1. The Relationship Between Shakespeare and Folklore Presentter ：陳孟君 946602 E-mail:en13096@yahoo.com.tw Date ： 6/13,2007

2. Prolegomena In the class reading, in the fextbook (WHAT IS THE TEXT OF A PLAY BY SHAKEPARE ) mention at the problems of copyright about Shakespeare works. The author pointed out the fact that Romeo and Juliet that some version of the was played by actors memory, not the original play. In their rehearsal, actors as an author who altered the play and did not require Shakespeare’s agreement.

3. It was interesting of the reality in Shakespeare’s play at that time. The actors depended on the situation at that time and the reaction from audience to alter and add some contents. Therefore many version of the text.

4. My viewpoint doubts Shakespeare’s original creation. Iustead, I explore a public art which is near the audience and actors. When a playwright creates, how they put folklore in their work? What relationship between Shakespeare’s work and folklore?

5. I will mention the important conception from folklore to contact Shakespeare’s play and remount the viewpoints about author’s copyright at that time. Is Shakespeare’s work really his original creation? Does it embrace the traditional folklore? I hope that by depending on these thought, we can enhance the understanding about the relationship between there two.

6. Who is 「 Shakespeare 」？ The question around in Shakespeare’s work that who the real author is? In fact, if we turn back to the background of creation, we may find out the author was not just him. The society at that time, the playwrights created plays not published but in order to perform.

7. The scholar, Simon Trussler, who analysed Shakespeare and pointed out the collaborative authorship was usual at that time, lots of plays which be created did not know the author before 1590, just like the literature in the Middle Ages, the parts of plays were collaborative creation and oral accretion. In the foreword, got a mention of Shakespeare, the doisterer’s line swas performed by actor’s memory, all the content of performance not only decided by author but also including actors.

8. The authority of folklore Bruce A. Rosenberg argues few medieval authors signed their works; they viewed themselves as perpetuators rather than originators. （ Rosenberg, 1991 ： 23 ） Among these important conception, we could know that Shakespeare’s play were not all from his creation, the plays with the feature of traditional and oral literature, this is just the “collative” and “variability”.

9. Element of Folklore in the Works The words undeveloped in some society, stories were recorded by oral circulation. When ages comes to the words could be public, the author usually used the oral stories to create his words. The story of King Lear is similar with an oral story in England, this legend has many texts in every place in Europe.

10. Comparing with King Lear, we know that arranged the roles and the theme of story have similar with folk legend, we could refer to this form.

11. theme The ethical relationship between father and children The third daughter was chased The elder daughters bullied their father after acquiring the property Father awaked up and looked for the third daughter King Lear ˇˇˇˇ Folklo re ˇˇˇ

12. Rosenberg argues writers and authors may “use” folklore in their works for any of sevsral purposes. They may wish to impart verisimilitude to their depiction of a regional setting. A second use of folkloric materials is symbolic, folkloric nature of the materials having little to do, per se, with their use in literature. （ Rosenberg, 1991 ： 56-57 ）. We could know that folklore for Shakespeare’s creation was a kind of goodness, what was more, a material of creation to stimulate ideas.

13. In addition, King Lear has abundant colors of folklore in structure of story and topic. It also has plenty of means of folk in Hamlet especially the conversation between Horatio and Bernardo in the first plot. We could see Shakespeare regarded folk activities as creational material.

14. In the conversation, Shakespeare included the content of folk activities and enhanced the reality of ghost. Shakespeare used the date which had strange phenomenon after Julius fell in Roman, and emphasized unusual of ghost apparition. Talking about how to put folklore into the literacy. Andre Morize argues sources of detail are used to identify portions— or language, plot, technique, characterization, description, and so forth— of literature to determine an author’s inspiration. （ Morize Andre ， 1922 ： 96-127 ）.

15. Conclusion Therefore, we could know that folklore and author’s literacy are mixed each other. The legends, songs, and customs went to the ground of local and became the material of author’s creations. Although words literacy hard over the oral literacy, it not mean that words literacy will cover the oral literacy. I think Shakespeare’s plays are already as a good demonstration for us.

16. Reference 1. David Savran, （ 1988 ） In Their Own Words, New York: Theater Communications Groups 2. Morize, Andre. （ 1922 ） Problems and Methods of Literary History: A Guide for Graduate Students. Boston:Ginn 3. Rosenberg, Bruce A. （ 1991 ） Folker& Literature—Rival Tokofsky, Bloomington: Indiana University Press 4. Robert Hapgood, （ 1988 ） Shakespeare the Theatre-Poet, Oxford: Oxford UP 5. Viv Edwards Thomas J. Sienkewicz （ 1990 ） Oral Cultures Past and Present, Basil Blackwell 1. 鍾仲堯〈索福克里斯悲劇和莎士比亞悲劇之比較〉《史學研究》 16 卷 2002.07 2. 彭鏡禧 主編（ 2000 ）《發現莎士比亞：台灣莎學論述選集》，台北： 城邦文化 3. 梁實秋譯（ 1967 ）《哈姆雷特》，台北：遠東