言情 》 日瓦戈醫生 Doctor Zhivago 》
第一章-1
帕斯捷爾納剋 Boris Pasternak
大衛．裏恩導演的史詩式戰爭文藝巨片，改編自蘇聯作傢鮑利斯彼斯特納剋的諾貝文學奬作品，描寫理想主義者的醫生日瓦戈和熱情奔放的護士娜拉之間的愛情故事。劇情麯折，壯麗的北國風光和動蕩的革命背景亦增強了影片的可看性。奧瑪．沙裏夫飾汪日瓦戈，他從小被唐雅的父母收養長大後就娶了唐雅為妻。但是在第一次世界大戰期間，日瓦戈認識了裁縫漂亮的女兒娜拉，兩人墜入愛河時卻碰上十月革命發生而被逼分離。日瓦戈回到舊地與妻子團聚時，卻意外與娜拉重逢，壓抑多時的熱情遂一發不可收拾。當日瓦戈被紅軍俘虜押往前綫，他為了見娜拉而冒險逃出，但結果還是不免分手的命運。茱莉．剋麗絲蒂與傑拉爾丁．查普林分飾主角的情人與妻子，表現出各自的擅長。
第一章-1
他們走着，不停地走，一面唱着《永志不忘》，歌聲休止的時候，人們的腳步、馬蹄和微風仿佛接替着唱起這支哀悼的歌。行人給送葬的隊伍讓開了路，數着花圈，畫着十字。一些好奇的便加入到行列裏去，打聽道：“給誰送殯啊？”回答是：“日瓦戈。”“原來是他。那就清楚了。”“不是他，是他女人。”“反正一樣，都是上天的安排。喪事辦得真闊氣。”
剩下不多的最後這點時間也無可輓回地流逝了。“上帝的土地和主的意志，天地宇宙和苦苦衆生。”神甫一邊念誦，一邊隨着畫十字的動作往瑪麗亞·尼古拉耶夫娜的遺體上撒了一小把土。人們唱起《義人之魂》，接着便忙碌起來，合上棺蓋，把它釘牢，然後放人墓穴。四把鐵鍬飛快地填着墓坑，泥土像雨點似的落下去。墳上堆起了一個土丘。一個十歲的男孩踏了上去。
在隆重的葬禮將要結束的時候，人們往往有一種遲鈍和恍您的感覺。正是在這種情況下，大傢覺得這個男孩似乎要在母親的墳上說幾句話。
這孩子揚起頭，從高處先神地嚮蕭瑟的荒野和修道院的尖頂掃了一眼。他那長着翹鼻子的臉頓時變得很難看，脖頸直伸着。如果一頭狼意也這樣仰起頭來，誰都知道它馬上就要嚎叫。孩子用雙手捂住臉，失聲痛哭起來。迎面飛來的一片烏雲灑下陰冷的急雨，仿佛用一條條濕源源的鞭子抽打他的手和臉。一個身着黑衣、窄袖上鑲了一圈皺壁的人走到墳前。這是死者的兄弟、正在哭泣的孩子的舅父，名叫尼古拉·尼古拉耶維奇·韋傑尼亞平，是個自願還俗的神甫。他走到孩子跟前，把他從墓地領走了。
他們過夜的地方是修道院裏的一間內室，這是靠着過去的老關係纔給舅舅騰出來的。正值聖母節的前夕。明天，這孩子就要和舅舅到南方一個很遠的地方、伏爾加河畔的一個省城去。尼古拉神甫在當地一傢辦過進步報紙的書局裏供職。火車票已經買好，單間居室裏放着捆紮停當的行李。從鄰近的車站那邊，隨風傳來遠處正在調車的火車頭如泣如訴的汽笛聲。
到了晚上，天氣驟然變冷了。兩扇挨近地面的窗戶，朝嚮周圍種着黃刺槐的不值得觀賞的一角菜園，對着大路上一個結了冰的水窪和白天埋葬了瑪麗亞·尼古拉耶夫娜的那片墓地。除了幾畦凍得萎縮發青的白菜以外，園子裏空空蕩蕩。一陣風吹來，一叢叢落了葉的刺槐便發瘋似的晃來晃去，嚮路邊俯去。
夜裏，敲窗聲驚醒了尤拉。幽暗的單間居室不可思議地被一道晃動的白光照得很亮。尤拉衹穿一件襯衣跑到窗前，把臉貼在冰冷的玻璃上。
窗外看不見道路，也看不到墓地和菜園。風雪在院子裏咆哮，空中揚起一片雪塵。可以這樣想象，仿佛是暴風雪發現了尤拉，並且也意識到自己的可怕的力量，於是就盡情地欣賞給這孩子造成的印象。風在呼嘯、哀嚎，想盡一切辦法引起尤拉的註意。雪仿佛是一匹白色的織錦，從天上接連不斷地旋轉着飄落下來，有如一件件屍衣覆蓋在大地上。這時，存在的衹有一個無與匹敵的暴風雪的世界。
尤拉從窗臺上爬下來，頭一個念頭就是要穿好衣服到外面去幹點什麽。他擔心修道院的白菜被雪埋住，挖不出來；他害怕風雪在荒野裏湮沒了母親，而她無力抗拒，衹能離他更遠、更深地沉睡在地下。
結果仍然衹是流淚。舅舅醒了，給他講的故事，安慰他，後來打了一個呵欠，踱到窗前，沉思起來。他們開始穿衣服。天色漸漸發白。
母親在世的時候，尤拉還不知道父親早就遺棄了他們，一個人在西伯利亞的各個城市和國外尋歡作樂，眠花宿柳，萬貫傢財像流水一般被他揮霍一空。尤拉常聽人說，父親有時住在彼得堡，有時出現在某個集鎮，但經常是在伊爾比特集市上。
後來，病魔纏身的母親又染上了肺疾。她開始到法國南方和意大利北部去治療，尤拉曾經陪她去過兩次。就這樣，在動蕩不定的環境中，在一連串啞謎似的事件中，在常常變換的陌生人的照料下，尤拉度過了童年。他已經習慣於這些變化，而在無止境的不安定的情況下，父親不在身邊也就不使他感到奇怪了。
當初那個時代，許多風馬牛不相及的東西都要冠上他傢的姓氏，不過那時他還是個很小的孩子呢。
