莎士比亚名著故事：罗密欧与朱丽叶（插图·中文导读英文版）pdf/doc/txt格式电子书下载

书名：莎士比亚名著故事：罗密欧与朱丽叶（插图·中文导读英文版）pdf/doc/txt格式电子书下载

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作者：（英）查尔斯·兰姆,玛丽·兰姆,王勋,纪飞,王勋,纪飞、等编

出版社：清华大学出版社

出版时间：2012-06-01

书籍编号：30143321

ISBN：9787302285953

正文语种：中英对照

字数：302019

版次：1

所属分类：外语学习-英语读物

莎士比亚名著故事——罗密欧与朱丽叶（插图·中文导读英文版）

（英）查尔斯·兰姆 （英）玛丽·兰姆 改编

王勋 纪飞 等 编译

清华大学出版社

前言

威廉·莎士比亚（William Shakespeare，1564—1616），文艺复兴时期英国伟大的剧作家、诗人，被誉为“英国戏剧之父”、“人类文学奥林匹斯山上的宙斯”。

1564年4月23日，莎士比亚于出生在英格兰沃里克郡斯特拉福镇一个比较富裕的家庭，父亲曾任该镇镇长。莎士比亚幼年在当地文法学校学习，并对戏剧、诗歌怀有浓厚的兴趣；13岁时因家道衰败被迫辍学，18岁结婚；约在1586年（或说1587年）前往伦敦谋生，先在剧院门前为贵族顾客看马，后逐渐成为剧院的杂役、演员、剧作家，最后成了剧院股东。

莎士比亚是英国文学史和戏剧史上最杰出的诗人和剧作家，也是西方文艺史上最杰出的作家之一、全世界最伟大的剧作家之一，是举世公认的文学天才。他一生共写有37部戏剧、154首14行诗、两首长诗和其他诗歌等。莎士比亚的主要悲剧作品包括：《罗密欧与朱丽叶》、《麦克白》、《李尔王》、《哈姆雷特》、《奥瑟罗》、《泰特斯·安特洛尼克斯》、《裘力斯·凯撒》、《安东尼与克莉奥佩屈拉》、《科利奥兰纳斯》、《特洛埃围城记》、《雅典的泰门》等，喜剧作品包括：《错中错》、《终成眷属》、《皆大欢喜》、《仲夏夜之梦》、《无事生非》、《一报还一报》、《暴风雨》、《驯悍记》、《第十二夜》、《威尼斯商人》、《温莎的风流娘们》、《爱的徒劳》、《维洛那二绅士》、《提尔国王佩力克尔斯》、《辛白林》、《冬天的故事》等，历史剧作品包括：《亨利四世》、《亨利五世》、《亨利六世》、《亨利八世》、《约翰王》、《里查二世》、《里查三世》，十四行诗包括：《爱人的怨诉》、《鲁克丽丝失贞记》、《维纳斯和阿多尼斯》、《热情的朝圣者》、《凤凰和斑鸠》等。

几个世纪以来，莎士比亚的作品一直影响着世界各地的读者，给世人留下了极其宝贵的精神财富，他的戏剧作品是世界文学史上的一座丰碑。他的作品被译成世界上几乎所有的文字，他的剧本至今还在世界各地演出。1616年4月26日，莎士比亚在家乡的小镇去世，逝后被安葬在镇上的一个小教堂旁。每年来自世界各地数以千万计的人像朝圣一般去瞻仰他的墓地。在他生日的那天，每年都有许多国家的剧院在上演他的剧本纪 念他。

在中国，莎士比亚是深受广大读者喜爱的作家，他们也是最早被介绍给中国读者的作家。为了让国内读者更好地了解莎士比亚作品，我们决定引进由英国著名作家玛丽·兰姆和查尔斯·兰姆姐弟改编的莎士比亚名著故事，并采用中文导读英文版的形式出版。在中文导读中，我们尽力使其贴近原作的精髓，也尽可能保留原作故事主线。我们希望能够编出为当代中国读者所喜爱的经典读本。读者在阅读英文故事之前，可以先阅读中文导读内容，这样有利于了解故事背景，从而加快阅读速度。我们相信，该经典著作的引进对加强当代中国读者，特别是青少年读者的人文修养是非常有帮助的。

本书主要内容由王勋、纪飞编译。参加本书故事素材搜集整理及编译工作的还有郑佳、赵雪、熊金玉、李丽秀、刘乃亚、熊红华、王婷婷、孟宪行、胡国平、李晓红、贡东兴、陈楠、邵舒丽、冯洁、王业伟、徐鑫、王晓旭、周丽萍、熊建国、徐平国、肖洁、王小红等。限于我们的科学、人文素养和英语水平，书中难免会有不当之处，衷心希望读者朋友批评指正。

PREFACE
The following Tales are meant to be submitted to the young reader as an introduction to the study of Shakespeare, for which purpose his words are used whenever it seemed possible to bring them in; and in whatever has been added to give them the regular form of a connected story, diligent care has been taken to select such words as might least interrupt the effect of the beautiful English tongue in which he wrote: therefore, words introduced into our language since his time have been as far as possible avoided.
In those Tales which have been taken from the Tragedies, the young readers will perceive, when they come to see the source from which these stories are derived, that Shakespeare’s own words, with little alteration, recur very frequently in the narrative as well as in the dialogue; but in those made from the Comedies the writers found themselves scarcely ever able to turn his words into the narrative form: therefore it is feared that, in them, dialogue has been made use of too frequently for young people not accustomed to the dramatic form of writing. But this fault, if it be a fault, has been caused by an earnest wish to give as much of Shakespeare’s own words as possible: and if the “He said” and “She said,” the question and the reply, should sometimes seem tedious to their young ears, they must pardon it, because it was the only way in which could be given to them a few hints and little foretastes of the great pleasure which awaits them in their elder years, when they come to the rich treasures from which these small and valueless coins are extracted; pretending to no other merit than as faint and imperfect stamps of Shakespeare’s matchless image. Faint and imperfect images they must be called, because the beauty of his language is too frequently destroyed by the necessity of changing many of his excellent words into words far less expressive of his true sense, to make it read something like prose; and even in some few places, where his blank verse is given unaltered, as hoping from its simple plainness to cheat the young readers into the belief that they are reading prose, yet still his language being transplanted from its own natural soil and wild poetic garden, it must want much of its native beauty.

莎士比亚曾就读的学校
It has been wished to make these Tales easy reading for very young children. To the utmost of their ability the writers have constantly kept this in mind; but the subjects of most of them made this a very difficult task. It was no easy matter to give the histories of men and women in terms familiar to the apprehension of a very young mind. For young ladies, too, it has been the intention chiefly to write; because boys being generally permitted the use of their fathers’ libraries at a much earlier age than girls are, they frequently have the best scenes of Shakespeare by heart, before their sisters are permitted to look into this manly book; and, therefore, instead of recommending these Tales to the perusal, of young gentlemen who can read them so much better in the originals, their kind assistance is rather requested in explaining to their sisters such parts as are hardest for them to understand: and when they have helped them to get over the difficulties, then perhaps they will read to them (carefully selecting what is proper for a young sister’s ear) some passage which has pleased them in one of these stories, in the very words of the scene from which it is taken; and it is hoped they will find that the beautiful extracts, the select passages, they may choose to give their sisters in this way will be

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