Treasure Island 金银岛 Barnes & Noble Classics ISBN=9781593083687pdf/txt下载_在线阅读全文

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Treasure Island, by Robert Louis Stevenson, is part of theBarnes Noble Classics series, which offers quality editionsat affordable prices to the student and the general reader,including new scholarship, thoughtful design, and pages ofcarefully crafted extras. Here are some of the remarkable featuresof Barnes Noble Classics:
　　New introductions commissioned from today's top writers andscholars Biographies of the authors Chronologies of contemporaryhistorical, biographical, and cultural events Footnotes andendnotes Selective discussions of imitations, parodies, poems,books, plays, paintings, operas, statuary, and films inspired bythe work Comments by other famous authors Study questions tochallenge the reader's viewpoints and expectations Bibliographiesfor further reading Indices Glossaries, when appropriateAlleditions are beautifully designed and are printed to superiorspecifications; some include illustrations of historical interest.Barnes Noble Classics pulls together a constellation ofinfluences—biographical, historical, and literary—to enrich eachreader's understanding of these enduring works.

Treasure Island, by Robert Louis Stevenson, is part of the
Barnes & Noble Classics series, which offers quality editions
at affordable prices to the student and the general reader,
including new scholarship, thoughtful design, and pages of
carefully crafted extras. Here are some of the remarkable features
of Barnes & Noble Classics: 
　　New introductions commissioned from today's top writers and
scholars Biographies of the authors Chronologies of contemporary
historical, biographical, and cultural events Footnotes and
endnotes Selective discussions of imitations, parodies, poems,
books, plays, paintings, operas, statuary, and films inspired by
the work Comments by other famous authors Study questions to
challenge the reader's viewpoints and expectations Bibliographies
for further reading Indices & Glossaries, when appropriateAll
editions are beautifully designed and are printed to superior
specifications; some include illustrations of historical interest.
Barnes & Noble Classics pulls together a constellation of
influences—biographical, historical, and literary—to enrich each
reader's understanding of these enduring works. 
　　The most popular pirate story ever written in English, featuring
one of literature’s most beloved “bad guys,” Treasure Island has
been happily devoured by several generations of boys—and girls—and
grownups. Its unforgettable characters include: young Jim Hawkins,
who finds himself owner of a map to Treasure Island, where the
fabled pirate booty is buried; honest Captain Smollett, heroic Dr.
Livesey, and the good-hearted but obtuse Squire Trelawney, who help
Jim on his quest for the treasure; the frightening Blind Pew,
double-dealing Israel Hands, and seemingly mad Ben Gunn, buccaneers
of varying shades of menace; and, of course, garrulous, affable,
ambiguous Long John Silver, who is one moment a friendly, laughing,
one-legged sea-cook . . .and the next a dangerous pirate
leader! 
　　The unexpected and complex relationship that develops between
Silver and Jim helps transform what seems at first to be a simple,
rip-roaring adventure story into a deeply moving study of a boy’s
growth into manhood, as he learns hard lessons about friendship,
loyalty, courage and honor—and the uncertain meaning of good and
evil.

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目　　录

Captain Bill Bones
Captain Bones Routs Black Dog
Old Pew
tim Hawkins Leaves Home
Long John Silver and Hawkins
Preparing for the Mutiny
Ben Gunn
Captain Smollet Defies the Mutineers
The Attack on the Block House
The Fight in the Cabin
Israel Hands
The Black Spot
The Hostage
The Treasure Cave!

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If we go back to the origins of adventurestory fiction, we discover that the heroic quest remains itsprincipal myth. Quest-romances take many different forms, whetherit be the search for the Holy Grail in Arthurian legend, for theGolden Fleece (as in the Argonautica, the ancient epic of Jason andthe Argonauts), for the safe return home after perilous Homericwanderings, as in the Odyssey, or for a wide range of ends bothmaterial and spiritual. What is important is that, once establishedin classic form, the great adventure stories render all readers, ofany age, essentially children at heart. The quest gives us ourdream of success, and when we tire of daily labor in making aliving, it returns us to that time of the dream. Thus for TreasureIsland the questing dream comes out of a long preceding history.Besides two early travel books based on journeys in France,Stevenson told stories in homage to the Near Eastern tradition ofloosely woven adventures: his New Arabian Nights (1882), in whichthe exotic nature of travel to distant lands is imagined asoccurring in stories set in Europe. This art of romance thrives onthe incredible voyage, the sailor’s yarn (in his day perhaps morefashionable than any other type), the tall frontier tale, includingexotic or utopian settings that could never actually exist, becauseromance demands almost complete power to overcome all humanobstacles. The mode of romance therefore demands freedom toimagine. Yet the tradition seems to mix realism on some level withsuch unreal situations for the hero. In Robinson Crusoe (1719)Daniel Defoe mingles fact and fiction liberally. The same mixtureappears in Arthurian lore, while with the rise of the modern middleclasses a new kind of romance arises around the quest for materialsuccess.

