yuèdòutuō mǎ sī · màn Thomas Mannzài小说之家dezuòpǐn!!! | |||||
托马斯·曼tuō mǎ sī . màn 1875 nián 6 yuè 6 rì chū shēng yú dé guó běi bù gǎng shì lǚ bèi kè。 tā de fù qīn shì jīng yíng gǔ wù de jù shāng， mǔ qīn chū shēng yú bā xī， yòu pú táo yá xuè tǒng。 tuō mǎ sī . màn shì wǔ gè hái zǐ zhōng de lǎo 'èr， cháng tā sì suì de hēng lì xī . màn hòu lái yě shì yī wèi zhù míng zuò jiā。 zuò wéi chéng gōng de shāng rén， tuō mǎ sī . màn de fù qīn zuò fēng shí jì， zài lǚ bèi kè hěn yòu yǐng xiǎng； ér tā cóng mǔ qīn nà lǐ zé dé dào yīnyuè、 wén xué hé yì shù de xūn táo。 fù qīn de shí yòng zhù yì yǔ mǔ qīn de yì shù qì zhì suǒ dài biǎo de 'èr yuán xìng， chéng wéi tuō mǎ sī . màn hòu lái wén xué chuàng zuò de zhòng yào zhù tí。
tuō mǎ sī . màn de fù qīn yú 1891 nián zài 41 suì de nián líng shàng zǎo shì。 zhǎngzǐ hēng lì xī . màn hé cì zǐ tuō mǎ sī . màn zhè shí dū hái nián qīng， qiě dōuduì wén xué gèng gǎn xīng qù， ér bù xiǎng chéng wéi shāng rén。 yú shì jiā zú chǎn yè biàn mài chū qù， màn shì jiā zú shāng yè shàng de shuāi bài yě suí zhī 'ér lái， ér tā men zài wén huà shàng de dì wèi què kāi shǐ zhēng zhēng rì shàng。
1892 nián， màn de mǔ qīn qiān wǎng mù ní hēi。 tuō mǎ sī . màn zé liú zài lǚ bèi kè wán chéng dà xué yù kē xué xiào de xué yè。 tā bǎ dà bù fēn jīng lì zhuànxiàng liǎo wén xué， tā de xué xí chéng jì bìng bù lǐ xiǎng， bì yè shí zhǐ dé dào liǎo yī gè “ zhōng děng ” wén píng。 1893 nián， tuō mǎ sī . màn lí kāi lǚ bèi kè qián wǎng mù ní hēi。 1894-1896 nián jiān， tā cān jiā liǎo mù ní hēi jì shù dà xué de lì shǐ、 yì shù hé wén xué kè chéng。 1897 nián， tuō mǎ sī . màn kāi shǐ tā dì yī bù cháng piān xiǎo shuō《 bù děng bó luò kè yī jiā》 de chuàng zuò。 1901 nián zhè běn xiǎo shuō fā biǎo bìng lì jí huò dé jù dà chéng gōng， cóng cǐ diàn dìng liǎo tuō mǎ sī . màn zài dé guó de wén xué dì wèi。
1905 nián， tuō mǎ sī . màn tóng kǎ dì yà pǔ lín sī . hǎi mǔ jié hūn。 jìn guǎn màn duì zì jǐ de tóng xìng liàn qīng xiàng bù shì yī wú suǒ zhī， dàn tā xuǎn zé liǎo yā yì kè zhì。 tā men shēng liǎo liù gè hái zǐ， sān 'ér sān nǚ。 chú liǎo zhǎngzǐ kè láo sī . màn， cháng nǚ 'ài lì kǎ . màn yě shì yī wèi zuò jiā、 yǎn yuán hé shè huì huó dòng jiā。 kè láo sī . màn hé 'ài lì kǎ . màn dū shì gōng kāi de tóng xìng liàn zhě。
1929 nián， tuō mǎ sī . màn róng huò nuò bèi 'ěr wén xué jiǎng。 dàn zhè yě méi yòu zǔ zhǐ nà cuì zhù yì duì tā yī jiā de wēi xié。 chú liǎo tuō mǎ sī . màn zì jǐ de zuò pǐn bù hé nà cuì de wèi kǒu zhī wài， tā gē gē hēng lì xī . màn de jìn bù yán lùn， tā qī zǐ de yóu tài xuè tǒng yǐ jí tā zǐ nǚ gōng kāi de tóng xìng liàn shēn fèn dū zú yǐ lìng nà cuì yǎo yá qièchǐ。 1933 nián， tuō mǎ sī . màn yī jiā kāi shǐ liú wáng shēng huó， xiān shì ruì shì， rán hòu shì měi guó。 zài měi guó， tuō mǎ sī . màn zài jiā lì fú ní yà zhōu de pà lì sài cí qiū líng de jiā chéng liǎo xǔ duō zhě hé míng liú men cān bài de dì fāng， ā nuò dé . xūn bó gé， bó tuō 'ěr tè . bù lāi xī tè， yǐ jí tā gē gē hēng lì xī . màn dū shì zhè lǐ de zuò shàng kè。
wǔ shí nián dài， mài kǎ xī zhù yì kāi shǐ zài měi guó sì nüè。 ér 'èr zhàn hòu de dé guó fēn liè wéi dōng xī liǎng gè。 tuō mǎ sī . màn zuì zhōng xuǎn zé yú 1952 nián fǎn huí ruì shì dìng jū。 1955 nián 8 yuè 12 rì， tuō mǎ sī . màn zài sū lí shì bìng shì。
