臺灣博碩士論文加值系統

經過徹底的研究莎士比亞的四個偉大悲劇：哈姆雷特、奧塞羅、李爾王、和馬克白之後。 我發現莎士比亞的悲劇符合一個公式：所有的主角都在他們獨有的環境條件下，做出了某種錯誤的判斷，結果，他們都得到了嚴厲的懲罰和許多的痛苦的經歷。 最後，主角們得到他們的領悟、認知。 從他們的領悟、認知，使得他們再度重新恢復了他們的高尚的本性，並且和那些他們曾經錯待的人有了妥協。 我的焦點是藉著運用著名的主角：哈姆雷特、奧塞羅、李爾王、和馬克白做為我的論文的例子，來表現出我們心中的勇氣和人性的重要性。
為了要證明在第一段中我提出的觀點，我發現莎士比亞的悲劇被古典時期所深深影響，尤其是塞內卡的作品。 塞內卡的寫作技巧，例如獨白的使用在文藝復興時期被許多的劇作家當作典範，包括莎士比亞。 我們還可以發現其它的影響，像是暴力和恐怖的場景、超自然世界的牽涉。 然而，莎士比亞在其悲劇中創造了非常多的元素。 例如：這四大悲劇中，有其背景以及環境來導致四個主角做出錯誤的判斷。 而且這四個劇本避不掉地交織混雜了國家和家事的問題在其中，而四個主角在最後都有妥協。
此外，錯誤的判斷傾向是一種心理學上的現象。 為了要對四大主角：哈姆雷特、奧塞羅、李爾王、馬克白進行心理分析，弗洛伊德的理論有關三大心靈的區分－本我、自我、超我，將會被使用到。 再者，我將使用黑格爾的悲劇理論來研究這四大悲劇。 藉此，我們可以給莎士比亞的四大悲劇：哈姆雷特、奧塞羅、李爾王、馬克白提供另一種詮釋。
第一章敘述為什麼選擇莎士比亞的四大悲劇中四個主角的錯誤判斷為我中心論點的理由，以及簡短的討論分析莎式的悲劇以及希臘羅馬悲劇的相異處。
第二章指出四大主角為什麼會做出錯誤的判斷的原因，他們沒有辦法分辨外表和事實，而被誤導的原因；此外，我會使用弗洛伊德的心理分析，來分析四個主角的行為特徵。
第三章指出錯誤的判斷改變的主角的性格，最後導致不論是國家方面或是家庭方面的死亡和滅亡，此外，在這章將指出四個主角的錯誤判斷如何替他們帶來了折磨人的悲慘遭遇及處罰，因為在這方面他們不僅是受害著也是加害者。
第四章探討四個主角如何得到他們的領悟、認知。 他們導致的重大的災難及毀滅如何帶來他們與錯待的人最後的妥協，以及在其中如何重新恢復他們的高尚人格。
第五章總結寫這篇論文之後，我所得到的認知及知識。
班 強森主張莎士比亞不僅是一個時代，而是一直以來莎士比亞不斷地被不同的方式所認可。 幾世紀以來，這些劇本的偉大已經被不同文化的觀眾及讀者所認可，原因是因為莎士比亞不僅是從事在這個時代、而是深入其中、甚至是超越這個時代來補捉實際燦爛地人性、動人的場景以及一些反覆不斷的人性及經驗方面：像是善良與邪惡的長處與弱點，不管是男人或女人，每個人對社會所展現不同的悲哀及英勇，殘酷的不公平性以及生命本身恐怖的不確定性。

After thorough study of Shakespeare’s four great tragedies: Hamlet, Othello, King Lear and Macbeth, I have found that Shakespeare’s tragedies fit into a general formula that all the protagonists have made some kind of misjudgement under their singular circumstances, and as a consequence, they all receive harsh punishments and many sufferings. Finally, the protagonists gain their recognition. From their recognition, they repossess their nobility, which bring about conciliation between the parties they have wronged. My focal point is by using the well-known protagonists, Hamlet, Othello, King Lear, and Macbeth as examples in my thesis to show the importance of courage and humanity in all of us.
In order to prove my point in the first paragraph I have found that Shakespeare’s tragedies were greatly influenced by The Classic period, especially by the works of Lucius Annaeus Seneca. Seneca’s writing techniques, including the use of soliloquies and monologues are modeled by many playwrights in the Renaissance, including Shakespeare. Other influences we can detect, such as the scenes of violence and horror, the involvement into the supernatural worlds. However, Shakespeare creates most elements in his tragedies. For example, the four tragedies have their own background and circumstances which lead the four protagonists to judge wrongly. Also all four plays interweave inextricably the national and domestic problems, and the four protagonists have their reconciliations at the end.
Furthermore, misjudgement tends to be a psychological phenomenon. In order to psychoanalyze the four protagonists, Hamlet, Othello, King Lear and Macbeth, Freud’s theories about the three psychic zones of the id, the ego, and the superego will be used. Moreover, I shall use Hegel’s ideas of tragedy to look into the four great tragedies. By this, we can offer another interpretation of Shakespeare’s four great tragedies: Hamlet, Othello, King Lear, and Macbeth.
In Chapter One, I will describe the reasons why I choose misjudgements of the four protagonists in the four Shakespeare’s tragedies as my focal point, and will briefly discuss the dissimilarities between Shakespearean tragedy and Greek and Roman tragedy.
In Chapter Two, I will point out the causes of the misjudgements of the four protagonists, as they fail to realize the difference between appearance and reality. Furthermore, I shall apply the theories and ideas of Freud and psychoanalyze the protagonists.
In Chapter Three, I will point out how the misjudgements change the protagonists’ characters and eventually bring death and destruction domestically and nationally. Moreover, I will state how the four protagonists’ misjudgements bring them torturous sufferings and punishments because they are both victims and victimizers.
In Chapter Four, I will discuss how the four protagonists gain their recognitions; how the catastrophes and destruction lead to their final reconciliations; and how the nobility of the four protagonists is restored at the end.
Chapter Five concludes the understandings and knowledge I gained from writing this dissertation.
Ben Jonson’s claim that Shakespeare is not of an age but for all time has been continuously endorsed in different ways. The greatness of these plays has been acknowledged for centuries by audience and readers in diverse cultures for the reason that Shakespeare not only engaged with but went through and beyond the contemporary to capture in brilliantly realized characters and deeply moving scenes some of the most persistent aspects of human nature and experience: the strength and the vulnerability, the goodness and the wickedness, of men and women; the desolation and courage of the individual at odds with society; the cruel injustices and the terrifying uncertainty of life itself. (McAlindon 21)

Abstract English
Abstract Chinese
Acknowledgements
Chapter One:
Introduction
I. The motivation for writing this dissertation
II. The dissimilarities of Shakespearean tragedy and Greek and Rome tragedies
III. The introduction of each chapter
Chapter Two:
The causes ofmisjudgements
I. Appearance and reality
II. Caused by personal flaws
III. Influenced by circumstance
Chapter Three:
The result of misjudgements
I. The sufferings of the victim
II. The punishment of the victimizers
Chapter Four:
The final catastrophes lead to reconciliation
I. Recognition is achieved from the final catastrophe
II. Personal nobility is restored
III. A society is reconstructed
Chapter Five:
Conclusion
Understanding and knowledge gained from the research
Works cited
Bibliography

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