英语专业毕业论文(文学方面)

i从性格角度分析麦克白悲剧的必然性从性格角度分析麦克白悲剧的必然性从性格角度分析麦克白悲剧的必然性从性格角度分析麦克白悲剧的必然性摘要摘要摘要摘要：：：：威廉·莎士比亚（1564—1616），英国诗人和剧作家，一个文学界泰斗级文学巨匠，他的作品，比如四大悲剧，不仅对于后来的作家产生了直接或者间接的影响，也给东西方社会和文化产生了不可估量的深远意义。同时，他的戏剧作品对于后来文学戏剧的发展留下了不可磨灭的印记。值得一提的是，他的戏剧在戏剧的人物塑造，剧情发展，戏剧流派等方面对后世产生了重大影响。1589年到1613年被认为是莎士比亚杰出作品最多的时期，尤其是从1608年开始，莎士比亚的戏剧改变了以喜剧为中心的风格。因此产生了著名的四大悲剧，即《哈姆雷特》，《李尔王》，《奥赛罗》，《麦克白》。《麦克白》，作为四大悲剧之一，在文学领域有着深远影响。它一直被认为是一部关于对与错，正义与邪恶斗争的悲剧。主人公麦克白，从一个光荣的大将军堕落成一个谋朝篡位的叛臣，最后变为一个暴君，最后落得凄惨的下场。本文将对麦克白从一个大将军到最后的暴君这中间身份变化过程中其人物的性格进行分析，因此来揭露其悲剧的必然性。本文除引言和结尾部分外共有三章：引言部分，首先该部分会对本文的理论框架有一个简要的介绍，其中包括悲剧的定义以及莎士比亚对于悲剧的一些看法。然后，会介绍《麦克白》的文学地位，最后会介绍本文的结构以及话题。第一章是对麦克白性格的一个鸟瞰。本章主要想要麦克白性格中确实存在一些缺陷，例如他面对事情时内心的惊慌，他的优柔寡断，他意志的薄弱等。第二章主要探讨他性格中的弱点如何影响其身份的变化。起初，麦克白是一个勇敢而又成功的英雄，享有各种殊荣。然而，他内心的欲望被女巫的语言引发，又因为他个人意志的薄弱，让他的内心产生了强烈的斗争。在这时，麦克白夫人对其的影响成为了他心理斗争停止的直接原因。因此他犯了一系列的错误，比如谋杀国王，弑君夺位。从此成为了一个叛臣。最后，他因为面对国王的鬼魂而无法停息内心的恐惧，杀死了自己的家人，变得残忍，成为了一个暴君，并最终以悲剧收场。第三章主要是探讨他的性格在他整个身份变化中如何让他的悲惨结局变得不可避免。首先要强调的是，正因为他有如此性格，所以他的悲剧是早已注定，然后该章还会探究其悲剧ii的根源；比如麦克白对权力的贪婪和渴望，他内心蛰伏已久的欲望和他性格中本身带有的凶暴。结尾部分将会对全文进行一个，并且会强调尽管在麦克白的整个悲剧中，有许多客观因素或多或少地影响了他，但是，他性格的缺陷，始终才是导致他悲剧不可避免的主要原因。关键词关键词关键词关键词：麦克白；性格缺陷；身份转换；不可避免的悲剧AnAnalysisontheInevitabilityofMacbeth’sTragicEndingfromthePerspectiveofPersonalTraitsAbstractWilliamShakespeare(baptized26April1564-died23April1616),anEnglishpoetandplaywright,hasbeenwidelyacknowledgedasthegreatestwriterintheEnglishliteratureandworld’spreeminentdramatist.Hissurvivingworks,especiallyhisfamousFourGreatTragedieshaveexertedprofoundinfluenceupontheculturesofbothwesternandeasternsocieties.Also,Shakespeare’sworkhasmadealastingimpressiononlatertheatreandliterature.Inparticular,heexpandedthedramaticpotentialofplot,characterization,language,andgenre.Shakespeareproducedmostofhisknownworkbetween1589and1613.Hisearlyplaysrevolvedaroundmainlycomediesuntilabout1608,includingHamletKingLear,OthelloandMacbeth,consideredsomeofthefinestpiecesofworkintheEnglishliterature.Macbeth,asoneofthefourtragedies,hasexertedaprofoundinfluenceonthefieldoftheliterature.Ithasalwaysbeenregardedasagreattragedyaboutthechoicebetweenrightandwrong,andthefightbetweengoodandevil.TheProtagonist—Macbethchangesfromagloriousgeneraltoanevilusurperandconspirator,andtoatyrantbutendwithtragedythroughthewholeprocessoftheplay.ThisthesismainlyanalysesthetransformationofMacbeth’sidentitieswhichfromaloyalgeneraltoatyrant,byanalysingthetraitsinthisprocess,thustorevealhistragicdestiny.Thisthesisisdividedintothreechaptersbesidestheintroductionandtheconclusion.TheintroductionpartwillfirstlygivesabriefviewonthetheoreticalframeworkwhichincludesthedefinitionoftragedyandShakespeare’sideatowardstragedy,andabriefviewisiiigivenonthepositionofMacbeth.Lastly,itwillintroducethestructureofthethesisandthesignificanceofthestudy.ChapteroneprovidesanoverviewontheMacbeth’spersonaltraits.Thischaptertriestoprovethattheredoexsitsomedefectsinhistraits,likehispanictotheexternalstimulation,hisirresolutionbeforehisdecision.Chaptertwoofthisthesistriestodiscusshowthedefeatsinhispersonaltraitshadinfluencedhisidentities.Firstly,Macbethisahero,heisbraveandsuccessful,loadedwithhonorsandenjoyingeveryprospectofpraises.Thedesirehidinhisdeepheartistriggeredbythewitches’prophecies,additionally,hisweakvolitioncausedhardstruggleinhisheart.ThenatthismomentLadyMacbeth’sinfluencebecomesthedecisivefactortoendthisstruggleinhisheart