yuèdòuzhān mǔ sī · qiáo yī sī James Joycezài小说之家dezuòpǐn!!! | |||
ài 'ěr lán zuò jiā， shī rén。 1882 nián 2 yuè 2 rì shēng yú dū bó lín xìn fèng tiān zhù jiào de jiā tíng， 1941 nián 1 yuè 13 rì zú yú ruì shì sū lí shì。 xiān hòu jiù dú yú dū bólín dà xué kè lǎng gé sī wǔ dé xué yuàn、 bèi 'ěr wò dí 'ěr xué yuàn hé dà xué xué yuàn， hěn zǎo jiù xiǎn lù chū yīnyuè、 zōng jiào zhé xué jí yǔ yán wén xué fāng miàn de cái néng， bìng kāi shǐ shī gē、 sǎnwén xí zuò。 tā 'ān shú 'ōu zhōu dà lù zuò jiā zuò pǐn， shòu yì bǔ shēng yǐng xiǎng yóu shēn， bìng jiàn jiàn biǎo xiàn chū duì rén lèi jīng shén shì jiè tè shū de gǎn wù jí duì jiā tíng dǔ xìn de zōng jiào hé zì jǐ shēng huó huán jìng zhōng de xí sú、 chuán tǒng de pàn nì。 1902 nián dà xué bì yè hòu， céng yǔ dāng shí de 'ài 'ěr lán wén yì fù xīng yùn dòng yòu suǒ jiē chù， bù jiǔ jí chéng wéi qí duì lì miàn。 tóng nián， pò yú jīng jì yā lì jí wéi bǎi tuō jiā tíng zōng jiào hé zì shēn xiá 'ài huán jìng de shù fù， zì xíng liú wáng dào 'ōu zhōu dà lù， xiān hòu zài fǎ guó、 ruì shì、 yì dà lì guò zhe liú lí de shēng huó， guǎng fàn dì xī qǔ 'ōu zhōu dà lù hé shì jiè wén huà de jīng huá。 1905 nián yǐ hòu， xié qī zǐ 'ér nǚ zài yì dà lì de lǐ yà sī tè dìng jū， dài bìng jiān chí wén xué chuàng zuò zhān mǔ sī qiáo yī sī shì 'èr shí shì jì zuì wěi dà de zuò jiā zhī yī， tā de zuò pǐn jí “ yì shí liú ” sī xiǎng duì quán shì jiè chǎn shēng liǎo jù dà de yǐng xiǎng。 běn wén huí gù liǎo qiáo yī sī de shēng píng， zuò pǐn jí qí jìn rù zhōng guó de guò chéng yǔ tú jìng， zhōng guó wén xué jiè duì tā de yán jiū yǐ jí lǔ xùn duì tā de yī xiē kàn fǎ。
yī、 shēng píng yǔ zuò pǐn
1882 nián 2 yuè 2 rì， qiáo yī sī（ JamesJoyce） chū shēng zài 'ài 'ěr lán dedōu bǎi lín。 tā de fù qīn duì mín zú zhù yì yòu jiān dìng de xìn niàn， mǔ qīn zé shì qián chéng de tiān zhù jiào tú。 qiáo yī sī chū shēng de shí hòu， ài 'ěr lán zhè gè fēng guāng qǐ lì de dǎo guó shì yīng guó de zhí mín dì， zhàn luàn bù duàn， mín bù liáo shēng。 tā yòu yī dà qún dì dì mèi mèi， dàn tā fù qīn piān 'ài zhè gè cái huá héng yì de zhǎngzǐ，“ bù lùn zhè yī jiā rén yòu méi yòu zú gòu de dōng xī chī， yě gěi tā qián qù mǎi wài guó shū jí。” tā cóng xiǎo jiù zài jiào huì xué xiào jiē shòu tiān zhù jiào jiào yù， xué xí chéng jì chū zhòng， bìng chū bù biǎo xiàn chū fēi fán de wén xué cái néng。 1898 nián qiáo yī sī jìn rù dū bólín dà xué zhuān gōng zhé xué hé yǔ yán， 1902 nián 6 yuè， qiáo yī sī bì yè yú dū bólín dà xué xué yuàn， huò dé liǎo xiàn dài yǔ xué shì xué wèi。 10 yuè 2 rì， tā dēng jì dào shèng xī xī lì yà yī xué yuàn xiū kè。 kě shì， zài zhè lǐ zhǐ niàn dào 11 yuè chū jiù yīn wéi jīng jì kùn nán 'ér fàng qì liǎo xué yè。 1904 nián， tā xié nǚ yǒu nuò lā sī bēn 'ōu zhōu dà lù， cóng cǐ yì wú fǎn gù dì kāi shǐ liǎo cháng jí yī shēng de liú wáng shēng yá， zhōng jiān jǐn jǐn diǎn zhuì zhe duǎn qī de huí xiāng tàn qīn， 1911 nián hòu biàn zài yě bù céng tà shàng 'ài 'ěr lán de tǔ dì。 tā yī shēng diān pèi liú lí， niǎn zhuǎn yú de lǐ yǎ sī tè、 luó mǎ、 bā lí děng dì， duō yǐ jiào shòu yīng yǔ hé wéi bào kān zhuàn gǎo hú kǒu， yòu bǎo shòu yǎn jí zhé mó， dào wǎn nián jīhū wán quán shī míng； dàn tā duì wén xué shǐ zhì bù yú， qín fèn xiě zuò， zhōng chéng yī dài jù jiàng。 1939 nián bā lí lún xiàn， 12 yuè tā dài zhe jiā juàn shū sàn dào fǎ guó nán bù。 1940 nián 12 yuè 17 rì， qiáo yī sī fū fù bǎ huàn jīng shén fēn liè bìng de nǚ 'ér lù xī yà liú zài fǎ guó de yī jiā yī yuàn， láng bèi bù kān dì táo dào ruì shì de sū lí shì。 dì 'èr nián de 1 yuè 10 rì， qiáo yī sī yīn fù bù jìng luán zhù yuàn， chá míng shì shí 'èr zhǐ cháng kuì yáng chuān kǒng， zài 13 rì líng chén qù shì， zhōng nián 59 suì。
qiáo yī sī de wén xué shēng yá shǐ yú tā 1904 nián kāi shǐ chuàng zuò de duǎn piān xiǎo shuō jí《 dū bǎi lín rén》。 zài xiě gěi chū bǎn shāng lǐ chá cí de yī fēng xìn zhōng， tā míng què dì biǎo shù liǎo zhè běn shū de chuàng zuò yuán zé：“ wǒ de zōng zhǐ shì yào wèiwǒ guó de dào dé hé jīng shén shǐ xiě xià zì jǐ de yī zhāng。” zhè shí jì shàng yě chéng liǎo tā yī shēng wén xué zhuī qiú de mù biāo。 zài qiáo yī sī yǎn zhōng， chǔyú dà yīng dì guó hé tiān zhù jiào huì shuāngchóng yā pò hé qián zhì xià de 'ài 'ěr lán shì yī gè bù kě jiù yào de guó jiā， ér dū bólín zé shì tā“ tān huàn de zhōng xīn”， zài zhè gè chéng shì lǐ měi shí měi dì dū shàng yǎn zhe má mù、 kǔ mèn、 lún luò de yī mù mù huó jù。
zhān mǔ sī qiáo yǐ sī yú 1904 nián 1 yuè 7 rì， zài tā mǔ qīn shì shì zhī hòu 4 gè yuè qǐ zài dū bǎi lín kāi shǐ chuàng zuò cháng piān xiǎo shuō《 qīng nián yì shù jiā huà xiàng》， 1914 nián wán gǎo yú yì dà lì de lǐ yǎ sī tè， lì shí 10 nián。 cháng piān xiǎo shuō《 qīng nián yì shù jiā de huà xiàng》 yòu qiáng liè de zìzhuàn sè cǎi， zhù yào miáo xiě dū bǎi lín qīng nián sī dì fēn dí dá lè sī rú hé shì tú bǎi tuō fáng 'ài tā de fā zhǎn de gè zhǒng yǐng xiǎng héng héng jiā tíng shù fù、 zōng jiào chuán tǒng hé xiá 'ài de mín zú zhù yì qíng xù， qù zhuī qiú yì shù yǔ měi de zhēn dì。 qiáo yī sī tōng guò sī dì fēn dí dá lè sī de gù shì， shí jì shàng tí chū liǎo yì shù jiā yǔ shè huì、 yǔ shēng huó de guān xì wèn tí， bìng qiě ráo yòu qù wèi dì jiē shì liǎo zhè yàng yī gè shì shí： sī dì fēn dí dá lè sī běn rén qià qià jiù shì tā lì tú táo bì dedōu bǎi lín shì jiè suǒ zào jiù de， dū bǎi lín wú xíng zhōng bào fù liǎo fǎn pàn de qīng nián yì shù jiā。
cháng piān xiǎo shuō《 yóu lì xī sī》 shì yī gè píng fán de xiǎo rén wù yī shēng zhōng píng fán yī tiān de jì lù， jí zhù rén gōng guǎng gào jīng jì rén lì 'ào bō dé bù lú mǔ zài 1904 nián 6 yuè 16 rì yī tiān de huó dòng。 qiáo yī sī zài běn shū zhōngjiàng xiàng zhēng zhù yì yǔ zì rán zhù yì zhù yú yī lú， jiè yòng gǔ xī là shǐ shī《 ào dé xiū jì》 de kuàng jià， bǎ bù lú mǔ yī tiān 18 xiǎo shí zài dū bǎi lín de yóu dàng bǐ zuò xī là shǐ shī yīng xióng yóu lì xī sī 10 nián de hǎi shàng piào bó， shǐ《 yóu lì xī sī》 jù yòu liǎo xiàn dài shǐ shī de gài kuò xìng。《 yóu lì xī sī》 yǐ sān gè rén wù wéi zhù， chú dài biǎo yōng rén zhù yì de bù lú mǔ wài， hái yòu tā de qī zǐ、 dài biǎo ròu yù zhù yì de mò lì yǐ jí dài biǎo xū wú zhù yì de qīng nián sī dì fēn dí dá lè sī。 xiǎo shuō tōng guò zhè sān gè rén yī tiān de shēng huó， bǎ tā men de quán bù lì shǐ、 quán bù jīng shén shēng huó hé nèi xīn shì jiè biǎo xiàn dé lín lí jìn zhì。
cháng piān xiǎo shuō《 fēn ní gēn shǒu yè rén》 yǐ dū bǎi lín jìn jiāo yī jiā jiǔ diàn lǎo bǎn de qián yì shí hé mèng huàn wéi xiàn suǒ， shì yī bù yòng mèng huàn de yǔ yán xiě chéng de mèng huàn de zuò pǐn。 qiáo yī sī jiè yòng yì dà lì 18 shì jì sī xiǎng jiā wéi kē guān yú shì jiè zài sì zhǒng bù tóng shè huì xíng tài zhōng xún huán de guān diǎn， zài cǐ kuàng jià zhōng zhǎn kāi páng zá de nèi róng。 shū zhōng 'àn yù《 shèng jīng》、 suō shì bǐ yà、 gǔ dài zōng jiào、 jìn dài lì shǐ、 dū bǎi lín dì fāng zhì děng， dà liàng jiè yòng wài guó cí yǔ shèn zhì zì zào cí huì， tōng guò kuā zhāng de lián xiǎng， yù shì 'ài 'ěr lán nǎi zhì quán rén lèi de lì shǐ、 quán yǔ zhòu de yùn dòng。
chú shàng shù sān bù zuò pǐn， qiáo yī sī hái zhù yòu shī jí《 shì nèi lè jí》 hé jù běn《 liú wáng zhě》。
zài qiáo yī sī de yī shēng zhōng， mín zú zhù yì sī xiǎng shì guàn chè shǐ zhōng de。 zǎo zài 1912 nián 8 yuè 22 rì， gāng jiè 'ér lì zhī nián de qiáo yī sī jiù zài zhì qī zǐ nuò lā de xìn zhōng xiě dào：“ wǒ shì yě xǔ zhōng yú zài zhè gè bù xìng de mín zú de líng hún zhōng zhù zào liǎo yī kē liáng xīn de zhè yī dài zuò jiā zhī yī。” 1936 nián， qiáo yī sī biān dú zhe yīng guó bǎn《 yóu lì xī sī》 de jiàoyàng biān duì fú lǐ sī mò lè shuō： tā wèile zhè yī tiān，“ yǐ dǒu liǎo 'èr shí nián”。 qiáo yī sī cóng 1914 nián zhuóshǒu xiě《 yóu lì xī sī》， dàn zhí dào 1918 nián měi guó de《 xiǎo píng lùn》 cái kāi shǐ liánzǎi。 zuì zǎo de dān xíng běn shì 1922 nián zài fǎ guó yóu suō shì bǐ yà shū wū chū bǎn de。 dé（ 1927）、 fǎ（ 1929）、 rì（ 1932 nián chū sì fēn cè， 1935 nián chū dì wǔ fēn cè） yì běn xiāng jì wèn shì hòu， měi guó bǎn（ lán dēng shū wū， 1934） yě chū bǎn。 rán 'ér duì qiáo yī sī lái shuō， zuì zhòng yào de shì《 yóu lì xī sī》 zài yīng guó běn tǔ de chū bǎn。 yě nán guài tā duì dān mài shī rén、 xiǎo shuō jiā tānɡ mǔ kè lǐ sī téng sēn shuō：“ xiàn zài， yīng guó hé wǒ zhī jiān zhǎn kāi de zhàn zhēng jié shù liǎo， ér wǒ shì shèng lì zhě。” tā zhǐ de shì， jìn guǎn《 yóu lì xī sī》 lǐ duì 1901 nián qù shì de wéi duō lì yà nǚ wáng jí tài zǐ（ dāng shí ［ 1904 ］ zài wèi de guó wáng 'ài dé huá qī shì） jūn yòu bù shǎo biǎn cí， yīng guó zuì zhōng bù dé bù chéng rèn zhè běn shū， ràng tā yī zì bù shān dì chū bǎn。
