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在英国乃至世界十四行诗的创作中,莎士比亚十四行诗是一座高峰,当得起空前绝后的美称。
内容简介
Alex Jennings will be the reader for this unabridged recording of the The Sonnets.
莎士比亚十四行诗大约创作于1590年至1598年之间,其诗作的结构技巧和语言技巧都很高,几乎每首诗都有独立的审美价值。莎士比亚在运用这个诗体时,极为得心应手,主要表现为语汇丰富、用词洗练、比喻新颖、结构巧妙、音调铿锵悦耳。而其最擅长的是最后两行诗,往往构思奇诡,语出惊人,既是全诗点睛之作,又自成一联警语格言。
作者简介
William Shakespeare was born in Stratford-upon-Avon in April 1564, and his birth is traditionally celebrated on April 23. The facts of his life, known from surviving documents, are sparse. He was one of eight children born to John Shakespeare, a merchant of some standing in his community. William probably went to the King’s New School in Stratford, but he had no university education. In November 1582, at the age of eighteen, he married Anne Hathaway, eight years his senior, who was pregnant with their first child, Susanna. She was born on May 26, 1583. Twins, a boy, Hamnet ( who would die at age eleven), and a girl, Judith, were born in 1585. By 1592 Shakespeare had gone to London working as an actor and already known as a playwright. A rival dramatist, Robert Greene, referred to him as “an upstart crow, beautified with our feathers.” Shakespeare became a principal shareholder and playwright of the successful acting troupe, the Lord Chamberlain’s Men (later under James I, called the King’s Men). In 1599 the Lord Chamberlain’s Men built and occupied the Globe Theater in Southwark near the Thames River. Here many of Shakespeare’s plays were performed by the most famous actors of his time, including Richard Burbage, Will Kempe, and Robert Armin. In addition to his 37 plays, Shakespeare had a hand in others, including Sir Thomas More and The Two Noble Kinsmen, and he wrote poems, including Venus and Adonis and The Rape of Lucrece. His 154 sonnets were published, probably without his authorization, in 1609. In 1611 or 1612 he gave up his lodgings in London and devoted more and more time to retirement in Stratford, though he continued writing such plays as The Tempest and Henry VII until about 1613. He died on April 23 1616, and was buried in Holy Trinity Church, Stratford. No collected edition of his plays was published during his life-time, but in 1623 two members of his acting company, John Heminges and Henry Condell, put together the great collection now called the First Folio.
莎士比亚(W. William Shakespeare;1564~1616)英国文艺复兴时期伟大的剧作家、诗人,欧洲文艺复兴时期人文主义文学的集大成者。莎士比亚的代表作有四大悲剧:《哈姆雷特》(英:Hamlet)、《奥赛罗》(英:Othello)、《李尔王》(英:King Lear)、《麦克白》(英:Mac Beth)。著名喜剧:《仲夏夜之梦》《威尼斯商人》《第十二夜》《皆大欢喜》(《As you like it》)。历史剧:《亨利四世》《亨利五世》《查理二世》。正剧、悲喜剧:《罗密欧与朱丽叶》。还写过154首十四行诗,二首长诗。本·琼森称他为“时代的灵魂”,马克思称他和古希腊的埃斯库罗斯为“人类最伟大的戏剧天才”。虽然莎士比亚只用英文写作,但他却是世界著名作家。他的大部分作品都已被译成多种文字,其剧作也在许多国家上演。儒略历1616年4月23日(公历1616年5月3日)病逝,出生日期与逝世日期恰好相同。莎士比亚和意大利著名数学家、物理学家、天文学家和哲学家、近代实验科学的先驱者伽利略同一年出生。被人们尊称为“莎翁”。初中选文《威尼斯商人》.高中选文《哈姆莱特》《罗密欧与朱丽叶(节选)》。
精彩书评
"They are the work of someone whose ear is unerring."
--W.H. Auden
"He is writing about the world, the largeness of which he had perhaps only recently discovered."
--Mark Van Doren
"The striking peculiarity of Shakespeare''s mind was its generic quality, its power to communicate with all other minds."
--William Hazlitt
"Shakespeare is the greatest university of all."
