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原文作者： Charles Lamb, Mary Lamb

图书标签:

• 莎士比亚
• 经典文学
• 英语文学
• 戏剧
• 故事集
• 儿童文学
• 改编
• 英国文学
• 名著
• 文学

《莎士比亚戏剧故事集》（Tales from Shakespeare）是英国散文家查尔斯•兰姆和他的姊姊玛丽•兰姆将莎士比亚戏剧改编成的故事。本书属于“满FUN英文经典”系列，共分为三个小分册，目前已出版《莎士比亚戏剧故事集》的第一个分册。每册收录6-7个由兰姆姐弟改编，原汁原味的莎士比亚戏剧故事，让儿童读者在有能力阅读莎士比亚原着剧本之前，了解莎剧着名故事，体会十九世纪改编者的精妙文笔，并辅以英文名师解读介绍和疑难词语解析，背景知识介绍等内容，对读者提高英文阅读、鉴赏和写作能力大有帮助。

莎翁经典重述系列：卷二——《罗密欧与朱丽叶：维罗纳的永恒悲歌》 一部超越时空的爱情史诗，一次对人性、命运与家族宿怨的深刻剖析。 本书简介 《罗密欧与朱丽叶：维罗纳的永恒悲歌》是“莎翁经典重述系列”的第二卷，聚焦于威廉·莎士比亚最为人熟知、也最令人心碎的悲剧之一。本书并非对原著的简单复述，而是通过现代视角与细腻的文学笔触，对这部经典进行了深度的重构、拓展与解读。我们试图将读者带回十六世纪意大利城邦的炙热阳光与阴影之中，感受那股足以焚尽一切的激情与无可挽回的命运之轮。 核心内容与特色： 一、 维罗纳的社会肌理与家族对立的根源重塑 本书将详细描绘十六世纪北意大利城市维罗纳的社会图景。蒙太古（Montague）与凯普莱特（Capulet）两大家族的世代仇恨，不再仅仅是舞台上的背景板，而是被深入挖掘其历史渊源。我们探究了中世纪商业竞争、政治势力倾轧如何在两个贵族家庭间扎下深根，直至成为一种近乎宗教信仰般的家族荣誉与敌意。 家族领袖的刻画： 细致描绘了蒙太古先生的沉稳、凯普莱特夫人的强悍与固执，以及他们如何无意识地将仇恨的重担压在了下一代的肩上。 市民阶层的视角： 引入了数个普通市民的叙事线索，通过他们的眼睛，展现了家族冲突对整个城市日常生活的干扰、恐惧与疲惫，使得这场悲剧更具社会广度。 二、 爱情的爆发与灵魂的契合 罗密欧与朱丽叶的相遇，被描绘成一场宿命的、不可抗拒的“精神引爆”。 初遇的瞬间： 舞会上的第一次目光交汇，不再仅仅是诗意的对白，而是通过环境描写（灯光、音乐、人群的喧嚣与退去）来渲染那种“时间静止”的强烈体验。我们深入分析了他们首次对话中蕴含的宗教隐喻，突显了他们将彼此视为“圣徒”与“朝圣者”的狂热崇拜。 成长的代价： 书中着重探讨了年轻人在极端情感压力下的心理变化。罗密欧从初恋的轻浮转向对朱丽叶坚不可摧的忠诚，而朱丽叶则从一个顺从的大家闺秀，迅速蜕变为一个能够挑战家族、策划谎言的坚强女性。他们的爱情，是青春对僵化秩序发出的最嘹亮的反抗。 三、 命运的暗流与关键人物的内心挣扎 本书的叙事张力，很大程度上来源于对关键配角复杂性的挖掘。 默丘修和泰伯尔的镜像： 默丘修（Mercutio）的玩世不恭与愤世嫉俗，被提升到哲学层面，他代表着对理性秩序的不屑。而泰伯尔（Tybalt）的愤怒，则被视为家族荣誉体系下，被压抑的男性自尊的爆发。他们之间的冲突，是理智与激情、娱乐与严肃的直接碰撞。 劳伦斯神父的困境： 神父的角色被置于一个更具伦理争议的境地。他渴望和平，却采取了近乎欺骗的手段。书中详细描绘了他内心的煎熬：是在信仰与现实之间选择，还是在个人良知与社会压力之间抉择？他的“妙计”如何一步步导向了无法挽回的结局，成为全书最沉重的反思点。 四、 戏剧性高潮的心理深度分析 本卷对最关键的几个场景进行了大量的心理渲染和环境铺陈： 1. 阳台夜谈： 不仅是情话，更是对彼此身份和未来可能性的庄严承诺，体现了他们渴望建立一个独立于家族之外的“新世界”的愿望。 2. 罗密欧被放逐： 这一转折点对罗密欧的毁灭性打击被细致描绘。他的反应并非简单的愤怒，而是对“世界美好性”的彻底幻灭，将他推向了绝望的边缘。 3. 假死药的剂量与时间： 重点渲染了朱丽叶服药前夜的复杂心境——面对死亡、孤独、对未来的恐惧以及对罗密欧的信念，她如何一步步说服自己吞下那瓶危险的药剂。对时间的流逝和信鸽未至的焦虑感，进行极致的铺陈。 五、 结局的余韵：和解的代价 故事的结尾，两具冰冷的尸体揭示了和解的残酷真相。本书的收尾部分，将镜头拉远，审视了这一代人的牺牲对维罗纳乃至权力结构带来的短暂“净化”。 蒙太古与凯普莱特的忏悔： 他们的悲痛不再是表面的，而是对“无意义仇恨”的深刻领悟。这种领悟来得太晚，也太过沉重，使得最终的和解更显苍凉与无力。 永恒的警示： 本卷旨在探讨，在盲目的忠诚和无法自拔的仇恨面前，个体（尤其是年轻生命）的价值何在？它提醒每一代读者，爱与和平的建立，需要付出远超想象的勇气与智慧，否则，便只能在废墟之上空留哀歌。 阅读体验： 本书语言富有画面感和古典韵味，同时融入了现代文学的节奏感，确保了阅读的流畅性与情感的冲击力。它不仅是重温莎士比亚悲剧的绝佳读本，更是一部关于爱、宿命、家族责任与个人自由之间永恒拉锯战的深刻寓言。适合所有对经典文学、人性深度探索以及意大利文艺复兴时期背景感兴趣的读者。

