首页>> 旅游天下>> 现实百态>> Charles Dickens   United Kingdom   汉诺威王朝   (February 7, 1812 ADJune 9, 1870 AD)
董贝父子 Dombey and Son
  《董贝父子》无论从形式方面还是从内容方面而论,都在狄更斯的作品中占据特别重要的地位,它突破了早期作品中流浪汉体(thepicaresque)的影响,紧紧围绕一个中心人物、一个主导观念来展开故事,在狄更斯的小说中是第一部结构严谨的代表作。作者在序言、书信中多次提到,在写《董贝父子》时,他时刻注意“扣紧该书的一般目的与设计,并以此严格束缚自己”。《董贝父子》形式上的新特点是跟内容方面的发展相联系的。在这以前,狄更斯在小说中曾抨击了负债人监狱、新的济贫法、地方上的所谓慈善事业以及大城市底层的罪恶与黑暗,多多少少把它们当作孤立的现象。《董贝父子》却试图在更严谨的形式中以现代城市为背景,通过一个资产者的典型形象表达出对资本主义社会的总体观,而不复在个别社会弊病上做文章。当然,这并不一定意味着作者的小说艺术向着更高级阶段发展——结构的严谨在美学上不一定比流浪汉体小说的松散更优越,它们可以各有各自的美,但无论如何,《董贝父子》代表了作者思想的深化,表现了他对社会问题的进一步思考。
    英国19世纪小说专家凯瑟琳·蒂洛逊在她的学术名著《19世纪40年代的小说》一书中把《董贝父子》列为40年代的代表作不是偶然的。《董贝父子》具有鲜明的时代特色:作者在这里表现一个新时代——40年代工业发达的英国社会。小说中的伦敦是一个金融和商业中心、一个大港口,又是上流社会社交中心。董贝就是处在这样生活漩涡中的巨商。《董贝父子》用不少篇幅描写一个破落的航海仪器商所罗门·吉尔斯;他的小店铺里摆着些过时的仪器,从来没有人光顾,除非是进来问路或兑换零钱。吉尔斯悲叹道:“竞争、不停的竞争——新发明、层出不穷的新发明……世界把我抛在后边了”。时代的落伍者所罗门·吉尔斯和他的小店铺在小说中与董贝先生和他的大公司形成对比,愈加突出了《董贝父子》内容题材的时代特色。
    狄更斯就是在这样一种背景上塑造了一个资产者的典型形象。关于《董贝父子》的创作意图,狄更斯曾说,在这里他要处理的是“傲慢”问题,正如前一部小说《马丁·柴则尔维持》里要着重描写“自私自利”。的确,在董贝形象的塑造上,作者是从傲慢入手的。小说一开始就写到,在董贝先生看来,“世界是为了董贝父子经商而创造的,太阳和月亮是为了给他们光亮而创造的。河川和海洋是为了让他们航船而构成的;虹霓使他们有逢到好天气的希望;风的顺逆影响他们实业的成败;星辰在他们的轨道内运行,保持以他们为中心的一种不能侵犯的系统”。董贝公司称霸四海,在当时的资本主义经济体系中居于中心地位,于是董贝先生就自认是世界的中心,他的傲慢由此而来。他的傲慢不是由于作为一个人有任何优越于他人的地方,而是由于他的公司的地位、他的资本力量。在董贝的形象中,狄更斯不把问题局限于一般的自私贪婪,事实上在私德方面,董贝基本上是恩格斯说的那种“具有各种私德的可敬人物”。正如西方马克思主义者A·T·杰克逊所指出的,“董贝的傲慢是他作为一家大公司的头目的地位带给他的品质”。因此,傲慢只是其表,而根本问题在于董贝作为人,与资本同一了。他失去了人的本质,只是资本的化身,亦如某些西方评论所说的,是“19世纪企业精神”的象征,“一种制度、竞争心理和冷酷无情”的典范。《董贝父子》以连载形式问世以后,当时便有评论指出: “描绘董贝这类的人物简直是当务之急——伦敦的世界里充满了冷漠的、装模作样的、僵硬的、炫耀金钱的人物,想法跟董贝一模一样……”可见董贝的形象在当时的英国社会是具有代表性的。