tuō mǎ sī . màn yǔ zhǎngzǐ kè láo sī . màn zài duì dài tóng xìng liàn de wèn tí shàng yòu zhù bù tóng de kàn fǎ。 kè láo sī màn xuǎn zé gōng kāi de tóng xìng liàn shēng huó fāng shì， bìng qiě zài zuò pǐn zhōng zài xiàn liǎng cì dà zhàn zhī jiān dé guó fù yú fǎn pàn jīng shén de nián qīng yì shù jiā men de bō xī mǐ yà shì shēng huó。 zài tuō mǎ sī . màn nà lǐ， tóng xìng liàn suī rán cháng yǔ yì shù de wéi měi xiāng guān， dàn tā gèng shì yī zhǒng jù yòu huǐ miè xìng de lì liàng， tā pò huài shè huì jiàn gòu， bìng zuì zhōng dài lái tóng xìng liàn zhě gè rén de sǐ wáng。 1949 nián， kè láo sī màn de zì shā sì hū gèng shì yìn zhèng liǎo tuō mǎ sī . màn duì tóng xìng liàn de bēi guān tài dù。 yóu yú fù zǐ guān xì zǎo yǐ jiāng huà， huò zhě yě shì wèile bù ràng zì jǐ de míng yù shòu dào diàn wū， tuō mǎ sī . màn zhè wèi kě jìng de dà wén háo méi yòu chū xí tā 'ér zǐ de zàng lǐ， ér shì jǐn jǐn fā liǎo yī fēng diào yàn diàn bào。
zài dé yǔ shì jiè zhōng， tuō mǎ sī . màn suàn dé shàng shì yī wèi“ shòu guò jiào yù de shì mín” de diǎn fàn。 tā shū shì de zhōng shàng jiē céng jīng jì dì wèi bù jǐn shǐ tā bù chóu chī chuān， hái yǔn xǔ tā huò dé liáng hǎo de wén huà jiào yù， shǐ tā biàn dé rú yǎ qiě yòu pǐn wèi。 tā de zuò pǐn zhōng fǎn yìng chū de jiù shì zhè yàng yī zhǒng zhuàng kuàng。 bǐ rú，《 bù děng bó luò kè yī jiā》 jiù shì yǐ tā zì jǐ de jiā zú wéi lán běn， miáo huì chū yī fú zhōng shàng jiē céng de fēng qíng huà。
bù guò， tuō mǎ sī . màn yī shēng dōuzài nǔ lì yǔ zhōng chǎn jiē jí shè huì huàqīng jiè xiàn。 tā rèn wéi yì shù líng gǎn lái yuán yú yī gè yǔ zhōng chǎn jiē jí xiāng duì lì de wáng guó， jí yī gè qíng 'ài de、 xìng yù de， huò gèng jù tǐ shuō， yī gè tóng xìng 'ài de wáng guó。 tā de xǔ duō zhòng yào zuò pǐn dū jì lù xià wèile bǎo chí yī zhǒng píng héng 'ér fù chū de dǒu zhēng， jí nà zhǒng jiè yú yì shù jiā yǔ rì cháng shēng huó zhōng pǔ tōng rén zhī jiān de píng héng。 ér chǔyú zhè chǎng dǒu zhēng hé xīn de wǎng wǎng jiù shì nà zhǒng nán tóng xìng 'ài de yù wàng， zhè zhǒng yù wàng zài biǎo dá yǔ yā yì zhī jiān yóu yù bù dìng。
zài yī fēng xiě gěi péng yǒu hǎi 'ěr màn . jí sài lín bó jué de xìn jiàn zhōng（ fā biǎo shí tí wéi《 guān yú hūn yīn》， 1925）， tuō mǎ sī . màn shì tú jiāng hūn yīn yǔ tóng xìng 'ài jìn xíng qū fēn， qián zhě jù yòu chuàng zào xìng hé chí jiǔ xìng， jiàn lì liǎo jiā tíng， bìng chéng wéi guó jiā de jī shí， ér hòu zhě suī jù yòu yì shù bì yào xìng， dàn zhōng jiū shì yī zhǒng huǐ miè xìng de lì liàng。 guān yú tóng xìng 'ài， tā xiě dào：“ chú liǎo měi hé sǐ wáng， duì tā méi yòu bié de zhù fú。” zhè fēng xìn kě yǐ kàn zuò shì zuò zhě duì zì jǐ tóng xìng 'ài qíng gǎn de biàn hù。 tuō mǎ sī . màn shì tā nà yī dài zhōng jiān gōng mín de yī fēn zǐ， shì yī gè xiǎng yòu shèng yù de zuò jiā， yě shì yī jiā zhī fù。 tā chéng rèn， rú guǒ xì xīn yuè dú， dú zhě kě yǐ fā xiàn qǐ fā tā yì shù líng gǎn de tóng xìng 'ài yù wàng， dàn shì tóng xìng liàn shēn fèn， tā shì jiān jué jù jué de， yīn wéi zhè bù zhǐ shì wēi xié dào“ shè huì”， gèng wēi xié dào tā xiǎn hè de shè huì dì wèi。
tóng xìng liàn pò huài shè huì jiàn zhì bìng dǎo zhì tóng xìng liàn zhě gè rén sǐ wáng de zhù tí chū xiàn zài tuō mǎ sī . màn de hǎo jǐ bù zuò pǐn zhōng， qí zhōng yī xiē yě shì tā zuì jié chū de zuò pǐn。
◇ 《 hún duàn wēi ní sī》
