柏拉圖著作集 4（英文本）

內(nèi)容概要

這套《柏拉圖著作集》收入本杰明·喬伊特所譯的全部柏拉圖作品，每篇附有喬伊特所作的導(dǎo)讀和分析；另附其他人所譯的《大希庇阿斯》、《第七封信》等，以及英文原版的柏拉圖著作索引。    本杰明·喬伊特(Benjamin Jowett，1817—1893)，牛津大學(xué)教授，19世紀(jì)英國(guó)杰出的古典學(xué)學(xué)者，以翻譯和研究古希臘哲學(xué)著作知名。喬伊特所譯柏拉圖著作英譯本首次出版于1871年，收錄柏拉圖絕大部分作品，迄今為止是由同一人所譯的篇幅最多、最完整的英譯本。百余年來(lái)，該譯本經(jīng)多次再版，廣為傳播，為柏拉圖著作的研究和闡釋作出了歷史性的貢獻(xiàn)，至今仍具有獨(dú)特的文學(xué)魅力和學(xué)術(shù)價(jià)值。 　　此套英文版《柏拉圖著作集》是為適應(yīng)中國(guó)讀者閱讀、研究柏拉圖著作的需要而編輯出版的，收錄了本杰明·喬伊特所譯的全部柏拉圖著作，以及喬伊特為每篇作品所撰寫(xiě)的導(dǎo)讀性文字，共六卷。盡管柏拉圖的著作，尤其是一些名篇，至20世紀(jì)出現(xiàn)了不少優(yōu)秀譯文，但一百余年前喬伊特這套完整的英譯本仍然具有不可替代的地位和價(jià)值。百余年來(lái)，該譯本經(jīng)多次再版，廣為傳播，為柏拉圖的研究和闡釋作出了歷史性的貢獻(xiàn)，至今仍具有不可替代的文學(xué)魅力和學(xué)術(shù)價(jià)值。 此英譯本在中國(guó)國(guó)內(nèi)的出版有著重要的學(xué)術(shù)意義，一方面可以澄清以往的中譯本中那些含混不清的譯法或者誤譯、漏譯的地方，另一方面可以為讀者提供不同的闡釋，以供對(duì)照，這對(duì)于像柏拉圖這樣重要的哲學(xué)家而言是非常必要的。 本書(shū)為該套文集之第四卷。

作者簡(jiǎn)介

本杰明·喬伊特（Benjamin Jowett，1817-1893），牛津大學(xué)教授，19世紀(jì)英國(guó)杰出的古典學(xué)學(xué)者，以翻譯和研究古希臘哲學(xué)著作知名。喬伊特所譯柏拉圖著作英譯本首次出版于1871年，收錄柏拉圖絕大部分作品，迄今為止是由同一人所譯的篇幅最多、最完整的英譯本。百余年來(lái)，該譯本經(jīng)多次再版，廣為傳播，為柏拉圖著作的研究和闡釋作出了歷史性的貢獻(xiàn)，至今仍具有獨(dú)特的文學(xué)魅力和學(xué)術(shù)價(jià)值。

書(shū)籍目錄

Introduction　PhaedrusIntroduction　CratylusIntroduction　TheaetetusIntroduction　Parmenides　AppendixThe Seventh Letter

章節(jié)摘錄

If we seek to go deeper, we can still only describe the outward nature of the clouds or darkness which were spread over the heavens during so many ages without relief or light. We may say that this, like several other long periods in the history of the human race, was destitute, or deprived of the moral qualities which are the root of literary excellence. It had no life or aspiration, no national or political force, no desire for consistency, no love of knowledge for its own sake. It did not attempt to pierce the mists which surrounded it. It did not propose to itself to go forward and scale the heights of knowledge, but to go backwards and seek at the beginning what can only be found towards the end. It was lost in doubt and ignorance. It rested upon tradition and authority. It had none of the higher play of fancy which creates poetry; and where there is no true poetry, neither can there be any good prose. It had no great characters, and therefore it had no great writers. It was incapable of distinguishing between words and things. It was so hopelessly below the ancient standard of classical Greek art and literature that it had no power of understanding or of valuing them. It is doubtful whether any Greek author was justly appreciated in antiquity except by his own contemporaries; and this neglect of the great authors of the past led to the disappearance of the larger part of them, while the Greek fathers were mostly preserved. There is no reason to suppose that, in the century before the taking of Constantinople, much more was in existence than the scholars of the Renaissance carried away with them to Italy.  The character of Greek literature sank lower as time went on. It consisted more and more of compilations, of scholia, of extracts, of commentaries, forgeries, imitations. The commentator or interpreter had no conception of his author as a whole, and very little of the context of any passage which he was explaining. The least things were preferred by him to the greatest. The question of a reading, or a grammatical form, or an accent, or the uses of a word, took the place of the aim or subject of the book. He had no sense of the beauties of an author, and very little light is thrown by him on real difficulties. He interprets past ages by his own. The greatest classical writers are the least appreciated by him. This seems to be the reason why so many of them have perished, why the lyric poets have almost wholly disappeared; why, out of the eighty or ninety tragedies of Aeschylus and Sophocles, only seven of each had been preserved.

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