莎士比亞戲劇故事:TALES FROM SHAKESPEARE （英文版） pdf epub mobi txt 電子書下載 2025

簡體網頁||繁體網頁

☆☆☆☆☆

查爾斯·蘭姆，瑪麗·蘭姆著

圖書標籤:

Shakespeare
Classic Literature
English Literature
Drama
Stories
Adaptation
Tales from Shakespeare
Children's Literature
Fiction
Retelling

下載連結在頁面底部

facebook linkedin mastodon messenger pinterest reddit telegram twitter viber vkontakte whatsapp 複製連結

想要找書就要到靜思書屋

book.idnshop.cc

立刻按 ctrl+D收藏本頁

你會得到大驚喜!!

齣版社：天津人民齣版社

ISBN：9787201110998

版次：1

商品編碼：12086102

品牌：Holybird

包裝：平裝

開本：32開

齣版時間：2016-11-01

用紙：純質紙

頁數：320

字數：300

正文語種：英文

具體描述

內容簡介

《莎士比亞戲劇故事:TALES FROM SHAKESPEARE》，由英國18世紀著名作傢查爾斯·蘭姆與姐姐瑪麗·蘭姆共同改寫而成，原是為英國兒童寫的通俗讀物，現已成為全世界莎劇初學者必讀的入門書。本書收錄瞭莎士比亞著名的20部戲劇，其中12部喜劇，包括《暴風雨》《仲夏夜之夢》《無事生非》《皆大歡喜》《威尼斯商人》《第十二夜》等；8部悲劇，包括《羅密歐與硃麗葉》《奧賽羅》《丹麥王子哈姆萊特》《麥剋白》《李爾王》等，囊括瞭莎士比亞在各創作時期的不同作品類型。

本書為英文原版，同時提供配套英文朗讀免費下載，詳見圖書封底二維碼信息。讓讀者在欣賞莎翁優美劇作的同時，亦能提升英語閱讀水平。

Tales from Shakespeare is an English children’s book written by Charles Lamb and his sister Mary Lamb in 1807. The book is designed to make the stories of Shakespeare’s plays familiar to the young. However, as noted in the author’s Preface, “[Shakespeare’s] 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.”

Mary Lamb was responsible for the comedies, while Charles wrote the tragedies; they wrote the preface between them. The book has been republished many times. It was illustrated by Sir John Gilbert (1866), Arthur Rackham (1899,1909), Louis Monziès in (1908), Walter Paget (1910), D. C. Eyles (1934, 1938).

作者簡介

Charles Lamb (1775 – 1834) was an English poet and essayist who wrote Tales from Shakespeare and Essays of Elia. He was born on February 10, 1775, in London, England. Becoming an essayist, he wrote children’s versions of well-known works, including Tales from Shakespeare. Lamb cared for his troubled sister, Mary, after she murdered their mother. He is best known for writing remarkable letters for London Magazine, Essays of Elia, under the pan name Elia. He died in 1834.

Mary Lamb (1764 – 1847) was an English writer. She is best known for the collaboration with her brother Charles on the collection Tales from Shakespeare. She and Charles presided over a literary circle in London that included the poets William Wordsworth and Samuel Taylor Coleridge, among others.

內頁插圖

精彩書摘

THE TEMPEST

There was a certain island in the sea, the only inhabitants of which were an old man, whose name was Prospero, and his daughter Miranda, a very beautiful young lady. She came to this island so young, that she had no memory of having seen any other human face than her father’s.

They lived in a cave or cell, made out of a rock; it was divided into several apartments, one of which Prospero called his study; there he kept his books, which chiefly treated of magic, a study at that time much affected by all learned men: and the knowledge of this art he found very useful to him; for being thrown by a strange chance upon this island, which had been enchanted by a witch called Sycorax, who died there a short time before his arrival, Prospero, by virtue of his art, released many good spirits that Sycorax had imprisoned in the bodies of large trees, because they had refused to execute her wicked commands. These gentle spirits were ever after obedient to the will of Prospero. Of these Ariel was the chief.

The lively little sprite Ariel had nothing mischievous in his nature, except that he took rather too much pleasure in tormenting an ugly monster called Caliban, for be owed him a grudge because he was the son of his old enemy Sycorax. This Caliban, Prospero found in the woods, a strange misshapen thing, far less human in form than an ape: he took him home to his cell, and taught him to speak; and Prospero would have been very kind to him, but the bad nature which Caliban inherited from his mother Sycorax, would not let him learn anything good or useful: therefore he was employed like a slave, to fetch wood, and do the most laborious offices; and Ariel had the charge of compelling him to these services.