作者简介

查尔斯‧兰姆、玛丽‧兰姆

　　查尔斯‧兰姆和玛丽‧兰姆是英国的作家与诗人。1806年，兰姆姐弟开始从莎士比亚戏剧中选择20个最为人们所熟知的，把它们改写成叙事体的散文。查尔斯•兰姆改写其中六个悲剧，即《李尔王》、《麦克白》、《雅典的泰门》、《罗密欧与朱丽叶》、《哈姆莱特》和《奥瑟罗》。其中另外十四部喜剧均由姐姐玛丽所改写，后来这部书出版，即是着名的《莎士比亚戏剧故事集》。

Contents
 
CHARACTERS INTRODUCTION   2
INTRODUCTION   12
THE TEMPEST   20
A MIDSUMMER NIGHT’S DREAM   48
OTHELLO   77
KING LEAR   109
TWELFTH NIGHT   145
PERICLES, PRINCE OF TYRE   177

Introduction

　　The greatest writer in English language, the most influential dramatist and the gifted poet! Who can be honored like that unquestionably through ages? There were many excellent writers writing fabulous stories in the past, there are numerous writers impressing us with their insightful works now, and there will be talented writers surprising us by their creativity, still William Shakespeare was, is and will be considered as the greatest writer in English language unarguably.

　　So who was William Shakespeare? Actually we only know very little about him. His life can be summarized by the following facts.

　　1. He was born in Stratfort-upon-Avon, England, on 26 April 1564.

　　2. His father was John Shakespeare, who worked as a leather worker, business owner and civil servant in Stratfort. His mother was Mary Arden from a rich family in Wilmcote, Warwickshire.

　　3. He did not go to any college. Probably he studied in the grammar school in his home town for a few years.

　　4. He married Anne Hathaway in 1582. The couple had three children, Susanna, and the twins Hamnet and Judith. Unfortunately, Hamnet died when he was 11 years old.

　　5. He went to London after the birth of the twins in 1585. No one really knew what he did in London in the next seven years. We only know that he had already become a famous and popular playwright in 1592.

　　6. His early plays were mainly comedies and histories. Comedies are the plays with humorous scenes and happy endings. Histories are the plays based on historical figures and events. Then he wrote mainly tragedies from 1600 to 1608. Tragedies are the plays with sad endings. In the last part of his career, he wrote tragicomedies, also known as romances. These plays have tragically events in the beginning of the play, but all the problems are solved by the end of the plays.

　　7. Since women were not allowed to perform on stage during Shakespeare's time, all the female roles were played by boy actors.

　　8. His playing company, the Lord Chamberlain's Men built the Globe Theatre in London in 1599. He was the shareholder of the theatre. Unfortunately, it was destroyed by fire on 29 June 1613.

　　9. He died on 23 April, 1616. He was buried in Holy Trinity Church in Stratford on 25 April, 1616.

　　10. He did not create the plots for his plays from scratch. He got ideas from the stories he read or heard, but his genius had transformed the old tales into the philosophical and poetic plays, which are unparalleled. Totally he wrote 37 plays, 154 sonnets and 2 narrative poems.

