“经典
英语文
库”自2013年8月上市至今，整套图书已出版六辑共90部作品。图书选本方面，皆来自世界经典名著，涉及政治、艺术、人文、诗歌、小说等各个领域，原文呈现名著原貌，满足不同读者的阅读需求，《了不起的盖茨比》《哈姆雷特》等经典读本更是为广大读者所追捧。图书设计上，完全遵循国外名著图书的经典流行开本规范，掌中书的大小便携、易读；封面设计、正文版式、印刷材质等方面更是精益求精，力求将经典、纯粹的外国文学带给广大的中国读者，更新大家的英文图书阅读习惯。
内容简介
为什么叫“月亮与六便士”？其实，用毛姆自己的话说，这个书名的意义并没有在由英国W.毛姆所著的《月亮与六便士（英文版）》一书里得到应有的展示，而是出自某评论家在评论上述《人性的枷锁》（参见“经典英语文库”第一辑书目）时所写的某句话。原话如下：《人性的枷锁》里的主人公菲利普·凯利（PhilipCarey）被形容为一个太过执着找寻月亮的家伙，以至于他从来就没发现过脚底下就有一块六便士。毛姆后来这样解释道：“假如你低头在地上不住地要找寻一块六便士硬币，头也不抬起来一下，那么，你就会丢掉月亮。”
作者简介
William Somerset Maugham
William Somerset Maugham (25 January 1874-16 December 1965) was a British playwright, novelist and short story writer. He was among the most popular writers of his era and reputedly the highest paid author during the 1930s.
After losing both his parents by the age of 10, Maugham was raised by a paternal uncle who was emotionally cold. Not wanting to become a lawyer like other men in his family, Maugham eventually trained and qualified as a doctor. The first run of his first novel, Liza of Lambeth (1897), sold out so rapidly that Maugham gave up medicine to write full-time.
During the First World War, he served with the Red Cross and in the ambulance corps, before being recruited in 1916 into the British Secret Intelligence Service, for which he worked in Switzerland and Russia before the Bolshevik Revolution of 1917. During and after the war, he traveled in India and Southeast Asia; all of these experiences were reflected in later short stories and novels.
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精彩书摘
《最经典英语文库：月亮与六便士》：
I confess that when first I made acquaintance with Charles Strickland I never for a moment discerned that there was in him anything out of the ordinary. Yet now few will be found to deny his greatness. I do not speak of that greatness which is achieved by the fortunate politician or the successful soldier; that is a quality which belongs to the place he occupies rather than to the man; and a change of circumstances reduces it to very discreet proportions.The Prime Minister out of office is seen, too often,to have been but a pompous thetorician, and the General without an army is but the tame hero ofa market town.The greatness of Charles Strickland was authentic. It may be that you do not like his art, but at all events you can hardly refuse it the tribute of your interest.He disturbs and arrests. The time has passed when he was an object of ridicule, and it is no longer a mark of eccentricity to defend or of perversity to extol him. His faults are accepted as the necessary complement to his merits. It is still possible to discuss his place in art, and the adulation of his admirers is perhaps no less capricious than the disparagement of his detractors;but one thing can never be doubtful, and that is that he had genius. To my mind the most interesting thing in art is the personality of the artist; and if that is singular, I am willing to excuse a thousand faults. I suppose Velasquez was a better painter than El Greco,but custom stales one's admiration for him: the Cretan,sensual and tragic, proffers the mystery of his soul like a standing sacrifice. The artist, painter, poet, or musician, by his decoration, sublime or beautiful,satisfies the aesthetic sense; but that is akin to the sexual instinct, and shares its barbarity: he lays before you also the greater gift of himself. To pursue his secret has something of the fascination of a detective story. It is a riddle which shares with the universe the merit of having no answer. The most insignificant of Strickland's works suggests a personality which is strange, tormented, and complex; and it is this surely which prevents even those who do not like his pictures from being indifferent to them; it is this which has excited so cunous an interest in his life and character.
It was not till four years after Strickland's death that Maurice Huret wrote that article in the Mercure de France which rescued the unknown painter from oblivion and blazed the trail which succeeding writers, with more or less docility, have followed. For a long time no critic has enjoyed in France a more incontestable authority, and it was impossible not to be impressed by the claims he made; they seemed extravagant; but later judgments have confirmed his estimate, and the reputation of Charles Strickland is now firmly established on the lines which he laid down. The rise of this reputation is one of the most romantic incidents in the history of art. But I do not propose to deal with Charles Strickland's work except in so far as it touches upon his character. I cannot agree with the painters who claim superciliously that the layman can understand nothing of painting,and that he can best show his appreciation of their works by silence and a cheque-book. It is a grotesque misapprehension which sees in art no more than a craft comprehensible perfectly only to the craftsman:art is a manifestation of emotion, and emotion speaks a language that all may understand.
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前言/序言
“经典英语文库”自第一辑2013年8月上市至今，整套图书已出版六辑共90部作品。图书选本方面，皆来自世界经典名著，涉及政治、艺术、人文、诗歌、小说等各个领域，原文呈现名著原貌，满足不同读者的阅读需求，《了不起的盖茨比》《哈姆雷特》等经典读本更是为广大读者所追捧。图书设计上，完全遵循国外名著图书的经典流行开本规范，掌中书的大小便携、易读；封面设计、正文版式、印刷材质等方面更是精益求精，力求将经典、纯粹的外国文学带给广大的中国读者，更新大家的英文图书阅读习惯。
“经典英语文库”系列图书其规模之大，品质之精在目前国内图书市场上可以称得上是独一，无愧经典的传承，完美体现“倡导原味阅读，共享世界经典”的出版理念，今后，我们还将陆续推出更多英文名著经典，以飨读者。
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