IntroductionIn this video the Teacher introduces you to three idioms connected with wagons:
1. On the wagon
2. Jumping on the bandwagon
3. Fallen off the wagon
Download
transport_wagon.zip
یادگیری زبان انگلیسی
در این وبلاگ میتوانید زبان انگلیسی را بیاموزید
یادگیری زبان انگلیسی
در این وبلاگ میتوانید زبان انگلیسی را بیاموزیدعناصر لازم برای درک و شناخت یک شعر
- سوالات زیر را بپرسید :ـ اگر داستان گویی می کند؛ جویای بازیگران و اتفاقات داستان باشید.
ـ اگر در مورد احساسات صحبت می کند؛ به دنبال یافتن منشا و دلیل احساسات باشید.
ـ به آ هنگ لغات گوش کنید.
ـ اگر شعر حالت داستانی داشت آن را خلاصه کنید.
ادامه مطلب ...
انواع شعر
الف. روایت های ملی مثل شاهنامه فردوسیب. روایت های تاریخی مثل خداوند نامه صبا ـ ظفر نامه
ج. روایت های عشقی مثل لیلی و مجنون ـ شیرین و فرهاد
د. روایت های تمثیلی و اخلاقی مثل مثنوی مولوی ـ بوستان سعدی
- narrat
ive :
ive :
به شعر روایتی گفته میشود. شعر روایتی به قدیمی ترین نوع شعر اطلاق میشود که یک واقعه تاریخی یا قصه و سرگذشت و حکایت را بیان می کند.
2. Dramatic poetry (in which one or more characters speaks)
که به این نوع شعر ؛ تک گویی نمایشی گفته میشود.
3. Lyric poetry (in which a speaker in the poem expresses his or her personal feeling)
به این نوع شعر غنایی گفته میشود.
زیر مجموعه های narrative :
Ballads (غم انگیز)
Epic (حماسی)
Metrical romance
Dramatic :
به شعرهایی که روی سن اجرا میشود و چند کاراکتر در حال حرف زدن هستند و سوال و جواب می کنند.
Lyric : the greeks defined a lyric poem
as a song to be sung with a lyre. A song is still called a lyric (lyric
is usually fairly short not often longer than 50 or 60 lines. It usually
expresses the feelings and thoughts of a single speaker in a personal
way.)
منبع
استاد کاظمی
دانلود کتاب رباعیات خیام به زبان انگلیسی
کتاب رباعیات خیام بیش از هر کتاب دیگر فارسی به زبان های زنده دنیا ترجمه شده است. اگر اهل دل هستید و با نفس گرم حکیم نیشابور آشنا هستید با مطالعه این کتاب هم اندیشه های خیام را مرور خواهید کرد و هم انگلیسی را تمرین میکنید.
دانلود
دانلود کتاب غزلیات حافظ به زبان انگلیسی
غزلیات خواجه شمس الدین محمد حافظ شیرازی نیازی به معرفی ندارد . کتاب غزلیات حافظ به زبان انگلیسی و فارسی ارائه شده است تا هم به عنوان تمرین زبان انگلیسی استفاده شود و هم خستگی مطالعه به لطف زبان شیرین زبان حافظ مرتفع شود.
دانلود
http://wdl.persiangig.com/pages/down...afez%20E2P.pdf
نقد و بررسی نمایشنامه ی King Lear نوشته ی William Shakespeare
Context
The most influential writer in all of English literature, William Shakespeare was born in 1564 to a successful middle-class glove-maker in Stratford-upon-Avon, England. Shakespeare attended grammar school, but his formal education proceeded no further. In 1582 he married an older woman, Anne Hathaway, and had three children with her. Around 1590 he left his family behind and traveled to London to work as an actor and playwright. Public and critical success quickly followed, and Shakespeare eventually became the most popular playwright in England and part-owner of the Globe Theater. His career bridged the reigns of Elizabeth I (ruled 1558–1603) and James I (ruled 1603–1625), and he was a favorite of both monarchs. Indeed, James granted Shakespeare’s company the greatest possible compliment by bestowing upon its members the title of King’s Men. Wealthy and renowned, Shakespeare retired to Stratford and died in 1616 at the age of fifty-two. At the time of Shakespeare’s death, literary luminaries such as Ben Jonson hailed his works as timeless.
Shakespeare’s works were collected and printed in various editions in the century following his death, and by the early eighteenth century his reputation as the greatest poet ever to write in English was well established. The unprecedented admiration garnered by his works led to a fierce curiosity about Shakespeare’s life, but the dearth of biographical information has left many details of Shakespeare’s personal history shrouded in mystery. Some people have concluded from this fact and from Shakespeare’s modest education that Shakespeare’s plays were actually written by someone else—Francis Bacon and the Earl of Oxford are the two most popular candidates—but support for this claim is overwhelmingly circumstantial, and the theory is not taken seriously by many scholars.