zài《 hún duàn wēi ní sī》（ yòu yì zuò《 wēi ní sī zhī sǐ》， 1912） zhōng， chéng shú de míng zuò jiā gǔ sī tǎ fū féng 'ā shēn bā hè ràng xiǎng xiàng zhōng dào dé shàng de yí diǎn fú cóng yú fáng gǔ diǎn yì shù de yán gé de lún lǐ hé měi xué de yào qiú， tā de shēng huó chǔyú lǐ zhì de yán gé zhǎng kòng zhī zhōng。 rán 'ér， zài tā qián wǎng wēi ní sī dù jiǎ de guò chéng zhōng， tā de lǐ zhì bǎo lěi shòu dào liǎo měng liè chōng jī 'ér zuì zhōng bēng kuì。 ér yǐn fā zhè chǎng chōng jī de zé shì yī gè měi lì jué lún de 14 suì bō lán nán hái tǎ qí 'ào。 tǎ qí 'ào yě zài wēi ní sī yǔ jiā rén yī qǐ dù jiǎ。 ā shēn bā hè kuī shì zhù tǎ qí 'ào de yī jǔ yī dòng， nán hái nà rú tóng gǔ xī là
tuō mǎ sī . màn zì jǐ de xīng qù hé jīng lì wú yí shì zhè bù zhōng piān xiǎo shuō de líng gǎn zhī yuán。 1911 nián， tā zài wēi ní sī dù jiǎ shí bèi yī gè 14 suì bō lán nán hái suǒ xī yǐn。 hé 'ā shēn bā hè yī yàng， màn yě cóng wèi jié shí nà gè nán hái。
tuō mǎ sī . màn de rì jì hé xìn jiàn yǐ jí yī xiē sǎnwén tí gōng liǎo zuò jiā běn rén shòu dào tóng xìng ── yóu qí shì yīng jùn de nián qīng tóng xìng── xī yǐn de zhèng jù。 wén xué shǐ jiā jù yòu tè shū xīng qù de liǎng gè guān xì， yī gè shì màn yǔ bǎo luó . yóu lún bó gé zhī jiān de（ dà yuē zài 1899-1903 nián jiān）， lìng yī gè shì màn yǔ kè láo sī . hǎo sài 'ěr zhī jiān de（ kāi shǐ yú 1927 nián， hǎo sài 'ěr dāng shí 16 suì， bǎo chí liǎo hǎo jǐ nián）。 màn de tóng xìng liàn qíng jié céng jīng yī zhí shì xǔ duō wén xué píng lùn jiā jù jué chéng rèn de shì shí。 ér guò qù jǐ shí nián jiān màn rì jì de chū bǎn zé shǐ dé lèi sì zhè yàng de fǒu rèn bù zài kě néng liǎo。
◇ 《 tuō ní 'ào . kè lè gé 'ěr》
zài zhōng piān xiǎo shuō《 tuō ní 'ào . kè lè gé 'ěr》（ 1903） zhōng， zhù rén gōng tuō ní 'ào zài hái tóng shí jiù duì tā de hǎo péng yǒu hàn sī hàn sēn chǎn shēng liǎo tóng xìng 'ài de qíng gǎn。 tuō mǎ sī . màn yòng zhè zhǒng qíng gǎn lái 'àn shì yǔ pǔ tōng de zhōng chǎn jiē jí shēng huó de shū lí。 tóng xìng 'ài chéng wéi yī zhǒng yì jiàn zhě hé jú wài rén de yǐn yù。 tuō ní 'ào kě wàng róng rù nà xiē“ jīn fā bì yǎn de、 míng lǎng kuài huó de、 zhí dé bèi 'ài de pǔ tōng rén men。” dàn shì jiā rù tā men jiù dé fàng qì tā zuò wéi yì shù jiā de shēn fèn。 duì yú yì shù jiā shēn fèn yóu wéi guān jiàn de biàn shì shēn chù rì cháng shēng huó cún zài zhī wài de wáng guó， cóng nà lǐ jìn xíng chuàng zào。
◇ ào gǔ sī tè . féng . pǔ lā téng
tuō mǎ sī . màn zài 19 shì jì shī rén 'ào gǔ sī tè . féng . pǔ lā téng shēn shàng zhǎo dào liǎo jiāng yì shù yǔ zhōng chǎn jiē jí shēng huó xiāng fēn lí de xiān qū。 pǔ lā téng de shī gē hé rì jì jiē shì chū tā běn rén de tóng xìng liàn qù wèi， ér zhè yòu chéng wéi yīcháng zhù míng de wén xué fēn zhēng de yóu lái： hòu lái míng qì yuǎn yuǎn chāo guò pǔ lā téng de hǎi yīn lǐ xī . hǎi niè céng yòng pǔ lā téng de xìng qǔ xiàng lái biǎn dī pǔ lā téng hé tā de zuò pǐn。 tuō mǎ sī . màn zài tā de sǎnwén《 lùn pǔ lā téng》（ 1926） zhòngshì tú jiāng shī rén de shēng huó yǔ zuò pǐn qū fēn kāi lái。 màn rèn wéi， pǔ lā téng jiāng tā de xìng yù shū dǎo jìn rù liǎo tā de yì shù chuàng zuò。 suī rán màn chéng rèn， pǔ lā téng kě néng shī yǔ yī xiē“ wēi bù zú dào de nán hái men” yǐ gǎn xìng zhī 'ài， dàn shī rén zài zhōng chǎn jiē jí shè huì zhōng suǒ tǐ yàn de yā yì wèitā de shī gē chuàng zuò tí gōng liǎo bì yào de líng gǎn。
◇ 《 mó shān》
