Ten Plays[歐裏庇得斯十大戲劇] [平裝] 下載 mobi epub pdf 電子書 2025

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Euripides（歐裏庇得斯） 著，Paul Roche 譯

圖書標籤:

• 歐裏庇得斯
• 古希臘戲劇
• 戲劇
• 文學
• 古典文學
• 悲劇
• 平裝書
• 西方文學
• 戲劇文學
• 文學經典

齣版社： Penguin US

ISBN：9780451527004

版次：1

商品編碼：19043523

包裝：平裝

齣版時間：1998-10-01

用紙：膠版紙

頁數：608

正文語種：英文

商品尺寸：10.41x3.3x17.27cm

編輯推薦

　　歐裏庇得斯，前485或480年——前406年）與埃斯庫羅斯和索福剋勒斯並稱為希臘三大悲劇大師。

內容簡介

A modern translation exclusive to signetFrom perhaps the greatest of the ancient Greek playwrights comes this collection of plays, including Alcestis, Hippolytus, Ion, Electra, Iphigenia at Aulis, Iphigenia Among the Taurians, Medea, The Bacchae, The Trojan Women, and The Cyclops.

　　歐裏庇得斯民主政治衰落時期的悲劇詩人。在智者學派的影響下，他對神和命運之類的觀念提齣瞭異議。他所錶現的神往往是荒謬的。在他看來，命運不是生前注定的，取決於人們自己的行為。他擁護雅典的民主製度，但對它日益暴露齣的危機感到憂慮。特彆是在內戰期間的各種現實問題，在他的悲劇中獲得瞭深刻的反映。對於雅典進行的不義戰爭，對於對外侵略、對內剝削的高壓政策，對於壓迫和虐待奴隸的問題，對於社會上存在的貧富懸殊、男女不平等、道德敗壞的嚴重現象，都進行瞭揭露和批判。此書包括《美狄亞》、《希波呂托斯》、《特洛伊婦女》、《酒神的伴侶》等。

作者簡介

Euripides was a voluminous writer, the number of his plays being variously stated at from seventy-five to ninety-two, including several satyric dramas. Of these nineteen have survived, with numerous fragments of others, though many of his best works have been lost and more have suffered from interpolations. He began his public career as a dramatist when twenty-four years of age, but was nearly twice as old when he gained his first decisive victory, winning the first prize only four times during his life and once after his death. Yet he was highly esteemed, not only in Athens but throughout the Hellenic world, and as Plutarch tells us, some of the Athenian captives, after the disaster of Syracuse, obtained their liberty by reciting passages from his dramas.

　　歐裏庇得斯，前485或480年——前406年）與埃斯庫羅斯和索福剋勒斯並稱為希臘三大悲劇大師，他一生共創作瞭九十多部作品，保留至今的有十八部。
　　歐裏庇得斯（英文Euripides，公元前480年——前406年）與埃斯庫羅斯和索福剋勒斯並稱為希臘三大悲劇大師，他一生共創作瞭九十多部作品，保留至今的有十八部。對於歐裏庇得斯的評價，古往今來一嚮褒貶不一，有人說他是最偉大的悲劇作傢，也有人說悲劇在他的手中衰亡，無論這些評價如何反復，無庸置疑的是歐裏庇得斯的作品對於後世的影響是深遠的。歐裏庇得斯民主政治衰落時期的悲劇詩人。在智者學派的影響下，他對神和命運之類的觀念提齣瞭異議。他所錶現的神往往是荒謬的。在他看來，命運不是生前注定的，取決於人們自己的行為。他擁護雅典的民主製度，但對它日益暴露齣的危機感到憂慮。特彆是在內戰期間的各種現實問題，在他的悲劇中獲得瞭深刻的反映。對於雅典進行的不義戰爭，對於對外侵略、對內剝削的高壓政策，對於壓迫和虐待奴隸的問題，對於社會上存在的貧富懸殊、男女不平等、道德敗壞的嚴重現象，都進行瞭揭露和批判。正因為如此，他不能見諒於雅典當局，晚年不得不客居馬其頓並在那裏去世。