qiáo yī sī zài zuò pǐn zhōng suǒ biǎo xiàn chū lái de duì mín zú duì guó jiā de rè 'ài， shēn shēn gǎn dòng zhe 'ài 'ěr lán rén mín。 ér 'ài 'ěr lán rén shì zhè me chóng bài qiáo yī sī de， shèn zhì bǎ《 yóu lì xī sī》 zhōng miáo xiě zhù rén gōng lì 'ào bō dé bù lú mǔ yī tiān quán bù huó dòng de liù yuè shí liù rì dìng wéi“ bù lú mǔ rì”， gāi jié rì hòu lái chéng wèile jǐn cì yú guó qìng rì（ sān yuè shí qī rì shèng bā tè lǐ kè jié） de dà jié rì。
èr、 qiáo yī sī jìn rù zhōng guó wén xué jiè de shì yě
“ yì shí liú” zhè yī shù yǔ zuì zǎo shì yóu měi guó zhé xué jiā jiān xīn lǐ xué jiā wēi lián zhān mǔ sī yú 20 shì jì chū tí chū lái de， suí hòu biàn bèi jiè yòng dào liǎo wén xué lǐng yù。 ér qiáo yī sī jiù shì yì shí liú wén xué zuò pǐn de kāi shān bí zǔ， qí cháng piān xiǎo shuō《 yóu lì xī sī》 chéng wéi liǎo yì shí liú zuò pǐn de dài biǎo zuò， shì 'èr shí shì jì zuì wěi dà de xiǎo shuō zhī yī。
20 shì jì zhōng guó wén xué céng shòu dào xī fāng yì shí liú lǐ lùn hé chuàng zuò de yǐng xiǎng， bìng zài cǐ jī chǔ shàng xíng chéng hé fā zhǎn qǐ lái liǎo zhōng guó de yì shí liú wén xué。“ yì shí liú” zhè yī gài niàn jìn rù zhōng guó yǔ jìng jīng yóu liǎng tiáo lù xiàn： yī tiáo yóu xī fāng xiān“ liú” dào rì běn， zài yóu rì běn“ liú” dào zhōng guó； lìng yī tiáo zé yóu xī fāng zhí jiē“ liú” dào zhōng guó。 zài shí jiān shàng， qián zhě shāo zǎo yú hòu zhě。 yīn cǐ， wǒ men zài kǎo chá yì shí liú jìn rù zhōng guó zhī qián， shǒu xiān yīngdāng jiǎn chá yì shí liú shì rú hé jìn rù rì běn wén huà yǔ jìng de。 zuì zǎo bǎ qiáo yī sī jiè shào dào rì běn de shì dāng shí huó yuè zài rì běn hé 'ōu měi de zhù míng shī rén yě kǒu mǐ cì láng（ 1875 － 1947）。 tā yú 1918 nián 3 yuè， zài zhù míng zá zhì《 xué dēng》 fā biǎo liǎo jiè shào qiáo yī sī《 nián qīng yì shù jiā de xiào xiàng》 de wén zhāng《 yī gè huà jiā de xiào xiàng》。 tā chēng zàn“ zhè bù xiǎo shuō shì yòng yīng yǔ xiě chéng de jìn dài míng zuò”。 lìng wài， jiào zǎo liú xià liǎo guān yú qiáo yī sī jìzǎi de shì jiè chuān lóng zhī jiè。 tā kān dēng zài《 sān S》（《 サ ン ス》 1920 nián 3 yuè hào） zá zhì shàng de wén zhāng《 〈 wǒ guǐ kū rì lù 〉 zhāi chāo》 tán dào tā céng gòu mǎi wán shàn shū diàn fā xíng de《 nián qīng yì shù jiā de xiào xiàng》。 bìng zài 1920 nián 9 yuè fā biǎo yú《 rén jiān》 zá zhì de《〈 zá bǐ〉 zhōng de“ hái zǐ”》 zhōng zhè yàng tán dào qiáo yī sī：“ qiáo yī sī de《 yóu lì xī sī》 wú lùn rú hé kàn dū shì duì 'ér tóng gǎn shòu de zhí jiē shù xiě。 huò zhě yě xǔ kě yǐ shuō shì jù yòu nà zhǒng zhǐ yào yòu yī diǎn gǎn shòu jiù xiě xià lái de xīn qíng bā。 dàn shì wú lùn zěn yàng zhēn pǐn jiù shì zhēn pǐn， xiàng tā zhè yàng xiě wén zhāng de zhǎo bù dào dì 'èr gè。 wǒ xiǎng， dú yī dú shì yòu hǎo chù de。（ 8 yuè 20 rì）”
zhèng yīn wéi rú cǐ， tā hòu lái hái qīn zì fān yì liǎo《 nián qīng yì shù jiā de xiào xiàng》 de yī bù fēn。
zhōng rì liǎng guó yī yī dài shuǐ， jiāo wǎng mìqiè， rì běn wén tán duì xī fāng yì shí liú wén xué de guān zhù hé yì jiè hěn kuài jiù bèi zhōng guó zhī shí jiè zhù yì dào liǎo。 bù guò， rì běn rén zuì chū duì yì shí liú de jiè shào hé bǎ wò bìng bù zhǔn què。 1933 nián yóu gāo míng fān yì de zǎo dào tián jiào shòu jí jiāng qiáo sōng zhuàn xiě de《 xī yáng wén xué gài lùn》 biàn jiāng pǔ lǔ sī tè yǔ qiáo yī sī guī wéi chāo xiàn shí zhù yì liú pài。 zhū yún yǐng zài《 xiàn dài》（ dì 3 juàn dì 1 qī） shàng xiě liǎo yī zé《 rì běn tōng xìn》：“ ‘ xīn xīn lǐ pài ’ yǐ yī téng zhěng děng wéi dài biǎo， suī rán chū liǎo jǐ zhǒng tóng rén zá zhì， lǐ lùn xuān chuán dé pō rè nào， dàn shì zuò pǐn jiǎn zhí méi yòu， dǎo shì fān yì de zhū yì shì（ JamesJoyce） de《 yóu lì xī sī》（ Ulysses） fēi cháng chàng xiāo， zhèng zōng bái niǎo céng tuī sēn 'ōu wài fān yì de《 jí xīng shī rén》 wéi míng zhì shí dài de zuì dà jié zuò， nà me zhè lǐ yě bù fáng rèn wéi《 yóu lì xī sī》 wéi xīn xīn lǐ pài de jié zuò liǎo。”
qiáo yī sī jí qí《 yóu lì xī sī》 jiù zhè yàng jīng yóu rì běn lái dào liǎo zhōng guó。
gāo míng zhuàn xiě de《 yī jiǔ sān sān nián de 'ōu měi wén tán》 zhōng yòu zhè yàng yī duàn：“ zhū yī shì zài‘ Transition’ zá zhì shàng liánzǎi liǎo‘ WorkinProgress’。 zài cháng shì zhe yīng yǔ gé mìng de diǎn shàng， bèi rén zhù mù zhe。 yòu shí hòu bǎ zì lián zài yī qǐ， yòu shí hòu lì yòng jù zǐ suǒ yòu de lián xiǎng： kàn tā de yì sī xiàng shì zài biǎo xiàn shàng kāi yī xīn jìng dì。 tā yě xǔ shì shuō，‘ xīn de gǎn jué xū yào xīn de zì yǎn’ bā？ zài nà lǐ tóng shí fùzhuó xīn zì cí jiě； yīn wéi zài nà wén zhāng lǐ， bù jiā jiě shì， shì méi yòu lǐ jiě de kě néng de。” wén zhōng“ WorkinProgress” zhǐ de shì qiáo yī sī de zuì hòu yī bù xiǎo shuō《 wéi fēn ní gēn shǒu líng》， gāi shū 1927 nián qǐ zài zá zhì shàng liánzǎi， 1939 nián chū bǎn。 zài wén zhāng mò wěi zuò zhě zhù míng dào， běn wén“ xì gēn jù 1934 nián rì běn zhōng yāng gōng lùn nián bào xiě chéng”。 zhè yòu yī cì zhèng míng qiáo yī sī shì niǎn zhuǎn rì běn lái dào zhōng guó de。
sān、 zhōng guó wén xué jiè yǔ qiáo yī sī zuò pǐn
zài《 yóu lì xī sī》 chū bǎn de dāng nián， zài jiàn qiáo liú xué de zhù míng shī rén xú zhì mó jiù dú dào liǎo zhè bù zuò pǐn， bìng zài tā de《 kāng qiáo xī yě mù sè》 qián yán zhōng chēng zàn tā shì yī bù dú yī wú 'èr de zuò pǐn。 tā yǐ shī rén tè yòu de jī qíng bēn fàng de yǔ yán gē sòng gāi shū zuì hòu méi yòu biāo diǎn de yī zhāng： " nà zhēn shì chún cuì de ' ｐ ｒ ｏ ｓ ｅ '， xiàng niú lào yī yàng rùn huá， xiàng jiào táng lǐ shí tán yī yàng guāng chéng …… yī dà gǔ qīng lì hào hàn de wén zhāng pái 'ào miàn qián， xiàng yī dà pǐ bái luó pī xiè， yī dàjuǎn pù bù dàoguà， sī háo bù lù hén jì， zhēn dà shǒu bǐ！ "
1922 nián , máo dùn xiān shēng zài《 xiǎo shuō yuè bào》 dì 13 juàn 11 hào shàng zhuàn duǎn wén jiè shào zhān mǔ sī qiáo yī sī de xīn zuò《 yóu lì xī sī》 : xīn jìn qiáo 'ān sī (JamesJoyce) de“ Ulysses” dān xíng běn wèn shì , yòu xiǎn shì liǎo liǎng fāng miàn de bù yī zhì。 qiáo 'ān sī shì yī gè zhǔn“ dà zhù yì” de měi guó xīn zuò jiā。“ Ulysses” xiān zài《 xiǎo píng lùn》 shàng fēn qī dēng guò : nà shí jiù yòu xiē“ liú sú de” dú zhě xiě xìn dào zhè zì hào“ bù qiú tóng yú liú sú zhī shì hǎo” de《 xiǎo píng lùn》 biān ji bù zé wèn , bìng qiě yě yòu mán mà de huà。 rán 'ér tóng shí yòu yī bù fēn de qīng nián què rè xīn dì zàn měi zhè shū。 yīng guó de qīng nián duì yú qiáo 'ān sī yì yòu hǎo gǎn : zhè dà gài shì wēi 'ěr shì zàn“ APortraitoftheArtistasaYoungMan” ( yì qiáo shì zhù zuò , lüè zǎo yú Ulysses) de jiēguǒ。 kě shì dà pī píng jiā péi nà (ArnoldBennett) xīn jìn zuò liǎo yī piān lùn wén , duì yú Ulysses hěn bù mǎn yì liǎo。 tā qǐng chū chuán tǒng de“ xiǎo shuō guī lǜ” lái , zhǐ zé Ulysses lǐ miàn de sǎnmàn de duàn jù de xiě fǎ wéi bù hé tǐ cái liǎo。 suī rán tā yě shuō :“ cǐ shū zuì hǎo de jǐ jié wén zì shì bù xiǔ ,” dàn biǎn duō yú bāo , zhōng bù néng shuō tā shì zàn xǔ zhè bù”。
30 nián dài xiàn dài zhù yì zài zhōng guó xiān qǐ dì 'èr cì gāo cháo , dà bèi jǐng xià língsan de qiáo yī sī jiè shào wén zì lüè jiàn zēng jiā , zhí dé yī tí de shì chū xiàn liǎng piān bù cháng de zhuān lùn , qiáo shì de duǎn piān“ Counterpart” yě shǒu cì wán zhěng dì fān yì guò lái。 liǎng piān zhuān lùn lì zú diǎn quán rán bù tóng , yīn cǐ suǒ miáo shù de qiáo shì yì pàn rán yòu bié。 dì yī piān píng shù shì fèi jiàn zhào zhuàn xiě de《 ài 'ěr lán zuò jiā qiáo 'ōu sī》。 ⑧ cǐ wén bù céng yù shè qiáo shì jìn bù de huò zhě tuí fèi de , chí lùn bǐ jiào kè guān。 fèi wén jiè shào liǎo《 dù bái lín rén》 hé《 huà xiàng》 , zhòng diǎn fàng zài《 yóu lí sàn sī》 ( jí Ulysses) shàng。 fèi wén cháng shì jiě dú qiáo , shǎo shù dì fāng lüè jiàn qiē rù , dàn zǒng tǐ bù chéng gōng ( piān fú duǎn shì yī gè yuán yīn ), wéi zhe qiáo yī sī zhuǎn yī juàn 'ér yǐ。 cǐ wén rèn wéi《 yóu》“ shì yī bù bāo luó jìn dài shì jiè de yī qiē héng héng héng zhèng zhì , zōng jiào , shí jì , rén dào zhù yì děng děng de zuò pǐn” , yòu hěn duō yōu diǎn , dàn rèn wéi bù néng shuō gāi shū shì yī zhǒng“ xīn de” , ér qiě yòu míng xiǎn de quē diǎn : yī shì“ zhòng jú bù 'ér hū lüè zhěng gè de xié hé” , èr shì“ zhù zhòng rén de ròu tǐ fāng miàn , ér hū lüè jīng shén fāng miàn”。 suī rán yǐ jīn tiān de jiǎo dù kàn , fèi suǒ shuō de quē diǎn shǔ yú wù dú , dàn fèi shì dú guò yuán zhù lái cháng shì pī píng de。 fèi wén de quē diǎn shì xià gōng fū bù gòu , jiāng qiáo dāng zuò yī bān zuò jiā lái yuè dú , shuō dào dǐ shì quē fá zhēn zhèng de xīng qù。
