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 derived2, that Shakespeare’s own words, with little alteration3, recur4 very frequently in the narrative5 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 Shakespeare’s 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 Shakespeare’s 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 expressive6 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 poetic7 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 apprehension8 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 manly9 book; and, therefore, instead of recommending these Tales to the perusal10 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 sister’s 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 relished11 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 delightful12 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 peevish13 nor irrational). When time and leave of judicious14 friends shall put them into their hands, they will discover in such of them as are here abridged15 (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 sprightly16 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 years — enrichers of the fancy, strengtheners of virtue17, a withdrawing from all selfish and mercenary thoughts, a lesson of all sweet and honourable18 thoughts and actions, to teach courtesy, benignity19, generosity20, humanity: for of examples, teaching these virtues21, his pages are full.
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1 diligent | |
adj.勤勉的,勤奋的 | |
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2 derived | |
vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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3 alteration | |
n.变更,改变;蚀变 | |
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4 recur | |
vi.复发,重现,再发生 | |
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5 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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6 expressive | |
adj.表现的,表达…的,富于表情的 | |
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7 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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8 apprehension | |
n.理解,领悟;逮捕,拘捕;忧虑 | |
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9 manly | |
adj.有男子气概的;adv.男子般地,果断地 | |
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10 perusal | |
n.细读,熟读;目测 | |
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11 relished | |
v.欣赏( relish的过去式和过去分词 );从…获得乐趣;渴望 | |
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12 delightful | |
adj.令人高兴的,使人快乐的 | |
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13 peevish | |
adj.易怒的,坏脾气的 | |
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14 judicious | |
adj.明智的,明断的,能作出明智决定的 | |
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15 abridged | |
削减的,删节的 | |
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16 sprightly | |
adj.愉快的,活泼的 | |
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17 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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18 honourable | |
adj.可敬的;荣誉的,光荣的 | |
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19 benignity | |
n.仁慈 | |
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20 generosity | |
n.大度,慷慨,慷慨的行为 | |
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21 virtues | |
美德( virtue的名词复数 ); 德行; 优点; 长处 | |
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