When Caliban was lazy and neglected his work, Ariel (who was invisible to all eyes but Prospero’s) would come slily and pinch him, and sometimes tumble him down in the mire; and then Ariel, in the likeness of an ape, would make mouths at him. Then swiftly changing his shape, in the likeness of a hedgehog, he would lie tumbling in Caliban’s way, who feared the hedgehog’s

sharp quills would prick his bare feet. With a variety of suchlike vexatious tricks Ariel would often torment him, whenever Caliban neglected the work which Prospero commanded him to do.

Having these powerful spirits obedient to his will, Prospero could by their means command the winds, and the waves of the sea. By his orders they raised a violent storm, in the midst of which, and struggling with the wild sea-waves that every moment threatened to swallow it up, he showed his daughter a fine large ship, which he told her was full of living beings like themselves. “O my dear father,” said she, “if by your art you have raised this dreadful storm, have pity on their sad distress. See! the vessel will be dashed to pieces. Poor souls! they will all perish. If I had power, I would sink the sea beneath the earth, rather than the good ship should be destroyed, with all the precious souls within her.”

“Be not so amazed, daughter Miranda,” said Prospero; “there is no harm done. I have so ordered it, that no person in the ship shall receive any hurt. What I have done has been in care of you, my dear child. You are ignorant who you are, or where you came from, and you know no more of me, but that I am your father, and live in this poor cave. Can you remember a time before you came to this cell? I think you cannot, for you were not then three years of age.”

“Certainly I can, sir,” replied Miranda.

“By what?” asked Prospero; “by any other house or person? Tell me what you can remember, my child.”

Miranda said, “It seems to me like the recollection of a dream. But had I not once four or five women who attended upon me?”

Prospero answered, “You had, and more. How is it that this still lives in your mind? Do you remember how you came here?” “No, sir,” said Miranda, “I remember nothing more.”

“Twelve years ago, Miranda,” continued Prospero, “I was Duke of Milan, and you were a princess, and my only heir. I had a younger brother, whose name was Antonio, to whom I trusted everything; and as I was fond of retirement and deep study, I commonly left the management of my state affairs to your uncle, my false brother (for so indeed he proved). I, neglecting all worldly ends, buried among my books, did dedicate my whole time to the bettering of my mind. My brother Antonio being thus in possession of my power, began to think himself the duke indeed. The opportunity I gave him of making himself popular among my subjects awakened in his bad nature a proud ambition to deprive me of my dukedom; this he soon effected with the aid of the King of Naples, a powerful prince, who was my enemy.”

前言/序言

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.

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 much better relished and understood from their having some notion of the general story from one of these imperfect abridgments; which if they be fortunately so done as to prove delightful to any of the young readers, it is hoped that no worse effect will result than to make them wish themselves a little older, that they may be allowed to read the plays at full length (such a wish will be neither peevish nor irrational). When time and leave of judicious friends shall put them into their hands, they will discover in such of them as are here abridged (not to mention almost as many more, which are left untouched) many surprising events and turns of fortune, which for their infinite variety could not be contained in this little book, besides a world of sprightly and cheerful characters, both men and women, the humour of which it was feared would be lost if it were attempted to reduce the length of them.

What these tales shall have been to the young readers, that and much more it is the writers’ wish that the true plays of Shakespeare may prove to them in older years—enrichers of the fancy, strengtheners of virtue, a withdrawing from all selfish and mercenary thoughts, a lesson of all sweet and honorable thoughts d actions, to teach courtesy, benignity, generosity, humanity: for of examples, teaching these virtues, his pages are full.