lìng yī piān zhuān lùn shì zhōu lì bō 1935 nián 5 yuè 6 rì zài《 shēn bào zì yóu tán》 shàng jiē zài de《 zhān mǔ sī qiáo yì sī》。 wén zhāng qián bàn bù fēn bǐ jiào kè guān dì jiè shào liǎo qiáo shì zài xiàn dài wén xué shǐ shàng de dì wèi , qiáo de shēng huó dào lù , qí chuàng zuò de liú biàn yǔ fā zhǎn ; zhù yào de píng shù jī běn fú hé shì shí , dàn rèn wéi《 huà xiàng》“ méi yòu dú chuàng de dì fāng”。 wén zhāng de hòu bàn bù fēn wèn tí què hěn dà。 zhōu kàn qiáo yī sī de chū fā diǎn , yǔ sū lián chū bǎn de《 yīng guó wén xué shǐ gāng》 lǐ de guān diǎn wán quán yī zhì , lián suǒ yòng de jī běn biǎn cí ( rú“ tuí fèi” ) yě wán quán xiāng tóng。 cóng zhōng kě yǐ kàn chū tā shòu sū lián wén xué pī píng de yǐng xiǎng。 sū lián zài 1935 nián shǒu yì《 yóu》 , zhǐ xuǎn yì dì yī zhì dì shí jié , kān sū lián《 shì jiè wén xué》 zá zhì , yīn cǐ kě yǐ rèn wéi , lì bō xiě cǐ wén gēn sū lián xuǎn yì《 yóu》 yòu guān , qí zī liào lái yuán lái zì sū lián , bìng méi yòu lì bō zì jǐ de yì jiàn , lì bō běn rén yě wèi dú guò yuán zhù ,lv yīn cǐ lián wù dú yì wú cóng shuō qǐ , wù dú de yuán tóu zài sū lián。 zhōu lì bō yǔ zǎo qī máo dùn、 xú zhì mó、 fèi jiàn zhào、 zhào jǐng shēn、 zhào jiā bì、 yáng chāng xī děng rén de píng shù huò yì shù yòu hěn dà bù tóng , cóng yǐng xiǎng yuán fāng miàn kàn , hòu zhě de jī běn guān diǎn shì xī fāng de , qián zhě zé shì sū lián de , qián zhě wǔ duàn zhù guān , hòu zhě de pī píng chōng mǎn chí yí hé kùn huò , pī píng duì xiàng bǎ wò bù zhù , yǔ yān bù xiáng zhī chù shèn duō ; qián zhě zé shì qīng chǔ míng bái de chí fǒu dìng tài dù。 zhōu lì bō cǐ wén de guān diǎn zài 40 nián dài hòu bàn、 yǐ jí 50 héng 60 nián dài zhú bù yǎn chéng yā dǎo yī qiē de zhù diào。
fù dōng huá yì de《 fù běn》 ( jí Counterpart) dāng wéi qiáo shì xiǎo shuō de shǒu cì hàn yì。 yì wén qián yòu yì zhě yǐ fǒu dìng de bǐ diào xiě de yuē sì wǔ bǎi yán de jiǎn jiè , yì wén běn shēn yòu fù yī guàn de liú chàng , nèi róng dà zhì chá kàn xià lái yì wú shèn dà bù tuǒ。 zài nà yī qī de《 wén xué》 (2 juàn 3 qī ) shàng hái kān chū zhōng nián qiáo yī sī de xiàngpiàn yī zhēn hé màn huà yī fú。
zhōng guó lìng yī cì duì qiáo shì zuò pǐn de fān yì , shì yī fèn yǐng xiǎng sì hū bù tài dà、 zhǐ chū liǎo 10 qī de wén xué kān wù《 xī yáng wén xué》。 zhè fèn chuàng kān yú 1940 nián de kān wù wéi qiáo yī sī zuò pǐn zài zhōng guó zài cì shì tàn xìng dēng lù zuò chū guò zhòng yào gòng xiàn。 gāi kān zài 1941 nián tuī chū“ qiáo yì sī tè ji” , nèi yòu qiáo yì sī xiàng、 qiáo de shī xuǎn、 duǎn piān《 yī jiàn cǎn shì》 hé《 yǒu lǜ sè sī》 (Ulysses) chā huà sān jié , hái yòu fān yì de 'ài dé méng wēi 'ěr xùn (Ed2mundWilson) de《 qiáo yì sī lùn》。 gāi kān hái zài“ shū píng lán” lǐ fā liǎo shǔ míng xīng huá de shū lùn , jiè shào 1939 nián cái wèn shì de《 fěi ní gēn de xǐng lái》。 jù gāi kān zhù yào biān ji zhī yī zhāng zhī lián jiè shào , gāi zá zhì nèi róng“ bǎi fēn zhī jiǔ shí dōushì yì wén” , cóng tā tuī chū de tuō 'ěr sī tài tè ji、 yè zhī tè ji hé qiáo yī sī tè ji lái kàn , cóng tā fā biǎo yì zuò de yì zhě duì wǔ lái kàn , zhè gè duǎn mìng de zá zhì qí shí zài dāng shí suàn dé shàng yī fèn gāo pǐn wèi yì wén zá zhì , tā yǔ zhū guāng qián zhù biān de《 wén xué zá zhì》、 xú zhì mó děng zhù biān de《 xīn yuè》 yī yàng , tóng jù yī fèn xué rén de gāo yǎ gé diào , xī hū tā zài zhōng guó wén xué shǐ shàng、 zài fān yì wén xué shǐ shàng yǐ jí xiàn dài wén xué qī kān shǐ shàng bìng wèi shòu dào yīngyǒu de zhòng shì。
1949 nián hòu zhì 1978 nián 30 nián jiān , lián shàng miàn zhè zhǒng“ zá suì” shìde jiè shào jīhū dū jiàn bù dào liǎo , jí biàn shì 'ǒu 'ěr tí dào , qiáo yī sī yě xiàng shì yī jù sàn fā zhe 'è chòu de fǔ shī。
１ ９ ５ ０ nián１１ yuè， zhū guāng qián xiān shēng zài lù yì hā lā pǔ de《 yì shù de shè huì qǐ yuán》 yì hòu bǔ jì lǐ yě biǎo dá liǎo tóng yàng de tài dù。 zhū xiān shēng suī méi yòu zhí jiē píng lùn běn shū， dàn fǒu dìng liǎo hā lā pǔ shì《 yóu lì xī sī》 shì yùn yòng chuán tǒng de yī gè zuì hǎo shuō míng， ér qiě shì jǐ gè shì jì wén xué fā zhǎn zuì gāo fēng de guān diǎn。１９ ６ ４ nián yuán kě jiā zài《 wén xué yán jiū jí kān》 dì yī qī shàng fā biǎo de《 yīng měi yì shí liú xiǎo shuō shù píng》， duì《 yóu lì xī sī》 yě chí pī pàn tài dù。
1978 nián chuàng kān de《 wài guó wén yì》 xiǎng yòu yī fèn guāng róng , jí gāi kān zài 1980 nián dì 4 qī shàng fā liǎo 3 piān qiáo yī sī duǎn piān xiǎo shuō , jí《 sǐ zhě》 ( wáng zhì liàng【 zhì liàng】 yì )、《 ā lā bǐ》 hé《 xiǎo rén wù》 ( zōng bái yì )。 3 gè duǎn piān xuǎn mù chū shǒu bù fán , qí zhōng qián 2 piān shì shì jiè wén xué de duǎn piān jīng pǐn。 zhè dà gài shì xīn shí qī fā biǎo de duì qiáo shì zuò pǐn zuì zǎo de yì jiè。
gāi shū chū bǎn bàn gè shì jì zhī hòu de１９ ７９ nián， qián zhōng shū xiān shēng zài suǒ zhù de《 guǎn zhuī biān》（ dì yī cè de ３９４ yè） zhōng yòng《 yóu lì xī sī》 dì shí wǔ zhāng de cí jù（ qiáo yī sī jiāng ｙｅｓ hé ｎｏ gǎi zào wéiｎｅｓ，ｙｏ） jiě shì liǎo《 shǐ jì》 zhōng de huà。１９ ８１ nián， yuán kě jiā děng rén xuǎn biān de《 wài guó xiàn dài zuò pǐn xuǎn》 dì 'èr cè guān yú yì shí liú de bù fēn shōu rù liǎo《 yóu lì xī sī》 dì 'èr zhāng de zhōng yì， bìng fù yòu yuán běn rén de duǎn píng， duì yú gāi shū de wén xué jià zhí hé dì wèi chóngxīn jǐyǔ liǎo kěn dìng。
zī shēn fān yì jiā huáng yǔ shí xiān shēng mò mò gōng zuò , tā yì de《 qīng nián yì shù jiā de huà xiàng》 yǐ yóu wài guó wén xué chū bǎn shè 1983 nián chū bǎn。 zhè shì dà lù chū bǎn de dì yī bù qiáo shì zuò pǐn dān xíng běn , yì shì dà lù yì jiè qiáo yī sī de dì yī bù wán zhěng de cháng piān xiǎo shuō。 1984 nián 10 yuè , sūn liáng yì de《 dū bǎi lín rén》 7 gè duǎn piān jiā shàng zōng bái děng rén rén de qí tā 8 piān yì zuò ,, yóu shàng hǎi yì wén chū bǎn shè yǐ《 dū bǎi lín rén》 zhī míng chū bǎn。
80 nián dài zuì zǎo de《 yóu》 xuǎn yì , shì jīn yì de dì 'èr zhāng , shōu rù yuán kě jiā děng zhù biān de《 wài guó xiàn dài pài zuò pǐn xuǎn》 dì 'èr cè ( shàng );5 nián hòu《 shì jiè wén xué》 jiē zài jīn yì《 yóu》 de dì 'èr、 liù、 shí zhāng hé dì shí bā zhāng piàn duàn ; yuè nián , bǎi huā chū bǎn shè tuī chū《 yóu》 de xuǎn yì běn , bìng qiě zēng jiā liǎo dì shí wǔ zhāng de piàn duàn yì wén。 zhè xiē shì zhōng guó dì 'èr cì《 yóu》 de xuǎn yì , shì zài yán dú de jī chǔ shàng xuǎn yì de , liàng yǔ zhì jūn jiào gāo。
jiǔ shí nián dài zhōng yè， yì shí liú kāi shān zhī zuò、 cháng piān jù zhù《 yóu lì xī sī》 yòu liǎo liǎng bù quán yì běn： xiāo qián、 wén jié ruò hé yì de yóu nán jīng yì lín chū bǎn shè yú yī jiǔ jiǔ sì nián chū bǎn； jīn fēng suǒ yì de zé yóu rén mín wén xué chū bǎn shè chū bǎn（ 1994 nián zhì 1996 nián）。