精彩書摘

Euripides Ten Plays By Euripides Signet Classics Copyright ? 1998 Euripides All right reserved. ISBN: 0451527003 Chapter One Hippolytus Translated by Richard Moore Cast APHRODITE, goddess of love, also called Cypris ARTEMIS, virgin goddess of hunting HIPPOLYTUS, son of Theseus HUNTSMEN MESSENGER NURSE of Phaedra PHAEDRA, wife of Theseus, stepmother of Hippolytus SERVANT THESEUS, king of Athens and Troezen CHORUS of Troezen women (Statue of Aphrodite, left; statue of Artemis, right; palace door, center. Choral space between audience and stage. Aphrodite enters from her image.) APHRODITE Everyone knows me. I'm Cypris, the goddess. Sex and desire, my specialties, draw men helpless from Pontus to Heracles' Pillars. Those that delight in me, I can reward them; those that detest me will harvest my hatred. Even immortals get caught in my soft snares. Goddesses love it when worshipers gather. Listen: I'll prove that this very hour. There is a fellow, King Theseus' young son, huntsman Hippolytus, lover of horses, born of an Amazon lady in Athens. Grandfather Pittheus raised the boy here in Troezen because of his unmarried mother. Hates me, this fellow. The thought of me sickens. Hates love's bed, scorns pleasures of marriage, worships instead prim Artemis, huntress, Phoebus' sister and Zeus' proud daughter; says she's the sacredest thing in the heavens. Never can leave her, adores her, his maiden. There with his dogs hunts beasts in the forest, he and his she-spirit blessing each other. Why should that bother me? Why should I mind that? Well, my Hippolytus, you shall pay dear, dear. All is prepared, and the path lies open. Not that I'll work very hard at it, mind you. Oh, it was years ago now when it started. Theseus, bringing a sexy new consort, Phaedra dear, home to his kingdom in Athens, thought: now what of Hippolytus, young boy got on that Amazon lady I mentioned? That's when he sent him to grandfather Pittheus here to be raised as the ruler of Troezen. But, as it happened, he went back to Athens once, to take part in the mysteries held there. Phaedra caught sight of him, heart in her throbbing shamefully: she was the wife of his father, she, proud ladyship, gripped in a raging criminal lust for him. That was my doing. Then, before coming to Troezen herself, she built me a shrine on a storm-lashed headland, visible here in the city, and called it, "Love from afar," for Hippolytus: wishes. ("Goddess, be seated!" our aftertimes call it.) Meanwhile Theseus, dealing with uncles, shed much blood, so he took a vacation, hoping for calm, and he moved his young family here, where Hippolytus lives. Here Phaedra wastes away, stung by her furious longings, dies of them, agonized; dares, though, no word breathe of it, guiltily hoarding her sickness. Terrified servants in wonderment whisper. Ah, but the truth of it's sure to get out soon, Theseus hear of it ... that I will see to. Oh then loudly he'll cry to Poseidon, call down curses the Sea God promised, down on that hateful Hippolytus, sweep him deep under earth ... poor Phaedra, devoted ... Oh what a pity! for she will die also, nevertheless with her name unsullied; still, she must die. How else can my proud foes learn that it's most unwise to insult me? Look there: Theseus' boy is approaching, beautiful man, and his hunting is over, lordly Hippolytus. Best that I leave now. Followers come with him, raising their clamor, filling the day with his Artemis ditties. Hasn't a clue that the Underworld's waiting. This day's light won't end till it ends him. (Exit. Enter Hippolytus and huntsmen.) HIPPOLYTUS Sing of her, sing of her, sing of sweet Artemis, Zeus' great daughter cares for us ever. HUNTSMEN Lady, lady, most holy, Zeus' great daughter, joy to you, joy to you, daughter of Zeus and of Leto, fairest of maidens high in the heavenly courts of your father glittering, golden, fairest of all on Olympus. HIPPOLYTUS Lady, this wreath from an untouched meadow, picked for you, woven with my own fingers, where no shepherded flocks, no farmer's plow has invaded, but only the bees in the springtime frequented, spirit of reverence tilled it, coaxed from the nearby stream sweet waters: men who have learned things, dominant sure ones, they have been left out, they have no place here. Untaught modesty gathers your flowers, leaving those impure spirits excluded. Queen of my being, accept this wreath now, meant for your glorious hair, all golden. I among mortals alone, great goddess, speak with you, hear you alone in the darkness, never have seen you, nor do I hope to. Let life end for me as you began it! SERVANT Only the gods have the title of master: would you consider a piece of advice, Prince? HIPPOLYTUS Fool I would be, good friend, if I wouldn't. SERVANT One great rule for us mortals--you know it? HIPPOLYTUS Know what? I don't understand what you're saying. SERVANT Men can get fall of themselves, lack friendship. HIPPOLYTUS Right. People full of themselves will deserve that. SERVANT And your relaxed ones tend to be charming? HIPPOLYTUS Definitely, and it costs them nothing. SERVANT (pointing to the sky) There among gods, things also are like that? HIPPOLYTUS Doubtless. We copy immortals, so yes, friend. SERVANT Furious goddesses, Prince, we should placate? HIPPOLYTUS Which goddess? Tell me, and watch what you're saying. SERVANT (pointing to the statue of Aphrodite) This goddess standing right here now, Cypris. HIPPOLYTUS That one chastely I greet from a distance. SERVANT Still, though, terrible, glorious is she. HIPPOLYTUS Bedtime goddesses, friend, you can keep them. SERVANT Honor all goddesses, or you'll regret it. HIPPOLYTUS Some choose one goddess, others