莎士比亞寫(xiě)過(guò)很多偉大的戲劇，但是他也創(chuàng)造并普及了很多新詞和短語(yǔ)，有一些我們到現(xiàn)在仍然經(jīng)常使用。一起來(lái)看看這些短語(yǔ)的出處吧。

"The green eyed-monster"
綠眼睛的怪物

"Oh, beware, my lord, of jealousy!
It is the green-eyed monster which doth mock
The meat it feeds on."
“哦，我的主人，請(qǐng)當(dāng)心嫉妒！
它是綠眼睛的怪物只會(huì)愚弄
自己的盤中肉”

莎士比亞用法：

Iago says this phrase as he plants doubts in Othello's mind about his wife's faithfulness. Merriam-Webster writes that he may have been evoking cats, given that they are "green-eyed creatures who toy with their prey before killing it."
伊阿古讓奧賽羅對(duì)妻子的忠心起了疑心后，說(shuō)了這個(gè)短語(yǔ)。韋氏大詞典中寫(xiě)道，伊阿古這么說(shuō)可能會(huì)讓人想到貓，因?yàn)榧刀适恰熬G眼睛的怪物，先玩弄然后再殺死獵物”。

現(xiàn)代用法：

Now "the green eyed-monster" is an idiomatic expression for the noun "jealousy."
現(xiàn)在“綠眼睛的怪物”是“嫉妒”的習(xí)慣表達(dá)。

Source: "Othello," Act 3, Scene 3
出處：《奧賽羅》第三幕，第三場(chǎng)

"Break the ice"
打破堅(jiān)冰

"... And if you break the ice and do this feat,
Achieve the elder, set the younger free
For our access, whose hap shall be to have her
Will not so graceless be to be ingrate."
“您要是破了堅(jiān)冰，
娶了他的大女兒，解放了小女兒，
給我們開(kāi)辟出一條路來(lái)，無(wú)論這幸運(yùn)落在哪一個(gè)人身上，
對(duì)您老兄總不會(huì)不知感激的。” （朱生豪譯）

莎士比亞用法：

Tranio suggests if Petruchio can "break the ice," then he will be able to woo Katherina. By using the "ice" language, Shakespeare makes Katherina seem as cold as ice. Moreover, the fact that the ice needs to be broken suggests that she is hard to reach.
特蘭尼奧想讓批特魯喬替他“破了堅(jiān)冰”，然后他就能夠向凱薩琳娜求愛(ài)。通過(guò)這個(gè)詞組，莎士比亞暗示凱薩琳娜像堅(jiān)冰一樣寒冷，而堅(jiān)冰之所以需要被破，也說(shuō)明凱薩琳娜的不近人情。

But the first actual usage of "break the ice" probably comes from Sir Thomas North's 1579 translation of "Plutarch's Lives of the Noble Grecians and Romans" — although in this case the phrase meant "to forge a path for others to follow," alluding to the breaking of ice to allow the navigation of boats.
不過(guò)，“破除堅(jiān)冰”第一次出現(xiàn)，是在托馬斯?諾斯爵士1579 年翻譯的普魯塔克《希臘羅馬名人傳》，不過(guò)在這里，這個(gè)詞組意味著“為其他人開(kāi)辟一條道路”，意指通過(guò)破冰來(lái)讓船通過(guò)。

現(xiàn)代用法：

"Break the ice" still means to get to know someone.
意思仍然是“開(kāi)始認(rèn)識(shí)某人”。

Source: "The Taming of the Shrew," Act 1, Scene 2
出處：《馴悍記》，第一幕，第二場(chǎng)。

"Wear my heart upon my sleeve"
直抒胸臆

"For when my outward action doth demonstrate
The native act and figure of my heart
In compliment extern, 'tis not long after
But I will wear my heart upon my sleeve
For daws to peck at: I am not what I am."
“要是我的表面的行動(dòng)，
果然出于內(nèi)心的自然流露，
那么不久我就要掬出我的心來(lái)，
讓烏鴉們亂啄了。世人所知道的我，并不是實(shí)在的我?！?/em> （朱生豪譯）