《 yóu lì xī sī》 yī wèn shì jiù shì yī bù lìng yī bān dú zhě tóu téng、 yě ràng pī píng jiā shāng shén de zuò pǐn， jí shǐ zài jīn tiān zhè zhǒng qíng kuàng yě wèi dé dào sī háo de gǎi shàn。 zài yīng yǔ guó jiā tā bèi shì wéi yī bù gōng rèn de " tiān shū "， fān yì zhè yàng yī bù zuò pǐn xiǎn rán shì yì cháng kùn nán de。 mù qián guó nèi de yì běn， jiào zhù míng de yòu yì lín chū bǎn shè xiāo qián、 wén jié ruò fū fù de hé yì běn（ wén huà yì shù chū bǎn shè ２００２ ．６ tuī chū gāi bǎn xiū dìng běn） hé rén mín wén xué chū bǎn shè jīn dī xiān shēng de yì běn（ tiān jīn bǎi huā wén yì chū bǎn shè１９８７ nián chū bǎn guò tā de jié yì běn）； cǐ wài hái yòu jīng huá chū bǎn shè " shì jiè shí dà jīng diǎn míng zhù " zhōng shōu rù de jì jiāng hóng de yì běn， hū hé hào tè yuǎn fāng chū bǎn shè de " shì jiè jìn shū wén kù " zhōng lǐ jìn de yì běn， nèimēng gǔ rén mín chū bǎn shè de " wài guó sī jiā cáng shū " lǐ hóng de yì běn， hái yòu nèimēng gǔ 'ér tóng chū bǎn shè hé nèimēng gǔ wén huà chū bǎn shè zhāng yǐng guāng de yì běn děng。 jìn guǎn zài《 yóu lì xī sī》 zhōng yì běn chū lái yǐ hòu bào kān shàng jiè shào hé yán jiū qiáo yī sī de wén zhāng yuè lái yuè duō， dàn xiāng guān de yán jiū zhuān zhù guó nèi mù qián hái bǐ jiào qiàn quē， jǐn yòu shàng hǎi wài guó yǔ dà xué lǐ wéi píng jiào shòu de《 qiáo yī sī de měi xué sī xiǎng hé xiǎo shuō yì shù》（ shàng hǎi wài yǔ jiào yù chū bǎn shè，２０００）。 yǐ chū bǎn de yòu guān qiáo yī sī de jiè shào hé zhuànjì lèi zuò pǐn yòu： yuán hè nián yì gé luó sī zhù《 qiáo yī sī》（ sān lián shū diàn，１９８６）， hé jí fēng、 liǔ méng yì kē sī tè luò zhù《 qiáo yī sī》（ zhōng guó shè huì kē xué chū bǎn shè，１９９０）， chén shù de《〈 yóu lì xī sī〉 dǎo dú》（ yì lín chū bǎn shè，１９９４）， hè míng huá yì bù lún nán mǎ duō kè sī de《 qiáo yī sī yǔ nuò lā》（ bǎi huā wén yì chū bǎn shè，１９９７）， lín yù zhēn yì bǐ dé kòu sī tí luó de《 qiáo yī sī chuán -- jiě dú〈 yóu lì xī sī〉》（ hǎi nán chū bǎn shè，１９９９）， yuán dé chéng de《 zhān mǔ sī qiáo yī sī -- xiàn dài yóu lì xī sī》》（ sì chuān rén mín chū bǎn shè，１９９９）， zhōu liǔ níng yì nuò lǐ sī、 fú lín tè hé zhù de《 qiáo yī sī》（ wài yǔ jiào xué yǔ yán jiū chū bǎn shè，２０００）， bái yù chéng yì de gā sī tè ān dé sēn de《 qiáo yī sī》（ tiān jīn bǎi huā chū bǎn shè，２００１） hé jiàn qiáo dà xué chū bǎn shè biān zhù de《 zhān mǔ sī qiáo yī sī》（ shàng hǎi wài yǔ jiào yù chū bǎn shè，２００１） děng shí duō zhǒng。
mù qián， běi jīng shī fàn dà xué liú xiàng yú jiào shòu fān yì duō nián de《 yóu lì xī sī》 yǐ jīng wán chéng chū gǎo。 zǎo zài 1985 nián， liú xiàng yú jiù fān yì guò《 yóu lì xī sī》 dì sān zhāng《 sī dì fēn zài hǎi tān》， fā biǎo yú dāng nián 3 yuè yìn xíng de《 wài guó xiàn dài pài xiǎo shuō gài guān》 shàng， tā céng biǎo shì， xiàng zhè yàng yī bù hóng wěi、 zhuàng guān、 bāo róng hào hàn， huò zhě huàn yán zhī huì sè、 jiān 'ào、 guāng guài lù lí de zuò pǐn， zài yòu yī gè zhōng yì běn yě shì bù xián duō de。 yǐ jīng wèn shì de liǎng gè yì běn gè yòu cháng duǎn， tā de yì wén dāng jìn liàng mí bǔ bù zú。 liú yì《 yóu lì xī sī》 jiāng shōu rù yóu zhōng guó shè kē yuàn wài wén suǒ yán jiū yuán wáng féng zhèn hé liú xiàng yú zhù biān de《 qiáo yī sī quán jí》。 quán jí shōu rù《 dū bǎi lín rén》《 yóu lì xī sī》《 yī gè qīng nián yì shù jiā de huà xiàng》《 fēn ní gēn de shǒu líng yè》 děng qiáo yī sī quán bù cháng piān xiǎo shuō， hèshī gē、 jù běn、 rì jì、 píng lùn， yǐ jí tā rén píng qiáo yī sī zuò pǐn de píng lùn jí， yù jì jiāng zài jīn nián nián dǐ chū bǎn。
sì、 lǔ xùn yǔ qiáo yī sī
lǔ xùn yǔ qiáo yī sī yòu zhe hěn duō xiāng sì zhī chù， wú lùn qí bèi jǐng、 jīng lì hái shì jīng shén pǐn gé， yǐ zhì chuàng zuò fāng fǎ。 dàn lǔ xùn sì hū cóng méi yòu tán dào guò qiáo yī sī， zhè shǐ rén lüè gǎn yí hàn： lǔ xùn shí fēn guān zhù xiàn dài zhù yì wén yì sī cháo， jǔ fán dāng shí liú xíng de xīn liú pài， tā jīhū dū zuò guò shè liè hé píng jiè， zì jǐ zài chuàng zuò zhōng yě yùn yòng liǎo yǔ qiáo yī sī“ yì shí liú” huò“ xīn lǐ zhù yì wén xué” xiāng sì de shǒu fǎ， kě shì duì yú dāng shí yǐ jīng míng shēng dà zào de qiáo yī sī， què méi yòu zuò shénme píng shuō， zhè bù miǎn lìng rén kùn huò。 shì bù shì méi yòu zhù yì dào ní？ yě bù shì。 qí shí， yě xǔ yīn wéi mín zú de mìng yùn yòu xiāng sì zhī chù（ ài 'ěr lán céng cháng qī shòu yīng guó tǒng zhì）， lǔ xùn duì 'ài 'ěr lán wén xué jǐyǔ liǎo tè bié de guān zhù， yě guān zhù guò qiáo yī sī。
zǎo zài liú xué rì běn shí qī， lǔ xùn jiù shè liè yīng guó、 ài 'ěr lán wén xué， dāng shí， ài 'ěr lán hái méi yòu tuō lí yīng guó， ài 'ěr lán wén xué cháng bèi zuò wéi yīng guó wén xué de yī bù fēn kàn， lǔ xùn suǒ shè liè de yīng guó wén xué tōng cháng bāo hán 'ài 'ěr lán wén xué。 tā céng sōu dú《 yīng guó wén xué shǐ》， tā yǔ zhōu zuò rén hé yì de《 yù wài xiǎo shuō jí》 yǐ shōu yòu O wáng 'ěr dé de《 kuài lè wáng zǐ》。 hòu lái tā yòu lù xù yuè dú liǎo bó lán duì sī de《 shí jiǔ shì jì wén xué zhù cháo》， dé lín kè wǎ tè de《 wén xué dà gāng》， qí zhōng duì 'ài 'ěr lán wén xué dōuyòu shù jí。 zuò pǐn fāng miàn， zhì shǎo dú guò wáng 'ěr dé、 shǐ wén péng、 xiāo bó nà、 bā léi、 wēi 'ěr sī、 gāo sī děng rén de zuò pǐn。
1927 nián 11 yuè， lǔ xùn gāng dào shàng hǎi cái yī gè duō yuè， jiù zài nèi shān shū diàn mǎi liǎo yī běn rì běn xué zhě yě kǒu mǐ cì láng de suí bǐ jí《 ài 'ěr lán qíng diào》， zhè běn shū shì jí zhōng píng shù 'ài 'ěr lán wén xué de。 zhī hòu， tā zài duǎn duǎn de yī gè xīng qī nèi（ cóng 11 yuè 25 rì dào 30 rì） jiē lián mǎi liǎo hù chuān qiū gǔ de《 yīng guó wén xué bǐ jì》 hé yīng guó《 bù lǔ kè yīng guó wén xué shǐ》 jí rì běn zuǒ zhì xiù shòu de《 yīng guó xiǎo shuō shǐ》， yī gè yuè hòu yòu gòu mǎi liǎo zhāi téng yǒng de《 yǐ sī cháo wéi zhōng xīn de yīng guó wén xué shǐ》， xiǎn shì zhè yī shí qī tā duì yīng guó、 ài 'ěr lán wén xué de tè bié guān zhù。 zhè yǐ hòu bù jiǔ， lǔ xùn jiù kāi shǐ biān ji《 bēn liú》 yuè kān hé《 cháo huā》 zhōu kān， zhè liǎng gè kān wù dōudà liàng jiè shào liǎo yīng guó hé 'ài 'ěr lán wén xué。
1929 nián 6 yuè， lǔ xùn cóng yě kǒu nà běn《 ài 'ěr lán qíng diào》 zhòngxuǎn yì liǎo《 ài 'ěr lán wén xué zhī huí gù》 yī wén kān dēng zài《 bēn liú》 èr juàn 'èr qī shàng， bìng zài《 biān xiào hòu jì》 zhōng tè bié zhǐ chū： yě kǒu de wén zhāng“ hěn jiǎn míng 'ě yào， yú 'ài 'ěr lán wén xué yùn dòng de lái yīn qù guǒ， shì shuō dé liǎo liǎo fēn míng de； zhōng guó qián jǐ nián， yú Yeats， Synge děng rén de shì qíng hé zuò pǐn， céng jīng lǚ yòu shào jiè liǎo， xiàn zài zhè yī piān， yě xǔ gèng kě yǐ bāng zhù yī diǎn lǐ jiě bà。” yě kǒu zhè piān wén zhāng jiǎn yào píng jiè liǎo 'ài 'ěr lán wén yì fù xīng yùn dòng de fā zhǎn， píng shù dào de rén zhù yào yòu yè zhī、 qìn gū、 xiāo bó nà、 fú gé sēn děng zhù míng zuò jiā， dàn méi yòu tí dào qiáo yī sī。
dào 1933 nián， lǔ xùn yòu yī cì chū xiàn jí zhōng gòu mǎi yòu guān yīng guó wén xué shū jí de xiàn xiàng（ zhè kě néng gēn dāng shí xiāo bó nà lái huá yòu guān）， jiē lián mǎi liǎo píng tián tū mù de《 yīng guó wén xué màn bù》、 zhōng chuān fāng tài láng de《 yīng guó wén xué fēng wù zhì》。 dào zhè shí wéi zhǐ， lǔ xùn tán dào guò de 'ài 'ěr lán zuò jiā chú shàng miàn tí dào de yǐ wài， hái yòu gé liè gāo lǐ fū rén、 A.E.（ lā sài 'ěr） děng děng。
jìn rù 1934 nián， qiáo yī sī de míng zì zhōng yú zài lǔ xùn bǐ xià chū xiàn liǎo： 1 yuè 4 rì， tā zài nèi shān shū diàn mǎi liǎo yī běn zhuān lùn qiáo yī sī de shū《 yǐ qiáo yī sī wéi zhōng xīn de wén xué yùn dòng》， zhè shì rì běn de wén xué shǐ jiā chūn shān xíng fū xiě de yī běn píng shù dāng shí 'ōu zhōu wén xué fā zhǎn de zhuān zhù， 1933 nián yóu dōng jīng dì yī shū fáng chū bǎn。
chūn shān xíng fū bǎ qiáo yī sī shì wéi yǐn lǐng 'ōu zhōu wén xué xīn cháo liú de dài biǎo xìng rén wù， yīn wéi qiáo yī sī zhè shí yǐ zài bā lí zhù liǎo shí jǐ nián， ér《 yóu lì xī sī》 shì shǒu xiān zài měi guó fā biǎo de， yǐ zhì dāng máo dùn xiān shēng zuì chū zài《 xiǎo shuō yuè bào》 shàng jiè shào tā de shí hòu， yě wù yǐ wéi tā shì měi guó rén。 yóu cǐ yě gèng kě jiàn， zhè shí qiáo yī sī yǐ jīng bù shì jǐn jǐn yǐ 'ài 'ěr lán zuò jiā de shēn fèn， ér shì yǐ“ guó jì xìng” zuò jiā shēn fèn liàng xiāng yú shì jiè wén tán， yǐ jīng jù yòu hěn dà de míng shēng hé yǐng xiǎng lì liǎo。 chūn shān xíng fū zhè běn shū， píng shù liǎo zhòng duō yīng lián bāng（ yóu qí shì 'ài 'ěr lán） zhòng yào zuò jiā， bāo kuò yè zhī、 xiāo bó nà、 wáng 'ěr dé、 A.E.（ lā sài 'ěr） děng 21 rén yǔ qiáo yī sī de guān xì， měi rén shè zhuān zhāng píng shù， hěn shì xiáng míng。 gēn bié rén bù tóng de shì， tā rèn wéi dāng shí shèng xíng de“ ài 'ěr lán wén yì fù xīng yùn dòng” shì yǐ qiáo yī sī wéi zhōng xīn 'ér bù shì yè zhī， bù shǎo 'ōu zhōu dāng dài de zhòng yào zuò jiādōu shòu dào liǎo qiáo yī sī de yǐng xiǎng， shèn zhì 'é guó de tuó sī tuǒ yé fū sī jī de xì nì xīn lǐ miáo xiě fāng fǎ yě yǔ cǐ yòu guān。