another. SERVANT Luck to you, Prince, I'm afraid you may need it. HIPPOLYTUS Inside, followers! Look to our supper! After a good hunt, eating's a pleasure. You there, rub down my horses, and when we've eaten our fill, we'll go chariot riding. I say, Joy to you, Cypris, stay far off. (Exit.) SERVANT We say, young fools need not be mimicked. We who must serve in humility, humbly worship you, Cypris, and beg of you, dear one, try to forgive youth's follies, forgive him. Goddesses ought to be wiser than mortals. (Exeunt. Enter Chorus of Troezen women.) CHORUS Cliff in the mountains, flowing with water far from the ocean, fair to be scooped up, filling our pitchers, there a companion, washing our garments, spread them for drying, warm on the rock face-- there I heard news of my Queen. Lying afflicted, feverish, sickened there in her bedroom three long days now, nothing to nourish poor wracked body, golden hair shrouded: what secret grieving drives her life's voyage, soon to be harbored in death? Is it the wildness of forests deeply invades you, oh my suffering queen? Hecate's spirit or Pan's, mad Corybantian revels, honoring mountain-born Cybele? Have you sinned against Artemis, queen of all hunters? Dear, are you tainted? Is it the Lakelady lost in the eddying surf? Maybe your husband, nobly born ruler of Athens, ruled by his passions, finds other women, here in the palace perhaps makes love far from your bed. Maybe some sailor from Crete new to our harbor has just brought terrible news to our queen, binding her fast to her bed, lost in misfortunes. Nature in woman lacks harmony. Helpless she dwells among dangers, helplessness ever in all things. Birth's hard suffering wracks her, her own great foolishness also. Into my womb pierced birth pangs. Artemis, hearing me calling, came to me, quietly soothing. Her I shall worship forever. Look! It's her mistress' nurse in the doorway, and she is bringing the queen into daylight. Look there, look at her face all clouded! Sweet sad body so ravaged, so altered! Somehow, if we could just comprehend this ... NURSE Oh, these wretched diseases that plague us! What shall I do for you? What shall I not do? Darling, there's light here, I've brought out your sickbed just as you asked. Will you find some contentment clear of the house? "Take me out!" you kept calling. Now that you're out here, you still cry, find no constancy anywhere. What do you want, dear? Nothing, apparently, gives any pleasure. Anything present displeases you, not there's wished for. Better be sick than this nurse work! Sickness is miserable, yes, and I know that. That's just one thing. Nursing is two things: feeling the trouble and hard labor also. Nothing but misery, life for us mortals! Oh, is there anything better beyond this? All is in darkness, the poor sad light here all that we have, this light that we cling to, knowing not anything better behind it. Stories we tell of it, nothing but stories. PHAEDRA Lift me up! Hold up my head! All my muscles loosened and feeble, my beautiful arms, look! Off with this hat! Can't bear it. It's heavy. Off with it! Free my hair to my shoulders! NURSE Easy, my dear one! Don't toss about so! Sickness is easier, dear, when you're patient. Think of your dignity! People can see you. Suffering goes with mortality. Bear it! PHAEDRA Bring me to fresh springs high in the mountains. Let me drink cool fresh water and lie there, glad in the untouched meadows. NURSE Child, this is madness; those people will hear you, shocked that their queen's gone out of her senses. PHAEDRA Mountains! I must to the mountains. The pine groves wait for me, hounds of the huntsmen, the wild beasts, stags and the dog pack hurrying after, huntsmen shouting, the javelin cocked back right at my gold-haired ear, steel-pointed. NURSE What strange feverishness, wild madness? Hunting? And you such a delicate lady? Fresh springs? Right by the city wall, flowing. Drink there, dearie--as much as you thirst for. PHAEDRA Artemis, there in the salt lake splashing, mistress of echoing hoofs, you must help me. Oh, I shall run with you, taming wild horses. NURSE Gyrating words, wild frenzy and madness. Off to the hunt in the mountains, then horses suddenly breaking in--where? By the seashore? Dearie, my dearie, what god, what diviner is there to tell us what fury has gripped you? PHAEDRA Miserable! Oh, I'm so miserable! Help me! What have I done? Gone out of my senses. Madness, some goddess has maddened me, helpless. I'm so ashamed. Quick! Cover me quickly, hide me away again, Oh, so unhappy. Tears on my cheeks, I can feel them. They scald me, torture me, tell what I lack ... moderation. Bitter to know that, bitter to feel it. Better to die, know no more ever. NURSE There now, I've covered you. My old body, may deep death soon cover that also. (turns to the audience and Chorus) This long living can teach many lessons. Friendship, the feeling of one for another, sweet wine mixed with the evenings-- not to be mixed too strong. Sweet affection-- never allow it to touch to the marrow. Let such fetters be easily broken, easily tightened and easily loosened. it is not good that a bond pull deep as mine for this woman, and many have said it: thoughts too constant, too pure, can destroy us. Men must attend to their health, must remember, love may be sweet; moderation preserves us. CHORUS Gray-haired nurse to the queen, we can see poor Phaedra's affliction, but don't understand it. Kindly inform us. We wait for your answer. NURSE Nothing to tell you; she'll tell me nothing. CHORUS Not one hint of her trouble's beginning? NURSE Nothing, I tell you; obstinate silence. CHORUS Look at her body, though, agonized, wasted. NURSE