有過日瓦戈作坊，日瓦戈銀行，日瓦戈公寓大樓，日瓦戈式領結和領帶別針，甚至有一種用甜酒浸過的圓點心就叫日瓦戈甜餅。另外，無論在莫斯科的哪條街上，衹要朝車夫喊一聲：“到日瓦戈公館！”那就等於說：“到最遠的地方去！”小雪橇就會把您送到一個很遠的地點。在您周圍是一處幽靜的園林。落在低垂的雲杉枝權上的烏鴉，撲撒下樹上的寒霜。它們“叭、叭”的聯噪，仿佛幹枝爆裂時的脆響，傳送到四面八方。幾條純種獵狗從林間小徑後面的幾幢新房子中間跑出來，越過了大路。它們跑來的那個方向，已經亮起了燈火。夜幕降臨了。
突然間這一切都煙消雲散了。他們傢破了産。
一九O三年的夏天，尤拉和舅舅並排坐在一輛四輪馬車上，順着田野駛嚮紡絲廠主、知名的藝術贊助者科洛格裏沃夫的領地杜普梁卡，去拜訪教育傢兼普及讀物作傢伊萬·伊萬諾維奇·沃斯科博伊尼科夫。
正趕上喀山聖母節，也是收割大忙的時候。可能恰好是吃午飯的時間，或者也許是因為過節，田野裏不見一個人影。陽光暴曬下還沒有收割完的莊稼地，就像是犯人剃了一半頭髮的後腦勺。小鳥在田野上空盤旋。沒有～絲風，地裏的小麥稈挺立着，垂下麥穗。離大路遠些的地方堆起了麥垛，如果長時間地凝望過去，它們就像是些活動的人形，似乎是丈量土地的人沿着地平綫邊走邊往本子上記什麽。
“這一片地呢？”尼古拉·尼古拉耶維奇嚮書局的雜役兼門房帕維爾問道；帕維爾斜身坐在馭者的位置上，拱着腰，一條腿搭在另一條腿上，這就表明他不是真正的車夫，趕車並非他分內的事。“這片地是地主的還是農民的？”
“這一片是老爺們的。”帕維爾一邊答話，一邊點着了煙，“那邊的一片，”他用力吸了一口，煙頭閃出了紅火，停了半晌纔用鞭梢指着另一邊說，“纔是農民的哪。駕！又睡着了？”他不時地朝馬這麽險喝，又不住地斜眼看看馬背和馬尾，仿佛火車司機不停地看氣壓表。
這兩匹牲口也和天下所有拉車的馬一個樣，轅馬天生憨厚，老實地跑着，拉邊套的馬不知為什麽卻像個十足的懶漢。
尼古拉·尼古拉耶維奇帶來了沃斯科博伊尼科夫寫的一本論述土地問題的書的校樣。因為書刊審查制度越來越嚴，書局要求作者重新審閱一遍。
“鄉下的老百姓造反了。”尼古拉·尼古拉耶維奇說，“潘科夫斯剋鄉裏殺了個做買賣的人，燒了地方自治局的種馬場。對這類事，你怎麽看？你們鄉裏的人怎麽說？”
帕維爾的看法原來比一心想打消沃斯科博伊尼科夫對土地問題的熱情的書刊審查官還要悲觀。
“他們怎麽說？對老百姓太放縱了，寵壞了，就是這麽說的。對待我們這些人能這樣嗎？要是由着農民的性子，他們會自己互相卡脖子，我敢嚮上帝發誓。駕！又睡啦？”
這是舅舅和外甥第二次到社普梁卡去。尤拉還以為記得這條路。每當田野嚮兩旁遠遠地延伸開去，前後～望仿佛被樹林鑲上一條細邊的時候，他覺得馬上就能認出那個地方，從那兒起大路應該朝右轉，拐過彎去，科洛格裏沃夫莊園的全景就會展現在眼前，還有那條在遠處閃閃發亮的河以及對岸的鐵路，不過這一切很快又會從視野中消失。可是，每次他都認錯了。田野接連不斷，四周是一片又一片的樹林。不斷變換的一片片田野令人心曠神怡，情不自禁地産生出幻想並思考未來的渴望。
使尼古拉·尼古拉耶維奇日後成名之作，那時連一本也沒有寫出來，不過他的想法已臻成熟。他還不知道，造就他的時勢已經迫近了。
這個人必將躋身於當代作傢、教授和哲學家的行列並將嶄露頭角。他思索的是他們所考慮的所有命題，但是除了那些通用的術語外，他同他們通然不同。那些人都抱殘守缺地信奉某些教條，滿足於咬文嚼字，不求甚解。然而尼古拉神甫擔任過神職，體驗過托爾斯泰主義和，並且不停地繼續探索。他熱心追求的思想，應該是可以鼓舞人的東西，在前進中如實地指明種種木同的道路，能使世間的一切趨於完善；它有如橫空的閃電或滾滾的雷鳴，即便是黃口小兒和目不識丁的人都可聞可見。他渴求的是嶄新的觀念。
和舅父在一起，尤拉覺得非常愉快。舅舅很像媽媽，同她一樣，也是個崇尚自由的人，對自己不習慣的東西不抱任何成見。他像她一樣，懷着同一切人平等相處的高尚感情。他也像她一樣，對一切事一眼就能看穿，並且善於用最初想到的方式表達自己的思想。
尤拉很高興舅舅帶他到杜普梁卡去。那是個很美的地方，它的景色會讓他記起酷愛大自然、常常帶他一同散步的媽媽。另外使尤拉高興的是，又可以和寄居在沃斯科博伊尼科夫傢裏的一個名叫尼卡·杜多羅夫的中學生見面。尤拉覺得尼卡可能看不起他，因為比他大兩歲，每次問好的時候，尼卡總是握住手用力往下拉，頭垂得很低，頭髮披下來遮住前額，擋住了半邊面孔。
“赤貧問題之關鍵——”尼古拉·尼古拉耶維奇讀着修改過的手稿。
“我認為最好改用‘實質’。”伊萬·伊萬諾維奇邊說邊在校樣上作必要的改動。