In the absence of credible evidence to the contrary, Shakespeare must be viewed as the author of the thirty-seven plays and 154 sonnets that bear his name. The legacy of this body of work is immense. A number of Shakespeare’s plays seem to have transcended even the category of brilliance, becoming so influential as to affect profoundly the course of Western literature and culture ever after.
Shakespeare authored King Lear around 1605, between Othello and Macbeth, and it is usually ranked with Hamlet as one of Shakespeare’s greatest plays. The setting of King Lear is as far removed from Shakespeare’s time as the setting of any of his other plays, dramatizing events from the eighth century b.c. But the parallel stories of Lear’s and Gloucester’s sufferings at the hands of their own children reflect anxieties that would have been close to home for Shakespeare’s audience. One possible event that may have influenced this play is a lawsuit that occurred not long before King Lear was written, in which the eldest of three sisters tried to have her elderly father, Sir Brian Annesley, declared insane so that she could take control of his property. Annesley’s youngest daughter, Cordell, successfully defended her father against her sister. Another event that Shakespeare and his audience would have been familiar with is the case of William Allen, a mayor of London who was treated very poorly by his three daughters after dividing his wealth among them. Not least among relevant developments was the then recent transfer of power from Elizabeth I to James I, which occurred in 1603. Elizabeth had produced no male heir, and the anxiety about who her successor would be was fueled by fears that a dynastic struggle along the lines of the fifteenth-century Wars of the Roses might ensue.
Elizabethan England was an extremely hierarchical society, demanding that absolute deference be paid and respect be shown not only to the wealthy and powerful but also to parents and the elderly. King Lear demonstrates how vulnerable parents and noblemen are to the depredations of unscrupulous children and thus how fragile the fabric of Elizabethan society actually was.
The most influential writer in all of English literature, William Shakespeare was born in 1564 to a successful middle-class glove-maker in Stratford-upon-Avon, England. Shakespeare attended grammar school, but his formal education proceeded no further. In 1582 he married an older woman, Anne Hathaway, and had three children with her. Around 1590 he left his family behind and traveled to London to work as an actor and playwright. Public and critical success quickly followed, and Shakespeare eventually became the most popular playwright in England and part-owner of the Globe Theater. His career bridged the reigns of Elizabeth I (ruled 1558–1603) and James I (ruled 1603–1625), and he was a favorite of both monarchs. Indeed, James granted Shakespeare’s company the greatest possible compliment by bestowing upon its members the title of King’s Men. Wealthy and renowned, Shakespeare retired to Stratford and died in 1616 at the age of fifty-two. At the time of Shakespeare’s death, literary luminaries such as Ben Jonson hailed his works as timeless.
Shakespeare’s works were collected and printed in various editions in the century following his death, and by the early eighteenth century his reputation as the greatest poet ever to write in English was well established. The unprecedented admiration garnered by his works led to a fierce curiosity about Shakespeare’s life, but the dearth of biographical information has left many details of Shakespeare’s personal history shrouded in mystery. Some people have concluded from this fact and from Shakespeare’s modest education that Shakespeare’s plays were actually written by someone else—Francis Bacon and the Earl of Oxford are the two most popular candidates—but support for this claim is overwhelmingly circumstantial, and the theory is not taken seriously by many scholars.
In the absence of credible evidence to the contrary, Shakespeare must be viewed as the author of the thirty-seven plays and 154 sonnets that bear his name. The legacy of this body of work is immense. A number of Shakespeare’s plays seem to have transcended even the category of brilliance, becoming so influential as to affect profoundly the course of Western literature and culture ever after.
Shakespeare authored King Lear around 1605, between Othello and Macbeth, and it is usually ranked with Hamlet as one of Shakespeare’s greatest plays. The setting of King Lear is as far removed from Shakespeare’s time as the setting of any of his other plays, dramatizing events from the eighth century b.c. But the parallel stories of Lear’s and Gloucester’s sufferings at the hands of their own children reflect anxieties that would have been close to home for Shakespeare’s audience. One possible event that may have influenced this play is a lawsuit that occurred not long before King Lear was written, in which the eldest of three sisters tried to have her elderly father, Sir Brian Annesley, declared insane so that she could take control of his property. Annesley’s youngest daughter, Cordell, successfully defended her father against her sister. Another event that Shakespeare and his audience would have been familiar with is the case of William Allen, a mayor of London who was treated very poorly by his three daughters after dividing his wealth among them. Not least among relevant developments was the then recent transfer of power from Elizabeth I to James I, which occurred in 1603. Elizabeth had produced no male heir, and the anxiety about who her successor would be was fueled by fears that a dynastic struggle along the lines of the fifteenth-century Wars of the Roses might ensue.
