Drama

The Two Gentlemen of Verona (The Complete Shakespeare by William Shakespeare, Liang Shiqiu

Posted On March 24, 2017 at 5:02 am by / Comments Off on The Two Gentlemen of Verona (The Complete Shakespeare 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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Additional resources for The Two Gentlemen of Verona (The Complete Shakespeare Translated by Liang Shiqiu, Book 2) (Bilingual Edition)

Example text

VLADIMIR:╇ Were you not there? ESTRAGON:╇ I can’t have been listening. €. Nothing very definite. ESTRAGON:╇ A kind of prayer. VLADIMIR:╇ Precisely. ESTRAGON:╇ A vague supplication. VLADIMIR:╇ Exactly. ESTRAGON:╇ And what did he reply? VLADIMIR:╇ That he’d see. ESTRAGON:╇ That he couldn’t promise anything. VLADIMIR:╇ That he’d have to think it over. ESTRAGON:╇ In the quiet of his home. VLADIMIR:╇ Consult his family. ESTRAGON:╇ His friends. VLADIMIR:╇ His agents. ESTRAGON:╇ His correspondents.

Both Joyce and Beckett question the authority of the traditional omniscient narrator, but do so in ways expressed through opposite stylistic assumptions and techniques. Two examples from Ulysses illustrate how the questionable authority of interior monologue is replaced by a secular version of the controlling narrator, the author himself as manipulator of language. Such a narrator is too apt to call our attention to himself and his handiwork to be considered godlike. But, if not omniscient, he is at least omnipresent in terms of style.

Yet he too gets no further than “I. AM. 1246–65). 4. 490–92; Gifford 47). Since “mother” appears together with “new year” when Stephen thinks about Tennyson, the text he is recollecting must be the opening of “The May Queen”: “call me early mother dear; / Tomorrow’ll be the happiest time of the glad New-year” (lines 1–2), probably in its setting as a popular song (Gifford 47). So, with Tennyson recently on his mind, when Stephen sees the ship after having been thinking about a drowned man, he is prepared to recall Tennyson’s better-known reference to the new year as the hopeful turning point in In Memoriam (stanza 106).

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