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《純真年代》為“書蟲·牛津英漢雙語讀物”系列5級讀物，屬簡易文學，適合高二、高三的讀者閱讀。《純真年代》由美國女作家伊迪絲·華頓的同名經典文學名著改編，更適合國內英語學習者閱讀。本書大致內容：埃倫·奧蘭斯卡伯爵夫人，曾作為一位波蘭伯爵的妻子在歐洲生活多年，獨自回到了她在紐約的家。她希望擺脫自己不幸婚姻帶來的痛苦，但她不了解紐約的各種規則。然而，紐蘭·阿徹深諳這些規則，而且，和他訂婚的姑娘——年輕的梅·韋蘭，生活中也恪守著這些規則，因為她無法想象還有其他任何的生活方式。紐蘭、梅和埃倫陷入了一場愛情、名譽和責任的斗爭。
作者簡介
伊迪絲·華頓（1862－1937），美國女作家。華頓的代表作《純真年代》于1921年獲得普利策文學獎，使她成為第一個獲得該獎的女性作家。
名人/編輯推薦
“書蟲?牛津英漢雙語讀物”是外語教學與研究出版社和牛津大學出版社聯袂奉獻給英語學習者的一大分級閱讀精品書系，為您提供從小學高年級至大學的全套閱讀方案。暢銷十余年、銷售逾60，000，000冊。內容為讀者耳熟能詳的經典作品簡寫本及原創精彩故事。作者團隊強大：包括英語教育專家及富有經驗的牛津大學出版社的簽約作者。圖書按照詞匯量和語言難度進行科學分級。共七個級別。入門級為漫畫形式，看圖閱讀；第一級至第六級為英漢對照形式，每頁提供重點單詞注釋。套裝內每本書都配有MP3光盤，由國外專業播音員朗讀。每本書后配有練習題，協助測試閱讀效果。
培養閱讀能力是學好英語的重要一項，也是最符合中國學生學習習慣的一條途徑。通過大量廣泛的閱讀，學習者可以較快提高詞匯量，增強英語語感，擴大知識面，從而提高英語能力甚至直接用英文思維的能力，同時也為聽、說、寫等技能打下了廣闊而堅實的基礎。英語的聽、說、寫等能力的提高是無法一蹴而就的，并非人人可以辦到，但是閱讀的能力提高卻是人人可以辦到的，因為中國學生最易接受的，還是從視覺上開始的認識能力。這也是為什么“書蟲?牛津雙語讀物系列”可以暢銷十余年，銷售60，000，000冊的秘密所在。
此次推出的“書蟲?牛津英漢雙語讀物”（新增品種）包括47本圖書。編排形式與已出版“書蟲”相同。封面更為精美；主題更加多樣，包括懸疑、偵探、間諜等多種題材；其中新增10本劇本類圖書，可以協助老師和同學們編排故事劇。
培養閱讀能力是學好英語的重要一項，也是最符合中國學生學習習慣的一條途徑。通過大量廣泛的閱讀，學習者可以較快提高詞匯量，增強英語語感，擴大知識面，從而提高英語能力甚至直接用英文思維的能力，同時也為聽、說、寫等技能打下了廣闊而堅實的基礎。英語的聽、說、寫等能力的提高是無法一蹴而就的，并非人人可以辦到，但是閱讀的能力提高卻是人人可以辦到的，因為中國學生最易接受的，還是從視覺上開始的認識能力。這也是為什么“書蟲?牛津雙語讀物系列”可以暢銷十余年，銷售60，000，000冊的秘密所在。
此次推出的“書蟲?牛津英漢雙語讀物”（新增品種）包括47本圖書。編排形式與已出版“書蟲”相同。封面更為精美；主題更加多樣，包括懸疑、偵探、間諜等多種題材；其中新增10本劇本類圖書，可以協助老師和同學們編排故事劇。
目次
CONTENTS 目錄
PEOPLE IN THIS STORY 人物介紹
1 A stranger in New York
紐約的陌生人
2 Newland has doubts
紐蘭存有疑慮
3 The Countess causes trouble
伯爵夫人招惹麻煩
4 A second visit to the Countess
對伯爵夫人的第二次拜訪
5 May surprises Newland
梅讓紐蘭大感意外
6 The wedding and beyond
婚禮及其后
7 Newland in Boston
PEOPLE IN THIS STORY 人物介紹
1 A stranger in New York
紐約的陌生人
2 Newland has doubts
紐蘭存有疑慮
3 The Countess causes trouble
伯爵夫人招惹麻煩
4 A second visit to the Countess
對伯爵夫人的第二次拜訪
5 May surprises Newland
梅讓紐蘭大感意外
6 The wedding and beyond
婚禮及其后
7 Newland in Boston
CONTENTS 目錄
PEOPLE IN THIS STORY 人物介紹
1 A stranger in New York
紐約的陌生人
2 Newland has doubts
紐蘭存有疑慮
3 The Countess causes trouble
伯爵夫人招惹麻煩
4 A second visit to the Countess
對伯爵夫人的第二次拜訪
5 May surprises Newland
梅讓紐蘭大感意外
6 The wedding and beyond
婚禮及其后
7 Newland in Boston
紐蘭在波士頓
8 The Beaufort scandal
博福特的丑聞
9 Ellen returns to New York
埃倫返回紐約
10 Newland visits Paris
紐蘭造訪巴黎
Activities: Before Reading
Activities: While Reading
Activities: After Reading
書摘/試閱
When Newland Archer arrived at the New York Academy of Music, one January evening in the early 1870s, the opera had already begun. There was no reason why the young man should not have come earlier. He had had dinner at seven, alone with his mother and sister, and then sat unhurriedly smoking his cigar in his private library. But fashionable young men did not arrive early at the opera. That was one of the unwritten rules of society, and in Newland Archer’s New York these rules were as important as life and death.