Three whole days not a morsel has eaten. CHORUS Then ... is it madness, her longing for death, then? NURSE Yes, undoubtedly that's where she's headed. CHORUS Well, does her husband know anything of this? NURSE No, she denies it, her sickness conceals it. CHORUS But he would guess with a glance at her wracked face. NURSE He's not here. He's away from the city. CHORUS Well, you must force her, must press her to tell you clearly what's making her poor wits wander. NURSE Look, I've tried everything; nothing unlocks her. Well, even now, though, I won't stop trying. Judge me, you women; I have always been faithful, haven't I, fighting my master's afflictions? (to Phaedra) So, noble lady, dear child, let's be gracious, kind; and let's soften that glowering at me. Granted, I've not sympathetically listened always before. So we'll try something new now. If you are ill with a secret, some illness, women are standing right here who can help you if you will let them and tell them your troubles. Say, so a doctor can make a pronouncement. Nothing, dear? Can't you say anything, lady? This grim silence is getting us nowhere. Either I'm wrong and you can correct me, or I am right and you should obey me. Say something! Look at me! ... Oh, it's hopeless. Woman, I've tried, I have labored, belabored ... (to the Chorus) We are as far from all knowledge as ever. Now it's the same as before. Unmelted, stiff she remains and refuses to hear me. (to Phaedra) Queen, you should know this, though to my reasons obstinate still as the circling ocean: Dying is murderous, murders your children. They, if you die, lose out in your kingdom. One, by the Amazon rider who bore him, bastard in birth, but a prince in his own mind, one you know well, dear, Hippolytus-- PHAEDRA No, no! NURSE So, that's touched you. PHAEDRA O nurse, don't kill me. Oh, don't mention that man to me ever. NURSE Well then; you've come to your senses ... and still you don't mind killing yourself and your children? PHAEDRA Children? I love them. Other storms wrench me. NURSE Is there a stain on your hands? Are they bloody? PHAEDRA Clean! It's my heart that is stained, blood-sodden. NURSE Sorcery, then, from some enemy taints you? PHAEDRA Loved one! Ruins me! Neither one wills it. NURSE Master? Has he done something against you? PHAEDRA Gods! Keep me guiltless in that man's presence! NURSE What is this strange thing driving you deathward? PHAEDRA Leave me my wrongs. You're not wronged by them, are you? NURSE (on her knees, clasping Phaedra) Why are you doing this, driving me from you? PHAEDRA Why are you grasping me, grasping my hands now? NURSE Knees too grasping. I won't let you go, dear. PHAEDRA Sorrowful nurse! You will find out my secret. NURSE Losing you, what more terrible sorrow? PHAEDRA And you will kill me. My life is in silence. NURSE Still you'll hide it, ignore my pleading? PHAEDRA Here in my shame, dear, I will have honor. NURSE If there's honor here, let words tell it! PHAEDRA Oh, by the gods, let go of me, go, go! NURSE Not till you tell me, not till I hear it. PHAEDRA Spoken! Your suppliant arms have compelled me. NURSE I'll say no more; yours is the word now. PHAEDRA Miserable mother, your lust ... what horror! NURSE That she adored that bull, even mated ... PHAEDRA Sister as well; Dionysus seduced her. NURSE Why these tales of your relatives, darling? PHAEDRA I am the third who miserably perish. NURSE Frightening words, where, where are they leading? PHAEDRA It's an inherited curse, not recent. NURSE What's not recent? I still have heard nothing. PHAEDRA Oh can't you say them, the words? Do I have to? NURSE Am I a prophet, to guess hidden secrets? PHAEDRA What is it? Poor men label it, passion. NURSE Pleasure it brings, pain, braided together. PHAEDRA Pain, yes; that I have known, and I know it. NURSE Ah! You're in love, child! Who is the man, then? PHAEDRA There is a man ... with an Amazon mother ... NURSE Meaning ... Hippolytus! PHAEDRA You said it, not I. NURSE What do you say, child? This will be my death. No, woman; no one's alive who can bear this. I ... live? Die rather, cursing the daylight, cursing the bright hot sun there above us, throw myself from a cliff, fall headlong. I will be rid of life somehow, somehow say to you all, Farewell!--and be ended. (goes to the statue of Aphrodite) Chaste people don't love vice, now do they? Oh, but they do love it. You are no goddess, Cypris; you're stronger than that, if it can be, you who have ruined her, ruined this great house. (Exit.) CHORUS Hear, did you hear it, hear the queen crying cries of disaster? Ears oughtn't hear that. Die I would rather, rather then hear that. Sorry I am for her, cry for her troubles. Troubles destroy her. You are the dead one, dragging your ruin into our daylight. Now what will happen, now what waits in your long life's ruin? What new horror comes to this house now? Yes, we can see now how it will all end, miserable Crete girl, victim of Cypris, born of your dark and bull-loving mother. PHAEDRA (distracted, trying to make sense) Listen to me, you women of Troezen, watching me here on Hellas' headland: often through night's long dark I've considered how an existence like mine can be shattered. Foolishness can't be the cause, for the victim's often intelligent. Look at it this way: Some know the good, apprehending it clearly, just can't seem to achieve it, and others, lazy perhaps, or they value some pleasure other than honor ... and woman's existence, so full of pleasures--amusements and gossip-- leisure, that curse of us. Shame! How it plagues us! Shame is of two kinds: one, quite harmless ... then, there's this other, this ruin of houses. Can't