描述
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: 9787544772990
《李尔王》是莎士比亚四大悲剧之一，世界文学史上的不朽名著。全书由英国伯明翰大学莎士比亚研究中心教授斯坦利·威尔斯（Stanley Wells）撰写导读并注释。
《李尔王》叙述了年事已高的李尔王意欲把国土分给3个女儿，口蜜腹剑的大女儿戈那瑞和二女儿里甘赢其宠信而瓜分国土，小女儿科迪莉亚却因不愿阿谀奉承而一无所得。前来求婚的法兰西国王慧眼识人，娶科迪莉亚为皇后。李尔王离位，大女儿和二女儿居然不给其栖身之地，当年的国王只好到荒郊野外……科迪莉亚率队攻入，父女团圆。但战事不利，科迪莉亚被杀死，李尔王守着心爱的小女儿的尸体悲痛地死去。
List of
Illustrations
Introduction
Textual Introduction
and Editorial Procedures
THE HISTORY OF KING
LEAR
The Ballad of King
Lear
Offshoots of‘King
Lear’
Alterations to
Lineation
Index
Introduction
Once upon a time, probably in 1605, a man
called William Shakespeare, using a quill pen, wrote a play about the legendary
British King Lear and his three daughters. How often he drafted and redrafted
his script we do not know; the version that reached print in 1608, and which
seems to have been his first completed manuscript of the play, contains some
25,000 words.
Shakespeare’s
penning of these words has had consequences that he cannot have foreseen. It
has resulted in countless theatrical performances, many of them in languages
that he cannot have known and in countries of which he can have had no inkling.
It has enhanced—and occasionally diminished—the reputation of innumerable actors.
It has stimulated other writers—playwrights, novelists, poets, essayists—to
produce an enormous body of work. It has generated a multiplicity of works by
artists in other media—visual art, music, opera, film and television. It has
provoked, especially in the twentieth century, a vast body of scholarly and
critical writing. And it produced a work which, at least since the Romantic
period (with its admiration for the Sublime), has come to be regarded not only
as its author’s finest literary achievement, but also as one of the most
profound and challenging examinations ever undertaken of what it means to be
human, an examination conducted not discursively but in a text that requires
actors to represent men and women in action that is often violent, in extremes
of suffering, and in repose. In imaginative scope and in its power to generate
intellectual and emotional response, King Lear has been compared with the
greatest masterpieces of art, literature, and music. Coleridge wrote of the
storm scenes: ‘O, what a world’s convention of agonies is here!…surely such a
scene was never conceived before or since. Take it but as a picture for the eye
only, it is more terrific than any which a Michel Anglo, inspired by a Dante,
could have conceived, and which none but a Michel Angelo could have executed.’
“莎士比亚就是无限”；“说不尽的莎士比亚”！“莎士比亚的作品风格包含的精神方面的真实性远远超过看得见的行动”。
——歌德
创造得*多的是莎士比亚，他仅仅次于上帝。
——大仲马
Sc. I. Enter the Earl of Kent, the Earl of Gloucester and Edmund the bastard
KENT
I thought the King had more affected the Duke of Albany than Cornwall.
GLOUCESTER
It did always seem so to us, but now in the division of the kingdom it appears not which of the Dukes he values most; for qualities are so weighed that curiosity in neither can make choice of either’s moiety.
KENT
Is not this your son, my lord?
GLOUCESTER
His breeding, sir, hath been at my charge: I have so often blushed to acknowledge him that now I am brazed to it.
KENT
I cannot conceive you.
GLOUCESTER
Sir, this young fellow’s mother could, whereupon she grew round-wombed, and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?
KENT
I cannot wish the fault undone, the issue of it being so proper.
GLOUCESTER
But I have a son, sir, by order of law, some year elder than this, who yet is no dearer in my account: though this knave came something saucily to the world before he was sent for, yet was his mother fair; there was good sport at his making, and the whoreson must be acknowledged. Do you know this noble gentleman, Edmund?
EDMUND
No, my lord.
GLOUCESTER (to Edmund)
My Lord of Kent. Remember him hereafter as my honourable friend.
EDMUND (to Kent)
My services to your lordship.
KENT
I must love you, and sue to know you better.
EDMUND
Sir, I shall study deserving.
GLOUCESTER (to Kent)
He hath been out nine years, and away he shall again.
Sound a sennet
The King is coming.
Enter one bearing a coronet, then King Lear, then the dukes of Albany and Cornwall; next Gonoril, Regan, Cordelia, with followers
LEAR
Attend my lords of France and Burgundy, Gloucester.
GLOUCESTER
I shall, my lord.
LEAR
Meantime we shall express our darker purpose.
Give me the map there. Know that we have divided
In three our kingdom: and ’tis our fast intent
To shake all cares and business off our state,
Conferring them on younger years.
The two great princes, France and Burgundy—
Great rivals in our youngest daughter’s love—
Long in our court have made their amorous sojourn,
And here are to be answered. Tell me, my daughters,
Which of you shall we say doth love us most,
That we our largest bounty may extend
Where nature doth most challenge it?
Gonoril, our eldest born, speak first.
GONORIL
Sir, I do love you more than word can wield the matter;
Dearer than eyesight, space, and liberty;
Beyond what can be valued, rich or rare;
No less than life; with grace, health, beauty, honour;
As much as child e’er loved, or father found;
A love that makes breath poor and speech unable.
Beyond all manner of so much I love you.
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