zài tuō mǎ sī . màn lìng yī bù fēi cháng zhù míng de hóng piān jù zhì《 mó shān》（ 1922） zhōng， tóng xìng liàn tí cái bèi róng rù liǎo yī gè gèng dà de yòu guān shì jiè guān de tí cái zhōng。 zài zhè bù bèi chēng zhī wéi“ jiào yù xiǎo shuō” de zhù zuò zhōng， zhù rén gōng hàn sī . kǎ sī tuō pǔ qù ruì shì 'ā 'ěr bēi sī shān qū de yī suǒ fèi bìng liáo yǎng yuàn tàn fǎng tā de biǎo gē。 yuán jìhuà zhǐ yào jǐ zhōu de tàn fǎng， méi xiǎng dào kǎ sī tuō pǔ yī qù jiù dāi liǎo qī nián。 ā 'ěr bēi sī shān shàng de shí jiān liú dòng de sù dù sì hū yǔ píng yuán shàng de yòu suǒ bù tóng。 ér shān xià de shì jiè lǐ， ōu zhōu wén míng zhèng zài duò rù jí jiāng chéng wéi dì yī cì shì jiè dà zhàn de hùn luàn zhī zhōng。 nián qīng de gōng chéng shī hàn sī . kǎ sī tuō pǔ chéng liǎo liáo yǎng yuàn lǐ xīn lái de bìng rén， ér tā shēn biān de jǐ gè bìng yǒu zé jìng xiāng xiàng zhè gè nián qīng rén guàn shū gè zì bù tóng de shì jiè guān hé xiāng hù duì lì de zhé xué xìn yǎng。 duì kǎ sī tuō pǔ shēn xīn kāng fù qǐ guān jiàn zuò yòng de zé shì zhě kē láo dí yà . shū xià tè fū rén， tā gěi kǎ sī tuō pǔ dài lái liǎo nán yǐ kàng jù de xìng 'ài。 dàn zài xiǎo shuō mò wěi， lì shǐ yǐ dì yī cì shì jiè dà zhàn de xíng shì dǎ duàn liǎo kǎ sī tuō pǔ méi yòu shí jiān de mèng bìng měng rán dì bǎ tā pāo dào liǎo fó lán dé de zhàn chǎng shàng， chéng wéi zhàn zhēng de xī shēng pǐn。 bù tóng yú yī bān de jiào yù xiǎo shuō， xiǎo shuō dào zhè lǐ gā rán 'ér zhǐ， sì hū méi yòu dé chū rèn hé què dìng xìng de jié lùn， zhǐ yòu cóng zhù rén gōng de zuì hòu yī jù huà“ ài jiāng zài zhè gè shì jiè xìng de dà zhōng dàn shēng” zhōng， huò xǔ néng kuī tàn dào zuò zhě sī xiǎng zhōng de yī bān。
zài zhè bù duì 'ōu zhōu zhàn qián sī xiǎng jìn xíng fǎn sī de zuò pǐn zhōng， shén mì xìng yě shì xiǎo shuō de yī gè zhòng yào yuán sù。 bǐ rú， shū xià tè fū rén de cháng xiāng yǔ kǎ sī tuō pǔ de yī gè zhōng xué nán tóng xué pǔ lǐ bǐ sī lā fū . xī pǔ chū qí dì xiāng sì。 hàn sī yǔ pǔ lǐ bǐ sī lā fū shì tóng xiào dàn bù shì tóng bān tóng xué， pǔ lǐ bǐ sī lā fū hái bǐ hàn sī cháng yī jí。 pǔ lǐ bǐ sī lā fū cháng zhù zhōng yà rén yī yàng de xì cháng yǎn jīng。 rán 'ér jiù shì zhè měnggǔ rén yī yàng de xì cháng yǎn jīng láo láo fú huò liǎo hàn sī de xīn。 hàn sī měi tiān shàng xué zuì kuài huó de shí kè jiù shì pèng jiàn pǔ lǐ bǐ sī lā fū de shí kè， rú guǒ nǎ tiān， pǔ lǐ bǐ sī lā fū méi lái， nà yī tiān duì yú hàn sī lái shuō dōushì huī 'àn de。 hàn sī hòu lái gǔ zú yǒng qì xiàng pǔ lǐ bǐ sī lā fū kāi kǒu jiè qiān bǐ， bìng qiě hái jiāng xuē xià lái de qiān bǐ mò bǎo cún liǎo hěn jiǔ。 rú guǒ 'àn zhào fú luò yī dé de lǐ lùn jìn xíng fēn xī de huà， nà me zhè zhī qiān bǐ jiù xiàng zhēng zhù pǔ lǐ bǐ sī lā fū de。 hàn sī xiǎng yào duì pǔ lǐ bǐ sī lā fū zuò chū xìng 'ài biǎo dá， dàn shì tā suǒ néng zuò de yě zhǐ néng shì ná zǒu pǔ lǐ bǐ sī lā fū de yī gè yōng yòu wù── qiān bǐ── lái zuò wéi duì tā de xiàng zhēng。 duō nián yǐ hòu， dāng shū xià tè fū rén jiè gěi hàn sī yī zhī qiān bǐ shí， suǒ yòu de huí yì dū yǒng shàng hàn sī xīn tóu， ér tā de tóng xìng liàn guò qù yě jiù cǐ dé yǐ jiě jué。 cǐ shí， qiān bǐ de xiàng zhēng yì wèi yě gèng jiā míng xiǎn liǎo。
yòu guān pǔ sī bǐ sī lā fū de qíng jié zài yī běn hòu hòu de《 mó shān》 zhōng zhǐ bù guò jǐ yè piān fú， dàn shì tā què tōng guò yǔ shū xià tè fū rén de lián xì 'ér qǔ dé liǎo zhōng xīn de dì wèi。 tuō mǎ sī . màn shòu fú luò yī dé de yǐng xiǎng hěn shēn， tā xī wàng yǔ qí yā yì huò xiāo miè tóng xìng liàn yù wàng， bù rú qù zhuǎn huàn huò jí chéng tā。 bù guò bù guǎn zěn yàng， zài tuō mǎ sī . màn nà lǐ， tóng xìng liàn dōushì yī zhǒng xū yào kè fú de bìng tài。