    首先狄更斯强调了董贝作为一个资产者的非人性。他把感情完全排除在自己的视野之外:“董贝父子一向跟皮货打交道,而不跟感情打交道”。实际上《董贝父子》很少涉及具体的商业活动,它其实是一部以家庭生活为题材的小说,通过家庭关系,表现了作为丈夫、作为父亲的董贝,唯其如此,更加烘托了他的冷酷无情。
  董贝父子-剧情
  
   《董贝父子》有两处描写了董贝先生竟然流露了一种天然感情。第一次是在他太太生了男孩之后,他到卧室去看望,“对董贝太太居然也加上了一个亲密的称呼(虽然不是没有一些犹豫,因为他毕竟是一个不惯于叫出那种称呼的人),叫道:‘董贝太太,我的——我的亲爱的’。”在他们夫妻之间这一称呼是那样生疏,以至“那位生病的太太抬起眼睛朝他望去的时候,顿时间脸上涨满了微感惊讶的红晕”。其实即使这一次难得的感情流露,也不是与公司无关的。董贝先生想到自己得了儿子,从此以后“咱们的公司,不但名义上,而且事实上,又该叫做‘董贝父子’啦,董——贝父子!”他是在品尝这几个字的甜美滋味时情不自禁地叫了一声 “我的亲爱的”!从他的内心感情来说,我们无从判断这“亲爱的”是指他的太太还是更多指他的公司。同样,在《董贝父子》一书中我们始终无法判断这“董贝父子”是指公司还是指这爷儿俩的关系。这种有意无意的含混自然是意味深长的。
    董贝先生第二次感情流露是在看着刚出生的儿子时,他想到“他得成就一番命中注定的事业哪。命中注定的事业,小家伙!”接着“把孩子的一只手举到自己的嘴唇上吻了一下,然后,好像深怕这种举动有损他的尊严似的,他非常不自然地走开了”。总之,就是这两次不可多得的感情流露,董贝先生也感到“犹豫”,“不习惯”,“有损尊严”,总之是“不自然”,即不合乎他那“资本化”了的本性。
    在对董贝的描写中,作者把他比作“雕像”、“木头人”,“全身直挺挺的不会打弯”,或是“刮得光光、剪裁整齐的阔绅士,光溜利索,像刚印出来的钞票”。作者用一系列冰、霜、雪之类的形象来渲染董贝的特点,他的住宅阴冷,他的办公室凄凉。在保罗受洗礼的那一天,不仅教堂里寒气逼人,而且在董贝随后举行的宴会上摆着的食物都是冰冷的,与席上的整个气氛一致,作者还说,坐在首席上的董贝本人犹如一个“冰冻绅士”的标本。总之,作者通过夸张的细节描写,把董贝置于一层层冰霜的包裹之中,把他描写成一位十足的没有人性的冷血动物。
    正如恩格斯所说的,资产阶级“除了快快发财以外,不知道世界上还有别的快乐”一样,继承人意味着资本的延续,也就是资产阶级理想中通向“永恒”与“不朽”的唯一道路,本质上还是发财的快乐。《董贝父子》一书的主线和总的设计都是围绕着董贝先生为自己,也是为公司,寻找继承人的故事。如果按19世纪小说专家史蒂芬·马科斯的划分,把作品划分成四个部分,那么可以看出,第一部分以继承人小保罗的诞生开始,以他的死亡告终;第二部分描写了董贝先生的悲痛以及他的第二次结婚,亦即再次要得到继承人;第三部分表现了董贝先生婚后夫妻不睦,终于导致他的夫人私奔;第四部分描写了董贝先生精神瓦解、企业倒闭,最后被他赶出家门的女儿弗洛伦斯用自己的爱给他以安慰和力量,使老年的董贝在失去资本、失去继承人之后恢复了自己的人性。