.Sohisdesirecomeintohisconsciousness,andhecommittedaseriesofmistakes:murderofKingDuncanandBanquothusmadehimamurderer.Lastly,whenMacbethcannotstandtheimageofBanquo’sghostappearinginfrontofhiseyes,herevisitthewitcheswhoprophesyhisdestiny.Thewitches’ambivalentwordsagainmadeMacbeth’ssubconsciousnessfloattotheconsciousness.Hedeeplyobsessedwiththeprophecies.Believingthewitches’prophecies,andbecamecruel,hekilledMacduffandhisfamilythusmadehimaevil.Chapterthreemainlyanalyseshowhistraitsmadehistragicendinginevitable.Itwillemphasizehowthedefectsinhistraitscausehisdoomedtragedy.Itwillfoucusonthreekeydefects:hisfearandtimidityinhistraits;hisweakvolitionandhisstrongdesires.Thepartofconclusiongivesasummarytothewholethesis.Itmainlyarguesthat,throughthewholetragedyofMacbeth,thoughthereweremanyobjectivefactors,hisdefectsinhistraitsarethekeyfactorwhichledhistragedycannotbeavoided.KeyWords:Macbeth;Identities;Defects;PersonalTraits;InevitableTragedyivAcknowledgementsManypeoplehavegivenmesupportinthecourseofmystudyforbachelor’sdegreeandassistedmeinwritingthisthesis.Ireallyappreciatetheircontributions.Firstandforemost,Iwouldliketoextendmysinceregratitudetomysupervisor,ZhouTingting,withoutherguidanceandassistance,thecompletionofthisthesiswouldhavebeenimpossible.Itwasshewhoconstantlyinstructedmewithmuchpatienceinthewritingofthepresentthesis.I’mgratefultoherforreadingthispaperwithgreatcareandofferingvaluableadviceandencouragementduringthestagesofitsdevelopment.Inaddition,myspecialgratitudealsogoestoalltheteachers,whoimpartedmesomuchknowledgeduringmystudyandgavemealotofhelpfuladvice.Besides,I’mgratefultomyschoolwhichcreatesastageformyacademicdevelopment.Still,myparticularthanksalsogotomyfriendsandmyclassmates,whohaveallthewaygavemementalsupportandhelpfulmaterials.Thisworkstandsasatestamenttothetremendouslove,faith,andencouragementfromalltheafore-mentionedpeople,whichIwillcherishatthebottomofmyheartforever.ItismyluckhavingthembymysideandIwouldliketosharehappinessofaccomplishmentwiththemall.vContents中文摘要……………………………………………………………………………....iAbstract………………………………………………………………………………..iiAcknowledgements…………………………………………………………………...ivIntroduction……………………………………………………………………………1Ⅰ.AnOverviewofMacbeth’sTraits…………………………………………………4A.Macbeth’sOverconfidence………………………………………………...4B.Macbeth’sIrresolution…………………………………………………….5C.Macbeth’sPanic…………………………………………………………...6Ⅱ.Macbeth’sIdentities’ChangeInfluencedbyHisTraits…………………………...A.MacbethasaHero………………………………………………………..8B.Macbeth’sFirstIndentityChangeDuotoHisTraits……………………101.TheImpactofLadyMacbeth………………………………………..102.MacbethasaMurderer………………………………………………12C.Macbeth’sSecondIndentityChangeDuetoHisTraits…………………181.TheWitches’Prediction…………………………………………..…192.MacbethasaDevil………………………………………………....21Ⅲ.Macbeth’sDoomedTragedyCausedbyHisTraits…………………………...25A.Macbeth’sTimidityandFearinthePlay……………………………...