經典文學瑰寶的璀璨再現：四大名著精選譯本導覽導讀：本導讀旨在為您呈現一套精心挑選的、涵蓋世界文學史上最為重要的四部經典巨著的精選譯本。這些作品不僅代錶瞭各自文化和時代的巔峰成就，更是全人類共同的精神財富。本次推薦的重點在於發掘不同譯本在風格、忠實度與現代可讀性之間的平衡，幫助讀者找到最適閤自己的閱讀體驗。我們將聚焦於四部不朽之作：《紅樓夢》、《戰爭與和平》、《百年孤獨》以及《追憶逝水年華》。 --- 一、《紅樓夢》（Dream of the Red Chamber）—— 洞悉世相的百科全書推薦版本側重：側重於保持原著詩詞典雅韻味與敘事流暢性的權威修訂版。《紅樓夢》，這部中國古典小說的巔峰之作，其博大精深遠超一般文學作品的範疇。它不僅僅是一部描繪賈、史、王、薛四大傢族興衰榮辱的“閨閣閑筆”，更是一部細緻入微的社會風俗畫捲、一部蘊含深刻哲學思想的百科全書。內容精要：故事圍繞著銜玉而生的賈寶玉及其與林黛玉、薛寶釵之間的復雜情感糾葛展開。然而，其魅力遠不止於“情”字。書中對清代貴族生活的描繪達到瞭令人發指的精細程度，從園林建築、服飾飲食、醫藥占蔔到詩詞歌賦、節慶禮儀，無不體現齣作者曹雪芹深厚的學識與敏銳的觀察力。文本解讀深度：優秀譯本在處理《紅樓夢》時，麵臨的核心挑戰是如何平衡原文的典雅與現代讀者的理解。我們推薦的版本特彆注重對書中大量詩詞麯賦的藝術化轉譯，力求在傳達其意境的同時，不失其原有的格律美感。對於書中涉及的佛道思想、儒傢倫理以及復雜的人際關係網絡，譯者通常會輔以詳盡的注釋，幫助讀者理解在特定曆史背景下人物行為邏輯的必然性。閱讀價值：閱讀《紅樓夢》是對中國傳統文化的一次深度沉浸。它探討瞭“真”與“假”、“有”與“無”的哲學命題，哀婉地揭示瞭封建社會末世的無可挽迴的衰敗，以及在巨大體製下個體生命追求自由與純粹的悲劇命運。每一位讀者都能從中看到人性的復雜、命運的無常以及對美好事物消逝的永恒喟嘆。 --- 二、《戰爭與和平》（War and Peace）—— 曆史洪流中的個體命運推薦版本側重：忠實於托爾斯泰宏大敘事結構，同時清晰梳理眾多人物脈絡的權威足本。列夫·托爾斯泰的《戰爭與和平》，以拿破侖戰爭時期俄國社會為背景，被譽為人類文學史上最偉大的史詩之一。它以驚人的廣度和深度，將曆史事件與貴族傢庭的日常生活交織在一起，構建瞭一個宏大而又極其真實的俄羅斯生活圖景。內容精要：小說核心圍繞皮埃爾、安德烈和娜塔莎三位主角的成長與掙紮展開。他們經曆瞭奧斯特裏茨戰役的慘烈、莫斯科的焚毀以及隨之而來的精神覺醒。托爾斯泰不僅描繪瞭沙皇亞曆山大一世與拿破侖的軍事博弈，更深入探究瞭庫圖佐夫等軍事領袖的決策藝術，以及普通士兵在曆史車輪下的無力感。文本解讀深度：這部作品的難度在於其龐大的人物群像和哲學思辨的穿插。優秀的譯本必須確保數以百計的人物關係清晰不亂，同時，托爾斯泰對曆史決定論和個體自由意誌的探討，需要譯者以嚴謹、富有哲理的語言來承載。推薦的版本通常在長篇的哲學論述部分，會保持其思辨的力度，而在戰場描寫和傢庭場景中，則展現齣強大的戲劇張力。閱讀價值：《戰爭與和平》教會我們如何看待曆史。托爾斯泰質疑瞭“偉大人物決定曆史”的觀點，強調瞭無數普通人的“偶然性”匯聚纔是曆史的真正動力。閱讀它，是體驗俄羅斯民族精神深度，理解愛、信仰、犧牲以及在巨大曆史變動中，個人如何尋求生命意義的深刻過程。 --- 三、《百年孤獨》（One Hundred Years of Solitude）—— 魔幻現實的傢族寓言推薦版本側重：精準捕捉馬爾剋斯拉丁語特有的奇異意象與幽默感的譯本。加夫列爾·加西亞·馬爾剋斯的《百年孤獨》，是拉丁美洲“魔幻現實主義”文學的裏程碑。它以布恩迪亞傢族七代人在虛構小鎮馬孔多的興衰為載體，濃縮瞭整個拉丁美洲的曆史、神話與哀愁。內容精要：小說講述瞭布恩迪亞傢族從創始者何塞·阿卡迪奧·布恩迪亞建立馬孔多，到傢族最終因孤獨而消亡的百年曆程。書中充滿瞭不可思議的事件：失眠癥的瘟疫、飛升的女子、預言羊皮捲……這些奇幻元素與政治動蕩、香蕉種植園的剝削等現實主題交織在一起，構建瞭一個既荒誕又無比真實的世界。文本解讀深度：魔幻現實主義對譯者的挑戰極大。譯者必須在保持故事荒誕不經意的敘事語調的同時，準確傳達其背後的社會批判和宿命感。推薦的版本往往能有效地處理馬爾剋斯標誌性的長句結構，使得讀者在沉浸於魔幻景象的同時，不至於迷失在時間的循環與人物的同名呼喚之中。閱讀價值：《百年孤獨》是一部關於時間、記憶與孤獨的寓言。它揭示瞭人類在麵對曆史的重復性、科技的異化以及愛情的徒勞時，那種無可避免的宿命感。通過馬孔多的興衰，讀者得以反思現代文明的發展軌跡，以及人類如何被自身的曆史所睏。 --- 四、《追憶逝水年華》（In Search of Lost Time）—— 意識流的記憶迷宮推薦版本側重：細緻入微地再現普魯斯特對感官體驗和潛意識描寫的譯本。馬塞爾·普魯斯特的《追憶逝水年華》，是20世紀最偉大的意識流小說之一，被譽為對“時間”和“記憶”進行最深刻探索的文學巨著。全書篇幅浩瀚，結構精妙，是一次對內在世界的百科全書式的考察。內容精要：小說以第一人稱敘事，追溯瞭敘述者馬塞爾（Marcel）從童年到成年的生活片段，尤其是他穿梭於法國貴族沙龍的經曆，以及對愛情、藝術、嫉妒和時間流逝的哲學沉思。作品的標誌性事件——一塊瑪德萊娜小餅乾引發的非自主記憶，開啓瞭整個宏大的迴憶之旅。文本解讀深度：這部作品的閱讀門檻極高，因為它幾乎完全脫離瞭傳統的情節驅動，轉而深入人類意識的細微波動。優秀的譯本必須能夠精準捕捉普魯斯特標誌性的、層層嵌套的、極度復雜的長句結構，並在不犧牲其文學韻味的前提下，引導讀者進入其多層次的感官世界。對書中涉及的藝術流派、社會階層和心理分析的準確處理，是衡量譯本優劣的關鍵。閱讀價值：閱讀《追憶逝水年華》，是一場對“自我”的探索。它探討瞭藝術如何成為抵抗時間消磨的唯一力量，以及“非自主記憶”（無意識中被喚醒的記憶）如何比有意識的迴憶更加真實和具有生命力。它改變瞭我們理解主觀時間和客觀現實之間的關係，是現代文學中對人類心智運作描摹得最為精微的作品。 --- 結語：這四部經典作品，雖然題材、地域和風格迥異，但都指嚮瞭人類經驗的永恒主題：愛、死亡、時間的本質、曆史的重量，以及個體在宏大命運麵前的掙紮與探求。選擇一個優秀的譯本，就像找到瞭一把通往這些文學殿堂的鑰匙，願您在這些偉大的文本中，獲得深刻的啓示與無盡的愉悅。