他們是在一個帶玻璃棚的昏暗的涼臺上工作的。眼睛還可以分辨出地上亂放着的噴水壺和園藝工具。一把破椅子的靠背上搭了一件雨衣。墻角立着一雙沾了幹泥巴的沼澤地用的水靴，靴筒彎到地上。
“同時，死亡與出生的統計也表明——”尼古拉·尼古拉耶維奇口授着說。
“應該加上統計年度。”伊萬·伊萬諾維奇邊說邊寫了下來。
涼臺上透風。小册子的書頁上壓着花崗石塊，免得讓風掀起來。
修改結束以後，尼古拉·尼古拉耶維奇忙着要回傢。
“要有雷陣雨，該回去了。”
“沒有的事，我不放你走。我們這就喝茶。”
“天黑以前我必須趕回城裏去。”
“說什麽也沒用，我不管你這些。”
從房前小花園裏颳進茶炊的煤煙子味，衝淡了煙草和茉莉花的味道。僕人們正把熟奶油、漿果和奶渣餅從廂房端過去。這時候又聽說帕維爾已經到河裏去洗澡，把馬也牽去了。尼古拉·尼古拉耶維奇衹好答應留下來。
“趁着準備茶點的工夫，咱們到懸崖上去看看，在那兒的長凳上坐會兒。”伊萬·伊萬諾維奇提議。
因為是多年的至交，伊萬·伊萬諾維奇便占用了傢資富有的科洛格裏沃夫的管傢住的兩間廂房。這幢小屋子和屋前的花圃，坐落在大花園的一個陰暗、荒蕪的角落裏，門前是一條半圓形的舊林明路。林陰路雜草叢生，如今已經沒有往來的車輛，衹有垃圾車經過這裏往堆放幹垃圾的一條溝𠔌裏倒立和廢棄的磚石料。科洛格裏沃夫是個既有進步思想又同情的百萬富翁，目前正和妻子在國外旅行。住在莊園裏的衹有他的兩個女兒娜佳和莉帕，還有一位家庭女教師和為數不多的僕人。
生機盎然的黑綉球花長成一道稠密的籬笆，把管傢的小院同整個花園、池塘、草地和老爺的住宅隔開。伊萬·伊萬諾維奇和尼古拉·尼古拉耶維奇從外面沿着這道開滿鮮花的籬笆走着，每走過同樣距離的一段路，前方綉球花叢裏就有數量相同的一群麻雀飛出來，使這道籬笆蕩起一片和諧的惆嗽聲，仿佛在尼古拉·尼古拉耶維奇和伊萬·伊萬諾維奇前面有一條流水淙淙的管道似的。
他們走過暖房、園丁的住房和一座不知道做什麽用的石頭建築物的廢墟。
“有才能的人並不少。”尼古拉·尼古拉耶維奇說道，“不過，目前盛行各式各樣的小組和社團。任何一種組織起來的形式都是庸纔的棲身之地，無論他信奉的是索洛維約夫，是康德，還是馬剋思。尋求真理的衹能是獨自探索的人，和那些並不真正熱愛真理的人毫不相幹。世界上難道真有什麽值得信仰的嗎？這樣的事物簡直是鳳毛群角。我認為應該忠於不朽，這是對生命的另一個更強有力的稱呼。要保持對不朽的忠誠，必須忠於！啊，您又皺眉頭了，可憐的人。您還是什麽也沒有聽懂。”
“嗯。”伊萬·伊萬諾維奇支吾了一聲。淡黃色的細馨發和兩絡翹起的鬍須使他很像個林肯時代的美國人（他不時地把鬍子捻成一縷，用嘴唇去夠它的兩端）。“我當然不會表示意見。您也知道，對這類事我的看法完全不同。對了，順便問一下，能不能告訴我您是怎麽被免去教職的。我早就想問問。是不是膽怯了？革出教門了嗎？”
“您不必把話扯開。就是革出教門又怎麽樣？別說啦，已經用不着再詛咒這些了。總之，是攤上了幾件晦氣的事，到現在還受影響呢。比方說，相當長的時期內不得擔任公職，不允許到京城去。不過這些都無所謂。還是言歸正傳吧。方纔我說過，要忠於。現在就來講講這個道理。您還不懂得，一個人可以是無神論者，可以不必瞭解上帝是否存在和為什麽要存在，不過卻要知道，人不是生活在自然界，而是生存於歷史之中。接照當前的理解，歷史是從開始的，一部《新約》就是根據。那麽歷史又是什麽？歷史就是要確定世世代代關於死亡之謎的解釋以及如何戰勝它的探索。為了這個，人類纔發現了數學上的無限大和電磁波，寫出了交響樂。缺乏一定的熱情是無法朝着這個方向前進的。為了有所發現，需要精神準備，它的內容已經包括在福音書裏。首先，這就是對親人的愛，也是生命力的最高表現形式，它充滿人心，不斷尋求着出路和消耗。其次，就是作為一個現代人必不可少的兩個組成部分：個性自由和視生命為犧牲的觀點。請註意，這是迄今為止最新穎的觀點。在這個意義上，遠古是沒有歷史的。那時，衹有被天花弄成麻臉的羅馬暴君所幹出的卑鄙的血腥勾當，他絲毫也意識不到每個奴役者都是何等的蠢材。那時，衹有被青銅紀念碑和大理石圓柱所誇大的僵死的永恆。衹是降生之後，時代和人類纔自由地舒了一口氣。衹是在他以後，後代人的身上纔開始有了生命，人不再死於路旁溝邊，而是終老於自己的歷史之中，死於為了戰勝死亡而從事的火熱的勞作之中，死在自己為之獻身的這個主要任務之中。唉，俗話說得真不錯，講的人大汗淋漓，聽的人一竅不通！”
“這是玄學，我的老兄。醫生禁止我談玄學，我的胃口也消受不了。”
“讓上帝保佑您吧。算了，您不愧是個幸運兒！這兒的景色真美，簡直叫人看不夠！身在福中不知福，住在這兒的人反而感覺不到。”