I be clearer? I think so. I'll try to. That one word, it has two different meanings. Oh, have I said that? ... Here's my opinion. Nothing will change it, no spell, no elixir. From the beginning I'll say how my thoughts went. Then, when the rage first entered me, how best bear it, I wondered? Conceal it in silence! That is the best thing clearly, for tongues are not to be trusted. They criticize, slander, and to their owners they bring much trouble. Second, I thought I could fight love's fury, nobly endure it, subduing the madness, brave, overpower her, Cypris ... My failure moved me at last to consider the third way. Death is the best of all plans. Who disputes it? Death leaves virtue intact. Let my good deeds honor my memory, shames be forgotten. Cursed be the deed and the passionate longing! I am a woman, and men don't forgive that. Vile to pollute it, the marital chamber, bringing strange men there. Our high-born women showed us the way. The nobility lead us; they're the example. The lowly will follow. Women who mouth chaste words, but in secret revel in lechery--Oh, I detest that! How can such guilty ones look at their husbands? Answer me, Cypris! Oh, won't they in terror hear in the darkness their roofbeams screaming? Death will protect me from that, and my husband, children. And may they have prosperous lifetimes, nurtured in Athens, where free men flourish! They will have strength from their much-honored mother. How it enslaves stout men to remember sins that their fathers and mothers committed! One thing only in life gives mortals strength to endure life: they have been decent. Life shows, as to a girl in a mirror, each of us, sooner or later, his vileness. All must look at it. I shall not be there. CHORUS Ah, ah! Everywhere chastity valued, felt to be beautiful. Isn't that lovely! (Enter Nurse.) NURSE Mistress, the terrible news that you gave me suddenly just now--dearie, it shocked me. Now I can see I was foolish. With mortals, second thoughts, now I can see, might be better. Really, they strike us a lot, to my thinking, passion-bolts flung by the Goddess. You love him. What's there to marvel at? Many are like you. Will you destroy your existence because love doesn't seem proper? What profit's in that, dear? Everyone loves, and it's nothing to die for. Cypris attacks us; she's rough when resisted, but when we yield, she becomes much milder. How she mistreats them, the haughty and proud ones! Flies through the air, then dips in the sea-wave. Everything's born of her, everything living. Hers is the urge and desire that brings forth all earth's creatures, and all are her children. Haven't you read in the books of the poets how once for Semele great Zeus lusted? Didn't the radiant Dawn once snatch up Cephalus? These have been driven by love, all. Think of them, happy up there in the heavens, glad, though they're gods, to be conquered by passion. Won't play along with this, will you? Your father should have begotten you under a contract not to obey love's laws--under different gods set apart from the rest of us. Tell me: How many men, dear, seeing their wives in bright day carrying on with a lover, close their eyes and pretend to see nothing? How many fathers have pandered for sons, dear? Wise men can tell you: dishonor kept hidden's perfectly honorable, and I ask you: whence comes man's strange itch for perfection? Even the roofs of his houses are sloping. Lost on your life's deep storm-tossed ocean, think about swimming to shore. And consider: here in our state of mortality, when your good deeds outweigh evil, you're lucky. Dearie, get rid of your thoughts, of that proud old urge to outdo the immortals, that madness. Courage! Some deity wished this to happen. Since you are sick, find something to cure you: charms, incantations, who knows what might help you? All those clever discoveries men make wouldn't be made without women to help them. CHORUS Phaedra, the words that she utters are useful in your predicament; praiseworthy, your words, though they may sound to you much less pleasant: kind to your name, not to you; yet I praise them. PHAEDRA (to the Nurse) Speeches like yours bring cities to ruin, pleasant to hear, yet they dash down houses. Words aren't needed to flatter and soothe me; words are required that will save my honor. NURSE Fiddlesticks. High-flown rhetoric's not what's needed. What's needed's a lover. It's high time plain words entered and stripped the disguises, spoke clear truth to you, desperate mistress. Oh, if your life didn't hang in the balance, or if you weren't too weak to resist love's fury, I wouldn't be pandering like this. Life's to be saved, and I'm fighting to save it. PHAEDRA Speaker of horrors, for once will you keep still? Lock up your words! They are wicked and shameful. NURSE Shameful, no doubt; but they're beautiful for you, saving your life as they do. And your good name? Proud words bring you, my dear, to destruction. PHAEDRA Oh, gods ... these sweet words ... are disgusting. Go no further! I'm schooled. I am ready. I can endure love's fate. Won't you let me? Oh, I am trapped in the shame I would flee from! NURSE That's how you feel? Stick closer to virtue! Next best thing is to do what I tell you. I can provide you with medicine, love-cures, there in the house, that I just now thought of Nothing to frighten you, nothing to shame you, but it will lull you; you mustn't be timid. Yes! We must get from the loved man something-- maybe a word, or his hair, or a piece of clothing, to knit you two firmly together. Continues... Excerpted from Euripides by Euripides Copyright ? 1998 by Euripides. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

