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一生必學的英文閱讀:仲夏夜之夢(附朗讀CD)

一生必學的英文閱讀:仲夏夜之夢(附朗讀CD)

A Midsummer Night’s Dream

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內容簡介

  就在仙王與仙后爭執得不可開交之際,撲克拿著愛情魔法汁液,決定來惡作劇一番……

  仲夏之夜,四個年輕人在森林中迷失了,他們能夠找到彼此、找到真愛嗎?撲克愛情魔法液的攪局,會使他們孤獨心碎嗎?

  一群來取悅雅典公爵的戲班,也陷入混亂之中,戲團領班現在可是頂著一顆驢頭!泰坦妮亞一覺醒來,居然愛上了這頭驢?

  現在還來得及在這瘋狂的仲夏夜晚結束之前,讓一切恢復正常嗎?

  莎士比亞的經典喜劇,帶來瘋狂、想像、歡樂。

  《一生必學的英文閱讀》系列以中英對照的方式呈現,原文部分由熱愛英國文學且經驗豐富的英國籍老師在保留原著精神的前提之下,以淺顯易懂的文字改寫而成,再加上多幅全彩生動活潑的插圖以及依據情節不同而變化的豐富音效,將閱讀變成一場視覺與聽覺的文學盛宴,以期讓讀者不再害怕文學作品,而能在輕鬆、活潑又有趣的氛圍下逐步提昇「英語閱讀力」!

  適合自修、班級戲劇演出、團體討論(書後都附有中、英文的討論題目,以供發想),更推薦許多延伸作品,如網站、電影等資訊,越學越有趣!

  特別推薦給──
  TOEIC、TOEFL、IELTS 考生、打算出國留、遊學的人

  ─面對全球化的時代來臨,任何口音英文都要聽得懂才是王道。培養閱讀的能力,不論在考試中或是職場,都能幫助你的英文程度大幅提升。

  ◎英文文學愛好者
  想進攻原著小說又怕太艱深?此系列輕鬆簡單的讀本,跟著純正的英文一同朗讀,不知不覺更能接近莎士比亞筆下的悲歡世界。

作者簡介

威廉.莎士比亞(William Shakespeare, 1564–1616)

  英國伊麗莎白時代最富盛名、最偉大的詩人與劇作家。他留下的著作包括了38部戲劇;154首十四行詩、兩部長篇敘述詩,及一些其他詩作。早期的劇作為喜劇與歷史劇,他的悲劇創作則達到了藝術性與深度的最高峰,許多作品都被翻譯成多國語言,在世界各地演出、或重新詮釋,為熱愛文學的後世所景仰。

 

目錄

導讀
The characters 人物介紹
A Midsummer Night’s Dream 仲夏夜之夢
Taking Things Further 後記
Post-reading 讀後賞析
Chinese Translation 中文翻譯
Finding out more 英文延伸閱讀
 

導讀

閱讀莎翁,閱讀人生:戲劇的語言魅力

  All the world's a stage,
  And all the men and women merely players;
  They have their exits and their entrances,

  世界就是一座舞台,
  所有男女只是演員
  大家都有進場與出場。

  英國大文豪莎士比亞認為我們這個世界其實是個舞台,透過舞台這個戲劇的場景,我們扮演自己的角色。其實,我們更應說舞台的世界更是我們人生的寫照,所謂人生如戲,不如說戲如人生 The stage is the world.。

  人們走進劇場,將自己投入虛擬的世界,直接地在短暫的時間與空間中,體驗人生的一切變換,那種將人生的不同際遇,縮短成非常短的片段,赤裸裸地展現在我們面前,正是戲劇這種文學形式給我們的震撼。跟其他文學形式如詩(poetry)或小說(fiction)不同,戲劇(drama)充滿即時的衝突,透過人物的實際演出,再現(represent)人生中最精采的片段。有人說:詩引人沉醉,小說令人深思,而戲劇則讓人瘋狂!戲劇的力量往往超越其他文學的形式,直接撞擊人心。

