书名：Pygmalion and My Fair Lady 皮格马利翁 窈窕淑女
作者：George Bernard Shaw萧伯纳
出版社名称：Signet Classics
出版时间：2006
语种：英文
ISBN：9780451530097
商品尺寸：10.6 x 1.6 x 17.1 cm
包装：简装
页数：226 （以实物为准）

Pygmalion and My Fair Lady《皮格马利翁》，又名《皮各马利翁与卖花女》《窈窕淑女》。是爱尔兰剧作名家萧伯纳的剧本作品集，曾被改编成音乐剧以及电影，由奥黛丽赫本等实力演员演绎。一个世纪以来，《窈窕淑女》被改成各种语言的电影、电视、歌剧，如德语、法语、意大利语、波兰语等等，并且一直如此卖座。作为现实主义戏剧的代表作家，萧伯纳擅长幽默与讽刺并行的手法。而又因为受到音乐以及哲学教育的熏陶，其作品又常常给人以艺术的享受。
推荐理由：
1.萧伯纳广为流传的作品之一，值得收藏并品读回味；
2.现实主义戏剧的经典代表作，戏剧爱好者不可错过；
3.地道的英语写作，语言学习者提高语言能力的绝佳选择；
4.印刷清晰，阅读舒适，体积轻巧，便于携带。

Pygmalion remains Shaw’s most popular play. The play’s widest audiences know it as the inspiration for the highly romanticized 1956 musical and 1964 filmMy Fair Lady. Pygmalion has transcended cultural and language barriers since its first production. There was no country which didn’t have its own “take” on the subjects of class division and social mobility, and it’s as enjoyable to view these subtle differences in settings and costumes as it is to imagine translators wracking their brains for their own equivalent of “Not bloody likely.”
With an Introduction by Richard H. Goldstone

The ancient Greeks tell the legend of the sculptor Pygmalion, who created a statue of a woman of such surpassing beauty that he fell in love with his own creation. Then, Aphrodite, taking pity on this man whose love could not reach beyond the barrier of stone, brought the statue to life and gave her to Pygmalion as his bride.
Centuries later, George Bernard Shaw captured the magic of this legend in his celebrated romantic play, Pygmalion. Pygmalion became Henry Higgins, a professor of phonetics, his statue an untutored flower girl from the streets of London, and the barrier between them the difference in their stations in life.
In My Fair Lady, Alan Jay Lerner takes the legend one step further—the barrier is swept away and Higgins and Eliza are reunited as the curtain falls on one of the loveliest musical plays of our time—winning seven Tonys for its original Broadway production, and seven Oscars for its film adaptation. 

  Introduction
   Foreword to Pygmalion
   Publisher’s Note

I  Pygmalion:A Romance in Five Acts
   Shorthand Fragment, 1914, Bernard Shaw
   Bernard Shaw Flays Filmdom’s “Illiterates”

II  My Fair Lady:A Musical Playin Two Acts
   Noteby Alan Jay Lerner 

Early in his career,George Bernard Shaw (1856-1950) wrote for newspapers and magazines as a critic of art, literature, music, and drama. From 1893 to 1939, the most active period of his career, Shaw wrote forty-seven plays. By 1915, his international fame was firmly established and productions of Candida, Man and Superman, Arms and the Man, and The Devil's Disciple appeared in many countries around the world. He went on to write such dramas as Heartbreak House, Back toMethuselah,Androcles and the Lion, andSaint Joan. Shaw is the only person to have won the Nobel Prize for Literature and an Oscar.
With the composer Frederick Loewe,Alan Jay Lerner (1918-86) created such classic musicals asBrigadoon,Gigi, Camelot, andMy Fair Lady.Among his other collaborators were Kurt Weill (LoveLife), BurtonLane (Royal Wedding,On a Clear Day You Can See Forever), Andre Previn (Coco), and Leonard Bernstein (1600 Pennsylvania Avenue). For his work, Lerner won several Oscars and a Grammy Award. 

ACT ONE
London at 11.15 p.m. Torrents of heavy summer rain. Cab whistles blowing frantically in all directions. Pedestrians running for shelter into the portico of St. Paul's Church, where there are already several people, among them a lady and her daughter in evening dress. They are all peering out gloomily at the rain, except one man with his back turned to the rest, who seems wholly preoccupied with a notebook in which he is writing.
The church clock strikes the first quarter.
THE DAUGHTER (in the space between the central pillars, close to the one on her left): I'm getting chilled to the bone. What can Freddy be doing all this time? He’s been gone twenty minutes.
THE MOTHER (on her daughter’s right): Not so long. But he ought to have got us a cab by now.
A BYSTANDER (on the lady's right): He won’t get no cab not until half-past eleven, missus, when they come back after dropping their theatre fares.
THE MOTHER: But we must have a cab. We can’t stand here until half-past eleven. It's too bad.
THE BYSTANDER: Well, it ain’t my fault, missus.
THE DAUGHTER: If Freddy had a bit of gumption, he would have got one at the theatre door.
THE MOTHER: What could he have done, poor boy?
THE DAUGHTER: Other people got cabs. Why couldn’t he?
(Freddy rushes in out of the rain from the Southampton Street side, and comes between them closing a dripping umbrella. He is a young man of twenty, in evening dress, very wet around the ankles.)
THE DAUGHTER: Well, haven’t you got a cab?
FREDDY: There’s not one to be had for love or money.
THE MOTHER: Oh, Freddy, there must be one. You can’t have tried.
THE DAUGHTER: It's too tiresome. Do you expect us to go and get one ourselves?
FREDDY: I tell you they’re all engaged. The rain was so sudden: nobody was prepared; and everybody had to take a cab. I’ve been to Charing Cross one way and nearly to Ludgate Circus the other; and they were all engaged.
THE MOTHER: Did you try Trafalgar Square?
FREDDY: There wasn’t one at Trafalgar Square.
THE DAUGHTER: Did you try?
FREDDY: I tried as far as Charing Cross Station. Did you expect me to walk to Hammersmith?
THE DAUGHTER: You haven’t tried at all.
THE MOTHER: You really are very helpless, Freddy. Go again; and don’t come back until you have found a cab.
FREDDY: I shall simply get soaked for nothing.
THE DAUGHTER: And what about us? Are we to stay here all night in this draught, with next to nothing on. You selfish pig.