前言/序言

《古典戲劇的瑰寶：古希臘悲劇大師索福剋勒斯精選劇作集》 精裝版 譯者序：在命運與人性的十字路口——重讀索福剋勒斯 古希臘悲劇是西方文學的源頭活水，而索福剋勒斯無疑是其中最光芒萬丈的巨星之一。與埃斯庫羅斯的宏大敘事和歐裏庇得斯的哲學思辨不同，索福剋勒斯的作品以其對個體人性、道德睏境以及命運不可抗拒性的深刻洞察而著稱。他被認為是戲劇結構和人物塑造的集大成者，他的劇作如同一麵精確的棱鏡，摺射齣人類精神世界中最復雜、最痛苦的光譜。 本書精選瞭索福剋勒斯現存的七部偉大悲劇——《俄狄浦斯王》、《安提戈涅》、《伊阿索》、《厄勒剋特拉》、《特拉基斯婦女》、《菲羅剋忒忒斯》以及《俄狄浦斯在科羅諾斯》——並輔以對背景、曆史和藝術成就的詳盡考證。這七部作品，構建瞭一個從神諭的鐵律到人的尊嚴的完整戲劇宇宙。 閱讀索福剋勒斯，意味著直麵那些橫亙在人類文明進程中的永恒命題：個體意誌與集體律法（《安提戈涅》）的衝突；知識的獲取與承受的痛苦（《俄狄浦斯王》）之間的悖論；背叛、復仇的循環（《厄勒剋特拉》）；以及在極端逆境中如何保持高貴的勇氣（《菲羅剋忒忒斯》）。他筆下的人物，無論是高傲的國王、堅韌的女性還是被遺棄的英雄，都展現齣一種“悲劇性的偉大”（Tragic Greatness）——他們並非全然邪惡，而是在追求某種高尚目標的過程中，因自身的盲點或外在的不可抗力而走嚮毀滅。 本次翻譯力求在尊重原文的韻律和莊嚴感的同時，確保現代讀者的理解無礙。我們對古希臘背景知識進行瞭細緻的注解，幫助讀者理解劇作中復雜的宗教儀式、政治背景以及獨特的希臘語境。 索福剋勒斯的作品不隻是曆史的遺跡，它們是關於“如何做人”的深刻教程。它們提醒我們，即便在命運的重壓之下，人的選擇和內在的堅韌依然具有無可替代的價值。願這部精選集能帶領讀者穿越時空，與這些不朽的靈魂進行一次深沉的對話。 --- 目錄與內容概述 本書收錄瞭索福剋勒斯現存的全部七部悲劇，並以最適閤閱讀和研究的順序排列。每部戲劇都附有專門的導讀，旨在幫助讀者把握其核心衝突與藝術成就。 第一部分：命運的鐵環——神諭與個體（The Iron Ring of Fate） 一、《俄狄浦斯王》（Oedipus Rex） 主題聚焦： 盲目性、知識的代價、宿命論與自由意誌的界限。 內容梗概： 本劇被亞裏士多德譽為“最完美的悲劇”。故事圍繞底比斯國王俄狄浦斯展開，他緻力於調查前任國王拉伊俄斯的謀殺案，卻在不知情的情況下，一步步揭開瞭自己弑父娶母的駭人真相。戲劇的張力來自於信息的不對稱性：觀眾早已知曉真相，而俄狄浦斯本人則在智者提瑞西阿斯和各種證據的引導下，逐漸走嚮自我揭露的深淵。劇作精妙地展示瞭人類試圖逃避預言的徒勞，以及知識在達到一定程度後帶來的毀滅性後果。劇末，俄狄浦斯刺瞎雙眼，象徵著他終於“看清”瞭真相，但也付齣瞭慘重的代價。 二、《安提戈涅》（Antigone） 主題聚焦： 個人良知與國傢法律（城邦律法）的衝突；神聖的未寫之律與世俗權力的對立。 內容梗概： 俄狄浦斯兩個兒子波呂尼剋斯與厄忒俄剋勒斯互相殘殺後，攝政王剋瑞翁頒布法令，禁止為叛國者波呂尼剋斯舉行正式葬禮。安提戈涅，作為虔誠的妹妹，認為對神祇和血親的義務高於國王的命令，毅然違抗法令，埋葬瞭她的兄弟。戲劇的高潮在於安提戈涅與剋瑞翁之間關於“何為正義”的激烈辯論。索福剋勒斯通過展示安提戈涅的堅定與剋瑞翁的專製，探討瞭法律的局限性以及過度剛愎自用（Hubris）的毀滅性後果。 第二部分：復仇與正義的循環（The Cycle of Vengeance and Justice） 三、《厄勒剋特拉》（Electra） 主題聚焦： 長期的痛苦、復仇的道德性、期待的煎熬。 內容梗概： 本劇講述瞭阿伽門農的女兒厄勒剋特拉，在父親被母親剋呂泰涅斯特拉和情夫埃癸斯托斯謀殺後，生活在壓抑和屈辱之中。她堅定地等待著哥哥俄瑞斯忒斯歸來為父報仇。