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《李尔王》叙述了年事已高的李尔王意欲把国土分给3个女儿，口蜜腹剑的大女儿戈那瑞和二女儿里甘赢其宠信而瓜分国土，小女儿科迪莉亚却因不愿阿谀奉承而一无所得。前来求婚的法兰西国王慧眼识人，娶科迪莉亚为皇后。李尔王离位，大女儿和二女儿居然不给其栖身之地，当年的国王只好到荒郊野外……科迪莉亚率队攻入，父女团圆。但战事不利，科迪莉亚被杀死，李尔王守着心爱的小女儿的尸体悲痛地死去。

List of

Illustrations

Introduction

Textual Introduction

and Editorial Procedures

THE HISTORY OF KING

LEAR

The Ballad of King

Lear

Offshoots of‘King

Lear’

Alterations to

Lineation

Index

作者

威廉·莎士比亚（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，全世界卓越的文学家之一。英国戏剧家本·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“人类伟大的戏剧天才”。他流传下来的作品包括约38部剧本、154首十四行诗、两首长叙事诗和其他诗作。他的剧本被翻译成所有主要语言，并且表演次数远远超过其他剧作家。直至今日，他的作品依然广受欢迎。

导读者

斯坦利·威尔斯（Stanley Wells）

英国伯明翰大学莎士比亚研究中心教授。

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Sc. I. Enter the Earl of Kent, the Earl of

Gloucester

and Edmund the bastard

KENT

I thought the King had more affected the Duke of Albany than

Cornwall

.

GLOUCESTER

It did always seem so to us, but now in the division of the kingdom it appears not which of the Dukes he values most; for qualities are so weighed that curiosity in neither can make choice of either’s moiety.

KENT

Is not this your son, my lord?

GLOUCESTER

His breeding, sir, hath been at my charge: I have so often blushed to acknowledge him that now I am brazed to it.

KENT

I cannot conceive you.

GLOUCESTER

Sir, this young fellow’s mother could, whereupon she grew round-wombed, and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?

KENT

I cannot wish the fault undone, the issue of it being so proper.

GLOUCESTER

But I have a son, sir, by order of law, some year elder than this, who yet is no dearer in my account: though this knave came something saucily to the world before he was sent for, yet was his mother fair; there was good sport at his making, and the whoreson must be acknowledged. Do you know this noble gentleman, Edmund?

EDMUND 

No, my lord.

GLOUCESTER

(to Edmund) 

My Lord of

Kent

. Remember him hereafter as my honourable friend.

EDMUND (to

Kent

)

My services to your lordship.

KENT

I must love you, and sue to know you better.

EDMUND 

Sir, I shall study deserving.

GLOUCESTER

(to

Kent

) 

He hath been out nine years, and away he shall again.

Sound a sennet

The King is coming.

Enter one bearing a coronet, then King Lear, then the dukes of Albany and Cornwall; next Gonoril, Regan, Cordelia, with followers

LEAR

Attend my lords of

France

and

Burgundy

,

Gloucester

.

GLOUCESTER

I shall, my lord.

LEAR

Meantime we shall express our darker purpose.

Give me the map there. Know that we have divided

In three our kingdom: and ’tis our fast intent

To shake all cares and business off our state,

Conferring them on younger years.

The two great princes, France and

Burgundy

—

Great rivals in our youngest daughter’s love—

Long in our court have made their amorous sojourn,

And here are to be answered. Tell me, my daughters,

Which of you shall we say doth love us most,

That we our largest bounty may extend

Where nature doth most challenge it?

Gonoril, our eldest born, speak first.

GONORIL

Sir, I do love you more than word can wield the matter;

Dearer than eyesight, space, and liberty;

Beyond what can be valued, rich or rare;

No less than life; with grace, health, beauty, honour;

As much as child e’er loved, or father found;

A love that makes breath poor and speech unable.

Beyond all manner of so much I love you.

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编辑推荐

《李尔王》是莎士比亚四大悲剧之一，世界文学史上的不朽名著。全书由英国伯明翰大学莎士比亚研究中心教授斯坦利·威尔斯（Stanley Wells）撰写导读并注释。

媒体评论

“莎士比亚就是无限”；“说不尽的莎士比亚”！“莎士比亚的作品风格包含的精神方面的真实性远远超过看得见的行动”。

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　——歌德

　　创造得*多的是莎士比亚，他仅仅次于上帝。

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　——大仲马

前言

Introduction

Once upon a time, probably in 1605, a man

called William Shakespeare, using a quill pen, wrote a play about the legendary

British King Lear and his three daughters. How often he drafted and redrafted

his script we do not know; the version that reached print in 1608, and which

seems to have been his first completed manuscript of the play, contains some

25,000 words.

  Shakespeare’s

penning of these words has had consequences that he cannot have foreseen. It

has resulted in countless theatrical performances, many of them in languages

that he cannot have known and in countries of which he can have had no inkling.

It has enhanced—and occasionally diminished—the reputation of innumerable actors.

It has stimulated other writers—playwrights, novelists, poets, essayists—to

produce an enormous body of work. It has generated a multiplicity of works by

artists in other media—visual art, music, opera, film and television. It has

provoked, especially in the twentieth century, a vast body of scholarly and

critical writing. And it produced a work which, at least since the Romantic

period (with its admiration for the Sublime), has come to be regarded not only

as its author’s finest literary achievement, but also as one of the most

profound and challenging examinations ever undertaken of what it means to be

human, an examination conducted not discursively but in a text that requires

actors to represent men and women in action that is often violent, in extremes

of suffering, and in repose. In imaginative scope and in its power to generate

intellectual and emotional response, King Lear has been compared with the

greatest masterpieces of art, literature, and music. Coleridge wrote of the

storm scenes: ‘O, what a world’s convention of agonies is here!...surely such a

scene was never conceived before or since. Take it but as a picture for the eye

only, it is more terrific than any which a Michel Anglo, inspired by a Dante,

could have conceived, and which none but a Michel Angelo could have executed.’

书籍介绍

《李尔王》是莎士比亚四大悲剧之一，世界文学史上的不朽名著。全书由英国伯明翰大学莎士比亚研究中心教授斯坦利•威尔斯（Stanley Wells）撰写导读并注释。

《李尔王》叙述了年事已高的李尔王意欲把国土分给3个女儿，口蜜腹剑的大女儿戈那瑞和二女儿里甘赢其宠信而瓜分国土，小女儿科迪莉亚却因不愿阿谀奉承而一无所得。前来求婚的法兰西国王慧眼识人，娶科迪莉亚为皇后。李尔王离位，大女儿和二女儿居然不给其栖身之地，当年的国王只好到荒郊野外……科迪莉亚率队攻入，父女团圆。但战事不利，科迪莉亚被杀死，李尔王守着心爱的小女儿的尸体悲痛地死去。