莎士比亞用法：

Devious Iago basically says that if his outward appearance reflected what he was thinking, then his heart would be on his sleeve for birds to peck at — which is not a good idea in his eyes. And so he adds that he is actually not what he appears to be.
邪惡的伊阿古要說(shuō)的是，通過(guò)他的外表反映了他的思想，那他的心就要讓烏鴉們亂啄了。在他看來(lái)，這不是一個(gè)好主意。所以他又說(shuō)“世人所知道的我，并不是實(shí)在的我?！?/p>

Notably, Iago's motives for his antagonistic behavior are never fully revealed — so it is interesting that he is the character who has immortalized this phrase.
伊阿古這一行為背后的動(dòng)機(jī)從來(lái)沒(méi)有被揭曉，有趣的是，也是他讓這個(gè)短語(yǔ)流傳千古。

現(xiàn)代用法：

To show one's feelings openly.
公開(kāi)表達(dá)某人的感受。

Source: "Othello," Act 1, Scene 1
出處：《奧賽羅》，第一幕，第一場(chǎng)。

"All of a sudden"
突然之間

"I pray, sir, tell me, is it possible That love should of a sodaine take such hold?"
“少爺，請(qǐng)您告訴我，難道愛(ài)情會(huì)這么快就把一個(gè)人征服了嗎？” （朱生豪譯）

莎士比亞用法：

How Shakespeare uses it: Apparently, Shakespeare might have thought that "all of a sudden" was a more poetic way of saying "suddenly" so he had the character Tranio in "The Taming of the Shrew" say it that way.
顯然，莎士比亞認(rèn)為all of a sudden比用suddenly一詞更詩(shī)意。所以，他讓特蘭尼奧在《馴悍記》中這么說(shuō)。

Although, Shakespeare wasn't the first to use "sudden" — John Greenwood used it in 1590.
不過(guò)，莎士比亞不是第一個(gè)用sudden這個(gè)詞的，約翰?格林伍德在1590年第一次使用這個(gè)詞。

現(xiàn)代用法：

The meaning is the same, although we now spell it "sudden" rather than "sodaine." The word is spelled in the modern way in newer printings of "The Taming of the Shrew."
這個(gè)詞在現(xiàn)代的意義沒(méi)有變化，只不過(guò)現(xiàn)在我們將其拼成sudden，而不是sodaine。在現(xiàn)代新版本的《馴悍記》中，這個(gè)詞都被改成了現(xiàn)代的拼寫(xiě)方法。

Source: "The Taming of the Shrew," Act 1, Scene 1
出處：《馴悍記》，第一幕，第一場(chǎng)。

"A heart of gold"
金子般的心

"The king's a bawcock, and a heart of gold,
A lad of life, an imp of fame;
Of parents good, of fist most valiant. ..."
“國(guó)王是個(gè)好樣的，有金子一般的心，
是位活潑的小伙子，一位高貴祖先的后人，
父母都沒(méi)錯(cuò)，他的拳頭也厲害?！?/em> （劉炳善譯）

莎士比亞用法：

King Henry disguises himself as a commoner in the play and asks Pistol, who is unaware of the disguise, whether he considers himself to be better than the king. Pistol responds with the above quote.
亨利國(guó)王將他自己偽裝成平民，問(wèn)畢斯托爾是不是自以為比國(guó)王更優(yōu)秀。畢斯托爾沒(méi)有認(rèn)出亨利國(guó)王，以引文作答。

現(xiàn)代用法：

To be extremely kind and helpful.
十分友善，樂(lè)于助人。

Source: "Henry V," Act 4, Scene 1
出處：《亨利五世》，第四幕，第一場(chǎng)。

"In my heart of heart"
在我內(nèi)心深處

"Give me that man
That is not passion's slave, and I will wear him
In my heart's core, ay, in my heart of heart,
As I do thee."
“給我一個(gè)不為感情所奴役的人，我愿意把他珍藏
在我的心坎、我的靈魂的身處，
正像我對(duì)你一樣?！?/em> （朱生豪譯）

