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开 本: 16开纸 张: 轻型纸包 装: 平装-胶订是否套装: 否国际标准书号ISBN: 9787544768382
牛津英文经典（Oxford World’s Classics）系牛津大学出版社百年积淀的精品书系。此番由译林出版社原版引进。除牛津品牌保证的权威原著版本之外，每册书附含名家导读、作家简介及年表、词汇解析、文本注释、背景知识拓展、同步阅读导引、版本信息等，特别适合作为大学生和学有余力的中学生英语学习的材料。导读者包括牛津和剑桥大学的资深教授和知名学者。整套书选目精良，便携易读，实为亲近*名著的经典读本。
《罗密欧与朱丽叶》是莎士比亚早期创作的悲剧，他在世时，这部悲剧的受欢迎程度与《哈姆雷特》不相上下。这部剧作属于传统的爱情悲剧，情节源自意大利的民间故事，莎士比亚借用了原故事，加入了大量的支线人物，丰富了情节。牛津英文经典的版本收录了1597年首次出版的*四开本文本，以及经过更正、更接近莎士比亚原文稿的第二个版本，多伦多大学莎翁研究学者Jill L. Levenson 撰写导读、注释，全面解析这部世界闻名的爱情悲剧。
在意大利维罗纳城，蒙太古和凯普莱特两大家族结下世仇，但两家的儿女罗密欧和朱丽叶却相爱了。由于家族的争斗，罗密欧杀死了朱丽叶的堂兄提尔伯特，遭到流放，朱丽叶被家长另嫁他人。两人计划一起逃亡，但却误得消息，*终先后殉情而亡。
CONTENTS
List
of Illustrations
Introduction
The
Romeo and Juliet Narrative before Shakespeare
Myth
Novella
‘Romeo
and Juliet’: The Play
Love,
Death, and Adolescence
Patriarchy
Style
and Genre
(a)
Rhetoric
(b)
Tragedy, Comedy, Sonnet
Performance
History
Initial
Staging
Restoration
to the Late Twentieth Century
Date(s)
The
Mobile Text
Quarto
1 (1597)
Quarto
2 (1599) and its Derivatives
Quarto
1 and Quarto 2: Provenance
Editorial
Procedures
Abbreviations
and References
THE
MOST EXCELLENT AND LAMENTABLE
TRAGEDY
OF ROMEO AND JULIET
AN
EXCELLENT CONCEITED TRAGEDY OF
ROMEO
AND JULIET (q1)
Index
价格低廉，安于书架的小小一角。普通读者可以用这些书建构出一座图书馆。它们已经融入了我们的生活理念之中，我们还想要把它们请入我们的家里。
——牛津大学出版社
我读到他的*页，就使我一生都属于他了。
——歌德
从我十岁起，我几乎每天都读莎士比亚的作品。
——柯勒律治
莎翁之前，没有人。
——哈罗德·布鲁姆
INTRODUCTION
The Romeo and
Juliet Narrative before Shakespeare
In
an age of virtual realities Shakespeare’s Romeo and Juliet can seem like a
hologram. From one angle it appears to dramatize a love-story which transcends
time and place. The youthful passion it enacts may cease like lightning, but it
reflects an absolute, an ideal of sexual love expressed in the play’s most
lyrical verse. From another angle the tragedy enacts a love-story shaped by the
social and literary conventions of late sixteenth-century England. These give
the narrative a political edge and historicity, moderating its idealism. Since
the advent of modern psychology a third angle allows for a different
construction formulated on change rather than absolutes. From this point of view
Shakespeare traces a paradigm of adolescent behaviour.
These
perspectives, one by one or in combination, reveal a complex and even
contradictory play. With little adjustment they reveal similar complexities in
the popular ?ction enacted by the play. Pre-existing novellas which transmitted
the Romeo and Juliet story incorporate elements of myth and romance into
narratives of a different kind. A new genre, they depended on a rhetorical
tradition that promoted not only invention and variety but verisimilitude.
Shakespeare’s
well-known alterations—telescoping events and coincidence, elaborating characters,
heightening rhetoric—enhance the heterogeneous design, calling attention to the
inconsistencies which form the narrative, the coexistence of the timeless and
the timely.
As
a result, the design of the ?ction has determined the play’s effect in
different periods and cultures. It originated in archetypes which probably
account for the emotional impact of Shakespeare’s tragedy and its derivatives
in media such as music and drama. It adapted to changing historical circumstances—sixteenth-century
Italian city states, Elizabethan England, America in the 1950s—and mirrored the
world of each audience with varying degrees of realism. Its literature was at
?rst self-consciously rhetorical, attempting to win readers and achieve
credibility. Once it became familiar in the sixteenth century, any artist could
play on expectation by altering its prototypes. Shakespeare was the ?rst to modify
not only events and characters but style, creating a version which would become
the model for those to follow. In the process he left traces of his strategy.