Elizabethan England was an extremely hierarchical society, demanding that absolute deference be paid and respect be shown not only to the wealthy and powerful but also to parents and the elderly. King Lear demonstrates how vulnerable parents and noblemen are to the depredations of unscrupulous children and thus how fragile the fabric of Elizabethan society actually was.
ادامه مطلب ...
نقد و بررسی نمایشنامه ی The Tempest نوشته ی William Shakespeare
Context
The most influential writer in all of English literature, William Shakespeare was born in 1564 to a successful middle-class glove-maker in Stratford-upon-Avon, England. Shakespeare attended grammar school, but his formal education proceeded no further. In 1582 he married an older woman, Anne Hathaway, and had three children with her. Around 1590 he left his family behind and traveled to London to work as an actor and playwright. Public and critical acclaim quickly followed, and Shakespeare eventually became the most popular playwright in England and a part-owner of the Globe Theater. His career bridged the reigns of Elizabeth I (ruled 1558–1603) and James I (ruled 1603–1625), and he was a favorite of both monarchs. Indeed, James granted Shakespeare’s company the greatest possible compliment by bestowing upon its members the title of King’s Men. Wealthy and renowned, Shakespeare retired to Stratford and died in 1616 at the age of fifty-two. At the time of Shakespeare’s death, literary luminaries such as Ben Jonson hailed his works as timeless.
Shakespeare’s works were collected and printed in various editions in the century following his death, and by the early eighteenth century his reputation as the greatest poet ever to write in English was well established. The unprecedented admiration garnered by his works led to a fierce curiosity about Shakespeare’s life, but the dearth of biographical information has left many details of Shakespeare’s personal history shrouded in mystery. Some people have concluded from this fact and from Shakespeare’s modest education that Shakespeare’s plays were actually written by someone else—Francis Bacon and the Earl of Oxford are the two most popular candidates—but the support for this claim is overwhelmingly circumstantial, and the theory is not taken seriously by many scholars.
In the absence of credible evidence to the contrary, Shakespeare must be viewed as the author of the thirty-seven plays and 154 sonnets that bear his name. The legacy of this body of work is immense. A number of Shakespeare’s plays seem to have transcended even the category of brilliance, becoming so influential as to affect profoundly the course of Western literature and culture ever after.
The Tempest probably was written in 1610–1611, and was first performed at Court by the King’s Men in the fall of 1611. It was performed again in the winter of 1612–1613 during the festivities in celebration of the marriage of King James’s daughter Elizabeth. The Tempest is most likely the last play written entirely by Shakespeare, and it is remarkable for being one of only two plays by Shakespeare (the other being Love’s Labor’s Lost) whose plot is entirely original. The play does, however, draw on travel literature of its time—most notably the accounts of a tempest off the Bermudas that separated and nearly wrecked a fleet of colonial ships sailing from Plymouth to Virginia. The English colonial project seems to be on Shakespeare’s mind throughout The Tempest, as almost every character, from the lord Gonzalo to the drunk Stephano, ponders how he would rule the island on which the play is set if he were its king. Shakespeare seems also to have drawn on Montaigne’s essay “Of the Cannibals,” which was translated into English in 1603. The name of Prospero’s servant-monster, Caliban, seems to be an anagram or derivative of “Cannibal.”
The extraordinary flexibility of Shakespeare’s stage is given particular prominence in The Tempest. Stages of the Elizabethan and Jacobean period were for the most part bare and simple. There was little on-stage scenery, and the possibilities for artificial lighting were limited. The King’s Men in 1612 were performing both at the outdoor Globe Theatre and the indoor Blackfriars Theatre and their plays would have had to work in either venue. Therefore, much dramatic effect was left up to the minds of the audience. We see a particularly good example of this in The Tempest, Act II, scene i when Gonzalo, Sebastian, and Antonio argue whether the island is beautiful or barren. The bareness of the stage would have allowed either option to be possible in the audience’s mind at any given moment.
At the same time, The Tempest includes stage directions for a number of elaborate special effects. The many pageants and songs accompanied by ornately costumed figures or stage-magic—for example, the banquet in Act III, scene iii, or the wedding celebration for Ferdinand and Miranda in Act IV, scene i—give the play the feeling of a masque, a highly stylized form of dramatic, musical entertainment popular among the aristocracy of the sixteenth and seventeenth centuries. It is perhaps the tension between simple stage effects and very elaborate and surprising ones that gives the play its eerie and dreamlike quality, making it seem rich and complex even though it is one of Shakespeare’s shortest, most simply constructed plays.