◇ 《 mǎ lì 'ào hé mó shù shī》
zài zhōng piān xiǎo shuō《 mǎ lì 'ào hé mó shù shī》（ 1929） zhōng， chǎng jǐng yòu yī cì xuǎn zài wén huà qì xī yǔ chén fǔ fá wèi xiāng jiāo cuò， yì shù tuì biàn wéi qíng sè de yì dà lì。 tuó bèi mó shù shī qí bǔ lā kào biǎo yǎn cuī mián shù wéi shēng， tā bǎ gè shì gè yàng de rén lā rù zì jǐ de biǎo yǎn zhōng， xiè lù tā men nèi xīn de yǐn mì。 yī cì， tā yòu shǐ nián qīng mí rén de shì zhě mǎ lǐ 'ào jiā rù tā de wǔ tái， bìng chēng tā wéi gān ní méi dé（ zhòu sī shēn biān shì jiǔ de měi shàonián）， xiǎn rán qí bǔ lā bàn yǎn de jiù shì zhòu sī。 mó shù shī shī zhǎn mó fǎ ràng mǎ lǐ 'ào zài wú yì shí zhōng jiǎng shù zì jǐ yǔ nǚ yǒu de fán xīn shì。 ér mó shù shī bǎ zì jǐ zuò wéi yī gè gèng shàn jiě rén yì、 gèng zhí dé 'ài de duì xiàng gěi mǎ lǐ 'ào fèng shàng。 zài mó shù shī“ xiāng xìn wǒ， ài wǒ” de mó zhòu xià， mǎ lǐ 'ào wěn liǎo tā。 zhè shì yì shù shèng lì de yī kè──“ jí qí zhòng yào de shí kè， huāng dàn gǔ guài 'ér yòu lìng rén máo gǔ sǒng rán， mǎ lǐ 'ào cì fú de yī kè”── zhè yě shì biāo zhì qí bǔ lā huǐ miè de yī kè， yīn wéi tā jiàn yuè liǎo màn zài《 hún duàn wēi ní sī》 zhōng suǒ miáo huì chū de yì shù líng gǎn yǔ gōng kāi de tóng xìng liàn zhī jiān de jiè xiàn。 děng dài tā de zhǐ yòu sǐ wáng。 guǒ rán， qīng xǐng hòu de mǎ lǐ 'ào yīn wéi bù kān mó shù shī de dāng zhòng xiū rǔ， lì jí bá qiāng shā sǐ liǎo tā。
yǔ tuō mǎ sī . màn de qí tā xiǎo shuō bù tóng de shì， jí jiāng yú 1933 nián lí kāi dé guó de màn zài《 mǎ lǐ 'ào hé mó shù shī》 zhōng yǐ jīng kāi shǐ miáo huì fǎ xī sī zhù yì、 tóng xìng 'ài， yǐ jí tóng xìng liàn kǒng jù zhī jiān de xiāng hù lián xì。
◇ 《 fú shì dé bó shì》
《 fú shì dé bó shì》（ 1947） shì yī bù guān yú dé guó xiàng fǎ xī sī zhù yì tuì biàn de yù yán， shū zhōng de yì shù jiā yě shì yī gè tóng xìng liàn zhě。 zuòqǔ jiā 'ā dé lǐ 'ān lāi fú kūn wèile yán cháng zì jǐ de yì shù shēng mìng jiāng líng hún chū mài gěi liǎo mó guǐ。 lāi fú kūn yǔ tā jiāo jì juàn zhōng de lú dí shǐ wéi tè fěi gé yòu guò yī duàn tóng xìng liàn guān xì。 zài zhè lǐ yòu yī cì， tuō mǎ sī . màn jiāng tóng xìng liàn yù wàng shì zuò yī zhǒng yǔ bǎo chí shè huì zhì dù hé cù jìn shè huì jìn bù xiāng duì lì de yuán sù。
Life
Mann was born Paul Thomas Mann in Lübeck, Germany and was the second son of Thomas Johann Heinrich Mann (a senator and a grain merchant), and his wife Júlia da Silva Bruhns (a Brazilian with partially German ancestry who emigrated to Germany when seven years old). His mother was Roman Catholic, but Mann was baptised into his father's Lutheran faith. Mann's father died in 1891, and his trading firm was liquidated. The family subsequently moved to Munich. Mann attended the science division of a Lübeck gymnasium, then spent time at the Ludwig Maximillians University of Munich and Technical University of Munich where, in preparation for a journalism career, he studied history, economics, art history, and literature. He lived in Munich from 1891 until 1933, with the exception of a year in Palestrina, Italy, with his novelist elder brother Heinrich. Thomas worked with the South German Fire Insurance Company 1894–95. His career as a writer began when he wrote for Simplicissimus. Mann's first short story, "Little Herr Friedemann" (Der Kleine Herr Friedemann), was published in 1898.