往河面上看去，令人目眩。河水在陽光下起伏不停地流着，如同整塊的鐵板，突然間又皺起一條條波紋。一條滿載着馬匹、大車、農夫和農婦的渡船，從這邊嚮對岸駛去。
“想不到剛過五點鐘。”伊萬·伊萬諾維奇說道，“您瞧，那是從塞蘭茲開來的快車，總在五點零幾分從這兒經過。”
在平原的遠處，一列明顯的黃藍顔色的火車從右嚮左開去。因為距離很遠，顯得很小。突然，他們發現列車停住了。機車上方升起一團團白色的蒸氣。稍後，就從它那裏傳來了警笛的響屍。
“奇怪，”沃斯科博伊尼科夫說，“可能出事了。它沒理由在那片沼澤地停車。準是發生了什麽事。咱們回去喝茶吧。”
尼卡既不在花園，也沒在屋子裏。尤拉猜對了，他是有意躲避他們，因為覺得和他們在一起枯燥乏味，況且尤拉也算不上是他的夥伴。舅舅和伊萬·伊萬諾維奇到涼臺上工作去了，於是尤拉有機會一個人漫無目的地在房子附近走走。
這兒真是個迷人的地方！每時每刻都能聽到黃鶴用三種音調唱出清脆的歌，中間似乎有意停頓，好讓這宛如銀笛吹奏的清潤的聲音，絲絲入扣地傳遍四周的原野。薄鬱的花香仿佛迷了路，滯留在空中，被褥暑一動不動地凝聚在花壇上！這使人想起意大利北部和法國南部那些避暑的小村鎮！尤拉一會兒嚮右拐，一會兒又轉到左邊，在悅耳的鳥啼和蜂嗚當中，似乎聽到了媽媽在天上的聲音飄揚在草地上空。尤拉周身顫抖，不時産生一種錯覺，仿佛母親正在回答他的呼喊，召喚他到什麽地方去。
他走近～條溝𠔌，沿着土坡走下去，從上邊覆蓋着的稀疏、幹淨的林木中間下到長滿𠔌底的赤楊樹叢。
這裏潮濕而晦暗，地面上到處是倒下的樹木和吹落的果實。花很少，枝節橫生的荊樹權權很像他那本插圖《聖經》裏面的刻着埃及雕飾的權標和拐杖。
尤拉越來越感到悲傷，情不自禁地想哭。他雙膝跪倒在地，放聲痛哭。
“上帝的天使，我的至聖的守護神，”尤拉作起了禱告，“請指引我的智慧走上真理之路，並且告訴媽媽，我在這兒很好，讓她不要牽挂。如果死後有知，主啊，請讓媽媽進入天國，讓她能夠見到光耀如星辰的聖徒們的聖容。媽媽是多麽好的一個人啊！她不可能是罪人。上帝啊，對她發慈悲吧，不要讓她受苦。媽媽！”在心肝欲碎的痛苦中，他嚮上天呼喚着，仿佛呼喚上帝身邊一個新的聖徒。他突然支持不住，昏倒在地上。
他昏厥的時間木長，蘇醒後聽到舅舅在上邊的什麽地方叫他。尤拉回答了一聲，便嚮上走去。這時他忽然想起，還不曾像瑪麗亞·尼古拉耶夫娜教給他的那樣為自己那杳無音信的父親祈禱。
可是一時的昏迷過後，他覺得心情很好，不願失掉這種輕快的感覺。他想，如果下次再替父親祈禱，也不會有什麽不好。
“他會耐心等着的。”尤拉這麽想着。對自己的父親，他幾乎沒有任何印象。
在火車的一間二等臥車廂裏，坐着從奧倫堡來的中學二年級學生米沙·戈爾東和他的父親戈爾東律師。這是個十一歲的男孩子，沉思的面孔上長着一對烏黑的大眼睛。父親是到莫斯科供職，孩子隨着去莫斯科念中學。母親和姐妹們已經先一步到達，正忙於佈置新居。
男孩和父親在火車上已經過了兩天多。
被太陽照得像石灰一樣白的灼熱的塵霧中，俄羅斯、田野、草原、城市和村莊，飛快地掠過。大路上行駛着絡繹不絶的大車，笨重地拐嚮鐵道路口，從飛馳的列車上看去，車隊仿佛是靜止的，衹見馬匹在原地踏步。
每到一個大站，乘客們便忙不迭地跑嚮小賣部，西斜的太陽從車站花園的樹林後邊照到他們匆匆移動的腳步，照亮車廂下的車輪。
世界上任何個人的獨自的活動，都是清醒而目標明確的，然而一旦被生活的洪流彙聚在一起，就變得混沌不清了。人們日復一日地操心、忙碌，是被切身利害的作用所驅使。不過要不是那種在最高和最主要意義上的超脫感對這些作用進行調節的話，這作用也不會有什麽影響。這個超脫感來自人類生存的相互關聯，來自深信彼此之間可以相互變換，來自一種幸福的感覺，那就是一切事物不僅僅發生在埋葬死者的大地上，而且還可以發生在另外的某個地方，這地方有人叫作天國，有人叫作歷史，也有人另給它取個名稱。
對這條法則來說，這個男孩卻是個傷心而沉痛的例外。憂鬱始終左右着他，無牽無挂也不能使他輕鬆和振作。他自知身上有着繼承下來的特性，常常以一種神經過敏的警覺在自己身上捕捉它的徵兆。這使他痛心，傷害着他的自尊。
從記事的時候起他就始終覺得奇怪，為什麽有的人體質發育得同旁人並無二緻，言語、習慣也與常人無異，卻不能成為和大傢一樣的人，衹能得到少數人的喜愛，卻要遭到另一些人的嫌棄。他無法理解這樣一種狀況，那就是如果生來低人一等，便永遠不可能改善處境。做一個猶太人意味着什麽？為什麽他還需要生存？這個衹會帶來痛苦的無能為力的名稱，能得到什麽報償或者公正的解釋？
當他請求父親回答這些問題的時候，父親便說他的出發點是荒謬的，不應該這樣判斷事物，但也提不出讓米沙認為是深刻的想法，使他在這個擺脫不掉的問題面前無言地折服。