dàn bù zhī wèishénme， yī xiàng jù yòu xiān fēng yì shí， mìqiè guān zhù shì jiè wén xué xīn sī cháo、 xīn liú pài， bìng jīhū píng jiè guò suǒ yòu xiàn dài zhù yì wén yì liú pài de lǔ xùn，“ gēn zōng” ài 'ěr lán wén xué bìng dú liǎo chūn shān xíng fū de shū zhī hòu， què bìng méi yòu duì qiáo yī sī fā biǎo píng lùn。《 yóu lì xī sī》 1922 nián yī fā biǎo， máo dùn jiù zài《 xiǎo shuō yuè bào》 shàng zuò liǎo jiè shào； tóng nián， liú xué yīng guó de xú zhì mó yě zài jiàn qiáo shèng zàn gāi shū； zhī hòu， zhào jǐng shēn 1929 nián zài《 wén xué zhōu bào》 shàng， gāo míng 1933 nián、 zhào jiā bì 1934 nián zài《 xiàn dài》 yuè kān shàng， zhōu lì bō 1935 nián zài《 shēn bào zì yóu tán》 shàng fēn bié zuò liǎo yuè lái yuè xiáng xì de jiè shào。 lǔ xùn shì zhè xiē bào kān de cháng qī dú zhě， yě yī zhí shōu cáng zhe zhè xiē bào kān， kě yǐ kěn dìng： tā shì kàn dào guò zhè xiē jiè shào de。
zhè zhù yào yòu liǎng zhǒng kě néng： yī shì yīn wéi méi yòu dú dào qiáo yī sī běn rén de zuò pǐn， chū yú jǐn shèn， zàn bù fā biǎo kàn fǎ； èr shì yīn wéi máo dùn 1922 nián jiè shào shuō， qiáo yī sī shì“ yī gè zhǔn‘ dà dà zhù yì’ de měi guó xīn zuò jiā”。“ dà dà zhù yì” jí“ dá dá zhù yì”， lǔ xùn céng píng wéi“ zhuāng guǐ liǎn”， bù shèn xīn shǎng。 dàn zài kàn dào zuò pǐn zhī qián， tā yě bù huì qīng shuài fā biǎo yì jiàn， shì hái xiǎng kàn yī kàn jiū jìng bā。
zhān mǔ sī · qiáo yī sī - dà shì jì nián biǎo
yī bā bā 'èr nián sān yuè 'èr rì shēng yú dū bólín nán jiāo lā sī mǎ yīn cí yī gè xìn tiān zhù jiào de jiā tíng zhōng。
qí fù yuē hàn · qiáo yī sī（ 1849 yī 1931） shì shuì wù zhuān yuán， yǔ qī zǐ mǐ lì · jiǎn（ 1859 yī 1903）
gòng shēng yòu sì nán liù nǚ， qiáo yī sī wéi zhǎngzǐ。
yī bā bā liù nián（ 4 suì） yīng shǒuxiàng gé lāi sī dùn de《 zì zhì fǎ 'àn》 wèi huò tōng guò。
yī bā bā bā nián（ 6 suì） jiǔ yuè yī rì rù jī dé 'ěr xiàn shā lín sī shì de kè lǎng gē wǔ sī sēn lín gōng xué， xiào
cháng shì tiān zhù jiào yé sū huì huì cháng kāng mǐ shén fù。 qiáo yī sī shì xué shēng zhōng nián líng zuì xiǎo de。
yī bā jiǔ 0 nián（ 8 suì） ài 'ěr lán mín zú zhù yì lǐng xiù bā niè 'ěr shī qù zì zhì lián méng zhù xí zhí。
yī bā jiǔ yī nián（ 9 suì） yīn fù qīn shī yè， qiáo yī sī yú liù yuè jiān tuì xué。 tóng nián shí yuè， bā niè 'ěr qù
shì， qiáo yī sī chū yú duì bā niè 'ěr de tóng qíng， xiě liǎo yī shǒu fěng cì shī《 xī lì， nǐ yě zhè yàng！》。 xī lì shì
ài 'ěr lán zì zhì yùn dòng hé tǔ dì gǎi gé yùn dòng zhōng de lǐng xiù， běn yǔ bā niè 'ěr guān xì mìqiè， dàn zài guān jiàn shí kè què
yǔ bā niè 'ěr jué liè。
yī bā jiǔ sān nián（ 11 suì） jīng kāng mǐ shén fù jiè shào， qiáo yī sī yú sì yuè liù rì rù liǎo bèi 'ěr wéi dí 'ěr gōng xué
sān nián jí。 zhè zuò xué xiào yě shì yé sū huì suǒ chuàng bàn de， tā yī dù xiǎng dāng shén fù。 shí jiǔ shì jì yǐ lái， zài dū bǎi
lín xíng chéng liǎo yǐ yè zhī、 gé léi gē lǐ fū rén jí xīn gé wéi zhōng xīn de 'ài 'ěr lán wén yì fù xīng yùn dòng， tā zhí jiē jiànjiē
shòu yǐng xiǎng。 tōng guò yǒu rén， tā yě shòu dào 'ài 'ěr lán mín zú dú lì yùn dòng de yǐng xiǎng。 rán 'ér jǐyǔ tā gèng qiáng liè yǐng xiǎng
de shì， shí jiǔ shì jì mò chū xiàn zài 'ōu zhōu wén xué zhōng de zì yóu sī xiǎng。 zhōng xué bì yè qián， tā jiù duì zōng jiào xìn yǎng chǎn
shēng liǎo huái yí。
yī bā jiǔ qī nián（ 15 suì） huò quán 'ài 'ěr lán zuì jiā zuò wén jiǎng。
yī bā jiǔ bā nián（ 16 suì） jiǔ yuè rù huáng jiā dà xué dū bólín xué yuàn， zhuān gōng zhé xué hé yǔ yán。 zài xiào qī
jiān bó lǎn qún shū， wèile dú tā zuì qīn pèi de zuò jiā yì bǔ shēng de yuán zhù， xué liǎo dān biǎo wén hé nuó wēi wén。
yī jiǔ 00 nián（ 18 suì） yī yuè 'èr shí rì， zài xué yuàn de wén xué jí lì shǐ xié huì fā biǎo jiǎng yǎn， tí mù shì《
xì jù yǔ rén shēng》。 sì yuè yī rì， yīng guó wén xué zá zhì《 bàn yuè píng lùn》 fā biǎo tā de guān yú yì bǔ shēng zuò pǐn《
dāng wǒ men sǐ 'ér fù xǐng shí》（ 1899） de píng lùn：《 yì bǔ shēng de xīn xì jù》。 cǐ wén huò dé nián guò qī xún de
yì bǔ shēng de chēng xǔ， shǐ qiáo yī sī shēn shòu gǔ wǔ， cóng 'ér jiān dìng liǎo tā zǒu shàng wén xué dào lù de jué xīn。
yī jiǔ 0 yī nián（ 19 suì） shí yuè， xiě《 xuān 'áo de shí dài》 yī wén， pī píng 'ài 'ěr lán wén yì jù yuàn de
xiá 'ài de mín zú zhù yì， zì fèi chū bǎn。
yī jiǔ 0 èr nián（ 20 suì） xià tiān， jié shí yè zhī hé jù zuò jiā gé léi gē lǐ fū rén。 shí yuè huò xué shì xué wèi，
rù shèng sài xī lì yà yī xué yuàn， yīn jiāo bù qǐ xué fèi 'ér zhuì xué。 shí 'èr yuè chū fù bā lí， xià xún huí dū bǎi lín。
yī jiǔ 0 sān nián（ 21 suì） yī yuè shí qī rì zài dù lí kāi dū bǎi lín， èr shí sān rì dǐ bā lí， kào xiě shū
píng hé jiào yīng yǔ hú kǒu。 sì yuè shí rì， jiē dào mǔ qīn bìng wēi de diàn bào huí guó。 bā yuè shí sān rì， mǔ qīn qù shì。
zài dū bǎi lín jié jiāo 'ào lì fú · gē jiā dì。
yī jiǔ 0 sì nián（ 22 suì） kāi shǐ xiě zìzhuàn tǐ xiǎo shuō《 yì shù jiā nián qīng shí de xiě zhào》， èr yuè 'èr rì jué
dìng bǎ tā gǎi xiě wéi cháng piān xiǎo shuō。 sān yuè zhì liù yuè dǐ， zài duō jī yī zuò sī lì de kè lǐ fū dùn xué xiào dài kè。 liù
yuè shí rì， sàn bù tú zhōng jié shí nuò lā · bā nà kè 'ěr， yī jiàn zhōng qíng。 shí liù rì（ bù lú mǔ rì） bàng wǎn， liǎng
rén shǒu cì yōu huì。 zhè gè qī jiān xiě liǎo hòu lái shōu rù《 dū bǎi lín rén》 de yī xiē duǎn piān， fā biǎo zài dāng dì bào kān shàng。
yòng sī dì fēn · dí dá lè sī de bǐ míng， zài bā yuè shí sān rì de《 ài 'ěr lán jiā yuán bào》 shàng fā biǎo duǎn piān《 jiě mèi
》。 jiǔ yuè jiǔ rì， yǔ gē jiā dì yī dào zhù jìn shā wān de yuán xíng pào tǎ。 tóng zhù de hái yòu gē jiā dì de yǒu rén sà yīng
ěr · tè lián qí（ niú jīn dà xué xué shēng）。 shí jiǔ rì， yīn bù xǐ huān gē jiā dì， suì lí kāi pào tǎ， huí dào fù qīn
de jiā。 shí yuè shàng xún xié nuò lā fù dà lù， lián xì hǎo zài ruì shì jiào yīng yǔ de zhí wù。 tú jīng bā lí， shí yī rì dǐ
sū lí shì。 rán 'ér jiào zhí luò liǎo kōng， shí yī yuè chū gǎi fù bō lā de bó lì cí yǔ yán xué xiào rèn jiào。 bō lā zài de lǐ
yǎ sī tè（ dāng shí shǔ yú 'ào dì lì） yǐ nán yī bǎi wǔ shí yīng lǐ wài。
yī jiǔ 0 wǔ nián（ 23 suì） sān yuè， zhuǎn dào de lǐ yǎ sī tè de bó lì cí yǔ yán xué xiào rèn jiào。 qī yuè， yīn
jiào zhí yòu liǎo kòngquē， bǎ bāo dì sī tǎn ní sī láo sī jiào liǎo lái。 tóng yuè， zhǎngzǐ qiáo zhì yà chū shēng。 shí 'èr yuè sān rì，
jiāng《 dū bǎi lín rén》 yuán gǎo shí 'èr piān（ hòu bǔ jiā sān piān） jì gěi chū bǎn jiā lǐ chá cí。
yī jiǔ 0 liù nián（ 24 suì） qī yuè dǐ fù luó mǎ， zài yínháng rèn tōng xùn yuán。 jiǔ yuè sān shí rì zài zhì sī tǎn ní
sī láo sī de xìn zhōng tán dào duǎn piān xiǎo shuō《 yóu lì xī sī》 de shè xiǎng。 zhù rén gōng shì zhù zài dū bǎi lín de yī gè yóu
tài rén。 dàn tā dāng shí bìng wèi bǎ zhè gè duǎn piān xiě chū。 sì yuè yǐ lái， jiù gǎi xiě duǎn piān xiǎo shuō jí《 dū bǎi lín rén》
de wèn tí yǔ lǐ chá cí yú yàn wǎng hái。 jiǔ yuè sān shí rì shōu dào jù jué chū bǎn de xìn。
yī jiǔ 0 qī nián（ 25 suì） sān yuè wǔ rì cí qù yínháng de gōng zuò， qī yuè huí de lǐ yǎ sī tè， réng zài yuán xiào
rèn jiào。 wǔ yuè， zǎo nián xiě de shū qíng shī jí《 shì nèi yīnyuè》 chū bǎn。 qī yuè， cháng nǚ lù xī yà · ān nà chū
shēng。 tā cí qù jiào zhí， gè bié jiào shòu yīng yǔ。
yī jiǔ 0 bā nián（ 26 suì） sān yuè， jiāng xīn gé de《 qí mǎ xià hǎi rén》（ 1904 nián shàng yǎn de bēi jù） yì
chéng yì dà lì wén。 wǔ yuè dǐ， huàn hóng mó yán。
yī jiǔ 0 jiǔ nián（ 27 suì） wèile jiāo shè《 dū bǎi lín rén》 chū bǎn shì yí， qī yuè huí dào dū bǎi lín， zhù zài
fù qīn jiā， bìng yǔ méng sài 'ěr chū bǎn shè qiān dìng《 dū bǎi lín rén》 chū bǎn hé tóng。 jiǔ yuè lǐ huí dào de lǐ yǎ sī tè。
shí yuè yòu fǎn huí dū bǎi lín， zài sì gè qǐ yè jiā zàn zhù xià， shí 'èr yuè jiān kāi shè wò 'ěr tè diàn yǐng yuàn。
yī jiǔ yī 0 nián（ 28 suì） yī yuè 'èr rì， zài mèi mèi 'ài lín de péi bàn xià， huí dào de lǐ yǎ sī tè。 qī
yuè， bǎ nào kuī sǔn de wò 'ěr tè diàn yǐng yuàn chū ràng gěi rén。
yī jiǔ yī yī nián（ 29 suì） èr yuè jiǔ rì， méng sài 'ěr chū bǎn shè lái xìn， yào qiú jiāng shè jí 'ài dé huá qī shì de
jì shù yī gài shān chú。 dà yuē zài zhè gè shí hòu， tā bǎ《 sī dì fēn yīng xióng》 de yuán gǎo diū jìn huǒ lú， xìng 'ér mèi mèi
ài lín zài chǎng， gěi qiǎng liǎo chū lái。
yī jiǔ yī 'èr nián（ 30 suì） qī yuè zuì hòu yī cì huí 'ài 'ěr lán。 yǔ méng sài 'ěr chū bǎn shè de tán pàn pò liè。 jiǔ
yuè shí yī rì huó zì bǎn bèi chāi diào。 dāng yè， qiáo yī sī xié quán jiā rén lí kāi dū bǎi lín。 zài huí dào de lǐ yǎ sī tè de
lù shàng， tā zhēn duì chū bǎn jiā luó bó cí xiě liǎo yī shǒu fěng cì shī《 huǒ kǒu pēn chū lái de wǎ sī》。
yī jiǔ yī sān nián（ 31 suì） zài liè wò tiē lā gāo děng shāng yè xué xiào（ de lǐ yǎ sī tè dà xué de qián shēn） jiāoshū
