言情 》 一雙藍眼睛 A Pair of Blue Eyes 》
PREFACE
托馬斯·哈代 Thomas Hardy
PREFACE
哈代的《一雙藍眼睛》是一部充滿着文內重複的小說。首先,作者在展開小說情節的過程中,隱性地重複了男女主人公埃爾弗麗德、史蒂芬、奈特的戀愛經歷;其次,作者在敘述埃爾弗麗德與奈特的戀愛過程時,顯性重複了埃爾弗麗德與史蒂芬戀愛過程中的諸多事件和場景。在一定意義上,正是重複的運用使《一雙藍眼睛》的內部結構更緊湊,使它的形式更具魅力。
A Pair of Blue Eyes is a novel by Thomas Hardy, published in 1873.
The book describes the love triangle among a young woman, Elfride Swancourt, and her two suitors from very different backgrounds. Stephen Smith is a socially inferior but ambitious young man who adores her and with whom she shares a country background. Henry Knight is the respectable, established, older man who represents London society.
Elfride finds herself caught in a battle between her heart, her mind and the expectations of those around her - her parents and society. The novel is notable for the strong parallels to Hardy and his first wife Emma Gifford. When Elfride's father finds that his guest and candidate for his daughter's hand, architect's assistant Stephen Smith, is the son of a mason, he immediately orders him to leave.
This was the third of Hardy's novels to be published and the first to bear his name. The term "cliffhanger" is considered to have originated from this novel, which was first serialised in Tinsley's Magazine between September 1872 and July 1873. At one stage Hardy leaves Henry Knight literally hanging off a cliff staring into the stony eyes of a trilobite embedded in the rock.
PREFACE
'A violet in the youth of primy nature,
Forward, not permanent, sweet not lasting,
The perfume and suppliance of a minute;
No more.'
The following chapters were written at a time when the craze for indiscriminate church-restoration had just reached the remotest nooks of western England, where the wild and tragic features of the coast had long combined in perfect harmony with the crude Gothic Art of the ecclesiastical buildings scattered along it, throwing into extraordinary discord all architectural attempts at newness there. To restore the grey carcases of a mediaevalism whose spirit had fled, seemed a not less incongruous act than to set about renovating the adjoining crags themselves.
Hence it happened that an imaginary history of three human hearts, whose emotions were not without correspondence with these material circumstances, found in the ordinary incidents of such church- renovations a fitting frame for its presentation.
The shore and country about 'Castle Boterel' is now getting well known, and will be readily recognized. The spot is, I may add, the furthest westward of all those convenient corners wherein I have ventured to erect my theatre for these imperfect little dramas of country life and passions; and it lies near to, or no great way beyond, the vague border of the Wessex kingdom on that side, which, like the westering verge of modern American settlements, was progressive and uncertain.
This, however, is of little importance. The place is pre- eminently (for one person at least) the region of dream and mystery. The ghostly birds, the pall-like sea, the frothy wind, the eternal soliloquy of the waters, the bloom of dark purple cast, that seems to exhale from the shoreward precipices, in themselves lend to the scene an atmosphere like the twilight of a night vision.
One enormous sea-bord cliff in particular figures in the narrative; and for some forgotten reason or other this cliff was described in the story as being without a name. Accuracy would require the statement to be that a remarkable cliff which resembles in many points the cliff of the description bears a name that no event has made famous.
T. H.
March 1899
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