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قديم 27-12-2009, 12:30 AM   #9

سرحان

سرحان

 
تاريخ التسجيل: Mar 2008
التخصص: لغة انجليزية
نوع الدراسة: إنتساب
المستوى: متخرج
الجنس: ذكر
المشاركات: 469
افتراضي رد: ترجمة مختصرة لـ pygmalion برنارد شو .. تفيدكم لفهم القصه

يوجد في مكتبة العبيكان ترجمه عربيه كامله للمسرحيه
ونصيحه لكم ركزوا على اسئلة الاترام الماضيه لمادة 341

بجماليون لجورج بيرنارد شو
الأسطورة اليونانية

يستند على أسطورة يونانية قديمة عن نحات يدعى بجماليون كان كارهاً للنساء، فأراد أن يصنع تمثالاً لما يجب أن تكون عليه المرأة المثالية. وعندما انتهى من صنع التمثال العاجي بُهر بجماله الذي فاق حُسنَ أي امرأة من الأحياء. وما حدث بعد ذلك أنه غرق حتى أذنيه في غرام التمثال وبدأ يحضر له الهدايا من أثواب وحلي من تلك التي تغري الفتيات الجميلات، وكان يزوره يوميا ليطمئن عليه متأملا أن تدب فيه روح الحياة، لما كان يبدو عليه من الاكتمال والجمال. فيحرق البخور ويقدم القرابين لفينوس لتحول فتاته العاجية إلى روح حية ليتزوجها , أو بمعنى أدق ( ليلتحم جسد الفنان بقطعته الفنية التي خلقها كاملة ) وقد دبت فيها الحياة فعلا ويتحقق للفنان ما يريد .

وهناك عدة روايات لهذه الأسطورة تتفق مع هذه الرواية ولكنها تختلف معها في النهاية ، حيث أنها تذكر أن
( بجماليون) تزوج من جالاتيا وكان له منها ولد هو ( بافوس ) مؤسس مدينة (بافوس ) مدينة الحب الشهيرة بجزيرة كريت .
وتذكر الأساطير اليونانية أن( بجماليون) ملك قبرصي ونحات بارع النحت صنع تمثالا لامرأة بارعة الحسن والجمال ، فهام به ، فابتهل إلى( افروديت) إلهة الحب أن تهبه امرأة في جمال هذا التمثال ؛ ليتزوجها فاستجابت( افروديت )لابتهاله و رأت أن تقدم له هدية أفضل مما طلب ، بأن تبث الروح في تمثاله وتبعث فيه الحياة ، وهكذا تزوج النحات الملك المرأة التمثال و اسمها( جالاتيا) لكن الزوجة أنفت العيش فرأى العيش معها جحيما لا يطاق بعد أن نزلت من مقامها المرموق من قلبه لتكبرها، فعاد إلى( افروديت) يعبر لها عن ندمه و يرجوها أن تنسل الروح منها فاستجابت( افروديت) ثانية إلى طلبه ، فأعادتها تمثالا كما كانت ، فما كان من النحات إلا أن حطم التمثال كراهية للمرأة التي عايشته .