與歐裏庇得斯的同名劇作相比，索福剋勒斯的版本更側重於厄勒剋特拉內心燃燒的仇恨和對正義的執著。當俄瑞斯忒斯和帕拉德斯喬裝歸來時，復仇行動的實施被安排得極為緊張和突然，深刻探討瞭正義的執行過程及其對執行者心靈的影響。 四、《阿伊阿斯》（Ajax） 主題聚焦： 英雄榮譽（Timē）的失落與維護；恥辱感對人格的摧毀。 內容梗概： 繼阿喀琉斯死後，他的盔甲本應歸屬於最勇敢的戰士。當雅典娜的介入使阿喀琉斯的盔甲被判給奧德修斯時，英雄阿伊阿斯羞憤欲絕。他錯將牧群當作瞭希臘聯軍的主帥，並將之屠戮殆盡。當他清醒過來，麵對自己犯下的滔天大錯，英雄的榮譽感無法承受這種屈辱，最終選擇瞭自刎。本劇深刻描繪瞭一個純粹的、信奉絕對榮譽的戰士，在麵對現實的嘲弄和榮譽的貶值時，其精神世界的徹底崩塌。 第三部分：放逐與流亡中的人性光輝（Humanity in Exile） 五、《特拉基斯婦女》（The Women of Trachis） 主題聚焦： 愛情的誤用與摧毀性；無知與嫉妒的力量。 內容梗概： 故事圍繞赫拉剋勒斯（大力神）的妻子得伊阿尼拉展開。得伊阿尼拉多年來一直活在對丈夫四處徵戰和風流韻事的恐懼中。她誤信瞭半人馬倪索斯的遺言，將據說是“愛情魔藥”的赫拉剋勒斯血液製成一件汗衫送給丈夫，希望能維係他的愛。然而，這實際上是劇毒。赫拉剋勒斯穿上汗衫後遭受瞭無法忍受的劇痛，最終請求被送上火葬柴堆。本劇的悲劇性在於，一切源於愛與恐懼的良善初衷，卻因無知和誤解釀成瞭最可怕的毀滅。 六、《菲羅剋忒忒斯》（Philoctetes） 主題聚焦： 遺棄的痛苦；道德的說服力與政治的權謀。 內容梗概： 英雄菲羅剋忒忒斯因腳上惡臭的傷口在剋裏特島被同伴遺棄。十年後，特洛伊戰爭的勝利需要依靠他弓箭的力量。奧德修斯設計引誘年輕的尼俄普托勒摩斯（阿喀琉斯之子）前往勸說菲羅剋忒忒斯歸隊。戲劇的核心衝突發生在尼俄普托勒摩斯必須在履行奧德修斯奸詐的計謀與展現自身高貴品格之間做齣抉擇。索福剋勒斯在此劇中贊揚瞭真誠（Sincerity）的力量，最終尼俄普托勒摩斯選擇違背奧德修斯的命令，用誠懇的說服而非欺騙帶迴瞭英雄及其神力。 七、《俄狄浦斯在科羅諾斯》（Oedipus at Colonus） 主題聚焦： 晚年的尊嚴、神聖的庇護與政治的利用。 內容梗概： 這是索福剋勒斯最後完成的劇作，講述瞭流亡中的俄狄浦斯在雅典城外的科羅諾斯安度晚年的故事。他尋求雅典的庇護，並預言自己死後將成為對雅典有益的庇佑神。劇作的高潮在於他與女兒安提戈妮的感人重逢，以及與不願接納他的弟弟厄忒俄剋勒斯派來的使者的對峙。此劇賦予瞭悲劇人物最終的平靜與超越，展現瞭即使被命運徹底擊垮的人，依然可以通過對神祇的虔誠和對友誼的維護，贏得最終的尊嚴和不朽。 --- 藝術成就與評論導讀 索福剋勒斯對希臘戲劇的貢獻是結構性的。他引入瞭第三位演員，極大地豐富瞭舞颱上的對話和衝突層次；他削弱瞭閤唱團在敘事中的主導地位，將焦點完全集中在主要角色的心理掙紮上。 本書所收錄的劇作，每一部都代錶著對特定道德睏境的極緻挖掘： 1. 人物的獨立性（The Autonomous Character）： 索福剋勒斯筆下的人物不再是神諭的被動執行者，而是具有強烈、堅韌的意誌。他們做齣選擇，並承擔全部後果。即便是麵對無法逃脫的命運，他們的人格光芒也因其抗爭的姿態而愈發耀眼。 2. 戲劇的張力（Dramatic Tension）： 他的悲劇結構緊湊，常常在短時間內爆發，很少有冗餘的場麵。信息的揭示和心理的崩塌被精確地安排在關鍵時刻。 3. 對“人”的贊頌： 盡管主題沉重，索福剋勒斯的作品核心卻是一種對人類精神韌性的贊頌。他展示瞭恐懼、背叛和痛苦之後，人依然有能力做齣高貴的選擇。 本選集旨在為嚴肅的戲劇研究者、古典文學愛好者以及對西方思想史感興趣的讀者，提供一個全麵而深入的索福剋勒斯戲劇世界入口。通過閱讀這些曆經兩韆多年考驗的文本，我們可以更好地理解西方文化中“悲劇精神”的根基。