Another reason for the young man’s delay was that he enjoyed looking forward to pleasures just as much as actually experiencing them, and Gounod’s Faust was one of his favourite operas. As he opened the door at the back of his box, he felt he had chosen just the right moment to arrive. Christine Nilsson, the Swedish singer whom all New York had gathered to hear, was singing, ‘He loves me – he loves me not – he loves me!’
She sang in Italian, of course, not in English, since an unquestioned law of the musical world demanded that the German words of French operas sung by Swedish singers should be translated into Italian, for the clearer understanding of English-speaking audiences. This seemed as natural to Newland as all the other laws that governed his life, like never appearing in society without a flower in his buttonhole, and having two silver-backed brushes for his hair.
He turned his eyes away from the singer and looked at the audience. Directly opposite him was the box of old Mrs Manson Mingott, who was now so fat that she was unable to attend the opera, but whose family often came on fashionable nights. Tonight the front of the box was filled by her daughter-in-law, Mrs Lovell Mingott, and her daughter, Mrs Welland. A little behind these ladies in their heavy silks sat a young girl in white, with her eyes fixed on the singer. As Madame Nilsson’s voice rose above the silent audience (the boxes always stopped talking during this song), a warm pink spread over the girl’s face and shoulders, right down to the top of her evening dress. She dropped her eyes to the enormous bunch of white flowers on her knee, and touched them gently.
19世紀70年代初一月的某個夜晚，當紐蘭?阿徹來到紐約音樂學院時，歌劇已經開場。這個年輕人本沒有理由不早點到。七點鐘時，他已經和母親、妹妹一起用了晚餐，然后坐在自己的私人圖書室里不慌不忙地抽雪茄。然而，時尚的年輕人去聽歌劇時是不會早到的，那是社交界不成文的規矩之一。在紐蘭?阿徹所身處的紐約，這些規矩是與生死一樣重要的大事。
這位年輕人晚到還有另一個原因，那就是，他不單喜歡享受快樂，且同樣喜歡期盼快樂到來的感覺；而古諾的《浮士德》正是他最喜歡的歌劇之一。當他打開包廂后面的門時，他覺得自己來得剛好是時候。克里斯蒂娜?尼爾森，這位讓全紐約的人都齊聚一堂來聽她演唱的瑞典歌唱家，正在唱著“他愛我——他不愛我——他愛我！”
當然，她不是用英語，而是用意大利語演唱的。根據音樂界公認的法則，由瑞典歌唱家演唱的法國歌劇的德語文本，必須翻譯成意大利語，以便讓講英語的聽眾理解得更清楚。對紐蘭來說，這一點和他生活中遵循的所有其他規矩一樣理所當然：比如，紐扣眼里永遠得插一朵花才能在社交界露面；還要有兩把梳理頭發的銀背刷子。
他把目光從歌唱家身上移開，掃視著觀眾。正對著他的是曼森?明戈特老太太的包廂。她因為過度肥胖，如今已經不能來聽歌劇了。不過，在有時尚人士社交活動的晚上，她的家庭成員往往會出席。今晚，坐在包廂前排座位的是她的兒媳洛弗爾?明戈特太太和她的女兒韋蘭太太。這兩位身著層層錦緞的婦人身后坐著一位穿白衣的年輕姑娘，她正目不轉睛地看著歌唱家。當尼爾森夫人的歌聲劃破觀眾席寂靜的上空時（演唱這首歌期間，各包廂的人們總是會停止交談），一抹紅暈泛起在姑娘的面頰，漫過肩頭，直至她晚禮服的領線。她垂下眼睛望著膝上那一大束白花，用手輕撫著。
……
Another reason for the young man’s delay was that he enjoyed looking forward to pleasures just as much as actually experiencing them, and Gounod’s Faust was one of his favourite operas. As he opened the door at the back of his box, he felt he had chosen just the right moment to arrive. Christine Nilsson, the Swedish singer whom all New York had gathered to hear, was singing, ‘He loves me – he loves me not – he loves me!’
