《莎士比亚戏剧故事:TALES FROM SHAKESPEARE》，由英国18世纪著名作家查尔斯?兰姆与姐姐玛丽?兰姆共同改写而成，原是为英国儿童写的通俗读物，现已成为全世界莎剧初学者必读的入门书。《莎士比亚戏剧故事》收录了莎士比亚著名的20部戏剧，其中12部喜剧，包括《暴风雨》《仲夏夜之梦》《无事生非》《皆大欢喜》《威尼斯商人》《第十二夜》等；8部悲剧，包括《罗密欧与朱丽叶》《奥赛罗》《丹麦王子哈姆莱特》《麦克白》《李尔王》等，囊括了莎士比亚在各创作时期的不同作品类型。
《莎士比亚戏剧故事》为英文原版，同时提供配套英文朗读免费下载，详见图书封底二维码信息。让读者在欣赏莎翁优美剧作的同时，亦能提升英语阅读水平。
Tales from Shakespeare is an English children’s book written by Charles Lamb and his sister Mary Lamb in 1807. The book is designed to make the stories of Shakespeare’s plays familiar to the young. However, as noted in the author’s Preface, “[Shakespeare’s] words are used whenever it seemed possible to bring them in; and in whatever has been added to give them the regular form of a connected story, diligent care has been taken to select such words as might least interrupt the effect of the beautiful English tongue in which he wrote: therefore, words introduced into our language since his time have been as far as possible avoided.”
Mary Lamb was responsible for the comedies, while Charles wrote the tragedies; they wrote the preface between them. The book has been republished many times. It was illustrated by Sir John Gilbert (1866), Arthur Rackham (1899,1909), Louis Monziès in (1908), Walter Paget (1910), D. C. Eyles (1934, 1938).
關於作者：
《莎士比亚戏剧故事》 Charles Lamb 1775 1834 was an English poet and essayist who wrote Tales from Shakespeare and Essays of Elia. He was born on February 10, 1775, in London, England. Becoming an essayist, he wrote childrens versions of well-known works, including Tales from Shakespeare. Lamb cared for his troubled sister, Mary, after she murdered their mother. He is best known for writing remarkable letters for London Magazine, Essays of Elia, under the pan name Elia. He died in 1834.
Mary Lamb 1764 1847 was an English writer. She is best known for the collaboration with her brother Charles on the collection Tales from Shakespeare. She and Charles presided over a literary circle in London that included the poets William Wordsworth and Samuel Taylor Coleridge, among others.
目錄：
THE TEMPEST
A MIDSUMMER NIGHTS DREAM
THE WINTERS TALE
MUCH ADO ABOUT NOTHING
AS YOU LIKE IT
THE TWO GENTLEMEN OF VERONA
THE MERCHANT OF VENICE
CYMBELINE
KING LEAR
MACBETH
ALLS WELL THAT ENDS WELL
THE TAMING OF THE SHREW
THE COMEDY OF ERRORS
MEASURE FOR MEASURE
TWELFTH NIGHT OR WHAT YOU WILL
TIMON OF ATHENS
ROMEO AND JULIET
HAMLET, PRINCE OF DENMARK
OTHELLO
PERICLES, PRINCE OF TYRE
內容試閱：
The following tales are meant to be submitted to the young reader as an introduction to the study of Shakespeare, for which purpose his words are used whenever it seemed possible to bring
them in; and in whatever has been added to give them the regular form of a connected story, diligent care has been taken to select such words as might least interrupt the effect of the beautiful
English tongue in which he wrote： therefore, words introduced into our language since his time have been as far as possible avoided.
In those tales which have been taken from the Tragedies, the young readers will perceive, when they come to see the source from which these stories are derived, that Shakespeares own words, with little alteration, recur very frequently in the narrative as well as in the dialogue; but in those made from the Comedies the writers found themselves scarcely ever able to turn his words into the narrative form： therefore it is feared that, in them, dialogue has been made use of too frequently for young people not accustomed to the dramatic form of writing. But this fault, if it be a fault, has been caused by an earnest wish to give as much of Shakespeares own words as possible： and if the He said and She said the question and the reply, should sometimes seem tedious to their young ears, they must pardon it, because it was the only way in which could be given to them a few hints and little foretastes of the great pleasure which awaits them in their elder years, when they come to the rich treasures from which these small and valueless coins are extracted; pretending to no other merit than as faint and imperfect stamps of Shakespeares matchless image. Faint and imperfect images they must be called, because the beauty of his language is too frequently destroyed by the necessity of changing many of his excellent words into words far less expressive of his true sense, to make it read something like prose; and even in some few places, where his blank verse is given unaltered, as hoping from its simple plainness to cheat the young readers into the belief that they are reading prose, yet still his language being transplanted from its own natural soil and wild poetic garden, it must want much of its native beauty.
