源自莎士比亞作品的10個(gè)常用短語(yǔ)

學(xué)英語(yǔ)的人都知道，莎士比亞為英語(yǔ)詞匯的發(fā)展做出了卓越的貢獻(xiàn)，我們現(xiàn)在使用的很多詞匯和表達(dá)都是源于莎翁的作品，比如salad days、green-eyed monster等。今天，我們就為大家盤點(diǎn)出源自于莎士比亞作品的10個(gè)常用短語(yǔ)，看過之后會(huì)不會(huì)立馬覺得這些短語(yǔ)高大上了呢?

1. Green-Eyed Monster: 嫉妒

How Shakespeare used it:

The evil Iago plants doubts in Othello's mind about his wife's faithfulness, while advising him, "O, beware, my lord, of jealousy! / It is the green-eyed monster which doth mock / The meat it feeds on." (Othello, Act 3, Scene 3)

莎士比亞原文：邪惡的伊阿古讓奧賽羅對(duì)妻子的忠心起了疑心，提醒他說，“噢，大人，要小心嫉妒之心!那可是一只綠眼的妖魔，它慣于耍弄爪下的獵物。”(《奧賽羅》，第3幕第3場(chǎng))

現(xiàn)代例句：

".... if jealousy wasn't a factor, three out of every four married people were highly satisfied with the emotional facets of their marriage. However, when the 'green-eyed monster' entered the mix, levels of satisfaction dropped to less than half for married folk." — Michelle Lodge, HealthDay.com, Feb. 12, 2010

2. In a Pickle: 處于困境

How Shakespeare used it:

In The Tempest, King Alonso asks his jester, Trinculo, "How camest thou in this pickle?" And the drunk Trinculo – who has indeed gotten into trouble – responds "I have been in such a pickle since I saw you last ..." (Act 5, Scene 1)

莎士比亞原文：在《暴風(fēng)雨》中，那不勒斯國(guó)王阿朗索問他的弄臣特林鳩羅，“你怎么讓自己到這般境地了?”的確深陷困境且已爛醉的特林鳩羅回答說：“我自從上次參見過您之后就一直處于這般境地了…”(第5幕第1場(chǎng))

One theory has it that the phrase in a pickle entered English from an old Dutch expression that translates as something like "sit in the pickle".

有一種說法認(rèn)為in a pickle這個(gè)短語(yǔ)來源于一個(gè)古代的荷蘭語(yǔ)表達(dá)，類似于“坐在咸菜缸”里這樣一個(gè)說法。

現(xiàn)代例句：

"Has the NYT got itself into a pickle over digital editions on Kindle and iPad?" — adamhodgkin on Twitter, May 6, 2010

3. Love Is Blind: 愛是盲目的

This phrase has more than one meaning: we overlook flaws in those we love (that's good), but love can blind us to serious issues (that's bad).

這個(gè)短語(yǔ)的意思是：我們會(huì)忽略我們愛的人身上的缺點(diǎn)(這點(diǎn)不錯(cuò));愛會(huì)讓我們忽視一些嚴(yán)重的問題(這就不好了)。

How Shakespeare used it:

In The Merchant of Venice, Jessica is shy about her beloved Lorenzo seeing her disguised as a boy, but recognizes that it won't affect his love for her, saying, "But love is blind and lovers cannot see / The pretty follies that themselves commit ..." (Act 2, Scene 6)

莎士比亞原文：在《威尼斯商人》中，杰西卡不好意思讓深愛的羅倫佐看到她偽裝成一個(gè)男孩，不過也意識(shí)到這并不妨礙他愛她，她說，“可愛情是盲目的，愛侶們看不到他們自己犯下的那些美麗又愚蠢的錯(cuò)誤…”(第2幕，第6場(chǎng))

現(xiàn)代例句：

"Jonathan Rhys Meyers thinks love is blind. The actor ... thinks it is easy to fall for someone without knowing much about them, just like his alter-ego does...." — ShowbizSpy.com, Feb. 7, 2010

4. Salad Days: 一個(gè)人的青春年少時(shí)光

How Shakespeare used it:

In Antony and Cleopatra, Cleopatra recalls her relationship with Julius Caesar that occurred during, "My salad days, / When I was green in judgment...." (Act 1, Scene 5)

莎士比亞原文：在《安東尼與克莉奧佩特拉》中，克莉奧佩特拉回憶起她與凱撒的那一段感情在“我青春年少的時(shí)光，我還不太會(huì)看人的時(shí)候…”(第1幕第5場(chǎng))

Originally, English speakers used salad days with Cleopatra's meaning: a time of youthful inexperience or indiscretion. These days, however, it usually means "an early flourishing period" – in other words, a heyday.

最初，英語(yǔ)使用者只用salad days表示克莉奧佩特拉所說的“青春、稚嫩的時(shí)光”。不過現(xiàn)在，這個(gè)短語(yǔ)通常表示“鼎盛時(shí)期”。

現(xiàn)代例句：

"I know there are some people who still think this show is good, or watchable.... Just because there are a few cool things left from the salad days doesn't mean Heroes isn't a mess." — Darren Franich, EntertainmentWeekly.com, Nov. 10, 2009

5. Wear My Heart on My Sleeve: 公開表達(dá)感情

How Shakespeare used it:

Discussing his planned betrayal of Othello, the villain Iago says, "But I will wear my heart upon my sleeve / For daws to peck at: I am not what I am." (Othello, Act 1, Scene 1)

莎士比亞原文：在說到對(duì)奧賽羅的背叛計(jì)劃時(shí)，邪惡的伊阿古說，“可是我會(huì)敞開心扉，讓鳥兒隨意翻啄：我并不是你們看到的我。”(《奧賽羅》，第1幕第1場(chǎng))