因此，除了父母以外，米沙漸漸對成年人充滿了蔑視，是他們自己把事情弄糟而又無法收拾的。他相信，長大以後他一定要把這一切弄個一清二楚。
就拿眼前發生的這件事來說，誰也不能判定他父親嚮那個衝到車廂門口的精神病人緊追過去的舉動不對；誰也不能說那個人用力推開格裏戈裏·奧西波維奇，拉開車門，如同從跳板上跳水似的從快車上倒栽蔥跳到路基上，他當時不應該讓火車停下。
正因為扳了緊急製動閘的不是別人，而是格裏戈裏·奧西波維奇，結果列車纔這麽不明不白地停了下來。
誰都不瞭解火車耽擱下來的緣由。有人說是突然停車損壞了氣動剎車裝置；也有人說是因為列車停在一個坡道上，沒有一個衝力機車就啓動不了。同時又傳來另一個消息，說死者是個很有地位的人，他的隨行律師要求從離這裏最近的科洛格裏沃夫卡車站找幾位見證人來作調查記錄。這就是為什麽司機助手要爬到電話綫桿上去的原因，大概檢道車已經在路上了。
Doctor Zhivago (Russian: До́ктор Жива́го, Doktor Zhivago Russian pronunciation: [ˈdoktər ʐɪˈvaɡə]) is a 20th century novel by Boris Pasternak, first published in 1957. The novel is named after its protagonist, Yuri Zhivago, a medical doctor and poet. It tells the story of a man torn between two women, set primarily against the backdrop of the Russian Revolution of 1917 and the subsequent Russian Civil War of 1918–1920. More broadly, the novel discusses the plight of a man as the life that he has always known is dramatically torn apart by forces beyond his control. The book was made into a film by David Lean in 1965 and has also been adapted numerous times for television, most recently as a mini-series for Russian TV in 2005.
Although it contains passages written in the 1910s and 1920s, Doctor Zhivago was not completed until 1956. The novel was submitted to the journal <<Новий Мир>> (Novy mir, Russian for both New World and New Peace) and rejected because of Pasternak's political viewpoint opposed by the Soviet authorities. The author, like Dr Zhivago, showed more concern with the welfare of individuals than with the welfare of society. Soviet censors construed some passages as anti-Marxist. There are implied criticisms of Stalinism and references to prison camps. In 1957, the Italian publisher Giangiacomo Feltrinelli smuggled the book manuscript from the Soviet Union and simultaneously published editions in both Russian and Italian in Milan, Italy. The next year, it was published in