'The books line up on my shelf like bright Bodhisattvas ready to take tough questions or keep quiet company. They stake out a vast territory, with works from two millennia in multiple genres: aphorism, lyric, epic, theater, and romance' - Willis G. Regier, "The Chronicle Review". 'No effort has been spared to make these little volumes as attractive as possible to readers: the paper is of high quality, the typesetting immaculate. The founders of the series are John and Jennifer Clay, and Sanskritists can only thank them for an initiative intended to make the classics of an ancient Indian language accessible to a modern international audience' - "The Times Higher Education Supplement". 'The Clay Sanskrit Library represents one of the most admirable publishing projects now afoot...Anyone who loves the look and feel and heft of books will delight in these elegant little volumes' - "New Criterion". 'Published in the geek-chic format' - "BookForum". 'Very few collections of Sanskrit deep enough for research are housed anywhere in North America. Now, twenty-five hundred years after the death of Shakyamuni Buddha, the ambitious Clay Sanskrit Library may remedy this state of affairs' - "Tricycle". 'Now an ambitious new publishing project, the Clay Sanskrit Library brings together leading Sanskrit translators and scholars of Indology from around the world to celebrate in translating the beauty and range of classical Sanskrit literature...Published as smart green hardbacks that are small enough to fit into a jeans pocket, the volumes are meant to satisfy both the scholar and the lay reader. Each volume has a transliteration of the original Sanskrit text on the left-hand page and an English translation on the right, as also a helpful introduction and notes. Alongside definitive translations of the great Indian epics - 30 or so volumes will be devoted to the "Mahabharat" itself - Clay Sanskrit Library makes available to the English-speaking reader many other delights: The earthy verse of Bhartrihari, the pungent satire of Jayanta Bhatta and the roving narratives of Dandin, among others. All these writers belong properly not just to Indian literature, but to world literature' - "LiveMint". 'The Clay Sanskrit Library has recently set out to change the scene by making available well-translated dual-language (English and Sanskrit) editions of popular Sanskritic texts for the public' - "Namarupa". 'This hardback version of Kalidasa's "Shakuntala" is for the erudite as well as the lay reader...Sanskrit is a notoriously difficult language to translate and, since the 18th century, many other translators have grappled with the power of Kalidasa. Somadeva Vasudeva's elegant new translation of "Shakuntala" for Clay Sanskrit Library is the latest of several extant translations, such as the one by Arthur Ryder, translated in 1912...This new translation of Shakuntala presents freshly an evergreen poet in whose work, to quote one of his translators, 'all life, from plant to god, is one' - "LiveMint". This play was one of the first examples of Indian literature to be seen