摘 要 獨白是戲劇的傳統手法，莎士比亞劇中屢見不鮮。一般視之為舞台上某 角色單獨在場時所說的話，通常表達該角色內心的真實感情或思想。若仔細 探究，莎劇獨白其實有多種類型，戲劇意義也差異甚多。從獨白者與其他角 色以及觀眾的相互關係而言， 獨白可依據不同受話者——亦即獨白的對 象——區分為四大類型：陽春型、有偶型、配件型、對話型。由於一般獨白 研究大多忽略了受話者的角色，本篇論文旨在審視以上各型獨白，舉證說明 獨白者與受話者如何互動，產生特有的戲劇意義。

Abstract Soliloquy, a theatrical convention of long standing, is frequently encountered in Shakespeare’s plays. It is often considered a speech by a solitary character on stage, in which he reveals his true feelings. Upon careful examination, Shakespearean soliloquies are of many types, with different degrees of complexity in form and carrying various dramatic implications. In terms of the interrelationship between the soliloquist and his known or unknown addressees, the soliloquy may be divided into four basic types: Plain Soliloquy, Attended Soliloquy, Soliloquy with Props, and Dialogical Soliloquy. This paper attempts to re-view each type and, drawing on selected examples, show how the addressee—often unduly neglected in previous studies—figures in the theatrical effect of a piece of soliloquy.