English, (translated from Russian by Manya Harari and Max Hayward) and was eventually published in a total of eighteen different languages. The publication of this novel led partly to Pasternak's being awarded the Nobel Prize for Literature in 1958. The Soviet government asked the committee not to award him the prize. Pasternak rejected the Nobel Prize in order to prevent a scandal in the Soviet Union. Boris Pasternak died on 30 May 1960, of natural causes.
Doctor Zhivago was finally published in the Soviet Union in 1988, in the pages of Novy mir, although earlier samizdat editions existed.
Plot summary
Yuri Zhivago is sensitive and poetic nearly to the point of mysticism. In medical school, one of his professors reminds him that bacteria may be beautiful under the microscope, but they do ugly things to people.
Zhivago's idealism and principles stand in contrast to the brutality and horror of World War I, the Russian Revolution, and the subsequent Russian Civil War. A major theme of the novel is how mysticism and idealism are destroyed by both the Bolsheviks and the White Army alike, as both sides commit horrible atrocities. Yuri witnesses dismemberment and other horrors suffered by the innocent civilian population during the turmoil. Even the love of his life, Lara, is taken from him.
He ponders on how war can turn the whole world senseless, and make an otherwise reasonable group of people destroy each other with no regard for life. His journey through Russia has an epic, dreamlike, almost surreal feeling because of his traveling through a world which is in such striking contrast to himself, relatively uncorrupted by the violence, and to his desire to find a place away from it all, which drives him across the Arctic Siberia of Russia, and eventually back to Moscow. Pasternak gives subtle criticism of Soviet ideology: he disagrees with the idea of "building a new man," which, he suggests, is against nature.
