Материал сценария позволяет приобщить студентов к литературному наследию страны изучаемого языка, обогатить словарь, повысить интерес обучаемых к предмету “английский язык”.
Программа литературного вечера включает сообщение о жизни и творчестве английского поэта и драматурга, 5 сонетов У. Шекспира (которые студенты читают на английском и русском языках) и сцену 5 из III акта трагедии “Ромео и Джульетта”.
Выступления студентов звучат на фоне фрагментов из музыкальных произведений И.С. Баха, А. Вивальди и других композиторов.
Реквизиты:
- портрет У. Шекспира;
- музыкальное сопровождение;
- карточки с сонетами У. Шекспира;
- костюмы (Джульетты, Ромео, рассказчика).
England’ s greatest poet and dramatist, William Shakespeare, was born in Stratford-upon-Avon in 1564, the exact day of his birth is unknown. His father, John Shakespeare, was a glover and a dealer in wool and other farm products. He was a respected figure in Stratford. In his childhood William went to the Stratford Grammar School where, besides reading and writing, he was taught Latin.
Shakespeare was earning his own living by the time he was 18. He was not yet 19 when he married Anne Hathaway. They had three children – Susanna, Judith and Hamnet were twins.
Not much is known about what Shakespeare did in the years just after his marriage. Some accounts say that he taught school in the country for a while. Some say that he worked for his father, who was a glovemaker. A few years later he appeared in London as an actor and a writer of plays. His plays were written in poetry.
In 1592 bubonic plague, a terrible disease, swept over London. For about two years all London theatres were closed. During that time Shakespeare began to write poems. Besides writing some long poems, he wrote more than 154 sonnets. When the plague was over, the playhouses were opened again. New companies of actors were formed and Shakespeare began to spend most of his time writing plays. He became a part-owner in the company for which he wrote. This company, known as the Lord Chamberlain’s Men, often put on a play to entertain the royal household. Shakespeare prospered. Shakespeare’s sonnets occupy a unique place in his literary legacy. Some critics hold the opinion that they are autobiographical, while others think them mere variations on themes traditional in Renaissance poetry. There are three main characters in the sonnets: the Poet, his Friend and the Dark Lady. The Poet expresses the warmest admiration for the Friend and love for the Dark Lady. But despite the author’s intention, we see that the Poet’s Friend is a shallow, cruel and petulant man; the Dark Lady, likewise, turns out to be wicked and lying. And so in Shakespeare’s sonnets we may see the great misfortune of a genius who wasted his life and his feelings for the sake of persons unworthy of him. Shakespeare wrote some of his plays about early kings of England. Henry v and Richard III are two of these plays. They helped the English people to understand the history of their own country. Besides his historical plays Shakespeare wrote both comedies and tragedies. “Romeo and Juliet” is one of the most famous of his tragedies.
The tragedy “Romeo and Juliet” stands apart from the other tragedies. It was written during the first period Shakespeare’s creative work, when most of his comedies appeared. The play is full of love, youth and humanism. In spite of the fact that the hero and heroine die, their ideal of free and happy love remains. Other tragedies are Hamlet, Macbeth, and Othello. It is the great tragedies, written during the second period of Shakespeare’s creative work, which became the peak of the author’s achievement and made him truly immoral. The problems raised in these tragedies still produce a powerful impression on our emotions and on our intellect. Among his comedies are A Midsummer Night’s Dream, The Taming of the Shrew, and The Merchant of Venice. Shakespeare’s works were admired by the greatest minds of the world.
At the height of his success Shakespeare returned to Stratford. There he died in 1616. He was buried in Stratford-upon-Avon. Thousands of people visit his birthplace and grave each year. A monument was erected to the memory of the great playwright in Westminster Abbey.
The public theatres for which Shakespeare wrote about his plays were quite different from those of today. They were built of wood. The stage projected far out into the pit where the spectators stood, so they were very close to the players’ feet. Round the pit there were tiers of galleries, one over the other. The galleries were roofed, while the pit was open to the sky. Those spectators who could not pay much for their tickets stood in the pit. Rich men sit in the galleries, and the noblemen were allowed to sit on the stage.
Since the pit of the theatre was open to the sky, the performance dependent entirely upon the weather. Flags were raised when a play was to be given, but the weather suddenly changed for the worse, the flags were pulled down and the performance did not take place.
Performance always began in broad daylight and the entertainment lasted for three hours. There was no scenery in the modern sense. There were merely a few tables, chairs and so on to give some indication of the setting. Sometimes an actor would come on the stage and say: “You shall have Asia on one side and Africa on the other”, or “We must believe the stage to be a garden”. Actresses were unknown on the stage, and all women’s parts were played by boys or young men.