If we go back to the origins of adventure
story fiction, we discover that the heroic quest remains its
principal myth. Quest-romances take many different forms, whether
it be the search for the Holy Grail in Arthurian legend, for the
Golden Fleece (as in the Argonautica, the ancient epic of Jason and
the Argonauts), for the safe return home after perilous Homeric
wanderings, as in the Odyssey, or for a wide range of ends both
material and spiritual. What is important is that, once established
in classic form, the great adventure stories render all readers, of
any age, essentially children at heart. The quest gives us our
dream of success, and when we tire of daily labor in making a
living, it returns us to that time of the dream. Thus for Treasure
Island the questing dream comes out of a long preceding history.
Besides two early travel books based on journeys in France,
Stevenson told stories in homage to the Near Eastern tradition of
loosely woven adventures: his New Arabian Nights (1882), in which
the exotic nature of travel to distant lands is imagined as
occurring in stories set in Europe. This art of romance thrives on
the incredible voyage, the sailor’s yarn (in his day perhaps more
fashionable than any other type), the tall frontier tale, including
exotic or utopian settings that could never actually exist, because
romance demands almost complete power to overcome all human
obstacles. The mode of romance therefore demands freedom to
imagine. Yet the tradition seems to mix realism on some level with
such unreal situations for the hero. In Robinson Crusoe (1719)
Daniel Defoe mingles fact and fiction liberally. The same mixture
appears in Arthurian lore, while with the rise of the modern middle
classes a new kind of romance arises around the quest for material
success. 
　　By Stevenson’s time Protestant beliefs and secular technology had
long since fueled the rise of capitalism. Robinson Crusoe, while it
inaugurated the realistic tradition of the novel in England, makes
a continuous critical commentary on mercantile capitalism and its
value system, especially as they derive aid and comfort from
Protestant Christianity. Crusoe, whose name plays on the name of
Christ, is in effect a marooned capitalist, who must rebuild his
fortune, by returning his commercial skills to their most primitive
beginnings. In this process Crusoe learns who he actually is. Such
a quest is tied to the science of counting up supplies, enemies,
distances, and even dreams, all of which become the very stuff of
realistic modern fiction. Typically the castaway begins his lonely
sojourn by surveying what is left to him from the ruins of
shipwreck—that is, making the inventory of tools available beyond
mere life itself. To be sure, virtually all the major novelists
comment, directly or allusively, on the nature and sources of
wealth, often indicating how these derive from imperial expansion.
Scholars have found these middle-class indicators in what might
seem the strangest places—for example, the novels of Jane Austen.
Character and commerce seem not so secretly linked. Yet how could
it be otherwise, since the bourgeois novel attempts an accounting
of life? At the end of the nineteenth century, Henry James claimed
for the novel that its function was to provide genuine “criticism”
of the way we live, to provide a kind of narrative philosophy,
storytelling endowed with serious levels of meaning, suggesting
profound and often obscure themes. Stevenson’s essay “A Humble
Remonstrance” (1884; see, in “For Further Reading,” The
Lantern-Bearers and Other Essays) countered James’s critical
principle by favoring romance. There is no way, the essay claimed,
for the novel to “compete with life.” Instead the novel should
maintain its exhilarating imaginative independence from the crude
facts of existence, drawing upon those facts solely as a resource
for delineating passion. (The saame article faults the
distinguished American novelist and editor William Dean Howells for
a similar dependency upon the new naturalistic style.) Stevenson
wanted to keep the idea of treasure somehow pure. With Henry James,
whom Stevenson so much admired and who became his valued
correspondent, the idea of a treasure sought by adventurous quest
took on an ironic aspect. James’s critical gaze, enhanced by his
own obsession with wealth, led him to analyze the typical methods
of acquiring it, such as real estate speculation in the value of
houses or New Englanders piling up industrial wealth or European
princes marrying American money. In these late novels and stories
James’s critical conceptions collide with material obsessions, and
the results are often obscure, even uncanny, as in The Ambassadors,
The Wings of the Dove, and The Golden Bowl. 
　　By the author’s own account “the seed” of his novel came from the
idea of a treasure chest he found in another adventure story,
Charles Kingsley’s At Last (1871).  As a goal of acquisitive
good luck and daring, treasure in general provides the motive,
indirectly or directly (consider Rider Haggard’s immensely popular
novel King Solomon’s Mines) for all sorts of adventures. The
nineteenth century saw a new world of yearning popular literature,
much like Hollywood movies and television shows today. Sentimental
romances, “penny dreadfuls,” and “shilling shockers” enthralled
large masses of readers. The fossilized popular novels of this
earlier date now sit moldering on the storage shelves of
pre-electronic libraries, their desiccated pages exuding a dismal
smell. Once great in number and acclaim among the young, they saved
many a tedious day from misery. The adventure novels of G. A. Henty
(1832–1902) appeared in more than 150 volumes. In twentieth-century
Britain, Henty was displaced by the more up-to-date Percy Westerman
(1876–1959; at school youngsters called him “Percy Piffler,” to
show they knew their author), who wrote more than 100 such books.
In the United States, to match such prolific output one would look
to the 135 “dime novels” of Horatio Alger (1832–1899), again
showing how the market of books for the young continued and still
continues to put a premium on production. This literature
multiplies mainly because it lacks any serious, thought-provoking
realism about the hazards of either romance or adventure. The book
cannot be read fast enough! Sentimental romances and the adventure
stories are of course the same commodity, masked by gender
difference. If the novel is to work, it must on some level achieve
an illusion of escape, and also of achieving a goal at the same
time.

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Treasure Island 金银岛 Barnes & Noble Classics ISBN=9781593083687下载

Treasure Island 金银岛 Barnes & Noble Classics ISBN=9781593083687

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