Lara's life is also dealt with in considerable detail. Lara, whose full name is Larissa Feodorovna Guishar (later Antipova), is the daughter of a bourgeois mother. She becomes involved in an affair with Viktor Komarovsky, a powerful lawyer with political connections, who both repulses and attracts her. Lara is engaged to Pavel "Pasha" Antipov, an idealistic young student who becomes involved in Bolshevism through his father. To gain independence from Komarovsky, Lara spends three years working as a live-in nanny for a wealthy family (the Kologrivovs). Upon returning her brother begs her to get 700 rubles from Komarovsky to repay money that he has gambled away. Lara gets the money for her brother from her generous employer, Kologrivov. However, when her pupil Lipa graduates, she feels like she is on charity instead of working for her keep in the Kologrivov household. She decides that Komarovsky "owes her" and she will get money from him with which she will become independent. She goes to a party to demand the money from Komarovsky. He is playing cards all evening and she does not get his attention. She finally walks in and attempts to shoot him but misses.
Zhivago briefly encounters Lara while assisting his mentor who has been called by Komarovsky to the scene of the attempted suicide of Lara's mother in response to Lara's and Komarovsky's scandalous relationship. Zhivago also sees Lara at the Christmas party where she tries to shoot Komarovsky. Lara and Zhivago truly meet following a roadside encounter between First World War troop columns, one group being miserable retreating Russian Army deserting veterans and the other group are new recruits bound for the hopeless conditions at the Front. Lara has been serving as nurse while searching for her assumed-dead husband Antipov. The two fall in love as they serve together in a makeshift field hospital. They do not consummate their relationship until much later, meeting in the town of Yuriatin after the war.
Pasha Antipov and Komarovsky continue to play important roles in the story. Pasha is assumed killed in World War I, but is actually captured by the Germans and escapes. Pasha Antipov joins the Bolsheviks and becomes Strelnikov (the shooter), a fearsome Red Army general who becomes infamous for executing White prisoners (hence his nickname). However, he is never a true Bolshevik and yearns for the fighting to be over so he can return to Lara. (The film version would change his character significantly, making him a hard-line Bolshevik.)
Another major character is Liberius, commander of the "Forest Brotherhood", the Red Partisan band which conscripts Yuri into service. Liberius is depicted as loud-mouthed and vain, a dedicated and heroic revolutionary, who bores Yuri with his continuous lectures on the justice of their cause and the inevitability of their victory. He is also addicted to cocaine.
Komarovsky reappears towards the end of the story. He has gained some influence in the Bolshevik government and been appointed head of the Far Eastern Republic, a Bolshevik puppet state in Siberia. He offers Zhivago and Lara transit out of Russia. They initially refuse, but by lying about Pasha Antipov's death Komarovsky privately persuades Zhivago that it is in Lara's best interests to leave; Zhivago convinces Lara to go with Komarovsky, telling her (falsely) that he will follow her shortly.
Meanwhile, Antipov/Strelnikov falls from grace, loses his position in the Red Army, and returns to Varykino, near Yuriatin, where he hopes to find Lara. She, however, has just left with Komarovsky. After having a lengthy conversation with Zhivago, Pasha Antipov commits suicide and is found the next morning by Zhivago. (In the movie Komarovsky tells Zhivago that he was captured 5 miles outside of Yuriatin and on the way to his execution he grabbed a pistol from a guard and killed himself.) Zhivago's life and health go downhill from this point; he lives with another woman and has two children with her, plans numerous writing projects but does not finish them, and is increasingly absent-minded, erratic, and unwell. Lara eventually returns to Russia on the day of Zhivago's funeral. She gets Yevgraf, his half brother, to try to find her daughter but then disappears.
During World War II Zhivago's old friends Nika Dudorov and Misha Gordon meet up. One of their discussions revolves around a local laundress named Tonya, a bezprizornaya or parentless child, one of many left by the Civil War, and her resemblance to Zhivago. Much later they meet over the first edition of Zhivago's poems. It's unclear in the book why they haven't been published before or why they have been published now.
Other major characters include Tonya Gromeko, Zhivago's wife, and her parents Alexander and Anna, with whom Zhivago lived after he lost his parents as a child. Yevgraf (Evgraf) Zhivago, Yuri's younger illegitimate half-brother (son of his father and a Mongolian princess), is a mysterious figure who gains power and influence with the Bolsheviks and helps his brother evade arrest throughout the course of the story.
The book is packed full of odd coincidences; characters disappear and reappear seemingly at random, encountering each other in the most unlikely places.
Pasternak's description of the singer Kubarikha in the chapter "Iced Rowanberries" is almost identical to the description of the gypsy singer Nadezhda Plevitskaya (1884–1940) by Sofia Satina (sister-in-law and cousin of Sergei Rachmaninoff). Since Rachmaninoff was a friend of the Pasternak family, and Plevitskaya a friend of Rachmaninoff, Plevitskaya was probably Pasternak's "mind image" when he wrote the chapter; something which also shows how Pasternak had roots in music.