Sonnets 27
Weary with toil I haste me to my bed,
The dear repose for limbs with travel tired;
But then begins a journey in my head
To work my mind when body’s work’s expired:
For then my thoughts, from far where I abide,
Intend a zealous pilgrimage to thee,
And keep my drooping eyelids open wide,
Looking on darkness which the blind do see:
Save that my soul’s imaginary sight
Presents their shadow to my sightless view,
Which like a jewel hung in ghastly night
Makes black night beauteous and her old face new.
Lo, thus by day my limbs, by night my mind,
For thee, and for myself, no quiet find.
27
Трудами изнурен, хочу уснуть,
Блаженный отдых обрести в постели.
Но только лягу, вновь пускаюсь в путь –
В своих мечтах – к одной и той же цели.
Мои мечты и чувства в сотый раз
Иду к тебе дорогой пилигрима,
И, не смыкая утомленных глаз,
Я вижу тьму, что и слепому зрима.
Усердным взором сердца и ума
Во тьме тебя ищу, лишенный зренья.
И кажется великолепной тьма,
Когда в нее ты входишь светлой тенью.
Мне от любви покоя не найти.
И днем и ночью – я всегда в пути.
32
If thou survive my well – contented day,
When that churl Death my bones with dust shall cover,
And shalt by fortune once more re-survey
These poor rude lines of thy deceased lover,
Compare them with the bettering of the time,
And though they be outstripped by every pen
Reserve them for my love, not for their rhyme,
Exceeded by the height of happier men.
O then vouchsafe me but this loving thought:
“Had my friend’s Muse grown with this growing age,
A dearer birth than this his love had brought
To march in ranks of better equipage;
But since he died, and poets better prove,
Theirs for their style I’ll read, and his for love.”
32
О если ты тот день переживешь,
Когда меня накроет смерть доскою,
И эти строчки бегло перечтешь,
Написанные дружеской рукою, –
Сравнишь ли ты меня и молодежь?
Ее искусство выше будет вдвое.
Но пусть я буду по-милу хорош
Тем, что при жизни полон был тобою.
Ведь если бы я не отстал в пути,
С растущим веком мог бы я расти
И лучше принес бы посвященья
Среди певцов иного поколенья.
Но так как с мертвым спор ведут они, –
Во мне любовь, в них мастерство цени.
40
Take all my loves, my love, yea, take them all;
What hast thou then more than thou hadst before?
No love, my love, that thou mayst true love call;
All mine was thine before thou hadst this more.
Then if for my love thou my love receivest,
I cannot blame thee for my love thou usest;
But yet be blamed, if thou thyself deceivest
By wilfull taste of what thyself refusest.
I do forgive thy robbery, gentle thief,
Although thou steal thee all my poverty;
And yet, love knows, it is a greater grief
To bear love’s wrong than hate’s known injury.
Lascivious grace, in whom all ill well shows,
Kill me with spites; yet we must not be foes.
40
Все страсти, все любви мои возьми –
От этого приобретешь ты мало.
Все, что любовью названо людьми,
И без того тебе принадлежало.
Тебе, мой друг, не ставлю я в вину,
Что ты владеешь тем, чем я владею.
Нет, я в одном тебя лишь упрекну,
Что пренебрег любовью ты моею.
Ты нищего лишил его сумы.
Но я простил пленительного вора.
Любви обиды переносим мы
Трудней, чем яд открытого раздора.
О ты, чье зло мне кажется добром,
Убей меня, но мне не будь врагом!
88
When thou shalt be disposed to set me light
And place my merit in the eye of scorn,
Upon thy side against myself I’ll fight
And prove thee virtuous, though thou art
forsworn.
With mine own weakness being best
acquainted,
Upon thy part I can set down a story
Of faults conceal’d, wherein I am attainted,
That thou in losing me shalt win much glory:
And I by this will be a gainer too;
For bending all my loving thoughts on thee,
The injuries that to myself I do,
Doing thee vantage, double-vantage me.
Such is my love, to thee I so belong,
That for thy right myself will bear all wrong.
88
Когда захочешь, охладев ко мне,
Предать меня насмешке и презренью,
Я на твоей останусь стороне
И честь твою не опорочу тенью.
Отлично зная каждый свой порок,
Я рассказать могу такую повесть
Что навсегда сниму с тебя упрек
Запятнанную оправдаю совесть.
И буду благодарен я судьбе:
Пускай в борьбе терплю я неудачу,
Но честь победы приношу тебе
И дважды приобретаю все, что трачу.
Готов я жертвой стать неправоты,
Чтоб только правой оказалась ты.