用戶評價

評分☆☆☆☆☆

這本書的裝幀設計真是一絕，封麵那濃鬱的復古氣息，仿佛瞬間就能把我拉迴到伊麗莎白時代的倫敦街頭。紙張的質感也相當考究，拿在手裏沉甸甸的，那種油墨散發齣的淡淡香氣，讓人感覺自己捧著的不是一本簡單的讀物，而是一件值得珍藏的藝術品。我特彆喜歡那種微微泛黃的內頁，它沒有現代印刷品那種刺眼的白，使得長時間閱讀眼睛也格外舒適，這點對於像我這樣喜歡夜讀的人來說簡直是福音。而且，它的字體排版非常講究，間距和行距都拿捏得恰到好處，即便是對於那些初次接觸經典文學的讀者，也不會感到閱讀上的壓力。我特意留意瞭一下書脊的處理，即使是反復翻閱，書脊的膠閤處依然堅固如新，這體現瞭齣版方在細節上的用心。總的來說，從觸感到視覺，這本書的物理形態已經超越瞭一般書籍的範疇，它成功地營造瞭一種沉浸式的閱讀氛圍，讓人在還未真正進入故事之前，就已經對即將展開的宏大敘事充滿瞭敬畏與期待。可以說，光是把它擺在書架上，就已經是一種視覺上的享受瞭。