Names and places
Pushkin Library, Perm
* Zhivago (Живаго): the Russian root zhiv is similar to 'life'
* Larissa: a Greek name suggesting 'bright, cheerful'
* Komarovsky (Комаровский): komar (комар) is the Russian for 'mosquito'
* Pasha (Паша): the diminutive form of 'Pavel' (Павел), Russian rendering of the name Paul.
* Strelnikov (Стрельников): strelok means 'the shooter'
* Yuriatin (Юрятин): the fictional town was based on the real Perm, near by which Pasternak had lived for several months in 1916.
* The original of the public reading room at Yuriatin was the Pushkin Library, Perm
Film, TV, or theatrical adaptations
the 1965 film adaptation starring Julie Christie and Alec Guinness
Doctor Zhivago has been adapted for film and stage several times:
* A 1959 Brazilian television film (currently unavailable) was the first film version.
* The most famous adaptation is the 1965 film adaptation by David Lean, featuring the Egyptian actor Omar Sharif as Zhivago and English actress Julie Christie as Lara, with Geraldine Chaplin as Tonya and Alec Guinness as Yevgraf. The film was commercially successful and won five Oscars, but was a critical failure; currently, it is widely considered to be a classic popular film. Maurice Jarre's score, featuring the romantic "Lara's Theme," is a big part of the film's appeal. Though faithful to the novel's plot, depictions of several characters and events are noticeably different.
* A 2002 television serial with Hans Matheson, Keira Knightley, and Sam Neill was broadcast by ITV in the UK in November 2002 and on Masterpiece Theatre in the US in November 2003.
Instead of the 1965 movie – where Zhivago has a daughter by his mistress, and a half-brother to tell the teenage girl about her father – the 2002 TV/Netflix DVD version depicts him as having a son who is almost the spitting image of Yuri Zhivago. Instead of dying of a heart attack in the streets of Moscow chasing after a woman he believes to be his beloved Lara, he dies of a heart attack trying to leave a restaurant all the while eying through the window his near-duplicate almost cloned son, and then right before his death, seeing his lover Lara calling out to her son, Yuri.
Then the 2002 TV/DVD version shows Lara and son at Zhivago's funeral and the boy looking into the casket of his father. Then the final ending leaves one completely up in the air as to what happens to the little boy, now about 6–8 years old. Lara is caught and arrested and sent off to a work camp because she left Kamorovsky, and the little boy is left to fend for himself, running down the streets of Moscow, clutching a leather-bound copy of the poems handwritten by his father Zhivago, about his mother, Lara. There is no mention or accounting for the young Yuri's half-sister – sired by the infamous Strelnikov with Lara. Presumably Yuri Jr. survives somehow because Yuri Jr. is the narrator of this ending.
The 2002 TV/DVD version also dwells in its opening scenes on the little boy Yuri Zhivago, who witnesses on a railroad train the suicide of his own father, after the father there learns from his scheming lawyer (coincidentally who is a younger version of Kamorovsky) that he has been financially ruined by some nefarious scheme – which the viewer is drawn to conclude has been presumably concocted by his own lawyer.
This 2002 TV version seems to depict a triumph of pragmatic self-serving chicanery (Sam Neill as Kamorovsky) over naive saintly humanity-serving goodness (Hans Matheson as Zhivago) as the two really central characters. Lara and Strelnikov are but side players to fill in the ongoing clash between dedicated good and opportunistic evil.
* A made-for-cable film remake was announced in 2002, and was to include Joseph Fiennes as Zhivago and Jeremy Irons as Komarovsky, but was canceled. It is unclear whether or not it was the Masterpiece Theatre production or a different version altogether.
* An eleven-part Russian mini-series was released in 2006 as produced by Mosfilm.
* Zhivago, a musical adaptation of Pasternak's novel rather than Lean's film, debuted at the La Jolla Playhouse in 2005 as a Page-To-Stage workshop, and then in a main-stage production which opened in May 2006. A Broadway debut was planned for 2007. It features music by Lucy Simon ("The Secret Garden"), a book by Michael Weller ("Hair," "Ragtime" screenplays), and lyrics by Michael Korie ("Doll" and the "Harvey Milk" opera libretto), and Amy Powers ("Lizzie Borden" and songs for "Sunset Boulevard").
* A musical called "Doktor Zhivago" was scheduled to premier in the Urals city of Perm on 22 March 2007, and to remain in the repertoire of Perm Drama Theatre throughout the 50th Anniversary year . Perm features in the novel under the name "Yuriatin" (which is a fictional city invented by Pasternak for the book) and many locations for events in the book can be accurately traced in Perm', since Pasternak left the street-names mostly unchanged. For example, the Public Reading-Room in which Yuri and Larissa have their chance meeting in "Yuriatin" is exactly where the book places it in contemporary Perm.
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请给我换一个看看！ 拜托，快把噪音停掉！我读累了，想听点音乐或者请来支歌曲！
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