بجماليون لجورج بيرنارد شو
تبدأ مسرحية بجماليون كما كتبها جورج بيرنارد شو ، برهان يقوم بين العالم الأرستقراطي هنري هيغنز، و صديقة الكولونيل بيكرنغ على فتاة هي اليزا دولتيل ، يلتقي فيها ذات يوم فتلفت لهجتها المبتذلة و أسلوبها المشاكس الوضيع في التصرف ، نظريهما و هنا يقول هيغنز لصديقة أن بإمكانه ، خلال اشهر قليلة أن يحول هذه الفتاة إلى سيدة أرستقراطية ، بمجرد تعليمها أناقة الحديث و أسرار اللهجة الراقية . و إذ يقول له الكولونيل أن هذا غير ممكن منطقيا ، و يقوم الرهان بين الرجلين . و على اثر ذلك يدنو هنري هيغنز من بائعة الزهور اليزا ، و يعرض عليها أن يعلمها المنطق مقابل بعض المال يعطيه لها و مال آخر يعطيه لأبيها ، و هكذا تأتي في اليوم التالي إلى بيته ، و تبدأ بالتمارين . و قد أبدت اليزا خلال التمارين استجابة و استعداد أذهلت أستاذها . و خلال فترة نجحت اليزا في الاختبارات التي أجريت لها ، و تحسن نطقها و كذلك تحسن مظهرها و يظهر ذلك خلال زيارة اليزا إلى بيت السيدة هيغنز في يوم استقبالها ، وكذلك يظهر خلال حفلة صاخبة في حديقة منزل سفير من أصدقاء هنري هيغنز فإلى تلك الحفلة اصطحب هيغنز تلميذته (اليزا) ليقدمها إلى الحفل على أساس أنها دوقة ، من دون أن يكشف سرها لأحد . و تتصرف اليزا مثل دوقة حقيقية ، نطقا و فهما و أناقة و تظهر كأنها خارجة من أرقى العائلات الأرستقراطية و يكسب بذلك هيغنز الرهان و بعد ذلك انتبهت اليزا إلى أن الرجلين لا يقيمان أي وزن لدورها في النصر ، و أكثر ما يؤثر فيها موقف هيغنز حيث أنها بدأت تميل إليه ووقعت في غرامة من دون أن يلاحظ هو شيئا و أنة يتجاهلها تماما معتبرها مجرد مادة أجرى عليها اختبارا ناجحا ، صحيح أنها كانت مادة طيعة بين يديه ، مثل المادة التي صنع منها بجماليون الأصلي منحوتته لكنها في نهاية الأمر كائن بشري تحب و تحزن ، إنها ليست مجرد دمية صنعت ، إن هذا كله تحسه اليزا ، لكن هنري هيغنز يعيش خارجة تماما فهو المهووس بعلمه و انتصاره ، ما كان ليخطر بباله مثل هذه الأشياء ،و بعد أن تيأس اليزا من قدرة هيغنز على فهم ما بها ، تلجأ إلى منزل والدته السيدة هيغنز فتقوم بتأنيب ابنها و لومه على ما فعل و من ثم يعود هيغنز إلى اليزا طالبا المغفرة و يعرض عليها أن تعيش معه و مع صديقة الكولونيل في منزله كثلاثي عازب ، فتغضب اليزا منه و ترفض عرضه فهي لا تسعى إلى الحصول على صداقة أو حياة مترفة ، بل ما يهمها هو الحنان ، يهمها أن ينظر إليها بحب .. لكنه هو يرفض هذا تماما محاولا إقناعها بأن هذا الأمر يتعارض مع طبيعته نفسها ، و إزاء هذا كله لم يعد في وسع اليزا التي صارت الآن أكثر ثقة بنفسها و قدرة على مجابهة الحياة إلا أن تعلن أمامه بأنها ستتزوج شابا صديقا له هو فريدي الذي كان يطاردها منذ زمن بعيد ، كما أنها تعلن إنها لن تعود لبيع الزهور بل ستصبح أستاذة صوتيات مثل هيغنز تماما ، بل سوف تنافسه في ذلك .

