薇奥拉在女扮男装之时也让伯爵小姐产生倾慕之情；《皆大欢喜》里的罗瑟琳外表美若天仙，文中形容她是世间的珍宝都不能同她相比，作者也对其给出了最高的赞扬；以及《终成眷属》中的海丽娜，不仅美貌，而且受过高等教育，其具有的优美品质、温婉的言辞也让世人称颂等等。

在对这些角色进行塑造时，莎翁也将自己对于人文思想的看法都注入到作品当中。

从这些女性形象中所反映出的进步观念，包括反对包办婚姻鼓励寻找真爱、反对禁欲提倡追寻世俗幸福、反对封建传统压迫追求精神自由等，也都是作者对于自由、个性、平等思想的期望。

蝴蝶和泡沫莎士比亚早中期喜剧中的女性形象有什么不同之处在莎士比亚创作的三十七部戏剧之中，有十部早期喜剧和三部中期悲喜剧，在这些喜剧之中，出现了一大批熠熠生辉的女性人物。

然而在早期和中期的喜剧之中，她们的形象却有所转变。

在早期喜剧之中，莎士比亚创作的基本情调乐观而明朗。

喜剧场面时而转移到月光柔和的贝尔蒙特；时而出现在仲夏之夜的典雅森林；时而放眼至原始粗犷的亚登密荫。

各个女主人公在这些诗情画意之廊坊中绽放，淋漓尽致地展现着她们的极致之美。

数绝色人物，此中有能言善辩、聪明俏皮的贝特丽丝；活泼开朗、调皮狡黠的罗瑟琳；善良无私、坚毅忍耐的薇奥拉；感情真挚、追求执著的奥丽维娅。

她们是纯净的碧泓，她们是芳香的兰花，她们是飞舞的彩蝶。

如果把她们比作蝴蝶，那么翩跹在我们面前的不仅有完美纯洁的丽影，还有着大胆叛逆，敢作敢为的魅力。

《仲夏夜之梦》中，赫米娅说:“既然真心的恋人们永远要受磨折似乎己是一条命运的定律，那么让我们练习着忍耐吧；因为这种磨折，正如忆念、幻梦、叹息、希望和哭泣一样，都是可怜的爱情缺不了的随从者。

”其为了争取婚姻自由而大胆斗争的决心和勇气可见一斑；非凡伦丁不嫁的西尔维娅在与父亲的抗争中，她大胆的追求和顽强的毅力令人折服；没有淑女品性凯瑟丽娜流露出的却恰恰是她个性解放、自主择婚选友愿望；初中的语文课本中，聪明机智鲍西娅站在法庭之上，欲擒故纵、唇枪舌战，战胜了咄咄逼人的守财奴夏洛克，她的智慧胆识当真是巾帼不让须眉。

然而，相较于莎士比亚早期经典的喜剧系列。

在他中期的剧做之中，爱情和女人却变得像肥皂泡一般，美丽却容易破灭。

《特洛伊罗斯与克瑞西达》里面，克瑞西达作为一个弱女子，她唯有选择强颜欢笑和服从，做了他人的情妇，成了负心的女人。

《一报还一报》之中，尽管悲剧转向了喜剧，可是作品之中充溢的却是“社会的混乱，道德的沦丧”。

到了《终成眷属》之时，爱情的天空里已经没有欢乐的气氛和幸福理想的色彩，代之以背信弃义、尔虞我诈的阴影。