第一集《驯悍记》 结尾，凯瑟琳娜44行著名的台词 “Fie, fie! unknit that threatening unkind brow, And dart not scornful glances from those eyes, To wound thy lord, thy king, thy governor. It blots thy beauty as frosts do bite the meads, Confounds thy fame as whirlwinds shake fair buds, And in no sense is meet or amiable. A woman moved is like a fountain troubled, Muddy, ill - smelling, thick, bereft of beauty; And while it is so, none so dry or thirsty Will deign to sip or touch one drop of it. Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee, And for thy maintenance commits his body To painful labor both by sea and land, To watch the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe; And craves no other tribute at thy hands But love, fair looks, and true obedience; Too little payment for so great a debt. Such duty as the subject owes the prince, Even such a woman oweth to her husband; And when she is froward, peevish, sullen, sour, And not obedient to his honest will, What is she but a foul contending rebel, And graceless traitor to her loving lord? I am ashamed that women are so simple To offer war where they should kneel for peace; Or seek for rule, supremacy, and sway, When they are bound to serve, love, and obey. Why are our bodies soft, and weak, and smooth, But that our soft conditions and our hearts Should well agree with our external parts? Come, come, you froward and unable worms! My mind hath been as big as one of yours, My heart as great, my reason haply more, To bandy word for word and frown for frown; But now I see our lances are but straws, Our strength as weak, our weakness past compare, That seeming to be most which we indeed least are. Then vail your stomachs, for it is no boot, And place your hands below your husband’s foot: In token of which duty, if he please, My hand is ready, may it do him ease.” “呸，呸！不要皱起你那生气的眉头， 也不要从你的眼里射出轻蔑的目光， 来伤害你的丈夫，你的君王，你的主人。 它会损害你的美貌，就像严霜咬伤了草地， 会毁坏你的名誉，就像狂风摇落了娇花， 无论从哪方面看，都不是可爱的。 一个使性子的女人，就像一摊受到搅扰的泉水， 混浊，发臭，失去了美丽的外观； 而在这种时候，没有一个干渴的人， 会愿意去喝一口这样的水。 你的丈夫是你的主人，你的生命，你的保护者， 你的头脑，你的君主；他关怀着你， 为了维持你的生活，他不惜在海上、陆上辛苦劳作， 在风暴中守夜，在严寒中挨冻， 而你却安闲地待在家里，享受着安全与温暖； 他只要求你回报他以爱、温柔的眼神和真正的顺从， 对于这样大的恩惠，这实在是微薄的报酬。 臣民对于君王应当尽的义务， 也就是妻子对于丈夫应尽的义务； 当她倔强、乖戾、不满、暴躁， 不顺从他的正当的意愿时， 她不就是一个可恶的叛逆和 忘恩负义的叛徒吗？ 我真惭愧，女人竟然会这样愚蠢， 在应当屈膝求和的时候，却要发动战争； 或者当她们应当服从、爱和顺从的时候， 却要竭力去争取统治、至高无上的地位和权力。 为什么我们的身体这样柔软、脆弱而光滑， 不就是为了要我们的性情和内心 也和外表一样温柔吗？ 来，来，你们这些倔强而无能的蠢人！ 我从前的心思也和你们一样高傲， 我的心胸也同样的宽广，也许我的理智更强， 会和你们唇枪舌剑，怒目相视； 但现在我明白了，我们的武器不过是稻草， 我们的力量是软弱的，我们的弱点是无法相比的， 我们看起来最强大的时候，其实是最软弱的时候。 那么，放下你们的骄傲吧，因为那是没有用的， 把你们的手放在你们丈夫的脚下吧： 为了表示你们的顺从，如果他愿意的话， 我的手已经准备好了，愿它能给他带来安慰。” 围绕这一段的争论是完全对立的。有人说莎士比亚表现男权的胜利，而这个纪录片表达的是，年轻的莎士比亚，通过这种反讽，曲折表达了对女性的理解~或者说鸣谢女性的故意让渡。 第二集《安东尼与克利奥帕特拉》 The barge she sat in, like a burnished throne, Burned on the water; the poop was beaten gold, Purple the sails, and so perfumed, that The winds were love-sick with them. If it be love indeed, tell me how much. "There’s beggary in the love that can be reckoned." "Age cannot wither her, nor custom stale / Her infinite variety." 39岁的女王与53岁的罗马将军，中年人的爱情，背后是征服欲与政治考虑。 莎士比亚暗喻伊丽莎白一世的手腕。 2009年，奥巴马的演说借鉴了莎士比亚笔下安东尼为凯撒报仇做的精彩演讲。而莎士比亚对克里奥帕特拉的描写则是对普鲁塔克的洗稿。 第三集《罗密欧与朱丽叶》 'Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What is Montague? It is nor hand, nor foot, nor arm, nor face, Nor any other part belonging to a man. O, be some other name! What's in a name? That which we call a rose by any other name would smell as sweet. “Oh, don't swear with the moon, it change often, every month has it's own wax and wane; if you swear with it, your love will be like it perhaps?” 《罗密欧与朱丽叶》，最早来源于意大利的古老民间传说，经意大利诗人班德尔（Matteo Bandello）改写成小说后在欧洲广泛流传，1562 年，英国诗人亚瑟·布鲁克（ArthurBrooke）根据故事的法文译本写成了长诗《罗密欧与朱丽叶哀史》。1567年，威廉·潘特（William Painter）又把这个故事从法文翻译成英文，收录在《快乐之宫》故事集中。莎士比亚正是参考了这些版本，在此基础上进行了艺术加工和再创作，将其改编成了戏剧作品。 第四集《仲夏夜之梦》 “And once I saw young Cupid's fiery shaft Quicken the pale - faced moon in love with earth; And then methought the flying god of love Had shot his arrow at a virgin's eye, And, falling in a fountain of the moon, Vapour'd to smoke before he could arrive, And the imperial votaress passed on, In maiden meditation, fancy - free.” 隐喻伊丽莎白一世与达德利的爱情，丘比特的金箭象征爱情的冲动，“清冷的银光”（月光）与“童贞女的纯洁”形成对比，暗示世俗爱情未能动摇其内心的坚定。“箭落下在银光中化为烟雾”，隐喻爱情在绝对纯净的心灵面前失效，呼应剧中“真爱需历经考验”的主题。 虽然在当时这个剧目没有完整演出，但由于设计精巧，无需演技，片段也能演得精彩。如今可体会到莎士比亚的怜悯之心sense of compassion。 第五集《奥赛罗》 Jealous souls will not be answered so; They are not ever jealous for the cause, But jealous for they are jealous: 'tis a monster Begot upon itself, born on itself. 这是莎剧里我最不喜欢的故事，令人窒息的男女关系，伊阿古对奥赛罗无来由的仇恨，以及最精准狡猾基于人性黑暗的挑拨。 第六集《李尔王》 Nothing will come of nothing. ‘Tis this times” plague, when madmen lead the blind. Our basest beggars are in the poorest thing superfluous. 剧目上演时，正好詹姆斯一世上台，他统一了苏格兰英格兰和威尔士，而李尔王的开篇就是将王国一分为三，把观众看的心惊肉跳。 莎士比亚的原结尾因为太悲惨被改编了，1838年才正式按原著上演。