  戲劇的要素:人物、對話、情節

  強調戲劇的超級力量之前,我們要先了解構成這種張力的幾個要素,才能真正進入戲劇的世界。誠如前面所言,戲劇跟其他文學形式不同,它除了具備其他文學形式(如小說)的一些特質(如人物、情節、主題)外,戲劇毫是一種再現的藝術(representational art),也就是透過所謂演出 play-acting(實際的演出或文字上的演出),來進行一場讀者(或觀眾)與文本(或舞台)間的文學接觸,閱讀者可以活生生地看到(see or witness)一場「人生」在面前出現,毫無距離。

  虛擬性的營造:人物與對話

  為了展現這種毫無距離的感覺,戲劇應用了文學中最重要的技巧:虛擬性。也就是讀者或觀眾,在短時間內,要進入這個虛擬的文學世界之中。劇作家如莎士比亞(William Shakespeare),如何辦到這一點呢?首先就是人物的塑造,劇作家要在很多的時間內帶領觀眾(或讀者)認識這個舞台上的人物,他(她)不僅是文學中的典型人物(如不畏艱難的愛人),更是你我周遭人物的投射。這些戲劇人物可能代表我們內心的渴望,以可能說出我們急於想對別人揮灑出的智慧,甚至就是日常生活的牢騷。成功的人物塑造絕對是戲劇中最重要也最迷人的,如多情多變的羅密歐(Romeo)、充滿野心的馬克白(Macbeth),很多觀眾或讀者即使知道情節,但仍然著迷於這些人物的一顰一笑。

  戲劇中的人物的生動處來自於對話,不像詩或小說,作者可以慢條斯理的敘述人物的個性或剖析其內心的世界,劇作家只能透過人物自己本身的說話或與別人的互動來模擬這個人物的個性與特質。對話(dialogue)成為劇作家唯一的工具,也就是說對話是戲劇的文學媒介(literary medium),也是唯一的利器。好的對話不僅可以塑造人物,也可以看出人物間的關係,更可以推動情節的發展。試著閱讀這段:

  Macbeth: If we decide to do this dreadful deed
  It must be swiftly done to have success.
  And ye the things we do sometimes come back
  To punish us. He’s here in double trust.
  First, I am his kinsman and his subject.
  Secondly, I am his host; my part
  Should be to keep him safe from villainy,
  Not bear the knife myself.
  Lady Macbeth enters.
  How now? What news?
  Lady Macbeth:
  He has almost supp’d. Why have you left the chamber?
  Macbeth: Has he asked for me?
  Lady Macbeth: Know you not he has?
  Macbeth: We will proceed no further in this business.
  Lady Macbeth: Had boldness turned to cowardice in you?
  Macbeth: Prithee, peace, I dare do all that may become a man.
  Lady Macbeth: When you durst do it, then you were a man.
  Macbeth: If we should fail?
  Lady Macbeth: But we’ll not fail.

  馬克白
  若決定要幹此駭人勾當
  必須果敢迅速才能功成。
  但我們的所作所為,有時會回頭
  懲罰我們。他懷著雙重信任來此。
  首先,我是他的親戚,又是臣民。
  其次,我是他的主人;我的本分
  應是保障他人身安全,杜絕邪惡,
  而非自己持刀行刺。

  馬克白夫人進場。
  現在怎麼樣了?有何消息?

  馬克白夫人
  他快用完餐了。你為什麼離開廳房?

  馬克白
  他有沒有問起我?

  馬克白夫人
  你不知道他問起你嗎?

  馬克白
  我們還是不要進行這件事吧。

  馬克白夫人
  你的大膽變為怯懦了?

  馬克白
  請妳別再說了,為成為男子漢,我什麼都敢做。

  馬克白夫人
  敢說就敢做,才是男子漢。

  馬克白
  要是我們失敗呢?

