牛津英文经典：彼得·潘 下载 pdf 百度网盘 epub 免费 2025 电子书 mobi 在线

本书收录了英国著名作家J.M.巴里的多部经典剧作，包括《彼得·潘》《孤岛历险记》《女人皆知》《玛丽罗斯》。《彼得·潘》（Peter Pan）是巴里的代表作，讲述了不会长大的男孩彼得·潘与达林家的三个孩子温迪、约翰和迈克尔在永无岛（Never Land）上的冒险经历。《孤岛历险记》（The Admirable Crichton）、《女人皆知》（What Every Woman Knows）风趣形象地描绘了阶级与性别差异，《玛丽罗斯》（Mary Rose）则被誉为独一无二的舞台幻想剧。

Introduction

Note on the Text

Select Bibliography

A Chronology of F. M. Barrie

THE ADMIRABLE CRICHTON

PETER PAN

WHEN WENDY GREW UP

WHAT EVERY WOMAN KNOWS

MARY ROSE

Explanatory Notes

J.M.巴里（James Matthew Barrie，1860年—1937年），英国小说家、剧作家，生于苏格兰乡村，毕业于爱丁堡大学，毕业后即开始写作生涯。曾经一度从事地方报馆和杂志的写作工作，后来开始小说、戏剧创作。1904年，创作了戏剧《彼得·潘，不肯长大的男孩》，剧本甫一面世，就极受欢迎。1911年，改编自剧本的小说《彼得·潘》首次发行，成为经典之作。在文学创作中，特别擅长描写苏格兰乡村和农民的生活，喜欢大量使用苏格兰方言，自成一派，因此被后人称为“白菜园派”。

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编辑推荐

牛津英文经典（Oxford World’s Classics）为牛津大学出版社百年积淀的精品书系，译林出版社原版引进。除牛津品牌保证的权葳原著版本之外，每册书附含名家导读、作品年表、文本注释、背景知识拓展、同步阅读导引、版本信息等，特别适合作为大学生和学有余力的中学生英语学习的材料。导读者包括牛津和剑桥大学的资深教授和知名学者。整套书选目精良，便携易读，实为亲近*名著的经典读本。英国小说家、剧作家J. M. 巴里一生剧作众多，在世界文坛享有盛誉。其中《彼得·潘》是巴里的代表剧作，多次被改编为影视作品，曾被《哈利·波特》作者J.K.罗琳在2012年伦敦奥运会开幕式上倾情朗读。本书完整收录《彼得·潘》《孤岛历险记》《女人皆知》《玛丽罗斯》四部久负盛名的剧作，还原一百年前轰动伦敦的舞台演出盛况。书中另附有约克大学英语及教育研究副教授、儿童文学与儿童戏剧研究学者彼得·霍兰撰写长文导读，详解伟大剧作的幕后故事。

书摘插图

"The night nursery of the Darling family, which is the scene of our opening Act, is at the top of a rather depressed street in Bloomsbury. We have a right to place it where we will, and the reason Bloomsbury is chosen is that Mr Roget once lived there. So did we in days when his Thesaurus was our only companion in London; and we whom he has helped to wend our way through life have always wanted to pay him a little compliment. The Darlings therefore lived in Bloomsbury.

It is a corner house whose top window, the important one, looks upon a leafy square from which Peter used to fly up to it, to the delight of three children and no doubt the irritation of passers-by. The street is still there, though the steaming sausage shop has gone; and apparently the same cards perch now as then over the doors, inviting homeless ones to come and stay with the hospitable inhabit-ants. Since the days of the Darlings, however, a lick of paint has been applied; and our corner house in particular, which has swallowed its neighbour, blooms with awful freshness as if the colours had been discharged upon it through a hose. Its card now says No children,' meaning maybe that the goings-on of Wendy and her brothers have given the house a bad name. As for ourselves, we have not been in it since we went back to reclaim our old Thesaurus.

