Download As You Like It (The Complete Shakespeare Translated by Liang by William Shakespeare, Liang Shiqiu PDF

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 info for As You Like It (The Complete Shakespeare Translated by Liang Shiqiu, Book 10) (Bilingual Edition)

Example text

Certainly, even if we only look to that other great seventeenth- 26 La Thébaïde 27 century dramatist, Corneille, it becomes clear that his celebrated plays all have as their dramatic backdrop moments of political crisis, when one world order is waning and another, still inchoate order is attempting to emerge and to impose its sociopolitical parameters on a society resistant to change. It is this moment of conflict, between old values and customs that still exist in conjunction with newly emerging social/ economic/political structures, that Racine figured in his tragedies.

24 The state must ignore the convoluted ties of family. It desires itself sovereign, absolute, existing as it does as a “cosa mentale,” a play of power and domination (among men). It is a symbolic rather than a biological ideal. But this desire for the symbolic exists more as a virtual (political) principle than a fully attainable reality. It is this impossible longing for the absolute, for a sovereignty that eludes them, that the warring brothers seek, each in his own way. Their quest is constantly frustrated by the call of the maternal as feminine—Jocaste’s presence, her ceaseless beseeching, and her tears, the unavoidable reminders of the body, of the body’s seduction, that stand in the way of any possible political victory of the brothers.

56 Racine’s tragic theater, garbing the newly emerging, conflicted family of the seventeenth century in mythic dress, allows, through the imposition of myth on tragedy, for the theater to mediate the inchoate demands these new structures make on the individual subject who appears at their ambivalent interstice. The theater’s role is proleptically to represent changes in social formations that are still only immanent in society at large. It seems like more than a fortuitous coincidence that the theater should emerge in the late sixteenth and seventeenth centuries as the privileged form of representation in a society undergoing such fundamental realignments of its most essential structures.

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