在此过程中,五本传记都在试图回答一个问题,这个问题都和女王有关:如果要信任我们所看到的女王,那么我们应站在什么角度来获得这些最为真实的信任?哪一个女王是最真实的?那个低调的女子还是那个公共人物?每个人心中都有不同的答案。
Two of the authors, Sarah Bradford and Robert Lacey, are veteran royal historians, whose2012 biographies draw on previously published work. With the frankness of an old pro, atone point Ms Bradford names different schools of royal-watching. There is the work of theQueen genre, as pioneered by the 1969 television film Royal Family, which showed themonarch working through boxes of state papers, preparing state visits or relaxing with herfamily. Alas, she explains, once the public had seen inside royal drawing rooms, they soonwanted to peer into the bedroom. Thus arose the royal soap opera genre. Ms Bradfordtakes readers on a brisk, assured canter through the familiar landmarks of both genres,adding a dose of history as she goes. Mr Lacey, who has been writing about the queen fornearly 40 years, advertises his slim volume as a pleasant afternoon s reading, which it isnot. At once knowledgeable and jaundiced, Mr Lacey seems slightly sick of his royalsubjects, as do the unnamed courtiers and insiders whom he quotes.
这其中的两个作者,沙拉布拉德福德和罗伯特拉西都是经验丰富的皇家历史学家,他们在2012年出版的作品援引了之前已经出版著作的内容。布拉德福德女士坦白她是支持皇室的,她曾经将几种关注皇室的不同行为进行了分类。有一种是女王的工作派别,是由1969年电视节目皇室家族开启,展现女王伏案工作的场景,桌上堆满了国务文件,准备国事访问以及和家人休闲娱乐。啊,她解释道,一旦公众看到了皇家的画室,他们会好奇卧室是什么样子。因此出现了 皇室肥皂剧流派。布拉德福德女士引入一部分历史事实,以轻松的笔调带领读者信步于这两派熟知的情节之间。拉西曾用了将近40年的时间来写女王,他将自己单薄的一本书定义为午后休闲阅读,但事实上并非如此。拉西博学多才,对女王怀有偏见,他似乎有些反感这些皇室成员,在他书中一些没有提及姓名的官员和圈内人也此表示了同感。
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