成语名称：一报还一报 yi bào huan yi bào
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[成语解释] 旧时认为做了怎幺样的事，就有怎幺样的报应。也指怎幺对待别人的，也就会得到怎幺样的回报。
百科解释如下：
1)成语
一报还一报 (yī bào huán yī bào)
解释：指做一件坏事后必受一次报复。也指以其人之道还治其人之身。
出处：元·纪君祥《赵氏孤儿》第四折：“做冤仇能做毒，少不的一报还一报。”
示例：明儿大伙一人带一根大棒子，用大棒子来审韩大棒子，这叫～。 ★周立波《暴风骤雨》第一部十七
用法：作宾语、定语；用于劝诫人
2)书籍
作者：莎士比亚
《一报还一报》创作于第二时期，这部作品写爱情与婚姻，但却突出了愚行和社会阴暗面，因而既与同期的悲剧有所呼应，又以喜剧性或辛辣的嘲讽对应着剧中浪漫的情调。
故事梗概：
那瓦国国王和三个贵族朝臣，发誓三年不近女色。不料法国国王派公主带三名侍女前业谈判某地归属问题，四名男子很快放弃初衰，各自堕人情网。于是四对男女演出了一系列风流滑稽戏，最后法国使者忽然来报法国国王去世，公主必须立即回去，公主代表女方规定，男言必须等待一年，以观是否变心，四位女士飘然离去。尽管剧名为“爱的徒劳”，但从剧情来看，该剧所表现的恰恰是爱能战胜一切。
莎翁在剧中以巧妙的情节创造出许多使观众捧腹的笑料，嘲笑了摒鹿弃爱情的禁欲主义，也嘲笑了爱情的盲目性，全剧到处都是文字游戏和双关语，剧中所包容的社会各个阶层从国王、大臣到农夫、小丑，其语言无不各具特色，符合人物各自的身份。此剧还穿插了不少清新、优美的歌曲和民歌，这些民歌都富有诗意，散发着英国乡间泥土的清香，充分表现了莎士比亚的语言天才。
a “dark” comedy in five acts by William Shakespeare, written about 1603–04 and published in the First Folio of 1623 from a transcript of an authorial draft. The play examines the complex interplay of mercy and justice. Shakespeare adapted the story from Epitia, a tragedy by Italian dramatist Giambattista Giraldi (also called Cinthio), and especially from a two-part play by George Whetstone titled Promos and Cassandra (1578).
The play opens with Vincentio, the benevolent duke of Vienna, commissioning his deputy Angelo to govern the city while he travels to Poland. In actuality, the duke remains in Vienna disguised as a friar in order to watch what unfolds. Following the letter of the law, Angelo passes the death sentence on Claudio, a nobleman convicted for impregnating his betrothed, Juliet. Claudio's sister Isabella, a novice in a nunnery, pleads his case to Angelo. This new deputy ruler, a man of stern and rigorous self-control, finds to his consternation and amazement that he lusts after Isabella; her virgin purity awakens in him a desire that more profligate sexual opportunities could not. Hating himself for doing so, he offers to spare Claudio's life if Isabella will have sex with him. She refuses and is further outraged when her brother begs her to reconsider. On the advice of the disguised Vincentio, Isabella schedules the rendezvous but secretly arranges for her place to be taken by Mariana, the woman Angelo was once engaged to marry but whom he then disavowed because her dowry had been lost. Afterward, Angelo reneges on his promise to save Claudio, fearing that the young man knows too much and is therefore dangerous. Vincentio, reemerging at last from his supposed journey, presides over a finale in which Angelo is discredited and ordered to marry Mariana. Claudio, having been saved from execution by the secret substitution of one who has died in prison, is allowed to marry Juliet. Lucio, an engaging but irresponsible woman chaser and scandalmonger, is reproved by Vincentio and obliged to marry a whore with whom he has had a child. The rascally underworld figures (the bawd Mistress Overdone, her pimp Pompey, and her customer Froth) who have exploited the sexual freedom of Vienna despite the wonderfully inept policing attempts of Constable Elbow are finally brought to justice, partly through the careful supervision of the magistrate Escalus. Vincentio asks Isabella to give up her idea of being a nun in order to become his wife. (Whether she accepts is today a matter of theatrical choice.)
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