That is what we call the Darling house, but you may dump it down anywhere you like, and if you think it was your house you are very probably right. It wanders about London looking for anybody in need of it, like the little house in the Never Land.°

The blind (which is what Peter would have called the theatre curtain if he had ever seen one) rises on that top room, a shabby little room if Mrs Darling had not made it the hub of creation by her certainty that such it was, and adorned it to match with a loving heart and all the scrapings of her purse. The door on the right leads into the day nursery, which she has no right to have, but she made it herself with nails in her mouth and a paste-pot in her hand. This is the door the children will come in by. There are three beds and (rather oddly) a large dog-kennel; two of these beds, with the kennel, being on the left and the other on the right. The coverlets of the beds (if visitors are expected) are made out of Mrs Darling's wedding-gown, which was such a grand affair that it still keeps them pinched.° Over each bed is a china house, the size of a linnet's nest, containing a night-light. The fire, which is on our right, is burning as discreetly as if it were in custody, which in a sense it is, for supporting the mantelshelf are two wooden soldiers, home-made, begun by Mr Darling, finished by Mrs Darling, repainted (unfortunately) by John Darling. On the fire-guard hang incomplete parts of children's night attire. The door the parents will come in by is on the left. At the back is the bathroom door, with a cuckoo clock over it; and in the centre is the window, which is at present ever so staid and respectable, but half an hour hence (namely at 6.30 p.m.) will be able to tell a very strange tale to the police.

The only occupant of the room at present is Nana the nurse, reclining, not as you might expect on the one soft chair, but on the floor. She is a Newfoundland dog, and though this may shock the grandiose, the not exactly affluent will make allowances. The Darlings could not afford to have a nurse, they could not afford indeed to have children; and now you are beginning to understand how they did it. Of course Nana has been trained by Mrs Darling, but like all treasures° she was born to it. In this play we shall see her chiefly inside the house, but she was just as exemplary outside, escorting the two elders to school with an umbrella in her mouth, for instance, and butting them back into line if they strayed.

The cuckoo clock strikes six, and Nana springs into life. This first moment in the play is tremendously important, for if the actor playing Nana does not spring properly we are undone. She will probably be played by a boy, if one clever enough can be found, and must never be on two legs except on those rare occasions when an ordinary nurse would be on four. This Nana must go about all her duties in a most ordinary manner, so that you know in your bones that she performs them just so every evening at six; naturalness must be her passion; indeed, it should be the aim of every one in the play, for which she is now setting the pace. All the characters, whether grown-ups or babes, must wear a child's outlook on life as their only important adornment. If they cannot help being funny they are begged to go away. A good motto for all would be ‘The little less, and how much it is.’

Nana, making much use of her mouth, ‘turns down’ the beds, and carries the various articles on the fire-guard across to them. Then pushing the bathroom door open, she is seen at work on the taps preparing Michael’s bath; after which she enters from the day nursery with the youngest of the family on her back.

MICHAEL (obstreperous) I won’t go to bed, I won’t, I won’t. Nana, it isn’t six o’clock yet. Two minutes more, please, one minute more? Nana, I won’t be bathed, I tell you I will not be bathed.

(Here the bathroom door closes on them, and Mrs Darling, who has perhaps heard his cry, enters the nursery. She is the loveliest lady in Bloomsbury, with a sweet mocking mouth, and as she is going out to dinner to-night she is already mearing her evening gown because she knows her children like to see her in it. It is a delicious confection made by herself out of nothing and other people’s mistakes. She does not often go out to dinner, preferring when the children are in bed to sit beside them tidying up their minds,° just as if they mere drawers. If Wendy and the boys could keep awake they might see her repacking into their proper places the many articles of the mind that have strayed during the day, lingering humorously over some of their contents, wondering where on earth they picked this thing up, making discoveries sweet and not so sweet, pressing this to her cheek and hurriedly stowing that out of sight. When they wake in the morning the naughtinesses with which they went to bed are not, alas, blown away, but they are placed at the bottom of the drawer; and on the top, beautifully aired, are their prettier thoughts ready for the new day.

As she enters the room she is startled to see a strange little face outside the window and a hand groping as if it wanted to come in)

MRS DARLING Who are you? (The unknown disappears; she hurries to the window) No one there. And yet I feel sure I saw a face. My children! (She throws open the bathroom door and Michael’s head appears gaily over the bath. He splashes; she throws kisses to him and closes the door. ‘Wendy, John,’ she cries, and gets reassuring answers from the day nursery. She sits down, relieved, on Wendy’s bed; and Wendy and John come in, looking their smallest size, as children tend to do to a mother suddenly in fear for them)

JOHN (histrionically) We are doing an act; we are playing at being you and father.° (He imitates the only father who has come under his special notice) A little less noise there.

WENDY Now let us pretend we have a baby.

JOHN (good-naturedly) I am happy to inform you, Mrs Darling, that you are now a mother. (Wendy gives may to ecstasy) You have missed the chief thing; you haven’t asked, ‘boy or girl?’

WENDY I am so glad to have one at all, I don’t care which it is.