90
Then hate me when thou wilt; if ever, now;
Now, while the world is bent my deeds to cross,
Join with the spite of fortune, make me bow,
And do not drop in for an after-loss:
Ah, do not, when my heart hath ‘scaped this sorrow,
Come in the rearward of a conquer’d woe;
Give not a windy night a rainy morrow,
To linger out a purposed overthrow.
If thou wilt leave me, do not leave me last,
When other petty griefs have done their spite,
But in the onset come; so shall I taste
At first the very worst of fortune’s might,
And other strains of woe, which now seem woe,
Compared with loss of three will not seem so.
90
Уж если ты разлюбишь, – так теперь,
Теперь, когда весь мир со мной в раздоре.
Будь самой горькой из моих потерь,
Но только не последней каплей горя!
И если скорбь дано мне превозмочь,
Не наноси удара из засады.
Пусть бурная не разрешится ночь
Дождливым утром – утром без отрады.
Оставь меня, но не в последний миг,
Когда от мелких бед я ослабею.
Оставь сейчас, чтоб сразу я постиг,
Что это горе всех невзгод больнее,
Что нет невзгод, а есть одна беда –
Твоей любви лишиться навсегда.
“Romeo and Juliet”
(Act III, Scene 5)
Juliet’s Chamber.
Enter Romeo and Juliet.
Juliet.
Wilt thou be gone? It is not yet near day:
It was the nightingale, and not the lark,
That pierc’d the fearful hollow of thine ear;
Nightly she sings on yon pomegranate tree:
Believe me, love, it was the nightingale.
Romeo.
It was the lark, the herald of the morn,
No nightingale: look, love, what envious streaks
Do lace the severing clouds in yonder east:
Night’s candles are burnt out, and jocund day
Stands tiptoe on the misty mountain tops:
I must be gone and live, or stay and die.
Juliet.
Yon light is not daylight, I know it, I:
It is some meteor that the sun exhales,
To be to three this night a torch-bearer,
And light three on thy way to Mantua:
Therefore stay yet; thou need’st not to be gone.
Romeo.
Let me be ta’en, let me be put to death;
I am content, so thou wilt have it so.
I’ll say yon grey is not the morning’s eye.
‘Tis but the pale reflex of Cynthia’s brow;
Nor that is not the lark, whose notes to beat
The vaulty heaven so high above our heads:
I have more care to stay than will to go:
Come, death, and welcome! Juliet wills it so.
How is’t, my soul? let’s talk; it is not day.
Juliet.
It is, it is; hie hence, be gone, away!
It is the lark that sings so out of tune,
Straining harsh discords and unpleasing sharps.
Some say the lark makes sweet division;
This doth not so, for she divideth us:
Some say the lark and loathed toad change eyes;
O! now I would they had chang’d voices too,
Since arm from arm that voice doth us affray,
Hunting thee hence with hunts-up to the day.
O! now be gone; more light and light it grows.
Romeo.
More light and light; more dark and dark our woes.
Enter Nurse.
Nurse. Madam!
Juliet. Nurse!
Nurse.
Your lady mother is coming to your chamber:
The day is broke; be wary, look about. (Exit.)
Juliet. Then, window, let day in and let life out.
Romeo. Farewell, farewell! one kiss, and I’ll descend. (Descends.)
Juliet.
Art thou gone so? My lord, my love, my friend!
I must hear from thee every day in the hour,
For in a minute there are many days:
O! by this count I shall be much in years
Ere I again behold my Romeo.
Romeo.
Farewell I will omit no opportunity
That may convey my greetings, love, to thee.
Juliet. O! Think’st thou we shall ever meet again?
Romeo.
I doubt it not; and all these woes shall serve
For sweet discourses in our time to come.
Juliet.
O God! I have an ill-divining soul:
Methinks I see thee, now thou art so low,
As one dead in the bottom of a tomb:
Either my eyesight fails, or thou look’st pale.
Romeo.
And trust me, love, in my eye so do you:
Dry sorrow drinks our blood. Adieu! adieu. (Exit.)
Juliet.
O fortune, fortune! All men call thee fickle:
If thou art fickle, what dost thou with him
That is renown’d for faith? Be fickle, fortune;
For then, I hope, thou wilt not keep him long,
But send him back.
Литература
- Shakespeare W. Sonnets. M., 1972.
- Shakespeare W. Romeo and Juliet M., 1972.
- Аникст А. Шекспир. М., 1964.
- Веселухина К.В., Ковалева Л.И. Пособие по внеклассной работе. Л., 1978.
- Боровик М.А., Копыл Е.Г. Книга для чтения к учебнику английского языка для 1Х класса средней школы. – М.: Просвещение, 1977.