…25B.Macbeth’sWeakVolition…………………………………………………27C.Macbeth’sDeepDesiresinHisTraits……………………………………29Conclusion……………………………………………………………………………31Bibliography&Notes……………………………………………………………….331IntroductionWilliamShakespeare(1564-1616)isanEnglishpoetanddramatist,widelyregardedasthegreatestwriterinEnglishlanguageandtheworld’smostprestigiousplaywright.Also,heisoftencalledEngland’snationalpoetandthe“BardofAvon”.Hisnowexistingworks,includingsomecollaborations,consistof38plays,154sonnets,twolongnarrativepoems,andseveralotherpoems.Hisplayshavebeentranslatedintoeverymajorlivinglanguage,whichisstillunparalleledintheliteraryworld.Inhisprimetimefromabout1600toabout1608,hewrotemainlytragedies,includingHamlet,KingLear,andMacbeth,consideredsomeofthegreatestmasterpiecesinEnglishlanguage.Theseaforementionedthreetragedies,altogetherwithOthello,constitutetheso-called“FourGreatTragedies”.So,whatistragedy?Inordertodefineit,itisinevitabletotakealookatoriginsandhistoryrelatedtoitandthenthedefinitiongiven.Semanticallyspeaking,theword“tragedy”hasalwaysbeenemployedtodepictdifferentphenomenaatdifferenttimesandfromdifferentangles.Scholarsbelievethatthiswordmaycomefromatimewhenagoatwaseithertheprizeinacompetitionorasortofanimalritualsacrificeinachorusdance,which,ofcourse,canbetakenasaspontaneousornaturaldefinitionoftragedy.Writingin335BC,Aristotlepresentstheearliest-survivingexplanationfortheoriginofthiskindofartforminhisPoetics,inwhichhecontends,quitebluntly,thattragedy“isthen,animitationofanobleandcompleteaction,havingthepropermagnitude;itemployslanguagethathasbeenartisticallyenhancedbyeachofthekindsoflinguisticadornment,appliedseparatelyinthevariouspartsoftheplay;itispresentedindramatic,notnarrativeform,andachieves,throughtherepresentationofpitiableandfearfulincidents,thecatharsisofsuchpitiableandfearfulincidents.(Aristotle:Poetics)”ForShakespeare,hewrotetragediesfromthebeginningofhiscareer.OneofhisearliestplayswastheRomantragedyTitusAndronicus,whichhefollowedafew2yearslaterwithRomeoandJuliet.However,hismostadmiredtragedieswerewritteninaseven-yearperiodbetween1601and1608.TheseincludehisfourmajortragediesHamlet,Othello,KingLearandMacbeth,alongwithAntony&Cleopatra,Coriolanus.WilliamShakespearestartedwritingtragediesbecausehethoughtthetragicplotsanddevicesemployedbyotherEnglishwriterswerelackingartisticpurposesandfunctions.Soastomakeadifferenceandtowritehisownstyle,heusedtheriseandfallofanotablepersonasmainfocusinhistragedies.Suspenseandclimaxwerealsoanaddedattractionfortheaudience.Hisworkwasextraordinaryinthatitwasnotofthenormforthetime.AreaderwithevenlittleknowledgeofhisworkwouldrecognizeoneofthetragediesasaworkofShakespeare,whichapparentlyshowshisuniquewaytoputlinestogetherinhistragediesandwhichcanbesaidthathisownviewontragediesnotintheexactformbutknittedunnoticedbetweeneachlines.Backtothisthesis,Macbethhasbeendescribedas“Shakespeare’smostprofoundandmaturevisionofevil”andhaslongbeenregardedasoneofthegreatestachievementsofShakespeare,butithascertainpeculiaritieswhichsetitapartfromothertragedies.Earlyinthe19thcenturyromanticcriticWilliamHazlittgavehisideasaboutthecharacteristicsofShakespeare’stragediesinCharactersofShakespeare’sPlays.Hepointedout:“KingLearstandsfirstfortheprofoundintensityofthepassion,Macbethforthewildnessoftheimaginationandtherapidityoftheaction,Othellofortheprogressiveinterestandpowerfulalternationsoffeeling,Hamletfortherefinedevelopmentofthoughtandsentiment.”Besides,itisoneoftheshortestofShakespeare’splays,havingnosub-plotsandnoepisodes.ThoughMacbethisshortanditslengthistwothirdsofKingLear,itsdeeptheme,preciseness,structureandexquisiteskillwinseveralcritics’agreements:itisoneofthebesttragediesofShakespeare’s.AmongalltheShakespeare’stragedies,Macbethmaybethemostbreathtakingoneanditsprotagonistalwaysinterestscritics.Therefore,wecansimplyunderstandthatShakespeare’sviewupontragedyisradicalandunconventionalinhistime.Itisakindofbreaking-awaywiththeoldwayoflivingandsublimationofone’sspiritafterhisfindinganoutbreakoffeelingor3solutiontoadilemma.Itstartstocareaboutthecommonpeople.Thepeopleinhisworksarefilledwithemotionandpassion,truetoreallife,whichconstituteshisownuniqueviewupontragedies.Backtothisthesis,Macbethhasbeendescribedas“Shakespeare’smostprofoundandmaturevisionofevil”andhaslongbeenregardedasoneofthegreatestachievementsofShakespeare,butithascertainpeculiaritieswhichsetitapartfromothertragedies.Earlyinthe19thcenturyromanticcriticWilliamHazlittgavehisideasaboutthecharacteristicsofShakespeare’stragediesinCharactersofShakespeare’sPlays.Hepointedout:“KingLearstandsfirstfortheprofoundintensityofthepassion,Macbethforthewildnessoftheimaginationandtherapidityoftheaction,Othellofortheprogressiveinterestandpowerfulalternationsoffeeling,Hamletfortherefinedevelopmentofthoughtandsentiment.”Besides,itisoneoftheshortestofShakespeare’splays,havingnosub-plotsandnoepisodes.ThoughMacbethisshortanditslengthistwothirdsofKingLear,itsdeeptheme,preciseness,structureandexquisiteskillwinseveralcritics’agreements:itisoneofthebesttragediesofShakespeare’s.AmongalltheShakespeare’stragedies,Macbethmaybethemostbreathtakingoneanditsprotagonistalwaysinterestscritics.Macbethwaswrittenbetween1603and1606,anditwasaboutastoryofthetemptationofagoodman.ThethemeoftheplayisMacbeth’scrimeanditsconsequences.ItistheconditionofMacbeth’smind—whatheisthinkingandfeeling,whyheactsthewayhedoes,andwhatconsequenceshisownevilbringsaboutuponhimself—thatconstitutesthecenteroftheinterestsintheplay.Theemphasisisontheprocessofturningevil.ThisthesisdiscusshowMacbeth,onceahero,graduallyturnsintoatyrantandwhyhistragicendingcannotbeavoided.Thisthesiscontainsfiveparts,thefirstpartistheintroductivepartwhichinordertounderstandthisthesisandMacbethwell.Thefollowingthreepartsarechapteronetochapterthree,intheseparts,theytriestorevealtherootshowMacbethturnstobeanevileventuallyandwhyhistragedyisinevitable.Thelastpartistheconclusionwhichgivesasummarytothewholethesis.4Chapter1AnOverviewofMacbeth’sTraitsMacbethexperiencesalotofevildoingsinhislife,heissometimesconsideredasvillainintheeyesofaudience,andatlastheswallowstheevilpills.However,whenwetakealookathispersonalities,itisundoubtedlyhisdestiny.1.1Macbeth’sOverconfidenceIntheplay,Macbethcouldbeseenasamanwhoisoverconfidentsometimes,andinonecase,thiskindofoverconfidence,combinedwithhislackofself-determination,orwithhishesitationmoreexactly,pusheshimcloserandclosertohisdestruction.NotyetrecoversfromthefrightofBanquo’sghost,Macbethmentionshissuspiciontohiswife:HowsaystthouthatMacduffdenieshispersonAtourgreatbidding?…Ihearitbytheway,butIwillsend.(Macbethact3scene4)ThismeanshehasalreadybeensuspiciousofMacduff,whoissoinfluentialinthethanes.Yethisoverconfidenceandhishesitationjustdrivehimtosendamessengertodeclarehisorder,tooveraweMacduffwiththepowerofKing.HeevendecidestoaskfortheguidanceoftheWeirdSisteratfirst,yetdoesnotwipeoutMacduffrightaway.MaybeMacbeththinksthattoknowthefuturefromthemouthofotheroneismoreimportantthantofulfillthefuturewithhisownhands,andafterhelearnsfromtheWeirdSisterthatMacduffshouldnotbeneglected,heisalittlelateforthisevilgame.Thisslownessofhisactionwhichdragshisfeet,iscausedbysomedefectsinhistraits,andthefailureofthisactioncausessomeotherevildoings,whichleadsMacbethalonethewayofoutwardconflictswithoutonemoment’srest.Afterhewakesuptohislateness,heisashamedintoanger,whichcouldonlybeclearedupthroughsomemeaninglessimpulse.Sohedecides:ThecastleofMacduffIwillsurprise,SeizeuponFify,givetoth’edgeo’th’swordHiswife,hisbabes,andallunfortunatesouls5Thattracehisinhisline.Noboastinglikefool;ThisdeedI’lldobeforethispurposecool.Butnomoresights!