In 1905, he married Katia Pringsheim, daughter of a prominent, secular Jewish family of intellectuals. They had six children:
Children
Name Birth Death
Erika November 9, 1905 August 27, 1969
Klaus November 18, 1906 May 21, 1949
Angelus Gottfried Thomas "Golo" March 29, 1909 April 7, 1994
Monika June 7, 1910 March 17, 1992
Elisabeth April 24, 1918 February 8, 2002
Michael April 21, 1919 January 1, 1977
The summerhouse of Thomas Mann in Nida (German: Nidden)
In 1929, Mann had a cottage built in the fishing village of Nidden (Nida, Lithuania) on the Curonian Spit, where there was a German art colony, and where he spent the summers of 1930-32 working on Joseph and his Brothers. The cottage now is a cultural center dedicated to him, with a small memorial exhibition. In 1933, after Hitler assumed power, Mann emigrated to Küsnacht, near Zürich, Switzerland, but received Czechoslovak citizenship and a passport in 1936. He then emigrated to the United States in 1939, where he taught at Princeton University. In 1942, the Mann family moved to Pacific Palisades, in west Los Angeles California, where they lived until after the end of World War II. On 23 June 1944 Thomas Mann was naturalized as a citizen of the United States. In 1952, he returned to Europe, to live in Kilchberg, near Zürich, Switzerland.
He never again lived in Germany, though he regularly traveled there. His most important German visit was in 1949, at the 200th birthday of Johann Wolfgang von Goethe, attending celebrations in Frankfurt am Main and Weimar, as a statement that German culture extends beyond the new political borders.
In 1955, he died of atherosclerosis in a hospital in Zürich and was buried in Kilchberg. Many institutions are named in his honour, most famously the Thomas Mann Gymnasium of Budapest.
Thomas Mann is buried at Kilchberg, Zurich
Thomas Mann's works were first translated into English by H. T. Lowe-Porter. Her translations have become classics in their own right and have contributed enormously to Mann's popularity in the English-speaking world.
Political views
During World War I Mann supported Kaiser Wilhelm II's conservatism and attacked liberalism. Yet in Von Deutscher Republik (1923), as a semi-official spokesman for parliamentary democracy, Mann called upon German intellectuals to support the new Weimar Republic. He also gave a lecture at the Beethovensaal in Berlin on 13 October 1922, which appeared in Die neue Rundschau in November 1922, in which he developed his eccentric defence of the Republic, based on extensive close readings of Novalis and Walt Whitman. Hereafter his political views gradually shifted toward liberal left and democratic principles.
In 1930 Mann gave a public address in Berlin titled "An Appeal to Reason", in which he strongly denounced National Socialism and encouraged resistance by the working class. This was followed by numerous essays and lectures in which he attacked the Nazis. At the same time, he expressed increasing sympathy for socialist ideas. In 1933 when the Nazis came to power, Mann and his wife were on holiday in Switzerland. Due to his very vociferous denunciations of Nazi policies, his son Klaus advised him not to return. But Thomas Mann's books, in contrast to those of his brother Heinrich and his son Klaus, were not among those burnt publicly by Hitler's regime in May 1933, possibly since he had been the Nobel laureate in literature for 1929 (see below). Finally in 1936 the Nazi government officially revoked his German citizenship. A few months later he moved to California.
However, already in 1933, in a personal letter dated 26 October 1933 but published only recently (in the feuilleton section of the Frankfurter Allgemeine Zeitung dated Oct. 30, 2007), Thomas Mann expressed views on Nazism, which corresponded to the much later novel Doktor Faustus. In the novel, the author refers in several places to the historical debt of the German population, leading to World War II with all its cruelty.
During the war, Mann made a series of anti-Nazi radio-speeches, Deutsche Hörer! ("German listeners!"). They were taped in the USA and then sent to Great Britain, where the BBC transmitted them, hoping to reach German listeners.