而具有讽刺意味的是,“所谓董贝父子”,如书中一个人物说的“归根结蒂是董贝父女”!但开始时,董贝先生哪里能猜到等待他的命运!他把自己的感情全部倾注在公司的继承人、刚刚诞生的儿子身上,至于女儿,既然不是继承人,对董贝公司没有意义,对他本人也就没有意义,相当于“不能投资的一块劣币”。其实,就是对于他的儿子小保罗,董贝先生也只能以自己的方式去爱。这是一种异化了的感情。他只把保罗当作继承人来对待,当作“董贝父子公司”中的“子”而不是作为一个有独立生存权利的人、一个有权过快乐童年的儿童。董贝把保罗从降生到成人的时期都看作是难熬的过渡时期,“他急于进入未来,恨不得快点打发掉这中间的时光”。董贝对儿子的感情是那样的独占,他不信任奶娘波利·图德尔,生怕儿子会对她有感情,从而受到“下等人”的沾染,后来董贝还是因为她擅自把保罗带回家而把这个好心的女人打发掉,致使婴儿突然断奶,从此体弱多病。董贝先生“望子成龙”心切,他把幼小的保罗送往布林伯博士学院。这是一座以填塞死知识著称的住宿学校。在那里,孩子们白天被逼得背诵天书一样的古代典籍,晚上做梦都说希腊文!“那是一座大暖房,一架不停地移动的拔苗助长的机器,所有的孩子都提前‘开花’,但是不足三个礼拜就枯萎凋谢”。在那里,可怜的小保罗的头脑被塞满了一大堆希腊罗马的古董,他哭着说,“我要当儿童”,可那在董贝培养继承人的计划里是不允许的。保罗在这些催化剂的作用下精神备受摧残,不久以后便死去。具有讽刺意味的是,从解雇奶娘到提前送进学校的整个过程来看,不是别人,正是董贝先生自己一手促成了儿子的死亡。他完全按照自己性格的逻辑,按照他的“异化”了的感情行事,不可能有其他做法。这不能不说是董贝的悲剧。值得注意的还有,董贝不仅在儿子活着的时候对儿子的感情是“异化”的,而且在儿子死亡以后,他的反应也是“异化”的,那与其说是失去亲骨肉的切肤之痛,倒更像是他的“自我”受到打击、傲慢受到挫折而引起的痛苦。当老奶娘图德尔的丈夫向董贝表示哀悼时,董贝不仅不为之感动,反而因为不相干的人(与公司不相干)妄想分担他的痛苦而感到气愤,好像自己受了污辱。这不是被资本“异化”了的感情又是什么呢?
    对董贝来说,更可悲的是,由于他的古板、冷漠、没有人情味,他的儿子与他感情疏远而衷心喜爱那些董贝所厌恶、鄙视的人——姐姐弗洛伦斯、奶娘波利·图德尔,还有公司里的小雇员沃尔特·盖伊,在自己幼小生命的最后时刻对他们恋恋不舍而把自己的父亲排除在外。在思想上父子二人更是格格不入;董贝是那样急切盼望儿子成长为精明的生意人,而幼小的保罗却问“钱能干什么?”,当父亲说钱可以办到一切,他并不信服,说“它不能救活我妈妈”。“它不是残酷的吗?”狄更斯通过儿童的眼光批判了董贝所代表的价值观。
    保罗虽然年纪幼小,却总像是生活在一个彼岸世界,他“可以在糊墙纸上看出微型的老虎和狮子…… 看见一些人影冲着地板上的方块和棱形图案作怪脸,而别人却什么也看不见”。他像个老人似的长时间坐在海边上,面对着一片天水茫茫沉思不语。他纳闷“它没结没完地说些什么呀?”——“我知道他们一直是在说些什么的。说的总是同样的事情。那儿是什么地方呀?”他热切地凝望那天水之际,在大海的喧腾中,听到了时间老人的召唤,感到了死亡的预兆,最后在海涛声中他安然与世长辞……。可以说,小保罗在任何意义上也不是董贝的继承人。