　　Ben Johnson, Shakespeare's good friend and fellow writer, wrote the most famous praise about Shakespeare: “Shakespeare was not of an age, but for all time.”

　　What makes Shakespeare so great? It is such a big topic that many scholars have done excellent research with their strong arguments, and no one in his or her life time can possibly finish reading all the research articles about Shakespeare. To summarize what the scholars have said, Shakespeare had a deep understanding to human nature, he created the unforgettable characters in an extremely authentic and vivid way, and he told the dramatic stories with stunningly beautiful and poetic words! As readers or audiences to Shakespeare's masterpieces, who would forget the heart breaking story about the star crossed lovers Romeo and Juliet ? Who would not fancy the world of fairies after they enter the enchanted woods with the young lovers in A Midsummer Night's Dream?

　　You may ask this question, if Shakespeare's works are so amazing, why don't we just read his original plays directly? I am quite sure that some advanced readers can handle the Elizabethan English Shakespeare used to write; however, to most of the readers nowadays, especially children and young adults, both the verse and prose in the plays are too strange and difficult for them to understand. Moreover,

　　Shakespeare was a playwright, not a novelist. His plays were written for actors to perform, not for the readers to read. Each of his play has five acts and each act has different scenes, with some brief stage directions. The characters in the plays use dialogues and monologues to deliver the plots. They speak in verses or proses according to their social status or mood. Most of the young readers are not familiar with the literary genre. They may get confused or frustrated. Definitely we do not want to give the young readers the wrong impression that reading Shakespeare is an intimidating task.

　　Then how to help young readers to read Shakespeare in a fun way? Mr. Charles Lamb (1775-1834), a famous essayist in nineteenth century England was the first person who had done something brilliant about it. Charles Lamb and his sister, Mary Lamb (1764-1847) worked together and retold the stories from Shakespeare's plays. While the brother retold the intriguing plots of Shakespeare's tragedies, the sister was responsible for rewriting the delightful tales of the comedies.

　　The book Tales from Shakespeare was first published in 1807. Charles Lamb was a famous essayist and poet himself, and Mary Lamb's talent of writing was no less than her younger brother. Actually Mary was the person who taught Charles reading when he was a little boy!

　　This version of Shakespeare's stories was not only beautifully written, but also kept Shakespeare's own language as much as possible. It helps young readers to get familiar with the English of Shakespeare's time, and give them the confidence to read the original plays when they are ready. Once the readers learn how to appreciate Shakespeare's masterpieces, they will not be the same persons anymore. They have drawn the curtain of a wide stage to see the most fascinating scenes in the world!

　　Now please listen to this: “All the world's a stage, and all the men and women merely players; they have their exits and their entrances...” Let the play start! And it is not any play; it is a play by William Shakespeare!

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这套《莎士比亚故事集》的第一卷，简直是打开了一扇通往另一个世界的大门，让我深深着迷。我一直对莎翁那些经典戏剧心向往之，但苦于原文的语言门槛，总觉得望而却步。这本书就像一位贴心的向导，用生动、流畅的语言，将那些原本晦涩难懂的剧情，一点点地剥开，呈现出其最核心的魅力。读第一卷的时候，我特别喜欢它处理《罗密欧与朱丽叶》的方式。它没有简单地复述情节，而是巧妙地抓住了爱情的纯粹与悲剧性的冲突，将两个年轻人的炽热情感描绘得淋漓尽致，让我仿佛能听到他们心碎的声音。而对于《哈姆雷特》，它则深入挖掘了主角内心的挣扎与犹豫，那种“生存还是毁灭”的经典拷问，在这里被解读得更加容易理解，也更能引起共鸣。书中对人物心理的刻画也相当到位，即使是配角，也都有着鲜明的个性和动机，让整个故事更加立体饱满。而且，它的语言风格非常有感染力，时而轻快跳跃，时而深沉凝重，完全摆脱了传统名著改编的刻板印象，读起来就像在听一位说书人娓娓道来，充满了戏剧张力。总而言之，这本书的价值远不止于故事的转述，它更在于它赋予了莎翁作品新的生命，让更多像我一样的普通读者，能够跨越时空的阻碍，真正地体会到那些伟大作品的精髓。