"Images of Disorder", by social critic Michael Harrington in his collection The Accidental Century, is an account of Mann's political progression from the right to the left.[citation needed]
Work
"Modern Book Printing" from the Walk of Ideas in Berlin, Germany - built in 2006 to commemorate Johannes Gutenberg's invention, c. 1445, of movable printing type
Mann was awarded the Nobel Prize in Literature in 1929, principally in recognition of his popular achievement with the epic Buddenbrooks (1901), The Magic Mountain (Der Zauberberg 1924), and his numerous short stories. (Precisely, due to the personal taste of an influential committee member, only Buddenbrooks was explicitly cited.) Based on Mann's own family, Buddenbrooks relates the decline of a merchant family in Lübeck over the course of three generations. The Magic Mountain (Der Zauberberg, 1924) follows an engineering student who, planning to visit his tubercular cousin at a Swiss sanatorium for only three weeks, finds his departure from the sanatorium delayed. During that time, he confronts medicine and the way it looks at the body and encounters a variety of characters who play out ideological conflicts and discontents of contemporary European civilization. Later, other novels included Lotte in Weimar (1939), in which Mann returned to the world of Goethe's novel The Sorrows of Young Werther (1774); Doktor Faustus (1947), the story of composer Adrian Leverkühn and the corruption of German culture in the years before and during World War II; and Confessions of Felix Krull (Bekenntnisse des Hochstaplers Felix Krull, 1954), which was still unfinished at Mann's death.
In Buddenbrooks, at several places he uses the Low German of the northern part of the country.
To his greatest works belongs the tetralogy Joseph and His Brothers (Joseph und seine Brüder, 1933–42), a richly imagined retelling of the story of Joseph related in chapters 27-50 of Genesis in the Hebrew Bible. The first volume relates the establishment of the family of Jacob, the father of Joseph. In the second volume the young Joseph, not yet master of considerable gifts, arouses the enmity of his ten older brothers, who then sell him into slavery in Egypt. In the third volume, Joseph becomes the steward of a high court official, Potiphar, but finds himself thrown into prison after rejecting the advances of Potiphar's wife. In the last volume, the mature Joseph rises to become administrator of Egypt's granaries. Famine drives the sons of Jacob to Egypt, where the unrecognized Joseph adroitly orchestrates a scene that discloses his identity, resulting in the brothers' reconciliation and the reunion of the family.
Mann's diaries, unsealed in 1975, tell of his struggles with his sexuality, which found reflection in his works, most prominently through the obsession of the elderly Aschenbach for the 14-year-old Polish boy Tadzio in the novella Death in Venice (Der Tod in Venedig, 1912). Anthony Heilbut's biography Thomas Mann: Eros and Literature (1997) was widely acclaimed for uncovering the centrality of Mann's sexuality to his oeuvre. Gilbert Adair's work The Real Tadzio describes how, in the summer of 1911, Mann had been staying at the Grand Hôtel des Bains in Venice with his wife and brother when he became enraptured by the angelic figure of Władysław Moes, an 11-year-old Polish boy.
A classic about an intellectual succumbing to passion, Death in Venice has been made into a film and an opera. Blamed sarcastically by Mann’s old enemy, Alfred Kerr, to have ‘made pederasty acceptable to the cultivated middle classes’, it has been pivotal to introducing the discourse of same-sex desire to the common culture. Mann was friends with violinist and painter Paul Ehrenberg for whom he had feelings as a young man. Despite certain homosexual overtones in his writing, Mann fell in love with Katia Mann—whom he married—in 1905. His works also present other sexual themes, such as incest in The Blood of the Walsungs (Wälsungenblut) and The Holy Sinner (Der Erwählte).
Throughout his Dostoyevsky essay he finds parallels between the Russian and the sufferings of Frederich Nietzsche. Speaking of Nietzsche he says: "his personal feelings initiate him into those of the criminal... in general all creative originality, all artist nature in the broadest sense of the word, does the same. It was the French painter and sculptor, Degas who said that an artist must approach his work in the spirit of the criminal about to commit a crime." Nietzsche's influence on Mann runs deep in his work, especially in Nietzsche's views on decay and the proposed fundamental connection between sickness and creativity. Mann held that disease is not to be regarded as wholly negative. In his essay on Dostoyevsky we find: "but after all and above all it depends on who is diseased., who mad, who epileptic or paralytic: an average dull-witted man, in whose illness any intellectual or cultural aspect is non-existent; or a Nietzsche or Dostoyevsky. In their case something comes out in illness that is more important and conductive to life and growth than any medical guaranteed health or sanity... in other words: certain conquests made by the soul and the mind are impossible without disease, madness, crime of the spirit."
Balancing his humanism and appreciation of Western culture was his belief in the power of sickness and decay to destroy the ossifying effects of tradition and civilization. Hence the "heightening" of which Mann speaks in his introduction to The Magic Mountain and the opening of new spiritual possibilities that Hans Castorp experiences in the midst of his sickness. In Death in Venice he makes the identification between beauty and the resistance to natural decay, embodied by Aschenbach as the metaphor for the Nazi vision of purity (akin to Nietzsche's version of the ascetic ideal that denies life and its becoming). He also valued the insight of other cultures, notably adapting a traditional Indian fable in The Transposed Heads. His work is the record of a consciousness of a life of manifold possibilities, and of the tensions inherent in the (more or less enduringly fruitful) responses to those possibilities. In his own summation (upon receiving the Nobel Prize), "The value and significance of my work for posterity may safely be left to the future; for me they are nothing but the personal traces of a life led consciously, that is, conscientiously."