It is tempting to think of The Tempest as Shakespeare’s farewell to the stage because of its theme of a great magician giving up his art. Indeed, we can interpret Prospero’s reference to the dissolution of “the great globe itself” (IV.i.153) as an allusion to Shakespeare’s theatre. However, Shakespeare is known to have collaborated on at least two other plays after The Tempest: The Two Noble Kinsmen and Henry VIII in 1613, both probably written with John Fletcher. A performance of the latter was, in fact, the occasion for the actual dissolution of the Globe. A cannon fired during the performance accidentally ignited the thatch, and the theater burned to the ground
The most influential writer in all of English literature, William Shakespeare was born in 1564 to a successful middle-class glove-maker in Stratford-upon-Avon, England. Shakespeare attended grammar school, but his formal education proceeded no further. In 1582 he married an older woman, Anne Hathaway, and had three children with her. Around 1590 he left his family behind and traveled to London to work as an actor and playwright. Public and critical acclaim quickly followed, and Shakespeare eventually became the most popular playwright in England and a part-owner of the Globe Theater. His career bridged the reigns of Elizabeth I (ruled 1558–1603) and James I (ruled 1603–1625), and he was a favorite of both monarchs. Indeed, James granted Shakespeare’s company the greatest possible compliment by bestowing upon its members the title of King’s Men. Wealthy and renowned, Shakespeare retired to Stratford and died in 1616 at the age of fifty-two. At the time of Shakespeare’s death, literary luminaries such as Ben Jonson hailed his works as timeless.
Shakespeare’s works were collected and printed in various editions in the century following his death, and by the early eighteenth century his reputation as the greatest poet ever to write in English was well established. The unprecedented admiration garnered by his works led to a fierce curiosity about Shakespeare’s life, but the dearth of biographical information has left many details of Shakespeare’s personal history shrouded in mystery. Some people have concluded from this fact and from Shakespeare’s modest education that Shakespeare’s plays were actually written by someone else—Francis Bacon and the Earl of Oxford are the two most popular candidates—but the support for this claim is overwhelmingly circumstantial, and the theory is not taken seriously by many scholars.
In the absence of credible evidence to the contrary, Shakespeare must be viewed as the author of the thirty-seven plays and 154 sonnets that bear his name. The legacy of this body of work is immense. A number of Shakespeare’s plays seem to have transcended even the category of brilliance, becoming so influential as to affect profoundly the course of Western literature and culture ever after.
The Tempest probably was written in 1610–1611, and was first performed at Court by the King’s Men in the fall of 1611. It was performed again in the winter of 1612–1613 during the festivities in celebration of the marriage of King James’s daughter Elizabeth. The Tempest is most likely the last play written entirely by Shakespeare, and it is remarkable for being one of only two plays by Shakespeare (the other being Love’s Labor’s Lost) whose plot is entirely original. The play does, however, draw on travel literature of its time—most notably the accounts of a tempest off the Bermudas that separated and nearly wrecked a fleet of colonial ships sailing from Plymouth to Virginia. The English colonial project seems to be on Shakespeare’s mind throughout The Tempest, as almost every character, from the lord Gonzalo to the drunk Stephano, ponders how he would rule the island on which the play is set if he were its king. Shakespeare seems also to have drawn on Montaigne’s essay “Of the Cannibals,” which was translated into English in 1603. The name of Prospero’s servant-monster, Caliban, seems to be an anagram or derivative of “Cannibal.”
The extraordinary flexibility of Shakespeare’s stage is given particular prominence in The Tempest. Stages of the Elizabethan and Jacobean period were for the most part bare and simple. There was little on-stage scenery, and the possibilities for artificial lighting were limited. The King’s Men in 1612 were performing both at the outdoor Globe Theatre and the indoor Blackfriars Theatre and their plays would have had to work in either venue. Therefore, much dramatic effect was left up to the minds of the audience. We see a particularly good example of this in The Tempest, Act II, scene i when Gonzalo, Sebastian, and Antonio argue whether the island is beautiful or barren. The bareness of the stage would have allowed either option to be possible in the audience’s mind at any given moment.
At the same time, The Tempest includes stage directions for a number of elaborate special effects. The many pageants and songs accompanied by ornately costumed figures or stage-magic—for example, the banquet in Act III, scene iii, or the wedding celebration for Ferdinand and Miranda in Act IV, scene i—give the play the feeling of a masque, a highly stylized form of dramatic, musical entertainment popular among the aristocracy of the sixteenth and seventeenth centuries. It is perhaps the tension between simple stage effects and very elaborate and surprising ones that gives the play its eerie and dreamlike quality, making it seem rich and complex even though it is one of Shakespeare’s shortest, most simply constructed plays.
It is tempting to think of The Tempest as Shakespeare’s farewell to the stage because of its theme of a great magician giving up his art. Indeed, we can interpret Prospero’s reference to the dissolution of “the great globe itself” (IV.i.153) as an allusion to Shakespeare’s theatre. However, Shakespeare is known to have collaborated on at least two other plays after The Tempest: The Two Noble Kinsmen and Henry VIII in 1613, both probably written with John Fletcher. A performance of the latter was, in fact, the occasion for the actual dissolution of the Globe. A cannon fired during the performance accidentally ignited the thatch, and the theater burned to the ground
ادامه مطلب ...
