Drama

The Third Part of King Henry the Sixth (The Complete by William Shakespeare, Liang Shiqiu

Posted On March 24, 2017 at 5:43 am by / Comments Off on The Third Part of King Henry the Sixth (The Complete by William Shakespeare, Liang Shiqiu

By William Shakespeare, Liang Shiqiu

It's a Bilingual variation of chinese language and English.

中国广播电视出版社从台湾远东图书公司引进版权,出版了梁实秋翻译的《莎士比亚全集》中英文对照版,这是梁译本《莎士比亚全集》以中英文对照的形式首次在内地出版发行。梁译本的最大特点为:白话散文式的风格;直译,忠实于原文;全译,决不删略原文。除此之外,梁译本还有独到之处:一是加了注释。莎翁作品原文常有版本的困难,晦涩难解之处很多,各种双关语、熟语、俚语、典故也多,猥亵语也不少,梁实秋不但直译,而且加了大量注释,帮助读者理解原文。二是每剧前都加了序言。序言中对该剧的版本、著作年代、故事来源、舞台历史、该剧的意义及批评意见等均有论述。

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Extra resources for The Third Part of King Henry the Sixth (The Complete Shakespeare Translated by Liang Shiqiu, Book 22) (Bilingual Edition)

Sample text

In. I I . 32). It signals a further step in Hieronimo7s progress towards a maniacal condition in which nothing in the world any longer has meaning for him except the unburied body of his son. ) Jonson7s character suffers, in effect, from a tragic humour, an obsession which 'doth draw / All his affects, his spirits, and his powers, / In their confluctions, all to runne one way7 [EMO, Induction, 106-8). Poetically powerful throughout, the passage brilliantly suggests the lurches and exaggerations of a mind unhinged by grief.

It may be the image of his dead wife. It might be a memory of Camillo's features as a child. Either could be brought into being by something inexplicably dear and familiar in the face before him. Although despising his own 'foolish pitty' (26), he turns away: 'What a child am I / To have a child? Ay me, my son, my son' (28-9). Hegio, Ferneze's counterpart in the Captivi, never came close to behaving in so desperate and uncontrolled a fashion. He is rationally aware that the father of his Elian prisoner must be just as anxious to recover his son as he is to redeem his own.

He rejected, in fact, precisely that hinterland of experience, between fantasy and fact, sleep and waking, with which Shakespearean comedy is largely concerned. This at least is his position in those surviving plays written before The Devil Is An Ass in 1616, the year of Shakespeare's death. Jonson never recorded his opinion of The Comedy of Errors, and of its author's disregard of the problem which brought his own adaptation of the Amphitryo to a halt. He did, however, manage to complete another and quite different play based on Plautus.

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