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第一次翻开这本《莎士比亚故事集》第一卷，我确实是带着一种“尝试”的心态。毕竟，莎士比亚的名字总带着一股“高雅”和“遥远”的气息。然而，这本书给我的惊喜远远超出了预期。它的叙述方式极其自然，仿佛是作者在和你坐在炉火边，用一种极为生活化的语言，将那些曾经只存在于剧本里的角色，一个个生动地呈现在你的面前。比如，书中对《麦克白》的处理，没有一开始就堆砌那些华丽的辞藻或者复杂的政治背景，而是从麦克白夫妻二人内心的欲望和野心入手，一步步引导读者走进那个被权力迷失的双眼的世界。那种一步步走向深渊的压迫感，被描绘得丝丝入扣。而《仲夏夜之梦》则展现了另一种截然不同的风格，它充满了奇思妙想和浪漫的童话色彩，书中对精灵们调皮捣蛋的描绘，以及人类之间错综复杂的爱情纠葛，都显得那么轻盈而有趣，读起来让人忍不住嘴角上扬。这本书最可贵的一点，在于它保留了莎翁作品的核心精神，但又用一种现代读者能够轻松接受的方式呈现出来，它没有牺牲原作的深度，却大大降低了阅读的门槛。那些曾经让我觉得晦涩难懂的段落，在这里都变得清晰易懂，甚至更加引人入胜。这不仅是一本故事书，更像是一本关于人性、欲望和情感的百科全书，只不过是用一种极其引人入胜的方式包装。

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当我拿到这本《莎士比亚故事集》第一卷时，我曾担心它会过于学术化，或者只是简单地改写故事。然而，它的阅读体验完全超出了我的想象。它更像是一次充满激情的文学之旅，而不是一次枯燥的学习过程。书中对《李尔王》的描绘，让我深刻体会到了一个失去权力和亲情的国王的悲惨命运。书中对父女之间情感的纠葛，以及权力对人性的腐蚀，都展现得淋漓尽致，那种绝望和痛苦，让我感同身受。它没有回避人性的黑暗面，却又在痛苦中透出一丝温情。而《第十二夜》则又展现了另一种截然不同的情感基调，书中薇奥拉的伪装，以及她与奥西诺和奥利维亚之间的复杂情感纠葛，充满了浪漫和戏剧性，读起来让人欲罢不能。这本书的叙事者就像一位技艺精湛的魔术师，能够将原本散落在剧本中的碎片，巧妙地编织成一幅幅生动鲜活的画面，让我完全沉浸其中。它没有仅仅是讲述故事，而是让我感受到了角色的情感，理解了他们的动机，甚至开始思考自己面对类似困境时会如何选择。这是一种非常独特的阅读体验，让我对莎士比亚的作品有了全新的认识。

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我对这本《莎士比亚故事集》的初印象，是那种“原来名著也可以这么读”的豁然开朗。一直以来，总觉得莎士比亚是属于文学殿堂里高高在上的存在，但这本书让我感受到了一种前所未有的亲切感。它不像许多枯燥的导读，而是将故事本身讲得比原著还要精彩。书中对《奥赛罗》的解读，尤其令我印象深刻。它没有回避其中的嫉妒和背叛，反而将伊阿古的阴谋诡计，以及奥赛罗从信任到怀疑的心理转变，描绘得惊心动魄。那种被欺骗和误解的痛苦，透过文字直击人心，让人不忍卒读。而《威尼斯商人》中对夏洛克的刻画，也让我看到了一个更加复杂的人物形象，不仅仅是简单的反派，而是一个被社会压迫和歧视所扭曲的个体。这本书的叙事者仿佛拥有某种魔力，能够将剧本中的对话和情节，转化成引人入胜的散文，让每一个角色都仿佛拥有了自己的生命和声音。即使是那些我之前并不熟悉的剧目，通过这本书的讲述，也变得格外鲜活，充满了戏剧张力。它让我开始重新审视那些经典，发现原来它们的故事如此贴近我们的生活，充满了普世的情感和深刻的洞察。

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这本书给我的感觉，就像是品尝一杯醇厚的美酒，初入口微涩，但回味无穷。第一卷的《暴风雨》的处理，让我看到了一个充满魔幻现实主义的奇幻世界。书中对普洛斯彼罗的魔法、米兰达的天真善良，以及岛上各种奇特生物的描绘，都充满了想象力，仿佛把我带入了一个远离尘嚣的神秘之地。它不仅仅是讲述了一个复仇的故事，更探讨了宽恕和救赎的主题，让我思考良久。而《驯悍妇》则又展现了另一种截然不同的风格，它充满了喜剧色彩和幽默感，书中卡特琳娜和佩特鲁乔之间的“斗智斗勇”，被描绘得妙趣横生，虽然有些情节在现代看来可能有些争议，但书中对人物性格的塑造，以及对男女之间关系的探讨，仍然具有一定的现实意义。这本书最让我欣赏的是它能够根据不同剧目，调整叙述的节奏和风格，时而紧张刺激，时而轻松诙谐，但始终保持着对原作精神的尊重。它没有让那些古老的戏剧变得僵硬乏味，而是注入了新的活力，让我看到了莎翁作品的生命力。