نقد و بررسی نمایشنامه Antigone نوشته ی Sophocles
Antigone Summary
Polyneices and Eteocles, two brothers leading opposite sides in Thebes' civil war, have both been killed in battle. Creon, the new ruler of Thebes, has declared that Eteocles will be honored and Polyneices disgraced. The rebel brother's body will not be sanctified by holy rites, and will lay unburied to become the food of carrion animals. Antigone and Ismene are the sisters of the dead brothers, and they are now the last children of the ill-fated Oedipus. In the opening of the play, Antigone brings Ismene outside the city gates late at night for a secret meeting: Antigone wants to bury Polyneices' body, in defiance of Creon's edict. Ismene refuses to help her, fearing the death penalty, but she is unable to dissuade Antigone from going to do the deed by herself.
Creon enters, along with the Chorus of Theban Elders. He seeks their support in the days to come, and in particular wants them to back his edict regarding the disposal of Polyneices' body. The Chorus of Elders pledges their support. A Sentry enters, fearfully reporting that the body has been buried. A furious Creon orders the Sentry to find the culprit or face death himself. The Sentry leaves, but after a short absence he returns, bringing Antigone with him. Creon questions her, and she does not deny what she has done. She argues unflinchingly with Creon about the morality of the edict and the morality of her actions. Creon grows angrier, and, thinking Ismene must have helped her, summons the girl. Ismene tries to confess falsely to the crime, wishing to die alongside her sister, but Antigone will have none of it. Creon orders that the two women be temporarily locked up.
Haemon, Creon's son and Antigone's fiance, enters to pledge allegiance to his father. He initially seems willing to obey Creon, but when Haemon gently tries to persuade his father to spare Antigone, the discussion deteriorates and the two men are soon bitterly insulting each other. Haemon leaves, vowing never to see Creon again.
Creon decides to spare Ismene and to imprison Antigone in a cave. She is brought out of the house, and she bewails her fate and defends her actions one last time. She is taken away, with the Chorus expressing great sorrow for what is going to happen to her.
Teiresias, the blind prophet, enters. He warns Creon that the gods side with Antigone. Creon accuses Teiresias of being corrupt, and Teiresias responds that because of Creon's mistakes, he will lose one child for the crimes of leaving Polyneices unburied and putting Antigone into the earth. All of Greece will despise him, and the sacrificial offerings of Thebes will not be accepted by the gods. The Chorus, terrified, asks Creon to take their advice. He assents, and they tell him that he should bury Polyneices and free Antigone. Creon, shaken, agrees to do it. He leaves with a retinue of men to help him right his previous mistakes. The Chorus delivers a choral ode on/to the god Dionysis, and then a Messenger enters to tell them that Haemon has killed himself. Eurydice, Creon's wife and Haemon's mother, enters and asks the Messenger to tell her everything. The Messenger reports that Haemon and Antigone have both taken their own lives. Eurydice disappears into the palace.
Creon enters, carrying Haemon's body. He understands that his own actions have caused these events. A Second Messenger arrives to tell Creon and the Chorus that Eurydice has killed herself. With her last breath, she cursed her husband. Creon blames himself for everything that has happened, and, a broken man, he asks his servants to help him inside. The order he valued so much has been protected, and he is still the king, but he has acted against the gods and lost his child and his wife as a result. The Chorus closes by saying that although the gods punish the proud, punishment brings wisdom.
Polyneices and Eteocles, two brothers leading opposite sides in Thebes' civil war, have both been killed in battle. Creon, the new ruler of Thebes, has declared that Eteocles will be honored and Polyneices disgraced. The rebel brother's body will not be sanctified by holy rites, and will lay unburied to become the food of carrion animals. Antigone and Ismene are the sisters of the dead brothers, and they are now the last children of the ill-fated Oedipus. In the opening of the play, Antigone brings Ismene outside the city gates late at night for a secret meeting: Antigone wants to bury Polyneices' body, in defiance of Creon's edict. Ismene refuses to help her, fearing the death penalty, but she is unable to dissuade Antigone from going to do the deed by herself.
Creon enters, along with the Chorus of Theban Elders. He seeks their support in the days to come, and in particular wants them to back his edict regarding the disposal of Polyneices' body. The Chorus of Elders pledges their support. A Sentry enters, fearfully reporting that the body has been buried. A furious Creon orders the Sentry to find the culprit or face death himself. The Sentry leaves, but after a short absence he returns, bringing Antigone with him. Creon questions her, and she does not deny what she has done. She argues unflinchingly with Creon about the morality of the edict and the morality of her actions. Creon grows angrier, and, thinking Ismene must have helped her, summons the girl. Ismene tries to confess falsely to the crime, wishing to die alongside her sister, but Antigone will have none of it. Creon orders that the two women be temporarily locked up.