評分☆☆☆☆☆

這本書的結構安排，體現瞭編者極高的專業素養和對讀者體驗的關懷。它並非簡單地將故事按時間順序堆砌，而是似乎加入瞭一種潛藏的邏輯綫索，讓不同的故事之間産生瞭一種微妙的內在聯係，仿佛它們共同構成瞭一幅宏大的時代剪影。我尤其欣賞它在敘事聲音上展現齣的剋製與力量。敘述者始終保持著一種恰到好處的距離感，既不過度介入抒情，也不顯得冷漠疏離，而是像一位睿智的老者，帶著些許的滄桑感，娓娓道來那些早已塵封的悲喜劇。這種敘述的“姿態”，讓讀者在獲取信息的同時，也感受到瞭一種曆史的厚重感和對人類共同命運的深刻反思。這種處理方式，使得即便是結構復雜的群像戲，也能被清晰地呈現，真正做到瞭“清晰而不失深度”。

評分☆☆☆☆☆

我必須得說，這本書的文字處理方式達到瞭一個令人驚喜的平衡點。它沒有采用那種晦澀難懂的原文或過於直白的現代白話翻譯，而是找到瞭一種既能保留原著戲劇性的張力，又能讓當代讀者輕鬆理解的敘事腔調。那種語感的拿捏，就像是請瞭一位技藝高超的劇場導演在耳邊輕聲講述，既有古典的韻味，又不失故事的流暢性。我發現在閱讀過程中，那些復雜的傢族恩怨、錯綜的人物關係，都被梳理得井井有條，不會讓人在關鍵時刻感到睏惑。作者顯然對故事的脈絡有著極其深刻的洞察力，他知道在什麼地方需要詳盡的心理描寫來鋪墊衝突，又在什麼地方需要果斷地推進情節，這種節奏感把握得實在太到位瞭。相比於我以前讀過的某些刪減版或過於學術化的解讀，這本書更像是為“熱愛故事”的人量身定做的，它讓你在享受文學魅力的同時，完全沉浸在人性的復雜博弈之中，閱讀體驗酣暢淋灕，毫無阻滯。

評分☆☆☆☆☆

這本書給我的最大的感受，是它如何巧妙地在保持曆史厚重感與追求閱讀趣味性之間找到瞭黃金分割點。你知道，有些經典名著初讀起來，會讓人感覺像是在啃一塊硬骨頭，需要極大的毅力和背景知識儲備。但這本書顯然深知“引人入勝”纔是王道。它處理情節衝突的方式，比如人物命運的急轉直下，或者那些關鍵轉摺點的戲劇性爆發，處理得極其乾淨利落，充滿瞭戲劇張力。我感覺自己不是在閱讀一部“被研究”的文學作品，而是在參與一場場精彩絕倫的現場演齣。那些關於權力、愛情與背叛的主題，不再是冰冷的學術概念，而是通過具體生動的故事綫，直擊人心。這種敘述策略，極大地降低瞭普通讀者的門檻，同時也讓那些已經熟悉原著的讀者，能從一個新的角度去重新品味那些經典橋段的新鮮感，發現以前可能被忽略的細節和人物動機的微妙之處。

評分☆☆☆☆☆

對於我個人而言，這本書的價值在於它提供瞭一種極佳的“再發現”經典的機會。我曾嘗試閱讀原著，但總被那些長難句和特定的時代背景所阻礙，難以進入狀態。然而，通過這本書的重新演繹，我得以快速領略到那些經典故事的核心魅力和永恒的人性主題。它像是一座精心搭建的橋梁，讓我能夠輕鬆跨越語言和時代的鴻溝，直接觸碰到故事最精華的部分。閱讀過程中，我不僅感受到瞭情節的跌宕起伏，更重要的是，那些關於勇氣、背叛、愛與嫉妒的探討，在當代社會依然具有強大的共鳴性。這本書成功地證明瞭，偉大的故事是超越時代的，它以一種易於接受的現代形式，成功地完成瞭對經典文本的緻敬與普及工作，讓我對這位文藝復興巨匠的偉大有瞭更直觀、更深刻的理解和贊嘆。

評分☆☆☆☆☆

6.18買的，價格實惠，經典外國文學，是純英文，專門用來做課外英文閱讀的……

評分☆☆☆☆☆

比較好，比買的其他原版讀物好，雖然價更低

評分☆☆☆☆☆

陪娃學習，天天嚮上。

評分☆☆☆☆☆

默認好評，字數補丁，字數補丁

評分☆☆☆☆☆

寶貝已經到手瞭，質量還算不錯的瞭！感謝快遞小哥！

評分☆☆☆☆☆

英文原版，不錯不錯。。。