"Pygmalion"
For George Bernad Shaw
Summary

Two old gentlemen meet in the rain one night at Covent Garden. Professor Higgins is a scientist of phonetics, and Colonel Pickering is a linguist of Indian dialects. The first bets the other that he can, with his knowledge of phonetics, convince high London society that, in a matter of months, he will be able to transform the cockney speaking Covent Garden flower girl, Eliza Doolittle, into a woman as poised and well-spoken as a duchess. The next morning, the girl appears at his laboratory on Wimpole Street to ask for speech lessons, offering to pay a shilling, so that she may speak properly enough to work in a flower shop. Higgins makes merciless fun of her, but is seduced by the idea of working his magic on her. Pickering goads him on by agreeing to cover the costs of the experiment if Higgins can pass Eliza off as a duchess at an ambassador's garden party. The challenge is taken, and Higgins starts by having his housekeeper bathe Eliza and give her new clothes. Then Eliza's father Alfred Doolittle comes to demand the return of his daughter, though his real intention is to hit Higgins up for some money. The professor, amused by Doolittle's unusual rhetoric, gives him five pounds. On his way out, the dustman fails to recognize the now clean, pretty flower girl as his daughter.

For a number of months, Higgins trains Eliza to speak properly. Two trials for Eliza follow. The first occurs at Higgins' mother's home, where Eliza is introduced to the Eynsford Hills, a trio of mother, daughter, and son. The son Freddy is very attracted to her, and further taken with what he thinks is her affected "small talk" when she slips into cockney. Mrs. Higgins worries that the experiment will lead to problems once it is ended, but Higgins and Pickering are too absorbed in their game to take heed. A second trial, which takes place some months later at an ambassador's party (and which is not actually staged), is a resounding success. The wager is definitely won, but Higgins and Pickering are now bored with the project, which causes Eliza to be hurt. She throws Higgins' slippers at him in a rage because she does not know what is to become of her, thereby bewildering him. He suggests she marry somebody. She returns him the hired jewelry, and he accuses her of ingratitude.
The following morning, Higgins rushes to his mother, in a panic because Eliza has run away. On his tail is Eliza's father, now unhappily rich from the trust of a deceased millionaire who took to heart Higgins' recommendation that Doolittle was England's "most original moralist." Mrs. Higgins, who has been hiding Eliza upstairs all along, chides the two of them for playing with the girl's affections. When she enters, Eliza thanks Pickering for always treating her like a lady, but threatens Higgins that she will go work with his rival phonetician, Nepommuck. The outraged Higgins cannot help but start to admire her. As Eliza leaves for her father's wedding, Higgins shouts out a few errands for her to run, assuming that she will return to him at Wimpole Street. Eliza, who has a lovelorn sweetheart in Freddy, and the wherewithal to pass as a duchess, never makes it clear whether she will or not.

Characters
Professor Henry Higgins - Henry Higgins is a professor of phonetics who plays Pygmalion to Eliza Doolittle's Galatea. He is the author of Higgins' Universal Alphabet, believes in concepts like visible speech, and uses all manner of recording and photographic material to his phonetic subjects, reducing people and their dialects into what he sees as readily understandable units. He is an unconventional man, who goes in the opposite direction from the rest of society in most matters. Indeed, he is impatient with high society, forgetful in his public graces, and poorly considerate of normal social niceties--the only reason the world has not turned against him is because he is at heart a good and harmless man. His biggest fault is that he can be a bully.


Eliza Doolittle - "She is not at all a romantic figure." So is she introduced in Act I. Everything about Eliza Doolittle seems to defy any conventional notions we might have about the romantic heroine. When she is transformed from a sassy, smart-mouthed kerbstone flower girl with deplorable English, to a (still sassy) regal figure fit to consort with nobility, it has less to do with her innate qualities as a heroine than with the fairy-tale aspect of the transformation myth itself. In other words, the character of Eliza Doolittle comes across as being much more instrumental than fundamental. The real (re-)making of Eliza Doolittle happens after the ambassador's party, when she decides to make a statement for her own dignity against Higgins' insensitive treatment. This is when she becomes, not a duchess, but an independent woman; and this explains why Higgins begins to see Eliza not as a mill around his neck but as a creature worthy of his admiration.