莎士比亞用法：

While speaking with Horatio, Hamlet says this phrase noting that if there's a man who is "not passion's slave" — aka, a master of his emotions — then he'll put him close to his heart. Using the language "heart's core" right before suggests that Hamlet means some very deep, central part of his heart/emotions.
哈姆雷特跟霍拉旭說(shuō)話時(shí)用了這個(gè)短語(yǔ)，強(qiáng)調(diào)如果有一個(gè)“不受感情奴役”的人，即能夠控制自己情感的人，那么他將把那個(gè)人藏在內(nèi)心深處。上文中曾提到“心之正中”（heart's core）一詞可以看出，哈姆雷特指的是他內(nèi)心和情感最深處、最核心的部分。

現(xiàn)代用法：

Nowadays, we pluralize the second "heart" to say "in my heart of hearts." The phrase refers to one's inner-most, secret thoughts.
如今，我們常把第二個(gè)heart改為復(fù)數(shù)，使用in my heart of hearts這個(gè)短語(yǔ)，用來(lái)表達(dá)人內(nèi)心最深、最隱秘的想法。

Source: "Hamlet," Act 3, Scene 2
出處：《哈姆雷特》，第三幕，第二場(chǎng)。

"Too much of a good thing"
好事過(guò)頭反成壞事

"Why then, can one desire too much of a good thing?
Come, sister, you shall be the priest and marry us.
Give me your hand, Orlando. What do you say, sister?"
“那么，好的東西會(huì)嫌太多嗎？
來(lái)，妹妹，你來(lái)做牧師，給我們主婚。
把你的手給我，奧蘭多。你說(shuō)怎么樣，妹妹？” （朱生豪譯）

莎士比亞用法：

This phrase may have been a proverb dating to the late 15th century, but Shakespeare was the one who has it immortalized in print.
該短語(yǔ)可能是一句可以追溯到15世紀(jì)末的諺語(yǔ)，不過(guò)莎士比亞使其變成印刷文字流傳下來(lái)。

Rosalind is pretending to be a man named Ganymede while she is with Orlando, with whom she is in love. He's also in love with Rosalind — and doesn't know she is Ganymede — and practices how he would woo Rosalind with Ganymede. At one point, Rosalind/Ganymede suggests that they have a pretend wedding, and asks if one can ever have too much of a good thing.
和奧蘭多在一起時(shí)，羅瑟琳假扮成一個(gè)名叫蓋尼米德的男人但她已經(jīng)愛(ài)上了奧蘭多。奧蘭多也愛(ài)上了羅瑟琳，但他不知道蓋尼米德就是她。他跟蓋尼米德一起練習(xí)如何追求羅瑟琳。有一次，羅瑟琳（蓋尼米德）建議他們舉行一場(chǎng)假婚禮，然后問(wèn)道，是否有人會(huì)嫌好東西太多。

現(xiàn)代用法：

Too much good might backfire and be bad.
好事太多反而適得其反，成了壞事。

Source: "As You Like It," Act 4, Scene 1
出處：《皆大歡喜》，第四幕，第一場(chǎng)。

"All that glitters is not gold"
閃光的不全是黃金

"All that glitters is not gold;
Often have you heard that told:
Many a man his life hath sold
But my outside to behold:
Gilded tombs do worms enfold."
“閃光的不全是黃金，
這話常聽(tīng)人說(shuō)的分明；
多少世人出賣了一生，
不過(guò)看到了我的外形，
蛆蟲(chóng)占據(jù)著鍍金的墳?！?/em> （朱生豪譯）

莎士比亞用法：

Shakespeare seems to be the first person to have written this phrase, although the idea was not new.
莎士比亞似乎是第一個(gè)創(chuàng)作這個(gè)短語(yǔ)的人，不過(guò)這個(gè)想法卻不是他原創(chuàng)的。