Regarded as a whole, Mann's career is a striking example of the "repeated puberty" which Goethe thought characteristic of the genius. In technique as well as in thought, he experienced far more daringly than is generally realized. In Buddenbrooks he wrote one of the last of the great "old-fashioned" novels, a patient, thorough tracing of the fortunes of a family.
—Henry Hatfield in Thomas Mann, 1962.
Cultural references
Martin Mauthner's German Writers in French Exile 1933-1940 (London, 2007) devotes several chapters to Thomas Mann and his family.
Mann's 1896 short story "Disillusionment" is the basis for the Leiber and Stoller song "Is That All There Is?", famously recorded in 1969 by Peggy Lee.
"Magic Mountain" by the band Blonde Redhead, is based on Mann's novel of the same title.
"Magic Mountain (after Thomas Mann)" is a painting made by Christiaan Tonnis in 1987. "The Magic Mountain" is a chapter in his 2006 book "Illness as a Symbol" as well.
The 2006 movie "A Good Year" directed by Ridley Scott, starring Russell Crowe and Albert Finney, features a paperback version of Death in Venice. It is the book the character named Christie Roberts is reading while she visits her deceased father's vineyard.
In the Philip Roth novel The Human Stain, several references are made to Mann's Death in Venice.
A staged musical version of The Transposed Heads, adapted by Julie Taymor and Sidney Goldfarb, with music by Elliot Goldenthal, was produced at the American Music Theater Festival in Philadelphia and The Lincoln Center in New York in 1988.
Joseph Heller's 1994 novel, Closing Time, makes several references to Thomas Mann and Death in Venice.
The Andrew Crumey novel Mobius Dick (2004) makes extensive references to Mann, and imagines an alternative universe where an author named Behring has written novels resembling Mann's. These include a version of The Magic Mountain with Erwin Schrodinger in place of Castorp.
Works
* 1896 Disillusionment (Enttäuschung)
* 1897 Little Herr Friedemann ("Der kleine Herr Friedemann"), collection of short stories
* 1897 "The Clown" ("Der Bajazzo"), short story
* 1897 The Dilettante
* 1897 Tobias Mindernickel
* 1897 Little Lizzy
* 1899 The Wardrobe (Der Kleiderschrank)
* 1900 The Road to the Churchyard (Der Weg zum Friedhof)
* 1901 Buddenbrooks (Buddenbrooks - Verfall einer Familie), novel
* 1902 Gladius Dei
* 1902 The Hungry
* 1903 Tristan, novella
* 1903 Tonio Kröger, novella
* 1903 The Child Prodigy ("Das Wunderkind")
* 1904 Fiorenza, play
* 1904 A Gleam
* 1904 At the Prophet's
* 1905 A Weary Hour
* 1905 The Blood of the Walsungs ("Wälsungenblut"), novella
* 1907 Railway Accident
* 1908 Anekdote
* 1909 Royal Highness (Königliche Hoheit), novel
* 1911 The Fight between Jappe and the Do Escobar
* 1911 Felix Krull (Bekenntnisse des Hochstaplers Felix Krull), short story, published in 1922
* 1912 Death in Venice (Der Tod in Venedig), novella
* 1915 Frederick and the Great Coalition (Friedrich und die große Koalition)
* 1918 Reflections of an Unpolitical Man (Betrachtungen eines Unpolitischen), essay
* 1918 A Man and His Dog (Herr und Hund; Gesang vom Kindchen: Zwei Idyllen), novella
* 1921 The Blood of the Walsungs (Wälsungenblut), novella
* 1922 The German Republic (Von deutscher Republik)
* 1924 The Magic Mountain (Der Zauberberg), novel
* 1925 Disorder and Early Sorrow ("Unordnung und frühes Leid")
* 1929 "Mario and the Magician" (Mario und der Zauberer), novella
* 1930 A Sketch of My Life (Lebensabriß)
* 1933–43 Joseph and His Brothers (Joseph und seine Brüder), tetralogy
o 1933 The Tales of Jacob (Die Geschichten Jaakobs)
o 1934 The Young Joseph (Der junge Joseph)
o 1936 Joseph in Egypt (Joseph in Ägypten)
o 1943 Joseph the Provider (Joseph, der Ernährer)
* 1938 This Peace (Dieser Friede)
* 1937 The Problem of Freedom (Das Problem der Freiheit)
* 1938 The Coming Victory of Democracy
* 1939 Lotte in Weimar: The Beloved Returns, novel
* 1940 The Transposed Heads (Die vertauschten Köpfe - Eine indische Legende), novella
* 1943 Listen, Germany! (Deutsche Hörer!)
* 1944 Mose, a commissioned novella (Das Gesetz, Erzählung, Auftragswerk)
* 1947 Doctor Faustus (Doktor Faustus), novel
* 1947 Essays of Three Decades, translated from the German by H. T. Lowe-Porter. [1st American ed.], New York, A. A. Knopf, 1947. Reprinted as Vintage book, K55, New York, Vintage Books, 1957.
* 1951 The Holy Sinner (Der Erwählte), novel
* 1954 The Black Swan (Die Betrogene: Erzählung)
* 1954 Confessions of Felix Krull, Confidence Man: The Early Years (Bekenntnisse des Hochstaplers Felix Krull. Der Memoiren erster Teil), novel expanding upon the 1911 short story, unfinished