de tóng shí， jì xù gè bié jiào shòu yīng yǔ。 shí 'èr yuè shí wǔ rì， jīng yè zhī jiè shào， ài lín lā · páng dé lái xìn jiào tā
jì zuò pǐn qù。
yī jiǔ yī sì nián（ 32 suì） jīng páng dé de jiè shào， zì 'èr yuè 'èr rì qǐ， zhì cì nián jiǔ yuè hào wéi zhǐ， zài《
wéi wǒ zhù yì zhě》 zá zhì shàng fēn 'èr shí wǔ cì liánzǎi《 yì shù jiā nián qīng shí de xiě zhào》。 yī yuè 'èr shí jiǔ rì， lǐ
chá cí tóng yì chū bǎn《 dū bǎi lín rén》， gāi shū yú liù yuè shí wǔ rì wèn shì。 dāng yuè， kāi shǐ xiě《 yóu lì xī sī》
dì sān zhāng。
yī jiǔ yī wǔ nián（ 33 suì） liù yuè xià xún yí jū sū lí shì。 jì xù gè bié jiào shòu yīng yǔ。 jīng páng dé、 yè
zhī děng rén bēn zǒu， huò dé huáng jiā wén xué jī jīn de jīn tiē。
yī jiǔ yī liù nián（ 34 suì） jīng《 wéi wǒ zhù yì zhě》 zhù biān hā lì tè · wéi wò 'ěr dǐng lì xié zhù，《 dū bǎi
lín rén》 yǐ jí《 yì shù jiā nián qīng shí de xiě zhào》 zài měi guó chū bǎn。
yī jiǔ yī qī nián（ 35 suì） èr yuè， qīng guāng yǎn fù fā。 èr yuè shí 'èr rì，《 xiě zhào》 de yīng guó bǎn yóu lún
dūn de wéi wǒ zhù yì zhě chū bǎn shè chū bǎn。 bā yuè shí bā rì， yòu yǎn dòng shǒu shù。
yī jiǔ yī bā nián（ 36 suì） jīng páng dé jiè shào， zài měi guó《 xiǎo píng lùn》 zá zhì sān yuè hào shàng kāi shǐ liánzǎi
《 yóu lì xī sī》。 wǔ yuè， jù běn《 liú wáng zhě》 de yīng guó bǎn《 gé lán tè · lǐ chá cí》 hé měi guó bǎn（ xiū
bù xiū） tóng shí wèn shì。 yǔ yǒu rén kè láo dé · sài kè sī gòng tóng chuàng lì yīng guó yǎn yuán jù tuán， xià jì dào luò sāng、 rì
nèi wǎ děng chéng shì xún huí yǎn chū wáng 'ěr dé de《 míng jiào 'ōu nà sī tè de zhòng yào xìng》， bìng yú jiǔ yuè jiān zài sū lí shì gōng
yǎn xiāo bó nà de《 huá lún fū rén de zhí yè》 yǐ jí lìng wài yī xiē yīng guó xì jù。
yī jiǔ yī jiǔ nián（ 37 suì） zì wǔ yuè qǐ， hā lì tè · wéi wò 'ěr kāi shǐ zài jīng jì shàng zī zhù qiáo yī sī， yī
zhí yán xù dào tā qù shì hòu bàn lǐ sāngshì wéi zhǐ。 bā yuè qī rì，《 liú wáng zhě》 zài mù ní hēi shàng yǎn。 shí yuè zhōng xún
fǎn huí de lǐ yǎ sī tè， yòu dào liè wò tiē lā gāo děng shāng yè xué xiào jiāoshū。
yī jiǔ 'èr 0 nián（ 38 suì） zài páng dé de quàn shuō xià， jué dìng yí jū bā lí， qī yuè bā rì dǐ bā lí。 shí yī
rì jié shí suō shì bǐ yà shū wū de xī 'ěr wēi yà · bì qí。 bā yuè shí wǔ rì， shī rén T·S· ài lüè tè děng 'èr rén lái
fǎng。 shí 'èr yuè 'èr shí rì wán chéng《 yóu lì xī sī》 dì shí wǔ zhāng。
yī jiǔ 'èr yī nián（ 39 suì）《 xiǎo píng lùn》 zá zhì yīn liánzǎi《 yóu lì xī sī》， zài niǔ yuē bèi kòng gào kānzǎi
wěi xiè zuò pǐn bèi pàn yòu zuì。 sì yuè shí rì， yǔ xī 'ěr wēi yà · bì qí qiān dìng《 yóu lì xī sī》 chū bǎn hé tóng， zhēng
jí yī qiān bù de yù yuē。 yù yuē zhě yòu yè zhī、 páng dé、 jì dé、 hǎi míng wēi děng。 wǔ yuè jiān zài yǒu rén jiā yǔ mǎ sài
ěr · pǔ lǔ sī tè wù miàn。 shí yuè 'èr shí jiǔ rì，《 yóu lì xī sī》 de yuán gǎo wán chéng。
yī jiǔ 'èr 'èr nián（ 40 suì） zài shēng rì（ 2 yuè 2 rì） nà tiān shōu dào《 yóu lì xī sī》 de yàng běn。 bā yuè xié
qī fù lún dūn， chū cì jiàn dào hā lì tè · wéi wò 'ěr。 yīn mù jí 'è huà， jí máng huí bā lí。 kāi shǐ gòu sī《 fēn ní
gēn shǒu líng yè》。
yī jiǔ 'èr sān nián（ 41 suì） sān yuè shí rì， zhuóshǒu xiě《 fēn ní gēn shǒu líng yè》。
yī jiǔ 'èr sì nián（ 42 suì） sān yuè，《 yì shù jiā nián qīng shí de xiě zhào》 de fǎ yì běn chū bǎn， gǎi míng《 dí
dá lè sī》。《 yóu lì xī sī》 fǎ yì de yī bù fēn kānzǎi zài《 jiāo liú》 zá zhì shàng。 sì yuè，《 dà xī yáng liǎng
àn píng lùn》 kānzǎi《 fēn ní gēn shǒu líng yè》 kāi tóu bù fēn。 dāng nián， wéi jí ní yà · wú 'ěr fū chū bǎn xiǎo cè zǐ《
běn niè tè xiān shēng hé bù lǎng tài tài》， duì qiáo yī sī de zuò pǐn biǎo shì zhī chí。 hā fó · gé màn suǒ zhù《 zhān mǔ sī ·
qiáo yī sī zuì chū de sì shí nián》 chū bǎn。
yī jiǔ 'èr wǔ nián（ 43 suì） èr yuè shí jiǔ rì， niǔ yuē de niè wǎ fú dé jù chǎng shàng yǎn《 liú wáng zhě》。 zài《 kè
lāi tiē lǐ 'áng》 qī yuè hào shàng fā biǎo《 fēn ní gēn shǒu líng yè》 dì wǔ zhāng。
yī jiǔ 'èr liù nián（ 44 suì） èr yuè shí sì、 shí wǔ rì， lún dūn de shè zhèng jù chǎng shàng yǎn《 liú wáng zhě》。
yī jiǔ 'èr qī nián（ 45 suì） shū qíng shī jí《 yī fēn qián yī shǒu de shī》 yóu suō shì bǐ yà shū wū chū bǎn。《 yóu
lì xī sī》 de dé yì běn wèn shì。
yī jiǔ 'èr jiǔ nián（ 47 suì） èr yuè，《 yóu lì xī sī》 fǎ yì běn chū bǎn。 sì yuè 'èr shí wǔ rì， ér zǐ qiáo
zhì yà zuò wéi nán dī yīn gē shǒu shǒu cì dēng tái yǎn chàng。 nǚ 'ér lù xī yà shén jīng chū xiàn yì cháng zhèng zhuàng。
yī jiǔ sān 0 nián（ 48 suì）《 yóu lì xī sī》 dé yì běn chū bǎn dì sān bǎn。 shí 'èr yuè xià xún， shòu qiáo yī sī
běn rén zhī tuō， hā fó · gé màn zhuóshǒu xiě qí zhuànjì。 sī tú 'ěr tè · jí 'ěr bó tè de《 zhān mǔ sī · qiáo yī sī de
〈 yóu lì xī sī〉》 yóu fèi bó yǔ fèi bó chū bǎn shè chū bǎn， tā qiáng diào liǎo cǐ zuò de gǔ diǎn zhù yì xìng gé yǔ xiàng zhēng xìng。
（ cǐ shū de xiū dìng běn chū bǎn yú 1952 nián。）
yī jiǔ sān yī nián（ 49 suì） sì yuè， xié qī nǚ fù lún dūn。 qī yuè sì rì shì fù qīn yuē hàn de shēng rì， qiáo
yī sī xuǎn dìng zhè yī tiān zài lún dūn yǔ nuò lā zhèng shì jié hūn。 zì cóng yī jiǔ 0 sì nián bù gù fù qīn de fǎn duì yǔ nuò lā sī
bēn， yǐ guò liǎo 'èr shí qī nián。 shí 'èr yuè 'èr shí jiǔ rì， qí fù qīn zài dū bǎi lín shì shì。
yī jiǔ sān 'èr nián（ 50 suì） èr yuè shí wǔ rì， sūn 'ér sī dì fēn · zhān mǔ sī · qiáo yī sī chū shēng。《 yóu lì
xī sī》 rì yì běn yóu yán bō shū diàn chū bǎn。 qiáo yī sī běn rén rèn wéi shǔ dào yìn， dàn 'àn rì běn bǎn quán fǎ， wài guó zuò
pǐn zhǐ xiǎng yòu bǎn quán shí nián。
yī jiǔ sān sān nián（ 51 suì） shí 'èr yuè liù rì， niǔ yuē de wū 'ěr sài fǎ guān xuān pàn《 yóu lì xī sī》 bìng fēi
wěi xiè zuò pǐn。
yī jiǔ sān sì nián（ 52 suì） yī yuè， wèile què bǎo bǎn quán， niǔ yuē de lán dēng shū wū qiǎng xiān chū bǎn yī bǎi bù
《 yóu lì xī sī》。 fú lán kè · bó zhēn suǒ zhù《 zhān mǔ sī · qiáo yī sī yǔ〈 yóu lì xī sī〉 de chuàng zào》 yóu lún
dūn gé léi sēn yǔ gé léi sēn chū bǎn shè chū bǎn（ xiū dìng běn yú yī jiǔ liù qī nián yóu měi guó yìn dì 'ān nà dà xué chū bǎn shè chū
bǎn）。
yī jiǔ sān wǔ nián（ 53 suì） qī yuè， nǚ 'ér lù xī yà de shén jīng bìng fā zuò， zhì shǐ qiáo yī sī zuò liǎo yī xīng
qī 'è mèng， bù duàn dì wéi huàn jué kùn rǎo。
yī jiǔ sān liù nián（ 54 suì） qī yuè， jiāng lù xī yà yǐ qián xiě de《 qiáo sǒu rù mén》 zuò wéi tā de shēng rì（ 6
yuè 26 rì） lǐ wù chū bǎn。 shí 'èr yuè，《 shī jí》 chū bǎn。
yī jiǔ sān qī nián（ 55 suì） shí yuè，《 nián qīng nèi xiàng de sī tè liè lā》 zài lún dūn chū bǎn。
yī jiǔ sān bā nián（ 56 suì） shí yī yuè shí sān rì，《 fēn ní gēn shǒu líng yè》 wán chéng。 qiáo yī sī dòng yuán yǒu rén
men zuò jiàoduì， nián dǐ xiào wán。
yī jiǔ sān jiǔ nián（ 57 suì） wǔ yuè sì rì，《 fēn ní gēn shǒu líng yè》 zài lún dūn hé niǔ yuē tóng shí chū bǎn。
yī jiǔ sì 0 nián（ 58 suì） shí 'èr yuè shí qī rì， qiān jū dào sū lí shì。 hā fó · gé màn de《 zhān mǔ sī · qiáo
yī sī》 chū bǎn。
yī jiǔ sì yī nián（ 59 suì） yī yuè shí rì， yīn fù bù jìng luán zhù yuàn， chá míng xì shí 'èr zhǐ cháng kuì yáng chuān kǒng，
shí sān rì líng chén qù shì。 shí wǔ rì zàng yú sū lí shì de fú lín tiē lóng fén dì。《 lún dūn tài wù shì bào》 kānzǎi liǎo yī
piān duì qiáo yī sī quē fá lǐ jiě de dào wén。 T·S· ài lüè tè lì jí xiě wén zhāng biǎo shì kàng yì， bìng zài《 dì píng xiàn》
zá zhì sān yuè hào shàng fā biǎo《 gào yú shū》 yī wén， jìn yī bù fǎn jī。 wéi jí ní yà · wú 'ěr fū jiē dào fù gào， gǎn
kǎi xì zhī。（ tā yú tóng nián 3 yuè 28 rì yě zì shā shēn sǐ。） zhè yī nián， hā lì · lāi wén zhuàn xiě liǎo《 zhān mǔ sī ·
qiáo yī sī》 yī shū， kěn dìng liǎo qiáo yī sī zài 'ōu zhōu wén xué shǐ shàng de dì wèi。
Joyce was born to a lower-middle class family in Dublin, where he excelled as a student at the Jesuit schools Clongowes and Belvedere, then at University College, Dublin. In his early twenties he emigrated permanently to continental Europe, living in Trieste, Paris and Zürich. Though most of his adult life was spent abroad, Joyce's fictional universe does not extend beyond Dublin, and is populated largely by characters who closely resemble family members, enemies and friends from his time there; Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly after the publication of Ulysses he elucidated this preoccupation somewhat, saying, “For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal.”