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坦率地說，我對這套書的初始期待其實不高，因為古希臘戲劇的翻譯往往容易流於腔調過重或過於直白，難以把握那種介於史詩和日常對話之間的微妙平衡。然而，這套“十大戲劇”的譯文錶現齣瞭驚人的剋製與精準。它沒有過度地“現代化”語言，保持瞭文本原有的莊嚴感，但在關鍵的情感爆發點，譯者的選擇又極其到位，能讓讀者瞬間感受到人物的撕心裂肺。比如《酒神的女信徒》，那種理智與瘋狂的交織，在譯文中被處理得絲絲入扣。我發現自己不是在“讀”一個故事，而是在“觀看”一場精心編排的心理劇。如果你對神話故事背後的哲學思辨感興趣，這本書絕對能滿足你對深度探討的胃口。它迫使你去思考：命運、自由意誌、以及神祇的冷漠究竟意味著什麼。

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我必須說，這次購書體驗非常棒，物流速度快得驚人，包裝嚴密，書本完好無損地到達我手中。這套“十大戲劇”選得非常到位，涵蓋瞭歐裏庇得斯創作生涯的幾個重要階段，可以看到他從早期的創新到後期對傳統悲劇模式的顛覆。比如，讀到《特洛伊婦女》時，那種對戰爭殘酷性的控訴，即使是兩韆多年前的文字，依然能擊中現代人的心房，讓人深思和平的代價。這本書的排版設計很舒服，行距適中，側邊留白恰到好處，使得翻頁和標記重點都很方便。我喜歡在閱讀時在旁邊隨手記錄一些感受，這套書的紙張吸收墨水效果很好，不會洇墨。總的來說，這是一次物超所值的投資，對於任何一個對古典文學、曆史或者戲劇理論感興趣的人來說，都是案頭必備的經典。

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這本書的裝幀設計，尤其是封麵藝術的選擇，相當有品位，體現瞭一種低調的奢華感。它沒有采用那種俗套的、色彩斑斕的古希臘場景圖，而是選擇瞭一種更具象徵意義的、留白較多的現代主義風格，這讓我覺得編者對歐裏庇得斯作品的理解是深刻的——他關注的遠超神祇乾預的錶象，而在於個體在宏大敘事下的無力感。閱讀體驗上，這本書的開本大小非常適閤手持，無論是在咖啡館還是在昏黃的書房燈下，捧讀起來都極具儀式感。我建議讀者，如果時間允許，可以先看一遍譯者寫的導讀，對時代背景有個大緻瞭解後，再進入正文，那樣的沉浸感會大大增強。每一次翻開，都像是一次對西方戲劇靈魂的深度潛水。

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我習慣於對比不同譯本，而這套《十大戲劇》在我看來，無疑是目前市麵上最值得珍藏的版本之一。它的注釋係統做得極為齣色，很多時候，一小段希臘背景知識的補充，就如同給整個場景打上瞭一束探照燈，讓原本模糊的動機變得清晰可見。不同於某些版本偏重於對白韻律的模仿而犧牲瞭語義的準確性，這套書的翻譯在準確性和可讀性之間找到瞭一個非常優雅的平衡點。我特彆欣賞它對“女性意識”的呈現，歐裏庇得斯對女性處境的描繪，在當時的社會環境下是極具顛覆性的，這套譯本成功地捕捉到瞭這種前衛的批判精神。讀完後，我仿佛與那些在古老城邦中掙紮的女性角色進行瞭跨越時空的對話，那種復雜的情感體驗是任何快餐文化都無法提供的。

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這套《歐裏庇得斯十大戲劇》的精裝版本，拿到手時就有一種沉甸甸的古典氣息。紙張的質感相當不錯，印刷清晰，即便是那些復雜的古希臘名字和神話背景，閱讀起來也不會感到吃力。我尤其欣賞譯者在注釋方麵的用心，很多晦澀難懂的典故和當時雅典的政治背景，都有詳盡的解釋，這對於一個初次接觸古希臘悲劇的讀者來說，簡直是救星。我花瞭很長時間來品味《美狄亞》，那位充滿力量與絕望的女性形象，在文字中躍然而齣，那種震撼感是當代戲劇難以比擬的。歐裏庇得斯似乎對人性的陰暗麵有著近乎殘酷的洞察力，他筆下的人物不再是臉譜化的英雄，而是充滿瞭矛盾、掙紮和不完美的真實個體。讀完後，我常常需要靜坐良久纔能從那種強烈的悲劇氛圍中抽離齣來。這套書不僅僅是文學作品的收藏，更像是一把鑰匙，打開瞭理解西方文明源頭的任意門。

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歐裏庇得斯，前485或480年——前406年）與埃斯庫羅斯和索福剋勒斯並稱為希臘三大悲劇大師，他一生共創作瞭九十多部作品，保留至今的有十八部。

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多讀書，多讀這樣的好書！

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一起買的6本書，全部是盜版的，紙張質量差到無以加復！真想一把火燒瞭！

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Ten Plays of Euripides

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古希臘悲劇大師之一.

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可以收藏的好作品

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古希臘悲劇大師之一.

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皮普質疑地問為什麼那未婚夫不直接和老處女結婚而得到一切財産，卻愚蠢地選擇和弟弟閤作隻得到一半財産，赫伯斯解釋說那可能是因為那未婚夫已經結婚瞭，而弟弟亞瑟和康生的老婆聯盟，兩人一起要挾他，而康生知道自己沒有雇傭打手，來不及殺人滅口，如果康生選擇和老處女結婚，他們就把這事捅齣去，康生就會失去老處女的信任和財産，一無所有。所以康生隻好屈服。

評分☆☆☆☆☆

但他知道這樣下去是無法超越埃·斯黛拉的，於是隻好作瞭鐵匠，然而突然有一天，郝維辛小姐的禦用律師前來，說有個神秘人要把財産全部留給皮普，並帶他去倫敦接受禮儀交際的教育，皮普很高興自己終於能有好的前途瞭。