--William Carlos Williams
前言/序言
迷失在时间的低语中:一本关于失落的文明与重生的史诗 书籍名称:《残卷的低语:亚特兰蒂斯之影与新时代的黎明》 作者:伊莱亚斯·凡·德·海姆 出版社:星辰之塔文献局 页数:680页 --- 内容简介 《残卷的低语:亚特兰蒂斯之影与新时代的黎明》并非一部轻松的读物,它是一次对人类文明根源深处的、近乎考古式的深入挖掘。作者伊莱亚斯·凡·德·海姆以其标志性的、冷峻而富有洞察力的叙事风格,带领读者穿越数千年的迷雾,聚焦于一个横跨三大洲的失落帝国——泰拉米斯(Theramis)。 这本书的核心论点是颠覆性的:我们所熟知的古代文明,如古埃及、米诺斯文明,甚至传说中的亚特兰蒂斯,并非孤立的文化孤岛,而是强大而高度发达的泰拉米斯帝国在不同历史阶段留下的“文化折射”。泰拉米斯,一个在冰河时代末期达到技术与精神文明巅峰的国度,它的覆灭并非简单的自然灾害,而是内部哲学的异化与对宇宙规律的过度干预所致。 凡·德·海姆花费了近二十年的时间,足迹遍布安第斯山脉的秘密祭坛、撒哈拉深处的地下水域,以及波罗的海底部被深埋的巨石结构。他汇集了从梵蒂冈秘密档案中解密的残缺手稿、北欧冰川下发现的奇异合金碎片,以及南太平洋珊瑚礁中绘制的、描绘着复杂星图的陶片。 第一部:黄金纪元的幻影 本书的首篇宏大叙事,聚焦于泰拉米斯文明的全盛时期——“谐振纪元”。凡·德·海姆细致描绘了这个社会如何掌握了被称为“以太共振”的能源技术,使他们能够塑造物质结构,并与自然界进行深层次的交流。 然而,作者并未将泰拉米斯浪漫化。他揭示了这种绝对的控制权催生了深刻的阶级分化:掌握“共振钥匙”的“守序者”与依赖自然律法的“洪流者”。书中插入了几段被翻译出来的泰拉米斯哲人日记——《克里特斯的箴言》,这些箴言透露出他们对自身力量的骄傲,以及对外部世界“未开化”民族的蔑视。重点在于,这种哲学上的傲慢,为后来的毁灭埋下了种子。 第二部:大坍塌:熵的胜利 书中最为引人入胜的部分,是对泰拉米斯灭亡过程的重建。这不是一个简单的史诗式海啸,而是一场缓慢、系统性的“结构性崩溃”。作者通过分析地震数据与洋流模式的异常变化,推演出泰拉米斯的高能实验——试图“固定”时间流速以追求永恒——最终导致了整个大陆板块的失衡。 凡·德·海姆特别关注了“最后的审判日”的记录。他展示了少数逃亡者如何携带核心知识(并非技术,而是伦理和宇宙观)散落到世界各地,这些知识随后被不同的文化解读和扭曲,形成了后世的神话体系。例如,书中对比了苏美尔的洪水传说和玛雅的“世界之树”概念,论证了它们皆源于泰拉米斯人对“世界如何崩塌”的集体记忆。 第三部:残卷的低语与新时代的碎片 本书的后半部分,转向了对现代世界的反思。作者认为,我们当前的技术爆炸,尤其是在量子物理和人工智能领域,正不自觉地重复着泰拉米斯人走过的道路。 凡·德·海姆对现有的考古学和历史学主流观点提出了尖锐的挑战。他展示了来自秘鲁纳斯卡线条下方挖掘出的、被误认为是装饰品的“能量导管”的证据,并将其与泰拉米斯残留的电力传输图谱进行对照分析。这些“残卷”不仅仅是过去的遗物,更是对未来决策者的警示。 书中最后一部分,以对“觉醒者”的追踪告终。这些被认为是神话中先知或贤者的后裔,在世界各地以隐秘的方式维持着泰拉米斯“伦理核心”的火种。作者并未提供确切的名单或位置,而是留下了一个深刻的哲学命题:真正的文明重生,需要的不是更强大的科技,而是对力量的谦卑。 作者的风格与价值 凡·德·海姆的写作风格如同地质学家的剖面图,精确、客观,却又不乏史诗的厚重感。他成功地将严谨的科学考证、密码学分析和对人类集体潜意识的哲学探讨熔于一炉。 《残卷的低语》提供了一个宏大而令人不安的视角:人类历史不是线性的进步,而是螺旋式的循环。它迫使读者质疑我们所珍视的“现代性”是否只是上一个伟大文明在不同外壳下的拙劣模仿。这本书是献给所有对历史深处、对未解之谜,以及对人类未来走向抱有深刻关切的求知者的不朽杰作。它不仅是一本书,更是一场对时间本身的审判。