The Prince of Morocco, one of Portia's suitors in "The Merchant of Venice," much choose out the correct casket to get his bride: one gold, one silver, and one lead. The gold one has an inscription on it which reads "All that glitters is not gold ... gilded tombs do worms enfold." But he picks it anyway ...
在《威尼斯商人》中，鮑西亞的一個(gè)追求者——摩洛哥親王，要從一個(gè)金匣子，一個(gè)銀匣子和一個(gè)鉛匣子中選擇，其中一個(gè)匣子里藏著鮑西亞的小像。金匣子里藏著的紙卷寫(xiě)著引文這段話，但他仍然選了金匣子。

現(xiàn)代用法：

Basically, just because it's shiny and nice on the outside, doesn't mean that that's true of the inside.
一般來(lái)說(shuō)，這個(gè)短語(yǔ)的意思是，盡管外表閃耀美麗，但我們不知道其內(nèi)在是不是真實(shí)的。

Source: "The Merchant of Venice," Act 2, Scene 7
出處：《威尼斯商人》，第二幕，第七場(chǎng)。

"Good riddance"
去了干凈

Thersites: "I will see you hanged, like clotpoles, ere I come any more to your tents: I will keep where there is wit stirring and leave the faction of fools."
Patroclus: "A good riddance."
“忒耳西忒斯：我要瞧你們像一串豬狗似的吊起來(lái)，然后才會(huì)再踏進(jìn)你們的營(yíng)帳里；我要去找一處有聰明人的地方住下，再不跟傻瓜們混在一起了。
帕特洛克羅斯：他去了倒也干凈。” （朱生豪譯）

莎士比亞用法：

Although it's not the first usage of "riddance," Shakespeare appears to be the first person to use the phrase "good riddance".
這不是riddance第一次出現(xiàn)，但莎士比亞似乎是第一個(gè)使用good riddance的人。

He also had Portia wish the Prince of Morocco "a gentle riddance" in "The Merchant of Venice".
此外，在《威尼斯商人》中，鮑西亞對(duì)摩洛哥親王說(shuō)了“溫柔的離開(kāi)”一詞。

現(xiàn)代用法：

People say this expression when they are happy to have gotten rid of someone or something useless or bad.
當(dāng)人們成功擺脫無(wú)用或糟糕的人或事時(shí)，他們會(huì)用到這個(gè)詞。

Source: "Troilus and Cressida," Act 2, Scene 1
出處：《特洛伊羅斯與克瑞西達(dá)》，第二幕，第一場(chǎng)。

"Love is blind"
戀愛(ài)是盲目的

"...But love is blind and lovers cannot see
The pretty follies that themselves commit;..."
“可是戀愛(ài)是盲目的，
戀人們瞧不見(jiàn)他們自己所干的傻事?！?/em> （朱生豪譯）

莎士比亞用法：

Technically, Chaucer first wrote the phrase "For loue is blynd alday and may nat see." But Shakespeare was the one who popularized it.
嚴(yán)格說(shuō)來(lái)，這個(gè)短語(yǔ)是喬叟首次使用的：“因?yàn)閼偃苏焓敲つ康?，他們也許看不見(jiàn)其他事情。”但莎士比亞讓這句話變得家喻戶曉。

In the scene, Jessica has disguised herself as a boy to see her lover, Lorenzo, but feels quite "ashamed" of her get-up. Still, she comments that love is blind and people are unable to see the shortcomings of their lovers.
在這一場(chǎng)戲中，杰西卡假扮成一個(gè)男孩，去見(jiàn)他的情人洛倫佐，但卻對(duì)自己的裝扮感到十分“羞愧”。不過(guò)，她評(píng)價(jià)道愛(ài)情是盲目的，人們無(wú)法看到自己情人的缺點(diǎn)。

現(xiàn)代用法：

The meaning of the phrase is more or less unchanged.
意義基本沒(méi)有改變。

Source: "The Merchant of Venice," Act 2, Scene 6
出處：《威尼斯商人》，第二幕，第六場(chǎng)。

英文來(lái)源：商業(yè)內(nèi)幕網(wǎng)
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審校&編輯：丹妮