Recovering the ?ction will therefore permit a glimpse of the artist at work.
Myth.
The primary source of the Romeo and Juliet ?ction is myth, the early narratives
‘obscure in origin, protean in form and ambiguous in meaning’. Despite this amorphousness,
mythical narratives share certain features which help to de?ne them. They are simple,
bold, and symbolical, epitomizing a vast number of analogous stories.
They
deal in ideas or desires which are timeless, ‘ordering . . . human experience at a level . . .
wider, deeper, and more permanent than the rationalized scene and the literal
facts of the moment’. According to Northrop Frye, ‘myth is the imitation of
actions near or at the conceivable limits of desire’, in a space where the
human encounters the divine.
There
may have been half a dozen myths that governed all the rest, narratives
concerned with rites of passage in this world and upheavals among the gods.
Whatever
shape they took, these stories became the matrix of literature.
Wagner
gave the name Liebestod to the myth which informs the ?ction of Romeo and
Juliet. Although the meaning of this term shifts—love-in-death, death-in-love,
love’s death—it refers to a speci?c narrative format and psychological event.
Two young lovers face insurmountable obstacles; they encounter the obstacles with
de?ance and secret plans, but their resistance fails because of accident or
misjudgement; ?nally both die for love.
By
linking passion with death the Liebestod myth sets the limits of desire at the
highly charged point where lovers feel they have transcended ordinary human
experience, driven to union which means dissolution of self, a permanent metamorphosis.
Paradox dominates a narrative in which the compulsion to love is a compulsion
to die, and death is the price for an absolute. In this psychological con?guration
suffering becomes aphrodisiac and passion is brief.
Between
antiquity and the Middle Ages the Liebestod myth took shape not only in
folklore but in literature. A range of storytellers from the anonymous to Ovid
and Malory related the misadventures of Hero and Leander, Pyramus and Thisbe,
Tristan and Isolde. In their variety the stories qualify Denis de Rougemont’s view
that the myth descended into ‘profane’ life from the thirteenth century: they
quickly became particularized through their settings and obstacles; the
medieval versions immediately absorbed the conventions of chivalry. During the
early Christian era components of the myth circulated through Greek romance, notably
the separation plots and character types such as young lovers and opposing
parents. Romance included other elements which would attach themselves to the Romeo
and Juliet legend, specifically the sleeping potion and premature burial.
Whether they transmitted the myth whole or piecemeal, all of the literary versions
were rhetorical to different degrees of sophistication.
If
Liebestod is the keynote, other myths resonate with the Romeo and Juliet
legend. For instance, Marjorie Garber has identi?ed correspondences with the
story of Cupid and Psyche, which also connects marriage and death: the love-relationship
takes place in a surround of darkness; a young woman becomes free of paternal control;
she undergoes a series of trials which mark her progress to maturity.
Typically
both of these myths centre on rites of passage, those crucial advances in an
individual life from one biological or social condition to another. The most
widely accepted description of such rites enumerates three phases: separation
from the old state, transition between old and new, incorporation into the new.
During the middle phase initiates hover in liminality, a period of suspension
or ambiguity which is both dangerous and liberating.
In
fact and ?ction young lovers exist in this liminal phase on the verge of adult
commitment to both a sexual partner and society. The Liebestodmyth and its
literary versions catch them at that moment of change, failing to make a
transition into the community, alone at the turning-point. The story of Cupid
and Psyche focuses on the initiation of the young woman. In both cases the
rituals which normally accompany such rites of passage become part of the
narrative, incomplete in various ways or conspicuous by their absence. Marriage
is the most striking of these rituals: Pyramus and Thisbe never reach this
state; Hero and Leander take a private vow; initially Psyche weds Cupid without
seeing him; Tristan and Isolde marry other partners and consummate their own
relationship in adultery. By the sixteenth century the Romeo and Juliet story
would incorporate night visits and funeral in addition to marriage. Decades
before the sixteenth century, however, the combination of traditional myth and
contemporary ritual manifested disturbance not only in the private sphere of
the lovers but in the public sphere represented by their social world.
Novella.