Haemon, Creon's son and Antigone's fiance, enters to pledge allegiance to his father. He initially seems willing to obey Creon, but when Haemon gently tries to persuade his father to spare Antigone, the discussion deteriorates and the two men are soon bitterly insulting each other. Haemon leaves, vowing never to see Creon again.
Creon decides to spare Ismene and to imprison Antigone in a cave. She is brought out of the house, and she bewails her fate and defends her actions one last time. She is taken away, with the Chorus expressing great sorrow for what is going to happen to her.
Teiresias, the blind prophet, enters. He warns Creon that the gods side with Antigone. Creon accuses Teiresias of being corrupt, and Teiresias responds that because of Creon's mistakes, he will lose one child for the crimes of leaving Polyneices unburied and putting Antigone into the earth. All of Greece will despise him, and the sacrificial offerings of Thebes will not be accepted by the gods. The Chorus, terrified, asks Creon to take their advice. He assents, and they tell him that he should bury Polyneices and free Antigone. Creon, shaken, agrees to do it. He leaves with a retinue of men to help him right his previous mistakes. The Chorus delivers a choral ode on/to the god Dionysis, and then a Messenger enters to tell them that Haemon has killed himself. Eurydice, Creon's wife and Haemon's mother, enters and asks the Messenger to tell her everything. The Messenger reports that Haemon and Antigone have both taken their own lives. Eurydice disappears into the palace.
Creon enters, carrying Haemon's body. He understands that his own actions have caused these events. A Second Messenger arrives to tell Creon and the Chorus that Eurydice has killed herself. With her last breath, she cursed her husband. Creon blames himself for everything that has happened, and, a broken man, he asks his servants to help him inside. The order he valued so much has been protected, and he is still the king, but he has acted against the gods and lost his child and his wife as a result. The Chorus closes by saying that although the gods punish the proud, punishment brings wisdom.
ادامه مطلب ...
نقد و بررسی نمایشنامه An Enemy of the People نوشته ی Henrik Joh
Plot Summary
. .........A coastal town in Norway is on its way to becoming a major health resort thanks to its new municipal baths. In anticipation of an influx of tourists in the coming summer season, property values are rising, business is picking up, and unemployment is decreasing.
.........At the modest home of Thomas Stockmann, an idealistic physician, the spa and its benefits make for lively conversation between Mayor Peter Stockmann, the brother of Dr. Stockmann, and Hovstad, editor of the local newspaper, both of whom arrived for a visit just after the Stockmanns finished supper. With Hovstad is an assistant named Billing. Dr. Stockmann is out for a walk with his sons, Ejlif and Morten.
.........“Mark my words, Mr. Hovstad—the baths will become the focus of our municipal life!” the mayor says. "Think how extraordinarily the place has developed within the last year or two! Money has been flowing in, and there is some life and some business doing in the town. Houses and landed property are rising in value every day."
.........Hovstad mentions that he plans to run an article about the health resort—written by Dr. Stockmann, the medical director of the baths—in the spring, the right time to generate interest in the new community asset. The doctor, who came up with the idea for the baths, has been an untiring promoter of their potential benefits.
.........Peter Stockmann reminds Hovstad that he, as mayor, played a “modest” part (really meaning the most important part) in making the baths a reality. It was the mayor’s practicality and business sense, he hints, that were the driving forces behind the project.
.........When Dr. Stockmann returns from his walk with Captain Horster, a seafarer, he is in a cheerful mood. Everything is going right for him and his family, he says, and he now has enough money to afford a few little luxuries, like the roast beef they had for dinner. When the mayor inquires about the article his brother wrote, Dr. Stockmann says he has decided to withhold it for the time being, but does not say why. Suspecting that his brother is keeping something from him—possibly something about the spa—the mayor accuses the doctor of withholding important information, then says:
.........“You have an ingrained tendency to take your own way, at all events; and, that is almost equally inadmissible in a well ordered community, The individual ought undoubtedly to acquiesce in subordinating himself to the community—or, to speak more accurately, to the authorities who have the care of the community's welfare.”
.........After Mayor Stockmann leaves, Dr. Stockmann's daughter, Petra, a schoolteacher, arrives and joins in the conversation. An idealist like her father, Petra says, "There is so much falsehood both at home and at school. At home one must not speak, and at school we have to stand and tell lies to the children." Captain Horster offers to provide a room for the school in an old house he owns.
.........Dr. Stockmann then opens a letter he received, then waves it before Hovstad and his wife, announcing a remarkable discovery: The baths are contaminated. The doctor speaks in a triumphant, jubilant tone, for he believes he has done a great service for the public welfare. He says several cases of typhoid fever and gastric fever the previous year aroused his suspicion about the spa water, so he took samples of it and sent them to a university for analysis. The letter he holds contains the results of the analysis: The spa is a cesspool of disease. It seems that tanneries in the town leached impurities into the water. Hovstad—seemingly idealistic, like Dr. Stockmann—promises to publish news of the discovery and says his printer, Aslaksen, a prominent citizen, will back the decision, as will a homeowner’s association.