1882–1904: Dublin
James Augustine Aloysius Joyce was born on 2 February 1882 to John Stanislaus Joyce and Mary Jane Murray in the Dublin suburb of Rathgar. He was the eldest of ten surviving children; two of his siblings died of typhoid. His father's family, originally from Fermoy in Cork, had once owned a small salt and lime works. Joyce's father and paternal grandfather both married into wealthy families. In 1887, his father was appointed rate collector (i.e., a collector of local property taxes) by Dublin Corporation; the family subsequently moved to the fashionable adjacent small town of Bray 12 miles (19 km) from Dublin. Around this time Joyce was attacked by a dog, which engendered in him a lifelong cynophobia. He also suffered from keraunophobia, as his deeply religious aunt had described thunderstorms to him as a sign of God's wrath.
Joyce at age six, 1888
In 1891, Joyce wrote a poem, Et Tu Healy on the death of Charles Stewart Parnell. His father was angry at the treatment of Parnell by the Catholic church and at the resulting failure to secure Home Rule for Ireland. The elder Joyce had the poem printed and even sent a part to the Vatican Library. In November of that same year, John Joyce was entered in Stubbs Gazette (an official register of bankruptcies) and suspended from work. In 1893, John Joyce was dismissed with a pension, beginning the family's slide into poverty caused mainly by John's drinking and general financial mismanagement.
James Joyce began his education at Clongowes Wood College, a Jesuit boarding school near Clane in County Kildare, which he entered in 1888 but had to leave in 1892 when his father could no longer pay the fees. Joyce then studied at home and briefly at the Christian Brothers school on North Richmond Street, Dublin, before he was offered a place in the Jesuits', Dublin school, Belvedere College, in 1893. The offer reflected, at least in part, the hope that he would prove to have a vocation and join the Order. Joyce, however, apparently rejected Catholicism by the age of 16, although the philosophy of Thomas Aquinas continued to influence him strongly throughout his life. L. A. G. Strong, William T. Noon, Robert Boyle and others have argued that Joyce, later in life, reconciled with the faith he rejected earlier in life and that his parting with the faith was succeeded by a not so obvious reunion, and that Ulysses and Finnegans Wake are essentially Catholic expressions. Likewise, Hugh Kenner and T.S. Eliot saw between the lines of Joyce’s work the outlook of a serious Christian and that beneath the veneer of the work lies a remnant of Catholic belief and attitude. Kevin Sullivan maintains that, rather than reconciling with the faith, Joyce never left it. Critics holding this view insist that Stephen is not Joyce. Somewhat cryptically, in an interview after completing Ulysses, in response to the question “When did you leave the Catholic Church”, Joyce answered, “That’s for the Church to say.” Eamonn Hughes maintains that Joyce takes a dialectic approach, both assenting and denying, saying that Steven’s much noted non serviam is qualified - “I will not serve that which I no longer believe…”, and that the non serviam will always be balanced by Stephen’s “I am a servant…” and Molly’s “yes”.
He enrolled at the recently established University College Dublin (UCD) in 1898, studying English, French, and Italian. He also became active in theatrical and literary circles in the city. In 1900 his review of Ibsen's New Drama was published in Fortnightly Review; it was his first publication and he received a note of thanks from the Norwegian dramatist himself. Joyce wrote a number of other articles and at least two plays (since lost) during this period. Many of the friends he made at University College Dublin would appear as characters in Joyce's written works.
In 1901, the National Census of Ireland lists James Joyce (19) as a scholar living with his mother and father, six sisters and three brothers at Royal Terrace, Clontarf, Dublin.
Bust of James Joyce in St. Stephen's Green, Dublin
After graduating from UCD in 1903, Joyce left for Paris to study medicine, but he soon abandoned this after finding the technical lectures in French too difficult. He stayed on for a few months, appealing for finance his family could ill afford and reading late in the Bibliothèque Sainte-Geneviève. When his mother was diagnosed with cancer, his father sent a telegraph which read, "NOTHER [sic] DYING COME HOME FATHER". Joyce returned to Ireland. Fearing for her son's impiety, his mother tried unsuccessfully to get Joyce to make his confession and to take communion. She finally passed into a coma and died on 13 August, James and Stanislaus having refused to kneel with other members of the family praying at her bedside. After her death he continued to drink heavily, and conditions at home grew quite appalling. He scraped a living reviewing books, teaching and singing—he was an accomplished tenor, and won the bronze medal in the 1904 Feis Ceoil.
On 7 January 1904 he attempted to publish A Portrait of the Artist, an essay-story dealing with aesthetics, only to have it rejected from the free-thinking magazine Dana. He decided, on his twenty-second birthday, to revise the story into a novel he called Stephen Hero. It was a fictional rendering of Joyce's youth, but he eventually grew frustrated with its direction and abandoned this work. It was never published in this form, but years later, in Trieste, Joyce completely rewrote it as A Portrait of the Artist as a Young Man. The unfinished Stephen Hero was published after his death.
The same year he met Nora Barnacle, a young woman from Connemara, County Galway who was working as a chambermaid. On 16 June 1904, they first stepped out together, an event which would be commemorated by providing the date for the action of Ulysses.
Joyce remained in Dublin for some time longer, drinking heavily. After one of these drinking binges, he got into a fight over a misunderstanding with a man in Phoenix Park; he was picked up and dusted off by a minor acquaintance of his father's, Alfred H. Hunter, who brought him into his home to tend to his injuries. Hunter was rumored to be a Jew and to have an unfaithful wife, and would serve as one of the models for Leopold Bloom, the main protagonist of Ulysses. He took up with medical student Oliver St John Gogarty, who formed the basis for the character Buck Mulligan in Ulysses. After staying in Gogarty's Martello Tower for six nights he left in the middle of the night following an altercation which involved Gogarty shooting a pistol at some pans hanging directly over Joyce's bed. He walked all the way back to Dublin to stay with relatives for the night, and sent a friend to the tower the next day to pack his trunk. Shortly thereafter he eloped to the continent with Nora.
[edit]1904–20: Trieste and Zürich
Joyce in 1915
Joyce and Nora went into self-imposed exile, moving first to Zürich, where he had supposedly acquired a post to teach English at the Berlitz Language School through an agent in England. It turned out that the English agent had been swindled, but the director of the school sent him on to Trieste, which was part of Austria-Hungary until World War I (today part of Italy). Once again, he found there was no position for him, but with the help of Almidano Artifoni, director of the Trieste Berlitz school, he finally secured a teaching position in Pola, then also part of Austria-Hungary (today part of Croatia). He stayed there, teaching English mainly to Austro-Hungarian naval officers stationed at the Pola base, from October 1904 until March 1905, when the Austrians—having discovered an espionage ring in the city—expelled all aliens. With Artifoni's help, he moved back to Trieste and began teaching English there. He would remain in Trieste for most of the next ten years.
Joyce's statue in Trieste
Later that year Nora gave birth to their first child, George. Joyce then managed to talk his brother, Stanislaus, into joining him in Trieste, and secured him a position teaching at the school. James's ostensible reasons were desire for Stanislaus's company and the hope of offering him a more interesting life than that of his simple clerking job in Dublin. In truth, though, James hoped to augment his family's meagre income with his brother's earnings. Stanislaus and James had strained relations throughout the time they lived together in Trieste, with most arguments centering on James's drinking habits and frivolity with money.
With the chronic wanderlust of James's early years, he became frustrated with life in Trieste and moved to Rome in late 1906, having secured employment in a bank. He intensely disliked Rome, and moved back to Trieste in early 1907. His daughter Lucia was born in the summer of the same year.
Joyce returned to Dublin in mid-1909 with George, in order to visit his father and work on getting Dubliners published. He visited Nora's family in Galway, meeting them for the first time (a successful visit, to his relief). While preparing to return to Trieste he decided to take one of his sisters, Eva, back with him to help Nora run the home. He spent only a month in Trieste before returning to Dublin, this time as a representative of some cinema owners hoping to set up a regular cinema in Dublin. The venture was successful (but quickly fell apart in Joyce's absence), and he returned to Trieste in January 1910 with another sister, Eileen, in tow. Eva became very homesick for Dublin and returned there a few years later, but Eileen spent the rest of her life on the continent, eventually marrying Czech bank cashier Frantisek Schaurek.
Joyce returned to Dublin again briefly in mid-1912 during his years-long fight with his Dublin publisher, George Roberts, over the publication of Dubliners. His trip was once again fruitless, and on his return he wrote the poem "Gas from a Burner" as an invective against Roberts. After this trip, he never again came closer to Dublin than London, despite many pleas from his father and invitations from fellow Irish writer William Butler Yeats.
One of his students in Trieste was Ettore Schmitz, better known by the pseudonym Italo Svevo. They met in 1907 and became lasting friends and mutual critics. Schmitz was a Catholic of Jewish origin and became the primary model for Leopold Bloom; most of the details about the Jewish faith in Ulysses came from Schmitz's responses to queries from Joyce. While living in Trieste, Joyce was first beset with eye problems that ultimately required over a dozen surgeries.
Joyce concocted a number of money-making schemes during this period, including an attempt to become a cinema magnate in Dublin. He also frequently discussed but ultimately abandoned a plan to import Irish tweeds to Trieste. Correspondence relating to that venture with the Irish Woollen Mills are displayed in the windows of their premises on Aston's Quay in Dublin. His skill at borrowing money saved him from indigence. What income he had came partially from his position at the Berlitz school and partially from teaching private students.
The so-called James-Joyce-Kanzel (plateau) at the confluence of the Sihl an Limmat rivers in Zürich where Joyce loved to relax
In 1915, after most of his students were conscripted in Trieste for World War I, he moved to Zürich. Two influential private students, Baron Ambriogo Railli and Count Francesco Sordina, petitioned officials for an exit permit for the Joyces, who in turn agreed not to take any action against the emperor of Austria-Hungary during the war. There, he met one of his most enduring and important friends, Frank Budgen, whose opinion Joyce constantly sought through the writing of Ulysses and Finnegans Wake. It was also here where Ezra Pound brought him to the attention of English feminist and publisher Harriet Shaw Weaver, who would become Joyce's patron, providing him thousands of pounds over the next 25 years and relieving him of the burden of teaching in order to focus on his writing. While in Zürich he wrote Exiles, published A Portrait..., and began serious work on Ulysses. Zürich during the war was home to exiles and artists from across Europe, and its bohemian, multilingual atmosphere suited him. Nevertheless, after four years he was restless, and after the war he returned to Trieste as he had originally planned. He found the city had changed, and some of his old friends noted his maturing from teacher to full-time artist. His relations with his brother (who had been interned in an Austrian prison camp for most of the war due to his pro-Italian politics) were more strained than ever. Joyce headed to Paris in 1920 at an invitation from Ezra Pound, supposedly for a week, but he ended up living there for the next twenty years.
[edit]1920–41: Paris and Zürich
In Paris, 1924. Portrait by Patrick Tuohy.
Joyce set himself to finally finishing Ulysses in Paris, delighted to find that he was gradually gaining fame as an avant-garde writer. A further grant from Miss Shaw Weaver meant he could devote himself full-time to writing again, as well as consort with other literary figures in the city. During this era, Joyce's eyes began to give him more and more problems. He was treated by Dr Louis Borsch in Paris, receiving nine surgeries from him until Borsch's death in 1929. Throughout the 1930s he traveled frequently to Switzerland for eye surgeries and treatments for Lucia, who, according to the Joyces, suffered from schizophrenia. Lucia was analysed by Carl Jung at the time, who after reading Ulysses, concluded that her father had schizophrenia. Jung said she and her father were two people heading to the bottom of a river, except that he was diving and she was falling.
