品牌：Giovanni Verga
基本信息
·出版社：Penguin Classics
·页码：272 页码
·出版日：2000年
·ISBN：0140447415
·条码：9780140447415
·版次：New Ed
·装帧：平装
·英语：英语
·丛书名：Penguin Classics
内容简介
在线阅读本书
A new translation of the greatest Italian short-story writer since Boccaccio.
Born into a well-to-do Sicilian family, Giovanni Verga became an active observer of Milanese salon society in the 1870s and 1880s but eventually found in the everyday lives of Sicilian peasants the inspiration for his finest narratives. Love, adultery, and honor are recurring themes in the stories collected here, set against the scorched landscapes of the slopes of Mount Etna and the Plain of Catania.
Verga's rich naturalism and originality of style are faithfully rendered in G. H. McWilliam's superb translations. In addition to the title story, the basis for Pietro Mascagni's operatic masterpiece, this volume includes "Nedda," the groundbreaking narrative of Italian verismo, as well as "Jeli the Shepherd" and "Rosso Malpelo," which D. H. Lawrence considered two of the finest stories ever written.
Translated with an Introduction by G. H. McWilliam
"The landscape will be more or less familiar to anyone who has gone in the train down the east coast of Sicily. . . . And anyone who has once known this land can never be quite free from the nostalgia for it, nor can he fail to fall under the spell of Verga's wonderful creation of it."-- D. H. Lawrence
作者简介
Born in Catania, Sicily, Giovanni Verga (1840-1922) was a prolific and popular writer of novels, short stories, and plays. His fiction includesStory of a Blackcap,Eva,Royal Tigress, andEros. G.H. McWilliam is Professor Emeritus of Italian at the University of Leicester, England, and has translated Boccaccio'sDecameronfor Penguin Classics.
编辑推荐
London Review of Books
'The work retains its universality, and one suspects that these translations will last a long time'
London Review of Books
'At his best, as G.H.McWilliam's distinguished new translations of the stories allow us to see, Verga is quite the equal of Chekhov'
London Review of Books
'McWilliam, who is an emeritus professor of Italian at Leicester, calls Verga 'the greatest Italian short-story writer since Boccaccio', but adds that he is 'grossly underrated' outside Italy, largely because of the difficulty of translating him. McWilliam's labours read superbly well. They are cleansing; a lot of wordy grime has been removed (I am thinking of the translations that were made in the 1930s and 1950s). There is a vernacular ease of address, and yet hardly a moment at which the English version seems too local - i.e. English. The effect is oddly as if they had been translated twice, once into English, and then into a regional English which does not exist. The work retains its universality, and one suspects that these translations will last a long time. Nowhere is Verga's narrative power (or McWilliam's subtle tracings of that power) better evidenced than in the heartbreaking tale, 'Rosso Malpelo'
London Review of Books
'McWilliam points out in his excellent introduction that Verga's earlier work continued to be popular well into the 20th century, and more popular than his later fiction about Sicilian peasants: by 1907, McWilliam says, Verga's romantic novel Storia di una capinera (1871) - about a doomed affair between a young novice and a gentleman - had been reprinted 22 times, while The House by the Medlar Tree had only gone into five impressions.'
London Review of Books
'D.H. Lawrence, who lived for a while in Sicily, discovered Verga's work with great excitement and translated him in the 1920s. He rightly called 'Jeli the Shepherd' and another story, 'Rosso Malpelo', two of the greatest ever written. At his best, as G.H.McWilliam's distinguished new translations of the stories allow us to see, Verga is quite the equal of Chekhov, in the fiercely unsentimental depiction of ordinary rural life, in the coaxing of opaque inner lives, and most of all in his self-smothering ability to see life not as a writer might see it, but entirely from within the minds of his mostly uneducated characters. More than Chekhov indeed, who was always an intellectual, if an uncannily bashful one, Verga writes from within a community - that of Sicilian peasant villages during the 1860s and 1870s. In English, his only obvious counterparts are Hardy and Lawrence, except that Verga is not interested in intellectuals or outsiders; his priests, for instance, are essentially indistinguishable from his peasants - they are as lean in spirit as everyone else in town, even if they aren't so poor'
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