  馬克白夫人
  我們不會失敗。

  看看這一段馬克白(Macbeth)跟夫人(Lady Macbeth)的對話,當他們決定謀殺國王(Duncan)來取得權力,馬克白猶疑但充滿算計的個性表露無疑(And ye the things we do sometimes come back to punish us. 我們所做的事有時會反過來懲罰我們。),而馬克白夫人說:大膽變成懦弱的嗎?(Had boldness turned to cowardice in you?),其話語顯現這位女性的堅定與果決。

  兩人的對話與互動,一下子讓我們很快的見識到不同的性格與人物特質,也顯現兩人間的主動與被動的關係。

  戲劇性:情節的張力

  當然對話不僅是人物塑造的重要工具,更是推動精采情節的動力。好的戲劇建立在所謂戲劇性,也就是情節的高潮迭起、故事的緊奏,最後達到了戲劇最大的解脫:主角的死亡或衝突的落幕。即使我們知道羅密歐與茱麗葉最後雙亡,但讀到或目睹羅密歐最後那一剎那的深情告白與殉情獨白,仍然悸動不已:

  Here is the tomb. Here is my love! my wife!
  Death, that hath sucked the honey of thy breath,
  Had had no power yet upon thy beauty.
  Your lips are crimson still. Your glowing skin
  Shows not death’s pale appearance on your face.
  Here will I stay with thee. Eyes, look your last.
  Arms, take your last embrace! And, lips, seal now
  With this faithful kiss an eternal vow.
  Here’s to my love!
  Thus with a kiss, I die.

  墓園到了。我的愛就葬在此!我的妻子!
  死亡,雖已吸盡她的甜蜜氣息,
  卻絲毫不能影響她的美貌。
  妳的嘴唇依然紅潤。透著光澤的肌膚
  臉龐並看不出任何死氣沉沉的蒼白。
  我將會在這裡陪妳。我的眼哪,最後一次望著妳。
  我的手臂哪,最後一次擁抱妳!而我的唇,閉上吧,
  讓我帶著永恆的誓言獻上忠貞的吻。
  敬我唯一的愛!(喝下毒藥)
  最後一吻,我死去了。

  此處,當羅密歐說出:“And, lips, seal now / with this faithful kiss an eternal vow.”(雙唇,現在印上永恆的誓約,以這忠誠的吻),相信很多人會跟著羅密歐低頭俯視愛人茱麗葉,嘴唇也不知不覺張開低吻,心瘁不已!

  這種戲劇性來自於劇作家的情節營造與安排,如何將故事一步一步推上不可逆轉的結局與高潮,考驗劇作家的文學功力與文學深度。將簡單的故事,在短短的幾個小時的閱讀或觀賞中,層層鋪疊,最後在那最具衝擊性的剎那間,認識了人間的無常與世事的變化,讓讀者(或觀眾)帶著一些不捨與恐懼(pity and fear, 此為亞理士多德 Aristotle 的用語),離開這個舞台,成功地傳達了戲劇的文學意涵!

  戲劇的力量:語言

  前面所謂戲劇成功地要素其實都建立在戲劇的語言上。即使戲劇也有動作 (action)或壯觀的場景(spectacle),但動作也好或道具、佈景都無法取代語言所帶來的戲劇力(dramatic power)。好的戲劇建立在人物與人物間的精采對話(dialogue),也建立在人物本身的獨白(soliloquy)上, 透過人物間的這些針鋒相對的話語,產生了人與人間的微妙關係,有時回看看看自己家裡的晚餐對話或家族聚會的互動,不禁以為自己也在上演一齣精采的家庭倫理戲呢?

  閱讀莎士比亞〈仲夏夜之夢〉的粗俗漢 Bottom,也不禁跟著起舞:

  Now am I dead, now am I fled;
  My soul is in the sky.
  Tongue, lose they light! Moon, Take thy flight!
  Now die, die, die, die—die!

  莎翁的魅力

  在二十一世紀的台灣,我們無緣觀賞莎士比亞戲劇的演出,但是我們卻能透過文字、語言來感受這場戲劇饗宴的奇幻,不僅從其悲劇中找到人性的脆弱,也從其喜劇中,找到人生的樂趣,更在其文字裡,體會這些文字所製造出來的虛擬(或真實)世界!