現(xiàn)代例句：

"I wear my heart on my sleeve and confessed my true feelings to a man who did not reciprocate. Now I am free to move on ..." — Daydreamin on Twitter, Mar. 12, 2010

6. There's the Rub: 這就是問題所在

How Shakespeare used it:

In Hamlet's famous "To be or not to be" soliloquy, "ay, there's the rub" is the tormented prince's acknowledgement that death may not end his difficulties because the dead may perhaps still be troubled by dreams. (Hamlet, Act 3, Scene 1)

莎士比亞原文：在《哈姆雷特》那句著名的“生存或者死亡”獨(dú)白中，“唉，這就是問題所在”表示飽受折磨的王子認(rèn)識(shí)到，死亡并不能結(jié)束他的痛苦，因?yàn)樗廊丝赡苋匀粫?huì)被夢(mèng)境困擾。(《哈姆雷特》，第3幕第1場(chǎng))

現(xiàn)代例句：

"There's the rub. What does a progressive institution like Smith [College] do when Barbara decides to become Bert? It's a problem." — Roger Kimball, The New Criterion, May 2005

7. Cruel to Be Kind: 要想善良，必先殘忍;忠言逆耳

How Shakespeare used it:

"I must be cruel only to be kind; / Thus bad begins, and worse remains behind," says the tormented Hamlet. He has just mistakenly killed Polonius, and it's clear that he doesn't know how bad things are going to get. (Hamlet, Act 3, Scene 4)

飽受折磨的哈姆雷特說：“要想善良，必先殘忍，壞事開了頭，更糟糕的還在后面。”他剛剛誤殺了波洛尼厄斯，而且很明顯他根本不知道事情會(huì)糟糕到什么程度。(《哈姆雷特》，第3幕第4場(chǎng))

現(xiàn)代例句：

"The government has portrayed the cull [of 400 kangaroos] as a necessary case of being cruel to be kind, but the international focus has been mostly on the cruelty." — Tim Johnston, New York Times, Mar. 14, 2008

8. Wild Goose Chase: 復(fù)雜又無(wú)果的追尋或搜索;徒勞無(wú)果

How Shakespeare used it:

In Romeo and Juliet, Mercutio likens the rapid exchange of jokes between Romeo and himself to the cross-country horse race of Shakespeare's time, known as the wild goose chase, in which any number of riders tried to keep up with and accurately follow the lead rider's course:

"Nay, if our wits run the wild-goose chase, I am done; for thou / hast more of the wild goose in one of thy wits than, I am sure, I / have in my whole five." (Act 2, Scene 4)

莎士比亞原文：在《羅密歐與朱麗葉》中，馬庫(kù)修將他和羅密歐之間機(jī)智的笑話比拼比做莎士比亞時(shí)期的跨境賽馬，即“追野鵝”，比賽中所有騎手都要盡力追上并精準(zhǔn)跟隨在騎手領(lǐng)袖的陣型中：“不行啊，如果咱們倆的智商比拼像追野鵝那樣的話，我就完蛋了，因?yàn)槟闳魏我粋€(gè)智慧陣型中的野鵝都比我全部5個(gè)陣型里的多。”(第2幕第4場(chǎng))

現(xiàn)代例句：

"Seriously just went on a wild goose chase for a place to study. Everything is packed so I found an empty classroom in the math building." — TheHeartquake on Twitter, May 11, 2009

9. Dogs of War: 戰(zhàn)爭(zhēng)的恐懼之處

How Shakespeare used it:

In Julius Caesar, Act 3, Scene 1, a grief-stricken Mark Antony predicts that the instability following Caesar's murder will result in civil war: "Cry 'havoc!' And let slip the dogs of war!"

("Cry havoc" was the military order for soldiers to seize plunder from an enemy.)

莎士比亞原文：在《凱撒大帝》第3幕第1場(chǎng)中，悲傷過度的馬克•安東尼預(yù)言稱，凱撒大帝被謀殺后的不穩(wěn)定局勢(shì)會(huì)導(dǎo)致內(nèi)戰(zhàn)：“下令搶劫!讓戰(zhàn)爭(zhēng)的恐懼溜走吧!”(Cry havoc是軍隊(duì)中的命令用語(yǔ)，指下令讓士兵從敵人手中搶掠。)

現(xiàn)代例句：

"If you doubt that Obama is about to let slip the dogs of war, you need only look back at what he said as a long-shot presidential hopeful in a controversial August 2007 foreign policy speech." — James Gordon Meek, New York Daily News, May 10, 2010

10. Strange Bedfellows: 不可能結(jié)盟的兩個(gè)人;同床異夢(mèng)

How Shakespeare used it:

When Trinculo seeks shelter from a storm under the cloak of a creature he's very unsure about – he wonders if it's a man or a fish – he comments "misery acquaints a man with strange bed-fellows." (The Tempest, Act 2, Scene 2)

莎士比亞原文：特林鳩羅在一個(gè)他不知為何物的生物的斗篷下躲避暴風(fēng)雨時(shí)，他不知道那是個(gè)人還是條魚，他說：“處于悲慘境地，人可以跟任何東西結(jié)成聯(lián)盟。”(《暴風(fēng)雨》，第2幕第2場(chǎng))

現(xiàn)代例句：

"But there's another key reason Philip Morris lobbied hard for FDA regulation, aligning itself with strange bedfellows like the Campaign for Smoke-Free Kids [and] the American Lung Association ..." — Kate Pickert, Time, June 12, 2009