The Prince and The Pauper
ΠΡΠΏΠΈΠ»ΠΈ 22 ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ°
- ΠΠ΅ΡΠ΅ΠΏΠ»ΡΡ ΠΡΠ³ΠΊΠΈΠΉ
- ΠΠΎΠ»-Π²ΠΎ ΡΡΡ. 228
- ΠΠ΅Ρ 140 Π³
- ΠΠΎΠ΄ ΠΈΠ·Π΄Π°Π½ΠΈΡ 2002
ΠΡΠ·ΡΠ²Ρ
ΠΡΠΈΠ½Ρ ΠΈ Π½ΠΈΡΠΈΠΉ
ΠΡΠ΅ΠΊΡΠ°ΡΠ½ΠΎΠ΅ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠ΅ ΠΠ°ΡΠΊΠ° Π’Π²Π΅Π½Π° Π² ΠΎΡΠΈΠ³ΠΈΠ½Π°Π»Π΅, ΠΏΠΎΠ»ΠΎΠΆΠΈΠ²ΡΠ΅Π΅ Π½Π°ΡΠ°Π»ΠΎ ΡΠ΅Π»ΠΎΠΌΡ ΠΏΠΎΠ΄ΠΆΠ°Π½ΡΡ Π² Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ΅. ΠΡΡΠΎΡΠΈΡ Π΄Π²ΡΡ
ΠΌΠ°Π»ΡΡΠΈΠΊΠΎΠ², ΠΏΡΠΈΠ½ΡΠ°, Π½Π°ΡΠ»Π΅Π΄Π½ΠΈΠΊΠ° Π°Π½Π³Π»ΠΈΠΉΡΠΊΠΎΠ³ΠΎ ΠΏΡΠ΅ΡΡΠΎΠ»Π° ΠΈ Π΅Π³ΠΎ Π°Π½ΡΠΈΠΏΠΎΠ΄Π°, ΡΠΎΠΆΠ΄ΡΠ½Π½ΠΎΠ³ΠΎ Π² Π»ΠΎΠ½Π΄ΠΎΠ½ΡΠΊΠΈΡ
ΡΡΡΡΠΎΠ±Π°Ρ
Π±Π΅Π΄Π½ΠΎΠ³ΠΎ ΠΌΠ°Π»ΡΡΠΈΠΊΠ°, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΌΠ΅Π½ΡΡΡΡΡ ΠΌΠ΅ΡΡΠ°ΠΌΠΈ ΠΈ Ρ ΡΡΠΎΠ³ΠΎ Π½Π°ΡΠΈΠ½Π°Π΅ΡΡΡ ΡΠ΅ΡΠ΅Π΄Π° ΠΏΡΠΈΠΊΠ»ΡΡΠ΅Π½ΠΈΠΉ Π΄Π»Ρ ΠΎΠ±ΠΎΠΈΡ
Π³Π΅ΡΠΎΠ΅Π². ΠΠ°ΠΏΠΈΡΠ°Π½ΠΎ ΠΆΠΈΠ²ΠΎ ΠΈ ΡΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΠΎ. Π―Π·ΡΠΊ Π΄ΠΎΠ²ΠΎΠ»ΡΠ½ΠΎ Π»ΡΠ³ΠΊΠΈΠΉ ΠΈ ΠΏΠΎΠ½ΡΡΠ½ΡΠΉ. ΠΡΠ»ΠΈΡΠ½ΠΎ ΠΏΠΎΠ΄ΠΎΠΉΠ΄ΡΡ Π΄Π»Ρ ΠΈΠ·ΡΡΠ°ΡΡΠΈΡ
Π°Π½Π³Π»ΠΈΠΉΡΠΊΠΈΠΉ Ρ ΡΡΠΎΠ²Π½Π΅ΠΌ B1.
ΠΠ»ΡΡΡ
ΡΠ΅Π½Π°, ΡΡΠΈΡΡ
ΠΠΈΠ½ΡΡΡ
Π½Π΅Ρ
ΠΠΏΠΈΡΠ°Π½ΠΈΠ΅ ΠΈ Ρ Π°ΡΠ°ΠΊΡΠ΅ΡΠΈΡΡΠΈΠΊΠΈ
They are the same age. They look alike. In fact, there is but one difference between them: Tom Canty is a child of the London slums; Edward Tudor is heir to the throne of England. Just how insubstantial this difference really is becomes clear when a chance encounter leads to an exchange of roles...with the pauper caught up in the pomp and folly of the royal court, and the prince wandering, horror-stricken, through the lower depths of sixteenth-century English society.
Out of the theme of switched identities, Mark Twain has fashioned both a scathing attack upon social hypocrisy and injustice and an irresistible comedy imbued with the sense of high-spirited play that belongs to his most creative period.
With an Afterword by Everett Emerson
- ΠΠ΅ΡΠ΅ΠΏΠ»ΡΡ ΠΡΠ³ΠΊΠΈΠΉ
- ΠΠΎΠ»-Π²ΠΎ ΡΡΡ. 228
- ΠΠ΅Ρ 140 Π³
- ΠΠΎΠ΄ ΠΈΠ·Π΄Π°Π½ΠΈΡ 2002
- ΠΠ²ΡΠΎΡ
- Π Π°Π·ΠΌΠ΅ΡΡ Π² ΡΠΌ 1.5x10.6x17
- ID ΡΠΎΠ²Π°ΡΠ° 2873143
- ISBN 978-0-45-152835-3, 978-0-451-52835-3