.........In the days immediately following the discovery, Mayor Peter Stockmann discovers it will cost an enormous sum in tax dollars to make improvements, including laying new pipes to handle the leachate, which his brother says are necessary to eliminate the pollution. So he decides to challenge his brother’s findings as faulty and asks him to renounce them. The doctor—viewing himself as the guardian of the common weal, a savior—refuses.
.........Meanwhile, Hovstad, fearing the wrath of the taxpayers, decides not to publish Dr. Stockmann’s article. At a town meeting in a large room provided as a goodwill gesture by Captain Horster, almost everyone lines up against Dr. Stockmann—Mayor Stockmann, Hovstad, Aslaksen, the homeowners, ordinary citizens—and shout him down when he attempts to explain the problem and alert the town to the danger. One citizen wonders whether he has an alcohol problem. Another suggests insanity runs in his family. Still another thinks he is getting even for not receiving a salary increase as the spa’s medical director. All agree that he should be labeled “an enemy of the people,” one bent on destroying the town. When Stockmann and his family leave the meeting, the crowd hisses and boos, then begins chanting “enemy of the people,” “enemy of the people.”
.........The next morning, the Stockmanns discover broken windows and rocks littering the floor. The doctor piles the rocks on a table, saying he will save them as heirlooms for his children. A letter arrives in which the landlord gives Dr. Stockmann notice of eviction. It doesn’t matter, Stockmann tells his wife, for he and his family will cross the sea and resettle in the New World. Then Captain Horster arrives and announces his employer has fired him. The mayor enters and announces that the citizens are circulating a petition pledging that they will no longer seek the medical services of Dr. Stockmann. The mayor advises his brother to leave town for a while, then return and confess his error in writing. Such a move might earn him reinstatement as medical director of the spa. Dr. Stockmann says he will never admit that he was wrong—never, never—under any circumstances.
.........After the mayor leaves, another visitor arrives. He is Morton Kiil, the father of Dr. Stockmann's wife, Katherine. Kiil is the owner of polluting tanneries. In his will, he had stipulated that a handsome sum be bequeathed to Katherine and the Stockmanns’ children. However, he tells the doctor that he invested the bequest in stock in the baths. Furthermore, he is going around town buying up all the remaining stock in the baths. Thus, if Dr. Stockmann sticks to his story—that is, if he refuses to recant—the stock will become worthless and his wife and children will inherit nothing. Kiil tells the doctor that he has until 2 p.m. to change his position.
.........When Kiil leaves, Hovstad and Aslaksen arrive. They think Dr. Stockmann is involved in a scheme to inflate the value of the stocks and want in on the scheme. But Stockmann dismisses them, raising an umbrella as if to strike them. They hurry out. Captain Horster invites the Stockmanns to board at his house during the winter. The doctor expresses his gratitude, then says he will focus his medical practice on the poor and educate his children himself. In fact, he says, he will start a school of his own to teach the town’s guttersnipes. He is feeling upbeat, cheerful as he looks ahead.
.........“I am the strongest man in this town,” he says.
.........Then he announces he has made another important discovery. Gathering everyone close to him, he says “The strongest man in the world is he who stands alone.”
. .........A coastal town in Norway is on its way to becoming a major health resort thanks to its new municipal baths. In anticipation of an influx of tourists in the coming summer season, property values are rising, business is picking up, and unemployment is decreasing.
.........At the modest home of Thomas Stockmann, an idealistic physician, the spa and its benefits make for lively conversation between Mayor Peter Stockmann, the brother of Dr. Stockmann, and Hovstad, editor of the local newspaper, both of whom arrived for a visit just after the Stockmanns finished supper. With Hovstad is an assistant named Billing. Dr. Stockmann is out for a walk with his sons, Ejlif and Morten.
.........“Mark my words, Mr. Hovstad—the baths will become the focus of our municipal life!” the mayor says. "Think how extraordinarily the place has developed within the last year or two! Money has been flowing in, and there is some life and some business doing in the town. Houses and landed property are rising in value every day."
.........Hovstad mentions that he plans to run an article about the health resort—written by Dr. Stockmann, the medical director of the baths—in the spring, the right time to generate interest in the new community asset. The doctor, who came up with the idea for the baths, has been an untiring promoter of their potential benefits.
.........Peter Stockmann reminds Hovstad that he, as mayor, played a “modest” part (really meaning the most important part) in making the baths a reality. It was the mayor’s practicality and business sense, he hints, that were the driving forces behind the project.
