书名：Tartuffe and Other Plays莫里哀伪君子和其他戏剧集

作者：Molière
出版社名称：Signet Classics
出版时间：2015
语种：英文
ISBN：9780451474315
商品尺寸：10.7 x 2.3 x 17.3 cm
包装：简装
页数：448 （以实物为准）
Tartuffe and Other Plays《伪君子和其他戏剧集》是法国作家莫里哀创作的经典戏剧集。1659年，莫里哀创作《可笑的女才子》，辛辣地讽刺了资产者的附庸风雅，抨击了贵族社会所谓“典雅”生活的腐朽无聊，因而触怒了贵族势力，遭到禁演。但莫里哀并未被吓倒，连续编演了《丈夫学堂》和《太太学堂》。《太太学堂》因宣扬新思想，要求冲破封建思想牢笼而被指责为"淫秽"、"诋毁宗教"，又遭到禁演。莫里哀奋起还击，写了《〈太太学堂〉的批评》和《凡尔赛宫即兴》两出论战性短剧。1664年，莫里哀写成杰作《伪君子》。1665年，《唐璜，或石宴》问世。这些戏剧都被收录于此书，给予后世观者心灵的震撼。

本书为Signet Classics推出的英文版本，由Donald M. Frame翻译并介绍，Virginia Scott写序言，Charles Newell写后记，书本轻巧便携。

This memorable collection gathers the plays of the great social satirist and playwright Molière, representing the many facets of his genius and offering a superb introduction to the comic inventiveness, richness of prose, and insight that make up Molière’s enduring legacy to theater, literature, and the world.
Translated and with an Introduction by Donald M. Frame, a Foreword by Virginia Scott, and a New Afterword.

Review
“Molière is probably the greatest and best-loved French author, and comic author, who ever lived. To the reader as well as the spectator, today as well as three centuries ago, the appeal of his plays is immediate and durable; they are both distinctly accessible and inexhaustible.”  — Professor Donald M. Frame
莫里哀（1622年1月15日~1673年2月17日），原名为让·巴蒂斯特·波克兰（Jean Baptiste Poquelin），法国喜剧作家、演员、戏剧活动家。法国芭蕾舞喜剧的创始人。莫里哀是他的艺名，法语意为长春藤。莫里哀是法国17世纪古典主义文学重要的作家，古典主义喜剧的创建者，在欧洲戏剧史上占有十分重要的地位。代表作品《无病呻吟》《伪君子》《悭吝人》等。

Molière, born Jean-Baptiste Poquelin in1622, began his career as an actor before becoming a playwright who specialized in satirizing the institutions and morals of his day. In 1658, his theater company settled in Paris in the Théâter du Petit-Bourbon. The object of fierce attack because of such masterpieces as Tartuffe and Don Juan, Molière nonetheless won the favor of the public. In 1665, his company became the King’s Troupe, and the following year saw the staging of The Misanthrope, as well as The Doctor in Spite of Himself. In 1668, he produced his bitterly comic The Miserand, in the remaining years before his death, created such plays as The Would-Be Gentleman, The Mischievous Machinations of Scapin, and The Learned Women. In 1673, Molière collapsed onstage while performing his last play, The Imaginary Invalid, and died shortly thereafter.

Donald M. Frame was Moore Professor of French at Columbia University and an acclaimed scholar and translator of French literature. Among his notable works of translation are The Complete Essays of Montaigne, The Complete Works of Rabelais, and the Signet Classics Tartuffe & Other Plays and Candide, Zadig, and Selected Stories.

Virginia Scott is Professor Emerita in the Department of Theater of the University of Massachusetts at Amherst. She is the author of Moliére: A Theatrical Life, The Commedia Dell’Arte in Paris, and Performance, Poetry and Politics on the Queen’s Day: Catherine de Medici and Pierre de Ronsard at Fontainebleau (with Sara Sturm-Maddox).
The Ridiculous Précieuse可笑的女才子

The School for Husbands丈夫学堂
The School for Wives太太学堂
The Critique of The School for Wives《太太学堂》的批评
The Versailles Impromptu凡尔赛宫即兴
Tartuffe, or, The Impostor达尔杜弗，或骗子（《伪君子》）
Don Juan, or, The Stone Guest唐璜，或石宴
Molière is probably the greatest and best-loved French author, and comic author, who ever lived. To the reader as well as the spectator, today as well as three centuries ago, the appeal of his plays is immediate and durable; they are both instantly accessible and inexhaustible. His rich resources make it hard to decide, much less to agree, on the secret of his greatness. After generations had seen him mainly as a moralist, many critics today have shifted the stress to the director and actor whose life was the comic stage; but all ages have rejoiced in three somewhat overlapping qualities of his: comic inventiveness, richness of fabric, and insight.

His inventiveness is extraordinary. An actor-manager-director-playwright all in one, he knew and loved the stage as few have done, and wrote with it and his playgoing public always in mind. In a medium in which sustained power is one of the rarest virtues, he drew on the widest imaginable range, from the broadest slapstick to the subtlest irony, to carry out the arduous and underrated task of keeping an audience amused for five whole acts. Working usually under great pressure of time, he took his materials where he found them, yet always made them his own.