（Macbeth,act4scene4）ButwhatistheuseofkillingthosepersonswhohassomeconnectionwithMacduff,yetwhohimselfplaystheonlydecisiverole.Macbethisgotintohisownspidertrap,whichisknittedbythedefectsofhistraits—hisoverconfidence(sometimesoverconfidenceisanothersayingofdiffidence,justlikeprideisanothersayingofself-contempt),hishesitation,andhiseasyangercausedbyshame,andthistrapcauseshimtogoonwithhisevilway,withoutanypossiblerest,neitherinhisheart,norinhisbody.AsThereisalwayssomeonewhoescapesthemurderer’snet,someonewhoposesathreatorseekstoredressaninjuryorsimplyrememberswhatitliketobefreeandunafraid.Itisimpossibletotrammeluptheconsequence,tobreakthechainofactionandreaction,toreachastablerestingplace.Therearenocleanmurders.Onecrimeleadstoanotherandthentoanother,withoutbringingthecriminalanyclosertothesecurityorcontentmentthateachdesperateactismeanttoachieve.Macbethcannotstopthebloodyacts;insteadhemustmultiplyandextendthem1.Macbeth’stragedygoesalong,andhisroleasatragicheroisbeingplayedbyhiminthisway,withthedefectsinhistraitsashisstageproperties.Andwiththesestageproperties,Macbethgivestheaudienceamarvelousperformance.1.2Macbeth’sIrresolutionEverytimewhenMacbethfacesdecisions,theirresolutioninhistraitsmustcomeout.Forexample,whilehisownmindisfullchaos,heisinforminghiswifethroughaletterwiththewholeofthisstrangeexperience.Hereitcanbeunderstoodthatheisnotbornasteady-goingperson.Ifheisnotsureaboutthewholething,ifheisfullofdoubtandamazement,andifheisstillirresolute,heshouldhaveburiedtheintelligenceoftheWeirdSistersdeeplyinhisownheart,withoutbeingknownbyanyone.Notevenhisdearwife.Heshouldhaveunderstoodhiswifesomuch,since6theyarenotjustmarriedforonenight.Itcouldbecertaininhismindwhathiswifereallywants,oriscrazyfor.Macbethwritesthatlettertohiswife,actuallyisinclinedtolethiswifedecidetheentirethingforhim,ashehimselfistotallyunabletomakeuphismind.Toamilitarysolider,togeneralwhoexperiencessomanybattles,toarealman,thisactisunbearable.Maybesomeonewillsaythisisallbecausehehasthatkindofmildlovetohiswife,whichmakeshimregardthefamilysomuch,andimpelshimtoaskforopinionfromhiswife,however,asisdiscussedjustnow,ifheisalreadysurewhatisthefavorofhiswife,heshouldnevergivehiswifethelibertytodecideforhim,oratleasttogivehimsomepersuasion.Whilethefactis,hedoeswritetheletter,andtheletterislikeacurrentofbillow,surgesthroughthatambitiousandwildlady,andeverythingchangefromthenon.AlthoughMacbethhasconsiderableenergyandmanlinessofcharacter,theembarrassingsideis“butthenheissubjecttoalltheskyeyinfluences.Heissureofnothingbutthepresentmoment.”Thisissocleartotheaudiencerightnow.Atthebeginningofthewholething,beforehewritesthatlettertohiswife,hislackofself-determination,whichdirectlyleadshimtohistragicend,isgreatlysurprising.1.3Macbeth’sPanicIntheplay,Macbethalwayseasytobepanicinsteadofstayingincalm,anditisanotherobviousdefectsinhistraits.Attheverybeginningofthisplay,inscene1,and2ofact1,Macbethdoes