JOHN (crushingly) That is just the difference between gentlemen and ladies. Now you tell me.

WENDY I am happy to acquaint you, Mr Darling, you are now a father.

JOHN Boy or girl?

WENDY (presenting herself) Girl.

JOHN Tuts.

WENDY You horrid.

JOHN Go on.

WENDY I am happy to acquaint you, Mr Darling, you are again a father.

JOHN Boy or girl?

WENDY Boy. (John beams) Mummy, it’s hateful of him.

(Michael emerges from the bathroom in John’s old pyjamas and giving his face a last pipe with the towel)

MICHAEL (expanding) Now, John, have me.

JOHN We don’t want any more.

MICHAEL (contracting) Am I not to be born at all?

JOHN Two is enough.

MICHAEL (wheedling) Come, John: boy, John. (Apalled) Nobody wants me!

MRS DARLING I do.

MICHAEL (with a glimmer of hope) Boy or girl?

MRS DARLING (with one of those happy thoughts of hers) Boy.

(Triumph of Michael; discomfiture of John. Mr Darling arrives, in no mood unfortunately to gloat over this domestic scene. He is really a good man as breadwinners go, and it is hard luck for him to be propelled into the room now, when if we had brought him in a few minutes earlier or later he might have made a fairer impression. In the city where he sits on a stool all day, as fixed as a postage stamp, he is so like all the others on stools that you recognise him not by his face but by his stool, but at home the way to gratify him is to say that he has a distinct personality. He is very conscientious, and in the days when Mrs Darling gave up keeping the house books correctly and drew pictures instead (which he called her guesses), he did all the totting up for her, holding her hand while he calculated whether they could have Wendy or not, and coming down on the right side. It is with regret, therefore, that we introduce him as a tornado, rushing into the nursery in evening dress, but without his coat, and brandishing in his hand a recalcitrant white tie)

"

媒体评论

普通读者可以用这些书建构出一座图书馆。它们已经融入了我们的生活理念之中，我们还想要把它们请入我们的家里。

——牛津大学出版社

说来也像个奇迹，英国现存的三大戏剧家正巧代表了英伦三岛：箫伯讷代表爱尔兰，巴蕾（巴里）代表苏格兰，高氏（高尔斯华绥）代表英格兰。

——季羡林

书籍介绍

【编辑推荐】

牛津英文经典（Oxford World’s Classics）为牛津大学出版社百年积淀的精品书系，译林出版社原版引进。除牛津品牌保证的权葳原著版本之外，每册书附含名家导读、作品年表、文本注释、背景知识拓展、同步阅读导引、版本信息等，特别适合作为大学生和学有余力的中学生英语学习的材料。导读者包括牛津和剑桥大学的资深教授和知名学者。整套书选目精良，便携易读，实为亲近世界级名著的经典读本。

英国小说家、剧作家J. M. 巴里一生剧作众多，在世界文坛享有盛誉。其中《彼得•潘》是巴里的代表剧作，多次被改编为影视作品，曾被《哈利•波特》作者J.K.罗琳在2012年伦敦奥运会开幕式上倾情朗读。本书完整收录《彼得•潘》《孤岛历险记》《女人皆知》《玛丽罗斯》四部久负盛名的剧作，还原一百年前轰动伦敦的舞台演出盛况。书中另附有约克大学英语及教育研究副教授、儿童文学与儿童戏剧研究学者彼得•霍兰撰写长文导读，详解伟大剧作的幕后故事。

【名人评价及推荐】

普通读者可以用这些书建构出一座图书馆。它们已经融入了我们的生活理念之中，我们还想要把它们请入我们的家里。

——牛津大学出版社

说来也像个奇迹，英国现存的三大戏剧家正巧代表了英伦三岛：箫伯讷代表爱尔兰，巴蕾（巴里）代表苏格兰，高氏（高尔斯华绥）代表英格兰。

——季羡林

【内容介绍】

本书收录了英国著名作家J.M.巴里的多部经典剧作，包括《彼得•潘》《孤岛历险记》《女人皆知》《玛丽罗斯》。《彼得•潘》（Peter Pan）是巴里的代表作，讲述了不会长大的男孩彼得•潘与达林家的三个孩子温迪、约翰和迈克尔在永无岛（Never Land）上的冒险经历。《孤岛历险记》（The Admirable Crichton）、《女人皆知》（What Every Woman Knows）风趣形象地描绘了阶级与性别差异，《玛丽罗斯》（Mary Rose）则被誉为独一无二的舞台幻想剧。