  閱讀莎翁劇本,隨著人物的出場,我們受對話牽引,被獨白感動,也體會文字如何建構一個多采多姿、比人生更真實的世界,偉大的愛情不是都是充滿波折與考驗的嗎?追求正義與生活的正當性,不正是一場風暴的實驗嗎?語言能創造這些感情、心靈、哲學的世界,正是莎士比亞迷人的地方。討論莎士比亞的文章、學術書籍太多、太沉重了。不如就放下自己的人生負擔、卸下自己的社會面具,自在的去體會莎士比亞更真實的戲劇世界!

  如何使用本書:朗讀、跟讀

  這一套莎士比亞的戲劇,將原來的劇作改寫。將文字簡化、將情節與人物聚焦,即使喪失了莎翁劇場的臨場感與原始的豐富文字語言,但忠實地將原劇的精神保留下來,文字變得精簡,無需複雜的文化背景或文學訓練。非母語人士,如我們或台灣的年輕學子,很容易吸收。

  除了隨著人物與情節的推演,進入戲劇世界,理解主題與文化意涵外,更重要的是掌握戲劇的精髓:文字與語言的力量。因此,看到精采的文字、對話或獨白,我們也要起身朗讀,感受人物的內心起伏。如果朗讀沒有把握,先聽聽所附的光碟,聽聽這些人物的聲音,自己也隨著朗讀,不僅學習發音、語調,也嚐試跟著莎翁人物體驗人生!

  此外,書中還分析精采句子的語法結構,也羅列出一些單字,試著去找出一些動詞用法,也試著去背誦一些名句,對語感的建立很有幫助。文法只是輔助的工具,記得好好跟著人物念一下他們的台詞,閱讀戲劇的樂趣就在那!

  進入迷幻的世界:《仲夏夜之夢》

  精靈的世界充滿各種可能性。進入奇幻的森林,一切的價值觀與陳腐的觀念都被顛覆了。與凡夫俗子一起做夢,與精靈一起搞怪,這是一場夢嗎?還是我們內心世界解放了?

 

詳細資料

  • ISBN:9789570841381
  • 叢書系列:一生必學的英文閱讀
  • 規格:平裝 / 152頁 / 13 x 18.7 x 0.76 cm / 普通級 / 全彩印刷 / 初版
  • 出版地:台灣
 

內容連載

ACT THREE, SCENE TWO
THE LOVERS’ QUARREL

Oberon and Puck meet in the same part of the wood.

Oberon
Here’s my messenger. How now, mad spirit?

Puck
My mistress with a monster is in love!
While she was in her dull and sleeping hour,
A crew of patches, rude mechanicals,
Were met together to rehearse a play.
Upon one clumsy oaf I fixed a donkey’s head
And in that moment (so it came to pass)
Titania waked and straightway loved an ass.

Oberon
O, this has turned out better than I hoped.
And have you yet bewitched the Athenian’s eyes
With the love-juice as I did bid you do?

Puck
I found him sleeping – that is finished, too.
Demetrius and Hermia enter.

Oberon
Stand close; this is the same Athenian.

Puck
This is the woman, but not this the man.

Demetrius
Why are you cruel to one who loves you so,
And speak as if I were a bitter foe?

Hermia
If you have killed Lysander in his sleep,
Then take your sword and plunge it in my heart.
If he is dead, I do not wish to live.

Demetrius
I have not killed him, though if he were here
I’d take my sword and cut him ear to ear.

Hermia
Wicked Demetrius, now I will go.
See me no more, whether he be dead or no.
Hermia leaves.

Demetrius
O, I am weary from this pointless chase.
I’ll lay me down to sleep in this leafy place.
Demetrius goes to sleep.

Oberon
What mistake is this? Puck, what have you done?
Some other eyes, some other heart is won.
About the wood go swifter than the wind
And Helena of Athens look thou find.
By some illusion see thou bring her here,
I’ll charm his eyes until she does appear.
Oberon anoints Demetrius’s eyes. Puck returns,
followed by Helena and Lysander.