It has been wished to make these tales easy reading for very young children. To the utmost of their ability the writers have constantly kept this in mind; but the subjects of most of them made this a very difficult task. It was no easy matter to give the histories of men and women in terms familiar to the apprehension of a very young mind. For young ladies too, it has been the intention chiefly to write; because boys being generally permitted the use of their fathers libraries at a much earlier age than girls are, they frequently have the best scenes of Shakespeare by heart, before their sisters are permitted to look into this manly book; and, therefore, instead of recommending these tales to the perusal of young gentlemen who can read them so much better in the originals, their kind assistance is rather requested in explaining to their sisters such parts as are hardest for them to understand： and when they have helped them to get over the difficulties, then perhaps they will read to them carefully selecting what is proper for a young sisters ear some passage which has pleased them in one of these stories, in the very words of the scene from which it is taken; and it is hoped they will find that the beautiful extracts, the select passages, they may choose to give their sisters in this way will be much better relished and understood from their having some notion of the general story from one of these imperfect abridgments; which if they be fortunately so done as to prove delightful to any of the young readers, it is hoped that no worse effect will result than to make them wish themselves a little older, that they may be allowed to read the plays at full length such a wish will be neither peevish nor irrational. When time and leave of judicious friends shall put them into their hands, they will discover in such of them as are here abridged not to mention almost as many more, which are left untouched many surprising events and turns of fortune, which for their infinite variety could not be contained in this little book, besides a world of sprightly and cheerful characters, both men and women, the humour of which it was feared would be lost if it were attempted to reduce the length of them.
What these tales shall have been to the young readers, that and much more it is the writers wish that the true plays of Shakespeare may prove to them in older yearsenrichers of the fancy, strengtheners of virtue, a withdrawing from all selfish and mercenary thoughts, a lesson of all sweet and honorable thoughts d actions, to teach courtesy, benignity, generosity, humanity： for of
examples, teaching these virtues, his pages are full.
THE TEMPEST
There was a certain island in the sea, the only inhabitants of which were an old man, whose name was Prospero, and his daughter Miranda, a very beautiful young lady. She came to this island so young, that she had no memory of having seen any other human face than her fathers.
They lived in a cave or cell, made out of a rock; it was divided into several apartments, one of which Prospero called his study; there he kept his books, which chiefly treated of magic, a study at that time much affected by all learned men： and the knowledge of this art he found very useful to him; for being thrown by a strange chance upon this island, which had been enchanted by a witch called Sycorax, who died there a short time before his arrival, Prospero, by virtue of his art, released many good spirits that Sycorax had imprisoned in the bodies of large trees, because they had refused to execute her wicked commands. These gentle spirits were ever after obedient to the will of Prospero. Of these Ariel was the chief.
The lively little sprite Ariel had nothing mischievous in his nature, except that he took rather too much pleasure in tormenting an ugly monster called Caliban, for be owed him a grudge because he was the son of his old enemy Sycorax. This Caliban, Prospero found in the woods, a strange misshapen thing, far less human in form than an ape： he took him home to his cell, and taught him to speak; and Prospero would have been very kind to him, but the bad nature which Caliban inherited from his mother Sycorax, would not let him learn anything good or useful： therefore he was employed like a slave, to fetch wood, and do the most laborious offices; and Ariel had the charge of compelling him to these services.
When Caliban was lazy and neglected his work, Ariel who was invisible to all eyes but Prosperos would come slily and pinch him, and sometimes tumble him down in the mire; and then Ariel, in the likeness of an ape, would make mouths at him. Then swiftly changing his shape, in the likeness of a hedgehog, he would lie tumbling in Calibans way, who feared the hedgehogs
sharp quills would prick his bare feet. With a variety of suchlike vexatious tricks Ariel would often torment him, whenever Caliban neglected the work which Prospero commanded him to do.
Having these powerful spirits obedient to his will, Prospero could by their means command the winds, and the waves of the sea. By his orders they raised a violent storm, in the midst of which, and struggling with the wild sea-waves that every moment threatened to swallow it up, he showed his daughter a fine large ship, which he told her was full of living beings like themselves. O my dear father, said she, if by your art you have raised this dreadful storm, have pity on their sad distress. See! the vessel will be dashed to pieces. Poor souls! they will all perish. If I had power, I would sink the sea beneath the earth, rather than the good ship should be destroyed, with all the precious souls within her.
Be not so amazed, daughter Miranda, said Prospero; there is no harm done. I have so ordered it, that no person in the ship shall receive any hurt. What I have done has been in care of you, my dear child. You are ignorant who you are, or where you came from, and you know no more of me, but that I am your father, and live in this poor cave. Can you remember a time before you came to this cell? I think you cannot, for you were not then three years of age.
Certainly I can, sir, replied Miranda.
By what? asked Prospero; by any other house or person? Tell me what you can remember, my child.
Miranda said, It seems to me like the recollection of a dream. But had I not once four or five women who attended upon me?
Prospero answered, You had, and more. How is it that this still lives in your mind? Do you remember how you came here? No, sir, said Miranda, I remember nothing more.
Twelve years ago, Miranda, continued Prospero, I was Duke of Milan, and you were a princess, and my only heir. I had a younger brother, whose name was Antonio, to whom I trusted
everything; and as I was fond of retirement and deep study, I commonly left the management of my state affairs to your uncle, my false brother for so indeed he proved. I, neglecting all worldly ends, buried among my books, did dedicate my whole time to the bettering of my mind. My brother Antonio being thus in possession of my power, began to think himself the duke indeed. The opportunity I gave him of making himself popular among my subjects awakened in his bad nature a proud ambition to deprive me of my dukedom; this he soon effected with the aid of the King of Naples, a powerful prince, who was my enemy.
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