Grave of James Joyce in Zürich-Fluntern
In Paris, Maria and Eugene Jolas nursed Joyce during his long years of writing Finnegans Wake. Were it not for their unwavering support (along with Harriet Shaw Weaver's constant financial support), there is a good possibility that his books might never have been finished or published. In their now legendary literary magazine "transition," the Jolases published serially various sections of Joyce's novel under the title Work in Progress. He returned to Zürich in late 1940, fleeing the Nazi occupation of France. On 11 January 1941, he underwent surgery for a perforated ulcer. While at first improved, he relapsed the following day, and despite several transfusions, fell into a coma. He awoke at 2 a.m. on 13 January 1941, and asked for a nurse to call his wife and son before losing consciousness again. They were still on their way, when he died, 15 minutes later. He is buried in the Fluntern Cemetery within earshot of the lions in the Zürich Zoo. Although two senior Irish diplomats were in Switzerland at the time, neither attended Joyce's funeral, and the Irish government subsequently declined Nora's offer to permit the repatriation of Joyce's remains. Nora, whom Joyce had finally married in London in 1931, survived him by 10 years. She is buried now by his side, as is their son George, who died in 1976. Ellmann reports that when the arrangements for Joyce's burial were being made, a Catholic priest tried to convince Nora that there should be a funeral Mass. She replied, "I couldn't do that to him." Swiss tenor Max Meili sang Addio terra, addio cielo from Monteverdi's L'Orfeo at the funeral service.
[edit]Major works
[edit]Dubliners
Main article: Dubliners
The title page of the first edition of Dubliners
Joyce's Irish experiences constitute an essential element of his writings, and provide all of the settings for his fiction and much of its subject matter. His early volume of short stories, Dubliners, is a penetrating analysis of the stagnation and paralysis of Dublin society. The stories incorporate epiphanies, a word used particularly by Joyce, by which he meant a sudden consciousness of the "soul" of a thing. The final and most famous story in the collection, "The Dead", was directed by John Huston as his last feature film in 1987.
[edit]A Portrait of the Artist as a Young Man
Main article: A Portrait of the Artist as a Young Man
A Portrait of the Artist as a Young Man is a nearly complete rewrite of the abandoned novel Stephen Hero. Joyce attempted to burn the original manuscript in a fit of rage during an argument with Nora, though to his subsequent relief it was rescued by his sister. A Künstlerroman, Portrait is a heavily autobiographical coming-of-age novel depicting the childhood and adolescence of protagonist Stephen Dedalus and his gradual growth into artistic self-consciousness. Some hints of the techniques Joyce frequently employed in later works, such as stream of consciousness, interior monologue, and references to a character's psychic reality rather than to his external surroundings, are evident throughout this novel. Joseph Strick directed a film of the book in 1977 starring Luke Johnston, Bosco Hogan, T.P. McKenna and John Gielgud.
[edit]Exiles and poetry
Main articles: Pomes Penyeach and Chamber Music (book)
Despite early interest in the theatre, Joyce published only one play, Exiles, begun shortly after the outbreak of World War I in 1914 and published in 1918. A study of a husband and wife relationship, the play looks back to The Dead (the final story in Dubliners) and forward to Ulysses, which Joyce began around the time of the play's composition.
Joyce also published a number of books of poetry. His first mature published work was the satirical broadside "The Holy Office" (1904), in which he proclaimed himself to be the superior of many prominent members of the Celtic revival. His first full-length poetry collection Chamber Music (referring, Joyce explained, to the sound of urine hitting the side of a chamber pot) consisted of 36 short lyrics. This publication led to his inclusion in the Imagist Anthology, edited by Ezra Pound, who was a champion of Joyce's work. Other poetry Joyce published in his lifetime includes "Gas From A Burner" (1912), Pomes Penyeach (1927) and "Ecce Puer" (written in 1932 to mark the birth of his grandson and the recent death of his father). It was published by the Black Sun Press in Collected Poems (1936).
[edit]Ulysses
Main article: Ulysses (novel)
Announcement of the initial publication of Ulysses.
As he was completing work on Dubliners in 1906, Joyce considered adding another story featuring a Jewish advertising canvasser called Leopold Bloom under the title Ulysses. Although he did not pursue the idea further at the time, he eventually commenced work on a novel using both the title and basic premise in 1914. The writing was completed in October, 1921. Three more months were devoted to working on the proofs of the book before Joyce halted work shortly before his self-imposed deadline, his 40th birthday (2 February 1922).
Thanks to Ezra Pound, serial publication of the novel in the magazine The Little Review began in 1918. This magazine was edited by Margaret Anderson and Jane Heap, with the backing of John Quinn, a New York attorney with an interest in contemporary experimental art and literature. Unfortunately, this publication encountered censorship problems in the United States; serialization was halted in 1920 when the editors were convicted of publishing obscenity. The novel was not published in the United States until 1933.
At least partly because of this controversy, Joyce found it difficult to get a publisher to accept the book, but it was published in 1922 by Sylvia Beach from her well-known Rive Gauche bookshop, Shakespeare and Company. An English edition published the same year by Joyce's patron, Harriet Shaw Weaver, ran into further difficulties with the United States authorities, and 500 copies that were shipped to the States were seized and possibly destroyed. The following year, John Rodker produced a print run of 500 more intended to replace the missing copies, but these were burned by English customs at Folkestone. A further consequence of the novel's ambiguous legal status as a banned book was that a number of "bootleg" versions appeared, most notably a number of pirate versions from the publisher Samuel Roth. In 1928, a court injunction against Roth was obtained and he ceased publication.
With the appearance of both Ulysses and T. S. Eliot's poem, The Waste Land, 1922 was a key year in the history of English-language literary modernism. In Ulysses, Joyce employs stream of consciousness, parody, jokes, and virtually every other established literary technique to present his characters. The action of the novel, which takes place in a single day, 16 June 1904, sets the characters and incidents of the Odyssey of Homer in modern Dublin and represents Odysseus (Ulysses), Penelope and Telemachus in the characters of Leopold Bloom, his wife Molly Bloom and Stephen Dedalus, parodically contrasted with their lofty models. The book explores various areas of Dublin life, dwelling on its squalor and monotony. Nevertheless, the book is also an affectionately detailed study of the city, and Joyce claimed that if Dublin were to be destroyed in some catastrophe it could be rebuilt, brick by brick, using his work as a model. In order to achieve this level of accuracy, Joyce used the 1904 edition of Thom's Directory—a work that listed the owners and/or tenants of every residential and commercial property in the city. He also bombarded friends still living there with requests for information and clarification.
Joyce talking with publishers Sylvia Beach and Adrienne Monnier at Shakespeare & Co., Paris, 1920
The book consists of 18 chapters, each covering roughly one hour of the day, beginning around 8 a.m. and ending some time after 2 a.m. the following morning. Each chapter employs its own literary style, and parodies a specific episode in Homer's Odyssey. Furthermore, each chapter is associated with a specific colour, art or science, and bodily organ. This combination of kaleidoscopic writing with an extreme formal schematic structure renders the book a major contribution to the development of 20th-century modernist literature. The use of classical mythology as an organizing framework, the near-obsessive focus on external detail, and the occurrence of significant action within the minds of characters have also contributed to the development of literary modernism. Nevertheless, Joyce complained that, "I may have oversystematised Ulysses," and played down the mythic correspondences by eliminating the chapter titles that had been taken from Homer.
[edit]Finnegans Wake
Main article: Finnegans Wake
Joyce as depicted on the Irish £10 banknote, issued 1993–2002
Having completed work on Ulysses, Joyce was so exhausted that he did not write a line of prose for a year. On 10 March 1923 he informed a patron, Harriet Weaver: "Yesterday I wrote two pages—the first I have since the final Yes of Ulysses. Having found a pen, with some difficulty I copied them out in a large handwriting on a double sheet of foolscap so that I could read them. Il lupo perde il pelo ma non il vizio, the Italians say. The wolf may lose his skin but not his vice or the leopard cannot change his spots". Thus was born a text that became known, first, as Work in Progress and later Finnegans Wake.
By 1926 Joyce had completed the first two parts of the book. In that year, he met Eugene and Maria Jolas who offered to serialise the book in their magazine transition. For the next few years, Joyce worked rapidly on the new book, but in the 1930s, progress slowed considerably. This was due to a number of factors, including the death of his father in 1931, concern over the mental health of his daughter Lucia and his own health problems, including failing eyesight. Much of the work was done with the assistance of younger admirers, including Samuel Beckett. For some years, Joyce nursed the eccentric plan of turning over the book to his friend James Stephens to complete, on the grounds that Stephens was born in the same hospital as Joyce exactly one week later, and shared the first name of both Joyce and of Joyce's fictional alter-ego (this is one example of Joyce's numerous superstitions).
Reaction to the work was mixed, including negative comment from early supporters of Joyce's work, such as Pound and the author's brother Stanislaus Joyce. In order to counteract this hostile reception, a book of essays by supporters of the new work, including Beckett, William Carlos Williams and others was organised and published in 1929 under the title Our Exagmination Round His Factification for Incamination of Work in Progress. At his 47th birthday party at the Jolases' home, Joyce revealed the final title of the work and Finnegans Wake was published in book form on 4 May 1939. Later, further negative comments surfaced from doctor and author Hervey Cleckley, who questioned the significance others had placed on the work. In his book, The Mask of Sanity, Hervey Cleckley, M.D. refers to Finnegans Wake as "a 628-page collection of erudite gibberish indistinguishable to most people from the familiar word salad produced by hebephrenic patients on the back wards of any state hospital."
Joyce's method of stream of consciousness, literary allusions and free dream associations was pushed to the limit in Finnegans Wake, which abandoned all conventions of plot and character construction and is written in a peculiar and obscure language, based mainly on complex multi-level puns. This approach is similar to, but far more extensive than that used by Lewis Carroll in Jabberwocky. This has led many readers and critics to apply Joyce's oft-quoted description in the Wake of Ulysses as his "usylessly unreadable Blue Book of Eccles" to the Wake itself. However, readers have been able to reach a consensus about the central cast of characters and general plot.
Much of the wordplay in the book stems from the use of multilingual puns which draw on a wide range of languages. The role played by Beckett and other assistants included collating words from these languages on cards for Joyce to use and, as Joyce's eyesight worsened, of writing the text from the author's dictation.
The view of history propounded in this text is very strongly influenced by Giambattista Vico, and the metaphysics of Giordano Bruno of Nola are important to the interplay of the "characters". Vico propounded a cyclical view of history, in which civilisation rose from chaos, passed through theocratic, aristocratic, and democratic phases, and then lapsed back into chaos. The most obvious example of the influence of Vico's cyclical theory of history is to be found in the opening and closing words of the book. Finnegans Wake opens with the words "riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs." ("vicus" is a pun on Vico) and ends "A way a lone a last a loved a long the". In other words, the book ends with the beginning of a sentence and begins with the end of the same sentence, turning the book into one great cycle. Indeed, Joyce said that the ideal reader of the Wake would suffer from "ideal insomnia" and, on completing the book, would turn to page one and start again, and so on in an endless cycle of reading.
[edit]Legacy
Statue of James Joyce on North Earl Street, Dublin
Joyce's work has been subject to intense scrutiny by scholars of all types. He has also been an important influence on writers and scholars as diverse as Samuel Beckett, Jorge Luis Borges, Flann O'Brien, Máirtín Ó Cadhain, Salman Rushdie, Robert Anton Wilson, John Updike, and Joseph Campbell. Ulysses has been called "a demonstration and summation of the entire [Modernist] movement".
Some scholars, most notably Vladimir Nabokov, have mixed feelings on his work, often championing some of his fiction while condemning other works. In Nabokov's opinion, Ulysses was brilliant, Finnegans Wake horrible—an attitude Jorge Luis Borges shared. In recent years, literary theory has embraced Joyce's innovation and ambition.[citation needed]
Joyce's influence is also evident in fields other than literature. The phrase "Three Quarks for Muster Mark" in Joyce's Finnegans Wake is often called the source of the physicists' word "quark", the name of one of the main kinds of elementary particles, proposed by the physicist Murray Gell-Mann. The French philosopher Jacques Derrida has written a book on the use of language in Ulysses, and the American philosopher Donald Davidson has written similarly on Finnegans Wake in comparison with Lewis Carroll. Psychoanalyst Jacques Lacan used Joyce's writings to explain his concept of the sinthome. According to Lacan, Joyce's writing is the supplementary cord which kept Joyce from psychosis.
The work and life of Joyce is celebrated annually on 16 June, Bloomsday, in Dublin and in an increasing number of cities worldwide.
In 1999, Time Magazine named Joyce one of the 100 Most Important People of the 20th Century, and stated; "Joyce ... revolutionized 20th century fiction". In 1998, the Modern Library ranked Ulysses No. 1, A Portrait of the Artist as a Young Man No. 3, and Finnegans Wake No. 77, on its list of the 100 best English-language novels of the 20th century.
[edit]Works
Chamber Music (1907, poems)
Dubliners (1914, short-story collection)
A Portrait of the Artist as a Young Man (1916, novel)
Exiles (1918, play)
Ulysses (1922, novel)
Pomes Penyeach (1927, poems)
Collected Poems (1936, poems)
Finnegans Wake (1939, novel)
Posthumous publications
Stephen Hero (precursor to A Portrait; written 1904–06, published 1944)
Giacomo Joyce (written 1907, published 1968)
Letters of James Joyce Vol. 1 (Ed. Stuart Gilbert, 1957)
The Critical Writings of James Joyce (Eds. Ellsworth Mason and Richard Ellman, 1959)
Letters of James Joyce Vol. 2 (Ed. Richard Ellman, 1966)
Letters of James Joyce Vol. 3 (Ed. Richard Ellman, 1966)