The Romeo and Juliet story familiar to Shakespeare’s audience originated in
Italy during the ?fteenth century.Masuccio Salernitano included most of the
plot in the thirty-third tale of his Novellino (1476), the story of Mariotto
and Ganozza. During the ?fty-odd years between this version and Luigi da
Porto’s Historia novellamente ritrovata di due nobili amanti . . . (c.1530), a legend which corresponds with the
Romeo and Juliet narrative seems to have grown very popular, especially in
northern Italy. Stories extant in manuscripts from the ?fteenth and early
sixteenth centuries preserve the topos of love and death, combining it with
details from romance. When da Porto assembled the full-scale narrative, he probably
drew not only on Masuccio, but on the legendary material, an anonymous
?fteenth-century novella (‘Ippolito e Lionora’), Ovid’s account of Pyramus and
Thisbe (Metamorphoses 4.67–201), and Boccaccio’s Decameron. Da Porto showed originality less through
inventiveness than through con?ation of the various models. As motive for the
secret marriage he incorporated a feud analogous to civil disturbances in late
medieval Italy; and he attributed this state of affairs to the Montecchi and
Cappelletti, names of political factions which ?rst appeared in Dante’s
Purgatorio
6.106–8…
The
Most Excellent and Lamentable
Tragedy
of Romeo and Juliet
Prologue
Enter Chorus
Chorus
Two
households both alike in dignity,
In
fair Verona, where we lay our scene,
From
ancient grudge break to new mutiny,
Where
civil blood makes civil hands unclean.
From
forth the fatal loins of these two foes
A
pair of star-crossed lovers take their life,
Whose
misadventured piteous overthrows
Doth
with their death bury their parents’ strife.
The
fearful passage of their death-marked love,
And
the continuance of their parents’ rage—
Which
but their children’s end naught could remove—
Is
now the two hours’ traf?c of our stage;
The
which if you with patient ears attend,
What
here shall miss, our toil shall strive to mend.
Exit
1.1
Enter Samson and Gregory, with swords and bucklers, of the house of Capulet
SAMSON
Gregory, on my word we’ll not carry coals.
GREGORY
No, for then we should be colliers.
SAMSON
I mean, an we be in choler we’ll draw.
GREGORY
Ay, while you live, draw your neck out of collar.
SAMSON
I strike quickly being moved.
GREGORY
But thou art not quickly moved to strike.
SAMSON
A dog of the house of Montague moves me.
GREGORY
To move is to stir, and to be valiant is to stand:
therefore
if thou art moved thou runn’st away.
SAMSON
A dog of that house shall move me to stand. I will
take
the wall of any man or maid of Montague’s.
GREGORY
That shows thee a weak slave, for the weakest
goes
to the wall.
SAMSON
’Tis true, and therefore women being the weaker
vessels
are ever thrust to the wall: therefore I will push
Montague’s
men from the wall, and thrust his maids to
the
wall.
GREGORY
The quarrel is between our masters and us their
men.
SAMSON
’Tis all one, I will show myself a tyrant: when I
have
fought with the men, I will be civil with the maids,
I
will cut off their heads.
GREGORY
The heads of the maids?
SAMSON
Ay, the heads of the maids, or their maidenheads,
take
it in what sense thou wilt.
GREGORY
They must take it in sense that feel it.
SAMSON
Me they shall feel while I am able to stand, and ’tis
known
I am a pretty piece of ?esh.
GREGORY
’Tis well thou art not ?sh; if thou hadst, thou
hadst
been Poor John. Draw thy tool, here comes of the
house
of Montagues.
Enter
two other Serving-men
SAMSON
My naked weapon is out. Quarrel, I will back thee.
GREGORY
How, turn thy back and run?
SAMSON
Fear me not.
GREGORY
No, marry, I fear thee!
SAMSON
Let us take the law of our sides; let them begin.
GREGORY
I will frown as I pass by, and let them take it as
they
list.
SAMSON
Nay, as they dare: I will bite my thumb at them,
which
is disgrace to them if they bear it.
ABRAHAM
Do you bite your thumb at us, sir?
SAMSON
I do bite my thumb, sir.
ABRAHAM
Do you bite your thumb at us, sir?
SAMSON
(to Gregory) Is the law of our side if I say ‘Ay’?
GREGORY
No.
SAMSON
(to Abraham) No sir, I do not bite my thumb at you,
sir,
but I bite my thumb, sir.
GREGORY
Do you quarrel, sir?
ABRAHAM Quarrel, sir? No, sir.
SAMSON
But if you do, sir, I am for you; I serve as good a
man
as you.
ABRAHAM
No better.
SAMSON
Well, sir.
Enter
Benvolio
GREGORY
Say ‘better’—here comes one of my master’s
kinsmen.
SAMSON
Yes, better, sir.
ABRAHAM
You lie.
SAMSON
Draw if you be men. Gregory, remember thy
washing
blow.
They
?ght
BENVOLIO
(drawing) Part fools, put up your swords; you
know
not what you do.
Enter
Tybalt with his sword drawn
tybalt
What,
art thou drawn among these heartless hinds?
Turn
thee, Benvolio, look upon thy death.
BENVOLIO
I
do but keep the peace. Put up thy sword,
Or
manage it to part these men with me.
TYBALT
What,
drawn and talk of peace? I hate the word
As
I hate hell, all Montagues, and thee.
Have
at thee, coward.
They
?ght.
Enter
three or four Citizens with clubs or partisans
officer
Clubs,
bills, and partisans! Strike, beat them down!
Down
with the Capulets, down with the Montagues!
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