Colonel Pickering - Colonel Pickering, the author of Spoken Sanskrit, is a match for Higgins (although somewhat less obsessive) in his passion for phonetics. But where Higgins is a boorish, careless bully, Pickering is always considerate and a genuinely gentleman. He says little of note in the play, and appears most of all to be a civilized foil to Higgins' barefoot, absentminded crazy professor. He helps in the Eliza Doolittle experiment by making a wager of it, saying he will cover the costs of the experiment if Higgins does indeed make a convincing duchess of her. However, while Higgins only manages to teach Eliza pronunciations, it is Pickering's thoughtful treatment towards Eliza that teaches her to respect herself.


Alfred Doolittle - Alfred Doolittle is Eliza's father, an elderly but vigorous dustman who has had at least six wives and who "seems equally free from fear and conscience." When he learns that his daughter has entered the home of Henry Higgins, he immediately pursues to see if he can get some money out of the circumstance. His unique brand of rhetoric, an unembarrassed, unhypocritical advocation of drink and pleasure (at other people's expense), is amusing to Higgins. Through Higgins' joking recommendation, Doolittle becomes a richly endowed lecturer to a moral reform society, transforming him from lowly dustman to a picture of middle class morality--he becomes miserable. Throughout, Alfred is a scoundrel who is willing to sell his daughter to make a few pounds, but he is one of the few unaffected characters in the play, unmasked by appearance or language. Though scandalous, his speeches are honest. At points, it even seems that he might be Shaw's voice piece of social criticism (Alfred's proletariat status, given Shaw's socialist leanings, makes the prospect all the more likely).


Mrs. Higgins - Professor Higgins' mother, Mrs. Higgins is a stately lady in her sixties who sees the Eliza Doolittle experiment as idiocy, and Higgins and Pickering as senseless children. She is the first and only character to have any qualms about the whole affair. When her worries prove true, it is to her that all the characters turn. Because no woman can match up to his mother, Higgins claims, he has no interest in dallying with them. To observe the mother of Pygmalion (Higgins), who completely understands all of his failings and inadequacies, is a good contrast to the mythic proportions to which Higgins builds himself in his self-estimations as a scientist of phonetics and a creator of duchesses.


Freddy Eynsford Hill - Higgins' surmise that Freddy is a fool is probably accurate. In the opening scene he is a spineless and resourceless lackey to his mother and sister. Later, he is comically bowled over by Eliza, the half-baked duchess who still speaks cockney. He becomes lovesick for Eliza, and courts her with letters. At the play's close, Freddy serves as a young, viable marriage option for Eliza, making the possible path she will follow unclear to the reader.


Pygmalion
By: George Bernard Shaw
Themes
Appearances and Reality

Pygmalion examines this theme primarily through the character of Liza and the issue of personal identity. Social roles in the Victorian era were viewed as natural and largely fixed, there was perceived to be something inherently fundamentally unique about a noble versus an unskilled labored and vice versa. Liza’s ability to fool society about her “real” identity raises questions about appearances. The importance of appearance and reality to the theme of Pygmalion is suggested by Liza’s.
Critical overview
Pygmalion is one of Shaw’s most popular plays as well as one of his most straightforward one. The form has none of the complexity that we find in heartbreak house yet the ending in Pygmalion provokes an interesting Controversy among critics. Higgins and Eliza do not marry at the end of the written .

Pygmalion is a play which is concerned with Shaw’s ideas about society and class. Pygmalion does not have a useful introduction. The play concentrates on the comedy of the early lessons, and the early attempts to pass Eliza off into society. Shaw makes some effort to avoid sentimentality- the fact that despite the title. Henry and Eliza don’t end up falling in love. However, Shaw suffers from a sort of non-romantic sentimentality.

Pygmalion has a tightly- constructed plot rising conflict and other qualities of the well-made play a popular from at the time. Shaw, however, revolutionized the English stage by disposing of the conventions of the well-made play; he discarded its theatrical dependence on prolonging and then resolving conflict in a sometimes contrived manner for a theater of ideas grounded in realism.

 

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