Puck
Helena, I bring to thee
And the youth mistook by me.

Oberon
Stand aside. The noise they make
Will cause Demetrius to awake.

Lysander
Why must you think I play a trick on you?
Are not these tears the proof my love is true?

Helena
It is not true, for yesterday your heart
Was pledged to Hermia, is that not so?

Lysander
If I loved her I was not in my mind!

Helena
You have lost it indeed to speak like this.

Lysander
Demetrius loves her, and he loves not you.
Demetrius wakes up and sees Helena.

Demetrius
O Helena, goddess, nymph, perfect, divine!
To what, my love, shall I compare thine eyne?
O princess fair, give me your hand to kiss;
Send me forever to a place of bliss!

Helena
O spite! O hell! I see you are all bent
To set against me for your merriment.
To vow, to swear, and superpraise my parts
When I am sure you hate me with your hearts.

Lysander
You are unkind, Demetrius, be not so –
For you love Hermia, this you know I know,
And I will give up Hermia’s love to thee
If you will leave sweet Helena to me.

Demetrius
Lysander, keep thy Hermia, I will none.
If e’er I loved her, all that love is gone.
Hermia arrives, and rushes to Lysander.

Hermia
Thank the gods I’ve found you safe and well,
Your absence from me was a living hell.

Lysander
A hell it was if I had stayed with you!

Hermia
You do not know what you are saying, dear.

Helena
She is a willing part of their cruel game.
Ungrateful Hermia, have you forgot
The friendship we have known since we were young?
Like sisters have we been, loyal and true,
But now unkindness is your only gift.

Hermia
Helena, I am amazed at your words.
It is not I but you who are unkind.

Helena
Then why should these two men who love you, plead
False love for me but by your own command?

Hermia
I understand not what you mean by this.

Helena
Continue your pretence. Make faces now
At me behind my back. Yes, have your fun;
This maid has had enough. Farewell, false friends!

Lysander
Stay gentle Helena, do not go,
You are my life, my love, my heart, my soul!

Hermia
Lysander, do not tease her – it is cruel.

Demetrius
His love is false; all mine I pledge to you.

Lysander
Then draw your sword and we will see who’s true.

Hermia
No, no, my love, I will not let you fight!

Lysander
Let go of me, you hag, and leave my sight.

Hermia
O Helena, what have you done, you thief?
You have stolen the heart that should be mine!

Helena
I have done nothing wrong, deserve no blame,
’Tis you, and they, who play this vicious game.

Hermia
Vicious? Why, I will show you vicious, maid!
Hermia runs at Helena.

Helena
Gentlemen, save me, though you mock me still.
When she is angry, she is keen and shrewd.
She was a vixen when she went to school,
And though she be but little she is fierce.

Hermia
Take that back or I will come at thee!
Lysander (to Hermia)
Get you gone, you pipsqueak, you vile thing!

Demetrius
Nay, I shall be the one to take her part.

Lysander
Think you so? Then let us fight a duel
Elsewhere, and you may prove yourself to me!

Demetrius
Agreed! The winner shall have Helena’s hand.
Demetrius and Lysander leave together
with swords drawn.

Hermia
You, mistress! This is all because of you!

Helena
I will not stay to let you scratch my face,
But run away from this unhappy place.
Helena runs off.

Hermia
I am amazed and know not what to say.
Hermia walks off.

Oberon
This is your doing, O mischievous sprite!
Something must be done to put things right.
Bring down a mist about this wood so thick
That none shall see their hand before their face.

Puck
With false calls I will lead each man astray,
So none be harmed on this midsummer’s night.

Oberon
When they at last do fall asleep, this herb
Into Lysander’s eye do crush it well.
Its juice will right the wrong that has been done,
And when the lovers wake and meet at dawn
It shall be as if they had but dreamt a dream.
Go, work your magic on these mortals, Puck.
I’ll to the Fairy Queen, demand the boy,
And lift the love charm from her eyes. Haste!
Puck and Oberon leave.

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