in Europe; it attracted considerable attention (among others, from Goethe), and indeed pained surprise that such a sophisticated art-form could have developed without the rest of the world noticing. A good deal of that surprise will be revived by the hitherto untranslated Kashmirian recension. Kalidasa's "The Recognition of Shakuntala" is a play that scarcely needs introduction. Among the first works of Sanskrit literature translated into European languages, its skilful plot of thwarted love and eventual redemption has long charmed audiences around the world. Shakuntala's story is a leitmotiv that recurs in many works of Indian literature and culminates in the master Kalidasa's drama for the stage. It is co-published by New York University Press and the JJC Foundation.
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这部作品在我心中的地位非常特殊,它不是那种读完后立刻就能用几句简单的话概括的“快餐式”阅读材料,而更像是一部需要细细品味的艺术品。它的语言结构极其严谨,充满了古典文学特有的那种工整和韵律感,但神奇的是,这种工整丝毫没有束缚情感的表达,反而像是一种更精准的容器,将磅礴的爱恋与痛苦牢牢包裹。我反复阅读了几个关于自然描写的段落,那里面的意象运用之高明,让人不得不佩服作者对意境的掌控力。他笔下的世界,仿佛是活生生的,有自己的呼吸和律动,这种“生命力”是很多当代写作努力追求却难以企及的。这本书在处理冲突时,没有采用极端化或戏剧化的手法,而是非常内敛和深刻地展现了误解的产生与消解过程,它更侧重于展现“心”与“心”之间的沟通障碍与最终的融通。对于那些追求深层次人文关怀和文学性的读者来说,这本书无疑是一次绝佳的馈赠。它教会了我如何欣赏一种更内敛、更注重内在精神世界的文学表达方式。
评分我得承认,在阅读过程中,我好几次停下来,只是为了回味某一段落的语言美感。这本书的遣词造句,简直是一种艺术,充满了古典的华美,但又神奇地避开了矫揉造作的感觉。作者对于氛围的营造能力,简直出神入化,他能用几行文字,就构建出一个让人身临其境的自然环境,仿佛能闻到雨后泥土的清新,感受到林间微风的拂动。这种环境描写,绝不是简单的背景板,而是与人物的心境紧密相连,起着推动情感发展的作用。更令人惊喜的是,书中人物的对话,既保留了古语的典雅,又充满了生活气息和真实的情感张力,读起来完全不会感到隔阂。那些充满智慧的交锋和试探,让我这个现代读者都忍不住拍案叫绝。整本书的节奏是那种慢热型的,它不会用突兀的转折来吸引你,而是通过层层递进的细节积累,最终将你牢牢锁定在故事之中,等到你意识到自己完全沉浸其中时,已经无法自拔。它像是一张精致的丝绸地图,带领你探索情感的复杂疆域,让人不由得感到,真正的文学作品,是可以超越时间的界限的。
评分说实在的,我本来对这类传统题材抱持着一丝审慎的态度,总担心会陷入陈旧和说教的窠臼,然而,这本书彻底颠覆了我的预设。它的叙事视角非常独特,仿佛置身于一个多维度的观察点,时而贴近人物的内心挣扎,时而又拉远,以一种近乎神祇的视角审视着整个事件的因果循环。这种宏大与微观的切换,让故事的张力维持在一个极高的水准线上。文字的质感非常醇厚,读起来有一种饮用陈年佳酿的满足感,每一个词语的选择都像是经过了千锤百炼,准确而富有力量。我尤其关注的是书中对“命运”这一主题的处理,它没有给出简单的答案,而是呈现了一种复杂交织的网络,让读者自己去思考其中的必然与偶然。与某些只注重情节跌宕的作品不同,这本书更像是在探讨一种深层的存在主义命题,关于爱、分离、等待与最终的和解,这些主题被处理得既充满诗意又不失现实的锐利。即便是对于一个不熟悉背景的读者来说,故事的核心情感也是完全能够感同身受的,这体现了作者将普世情感融入特定文化背景的高超技巧。这是一本需要静下心来细品的书,值得反复阅读,每一次都能从中咂摸出新的滋味。
评分这部作品给我的感觉,简直就像是置身于一场跨越时空的盛大庆典,它不仅仅是一本书,更像是一扇通往另一个世界的门户。初翻开时,那种扑面而来的古典韵味,那种对人类情感的细腻描摹,就牢牢抓住了我的心神。作者在叙事上的功力,绝非泛泛之辈,他能用最简洁的笔触勾勒出宏大的场景,也能在最微小的细节中,挖掘出人性的复杂与光辉。我特别欣赏他对场景转换的处理方式,那种如行云流水般的过渡,让人在不知不觉中,就已经跟随主角们走过了千山万水,体验了他们内心的波澜起伏。文字的节奏感把握得极好,时而如急风骤雨,将情节推向高潮,时而又如潺潺溪流,让人沉浸在对生活哲思的缓慢咀嚼之中。这本书的结构精巧得令人赞叹,每一个看似不经意的伏笔,最终都在意想不到的地方绽放出耀眼的光芒,这种布局上的匠心独运,是很多当代作品所欠缺的。读完后,脑海中久久不能散去的是那些鲜活的形象,他们仿佛从书页中走出,带着各自的喜怒哀乐,在我心中留下了深刻的烙印。可以说,这是一次酣畅淋漓的阅读体验,它满足了我对文学作品一切美好的期待。
评分坦白说,我之前对这类题材的接受度不高,总觉得情节过于依赖巧合或神谕,但这本书却提供了截然不同的视角。它巧妙地将神话元素与纯粹的人性挣扎融合在一起,使得故事既有史诗般的厚重感,又不失个体命运的脆弱与真实。我最欣赏的是它对“等待”这一概念的深度挖掘。那种漫长的、充满不确定性的期盼,被描绘得如此真实可感,每一个日夜的更迭,都似乎带着沉甸甸的重量。作者对于心理活动的刻画,简直是大师级的,他能将人物内心深处的矛盾、自我怀疑和坚定不移的信念,用一种极其克制却又极其有力的笔触表达出来。你看到的不是被动地接受命运安排的个体,而是在困境中依然努力挣扎、试图把握自身方向的鲜活灵魂。这本书的魅力在于它的留白,很多关键的情感转折点,作者没有直接点破,而是留给读者自己去想象和填充,这种互动的过程,极大地增强了阅读的参与感和满足感。读完之后,心中升腾起一种复杂的情绪——既为故事的圆满感到欣慰,更为经历过这一切的角色们感到深深的共鸣。
评分18.12.22-19.1.20翻译练习
评分18.12.22-19.1.20翻译练习
评分18.12.22-19.1.20翻译练习
评分18.12.22-19.1.20翻译练习
评分18.12.22-19.1.20翻译练习
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