Download A Midsummer-Night's Dream (The Complete Shakespeare by William Shakespeare, Liang Shiqiu PDF

By William Shakespeare, Liang Shiqiu

It's a Bilingual version 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 A Midsummer-Night's Dream (The Complete Shakespeare Translated by Liang Shiqiu, Book 8) (Bilingual Edition)

Example text

Polish the bells. Bells? I'll be fixing a few, down by the front door. Brass. Well, I ... I never done caretaking before, you know ... I mean to say ... I never ... what I mean to say is I never been a caretaker before. [Pause]. How do you feel about being one, then? Well, I reckon ... Well, I'd have to know ... you know ... What sort of ... Yes, what sort of ... you know ... 5* The anaphoric co-reference also promotes the appearance of continuity in the universe created by the theatre discourse.

London: Eyre Methuen, 1962), p. 38. 56. (Buenos Aires: Editorial Astral, 1967), pp. 30 and 90 respectively (our translation). 57. William Shakespeare, Hamlet. The Riverside Shakespeare. (Boston: Houghton Mifflin Company, 1974), Act I, Scene V, pp. 1149-1150 and Act III, Scene II, p. 1164, respectively. 58. (London: Eyre Methuen, 1979), p. 51. 59. The Semiotics of Theatre and Drama, pp. 152-153. 60. Universi di discorso (Milano: Feltrinelli, 1979). 61. For more on referentiality in theatre, see chapter III of this book.

Universi di discorso (Milano: Feltrinelli, 1979). 61. For more on referentiality in theatre, see chapter III of this book. 62. The Semiotics of Theatre and Drama, p. 150. 63. For a complete classification of deixis and anaphora, see table I at the end of chapter I. 64. "Toward a Segmentation of the Dramatic Text", 169-171. See also Anne Ubersfeld, Lire le theatre (1982), chapters VI and VII; and L'ecole du spectateur, chapter IV. Also, Keir Elam, The Semiotics of Theatre and Drama, chapter V, pp.

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