.........When Dr. Stockmann returns from his walk with Captain Horster, a seafarer, he is in a cheerful mood. Everything is going right for him and his family, he says, and he now has enough money to afford a few little luxuries, like the roast beef they had for dinner. When the mayor inquires about the article his brother wrote, Dr. Stockmann says he has decided to withhold it for the time being, but does not say why. Suspecting that his brother is keeping something from him—possibly something about the spa—the mayor accuses the doctor of withholding important information, then says:
.........“You have an ingrained tendency to take your own way, at all events; and, that is almost equally inadmissible in a well ordered community, The individual ought undoubtedly to acquiesce in subordinating himself to the community—or, to speak more accurately, to the authorities who have the care of the community's welfare.”
.........After Mayor Stockmann leaves, Dr. Stockmann's daughter, Petra, a schoolteacher, arrives and joins in the conversation. An idealist like her father, Petra says, "There is so much falsehood both at home and at school. At home one must not speak, and at school we have to stand and tell lies to the children." Captain Horster offers to provide a room for the school in an old house he owns.
.........Dr. Stockmann then opens a letter he received, then waves it before Hovstad and his wife, announcing a remarkable discovery: The baths are contaminated. The doctor speaks in a triumphant, jubilant tone, for he believes he has done a great service for the public welfare. He says several cases of typhoid fever and gastric fever the previous year aroused his suspicion about the spa water, so he took samples of it and sent them to a university for analysis. The letter he holds contains the results of the analysis: The spa is a cesspool of disease. It seems that tanneries in the town leached impurities into the water. Hovstad—seemingly idealistic, like Dr. Stockmann—promises to publish news of the discovery and says his printer, Aslaksen, a prominent citizen, will back the decision, as will a homeowner’s association.
.........In the days immediately following the discovery, Mayor Peter Stockmann discovers it will cost an enormous sum in tax dollars to make improvements, including laying new pipes to handle the leachate, which his brother says are necessary to eliminate the pollution. So he decides to challenge his brother’s findings as faulty and asks him to renounce them. The doctor—viewing himself as the guardian of the common weal, a savior—refuses.
.........Meanwhile, Hovstad, fearing the wrath of the taxpayers, decides not to publish Dr. Stockmann’s article. At a town meeting in a large room provided as a goodwill gesture by Captain Horster, almost everyone lines up against Dr. Stockmann—Mayor Stockmann, Hovstad, Aslaksen, the homeowners, ordinary citizens—and shout him down when he attempts to explain the problem and alert the town to the danger. One citizen wonders whether he has an alcohol problem. Another suggests insanity runs in his family. Still another thinks he is getting even for not receiving a salary increase as the spa’s medical director. All agree that he should be labeled “an enemy of the people,” one bent on destroying the town. When Stockmann and his family leave the meeting, the crowd hisses and boos, then begins chanting “enemy of the people,” “enemy of the people.”
.........The next morning, the Stockmanns discover broken windows and rocks littering the floor. The doctor piles the rocks on a table, saying he will save them as heirlooms for his children. A letter arrives in which the landlord gives Dr. Stockmann notice of eviction. It doesn’t matter, Stockmann tells his wife, for he and his family will cross the sea and resettle in the New World. Then Captain Horster arrives and announces his employer has fired him. The mayor enters and announces that the citizens are circulating a petition pledging that they will no longer seek the medical services of Dr. Stockmann. The mayor advises his brother to leave town for a while, then return and confess his error in writing. Such a move might earn him reinstatement as medical director of the spa. Dr. Stockmann says he will never admit that he was wrong—never, never—under any circumstances.
.........After the mayor leaves, another visitor arrives. He is Morton Kiil, the father of Dr. Stockmann's wife, Katherine. Kiil is the owner of polluting tanneries. In his will, he had stipulated that a handsome sum be bequeathed to Katherine and the Stockmanns’ children. However, he tells the doctor that he invested the bequest in stock in the baths. Furthermore, he is going around town buying up all the remaining stock in the baths. Thus, if Dr. Stockmann sticks to his story—that is, if he refuses to recant—the stock will become worthless and his wife and children will inherit nothing. Kiil tells the doctor that he has until 2 p.m. to change his position.
.........When Kiil leaves, Hovstad and Aslaksen arrive. They think Dr. Stockmann is involved in a scheme to inflate the value of the stocks and want in on the scheme. But Stockmann dismisses them, raising an umbrella as if to strike them. They hurry out. Captain Horster invites the Stockmanns to board at his house during the winter. The doctor expresses his gratitude, then says he will focus his medical practice on the poor and educate his children himself. In fact, he says, he will start a school of his own to teach the town’s guttersnipes. He is feeling upbeat, cheerful as he looks ahead.
.........“I am the strongest man in this town,” he says.
.........Then he announces he has made another important discovery. Gathering everyone close to him, he says “The strongest man in the world is he who stands alone.”
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Transport idioms
Transport idioms: Wagon
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Sport idioms
Sport idioms: Horse racing
IntroductionIn this video the Teacher becomes a jockey and goes horse racing:
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sport_horseracing.zip
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