She sang in Italian, of course, not in English, since an unquestioned law of the musical world demanded that the German words of French operas sung by Swedish singers should be translated into Italian, for the clearer understanding of English-speaking audiences. This seemed as natural to Newland as all the other laws that governed his life, like never appearing in society without a flower in his buttonhole, and having two silver-backed brushes for his hair.
He turned his eyes away from the singer and looked at the audience. Directly opposite him was the box of old Mrs Manson Mingott, who was now so fat that she was unable to attend the opera, but whose family often came on fashionable nights. Tonight the front of the box was filled by her daughter-in-law, Mrs Lovell Mingott, and her daughter, Mrs Welland. A little behind these ladies in their heavy silks sat a young girl in white, with her eyes fixed on the singer. As Madame Nilsson’s voice rose above the silent audience (the boxes always stopped talking during this song), a warm pink spread over the girl’s face and shoulders, right down to the top of her evening dress. She dropped her eyes to the enormous bunch of white flowers on her knee, and touched them gently.
19世紀70年代初一月的某個夜晚，當紐蘭?阿徹來到紐約音樂學院時，歌劇已經開場。這個年輕人本沒有理由不早點到。七點鐘時，他已經和母親、妹妹一起用了晚餐，然后坐在自己的私人圖書室里不慌不忙地抽雪茄。然而，時尚的年輕人去聽歌劇時是不會早到的，那是社交界不成文的規矩之一。在紐蘭?阿徹所身處的紐約，這些規矩是與生死一樣重要的大事。
這位年輕人晚到還有另一個原因，那就是，他不單喜歡享受快樂，且同樣喜歡期盼快樂到來的感覺；而古諾的《浮士德》正是他最喜歡的歌劇之一。當他打開包廂后面的門時，他覺得自己來得剛好是時候。克里斯蒂娜?尼爾森，這位讓全紐約的人都齊聚一堂來聽她演唱的瑞典歌唱家，正在唱著“他愛我——他不愛我——他愛我！”
當然，她不是用英語，而是用意大利語演唱的。根據音樂界公認的法則，由瑞典歌唱家演唱的法國歌劇的德語文本，必須翻譯成意大利語，以便讓講英語的聽眾理解得更清楚。對紐蘭來說，這一點和他生活中遵循的所有其他規矩一樣理所當然：比如，紐扣眼里永遠得插一朵花才能在社交界露面；還要有兩把梳理頭發的銀背刷子。
他把目光從歌唱家身上移開，掃視著觀眾。正對著他的是曼森?明戈特老太太的包廂。她因為過度肥胖，如今已經不能來聽歌劇了。不過，在有時尚人士社交活動的晚上，她的家庭成員往往會出席。今晚，坐在包廂前排座位的是她的兒媳洛弗爾?明戈特太太和她的女兒韋蘭太太。這兩位身著層層錦緞的婦人身后坐著一位穿白衣的年輕姑娘，她正目不轉睛地看著歌唱家。當尼爾森夫人的歌聲劃破觀眾席寂靜的上空時（演唱這首歌期間，各包廂的人們總是會停止交談），一抹紅暈泛起在姑娘的面頰，漫過肩頭，直至她晚禮服的領線。她垂下眼睛望著膝上那一大束白花，用手輕撫著。
……
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