《董贝父子》的第一部分,也是最精采部分,便以董贝在培育继承人方面的彻底失败而告终。《董贝父子》最初连载发表时,保罗·罗贝夭亡的一章在当时读者中引起强烈反响,“举国上下,共同哀悼”,仅次于“自己家里办丧事”。当时许多人,包括政界文化界著名人物都毫不隐讳自己为小保罗的死而痛哭流涕。这当然与当时盛行的感伤主义阅读趣味分不开。小保罗的死,与《老古玩店》中小耐儿的死一样,都是19世纪小说中公认的感伤主义的典范。但是,不可否认,保罗之死的著名篇章充满了晶莹的诗意—— “小船在波上的飘荡已经引得他要去安眠了。河岸多么葱翠,长在河岸上的花草多么明艳,那芦苇又是多么婷婷袅袅!这时小船已经驶到海里,可是还在平静地向前滑去”。小保罗去了,好像得到了他的天然归宿。他不属于公司,更远离“货币、通货、钞票、外汇率”所构成的那个他命中要成就的“事业”。在那个孜孜名利的浮华世界上,保罗的死显出了超尘拔俗的光彩,在默默无言之中对以“董贝父子公司”为代表的金钱利欲做出了最有力的批判。
    经过第一个打击,董贝并没有总结教训、达到自我认识。不久以后,他又处心积虑地为得到继承人而设法。他跟年轻美貌的寡妇伊迪丝·格兰杰结婚了。这纯粹是一笔交易,董贝就像在骡马市上相马似地观察伊迪丝的才华与教养,最后决定买下。伊迪丝愤然对她母亲说“十年以来,奴隶市场上的奴隶和集市上的马都没有像我这样被展览出售,炫耀给看客。”在这第二次婚姻中,董贝又失败了。在伊迪丝身上,他碰到了对手,跟他一样傲慢,跟他一样强硬。两下里冲突的结果,伊迪丝为报复丈夫而与公司的经理卡克私奔,造成了伦敦上流社会的头号丑闻。此外,董贝刚愎自用,在卡克的纵恿下投资不当,在家庭危机的同时,他的商船“子嗣”号在海上遇难,他的公司倒闭,他本人宣告破产。昔日富丽堂皇的宅第被债仅人剥得一干二净,连老鼠都不愿逗留,只剩下一个董贝像个幽灵似地在空楼中游荡。在他举刀自杀的那一刹那,女儿弗洛伦斯赶到他跟前,用自己的爱感化了他,使董贝终于认识到,自己是有罪的,“需要得到宽恕”。董贝那违背天理人性的傲慢被弗洛伦斯的爱克服了。在老年,他终于开始过上一种合乎人性的生活。董贝的命运,并不取决于外部事态的发展;是董贝自己性格的内在逻辑导致他的全面崩溃。他是在自己惩罚自己,并在一重一重的惩罚中一层一层地暴露出资产阶级本性中那些违反天理人情的因素。
    若只看故事情节,我们也不能否认《董贝父子》的结局是浅薄无力的。法国著名批评家泰纳说董贝的“转变”毁了一本出色的小说。一位当代评论家用不屑的口气问道:难道要把董贝父子公司的世界贸易交给眼泪汪汪的弗洛伦斯去经营吗?在这里,我们又回到小说的时代特色问题。像弗洛伦斯那类的“安琪儿”是按照当时盛行的公式描写的,本来就不现实,而董贝先生在铁路四通八达国际贸易发达的时代是个真实的形象、一个阶级的代表。弗洛伦斯怎么可能用自己的眼泪去感化董贝的铁石心肠呢?《董贝父子》一书的价值不在于作者虚构出怎么样的方案去解决矛盾,而在于他在四十年代资本主义经济发达的历史时期塑造了一个资产阶级的典型形象,从而深刻地揭示了关于那个阶级的真理。
    也是在《董贝父子》一书中,狄更斯第一次采用了一个象征来贯穿全书,以传达出一个总的世界图景、一种对时代、对社会的理解。他曾用过雾、浊流、垃圾等形象作为这种象征,而在这里是铁路。铁路——火车、铁轨——的形象在书中出现多次,往往在关键时刻渲染气氛,烘托主题。用铁路的形象来概括四十年代工业化的英国,当然是最恰当不过的,在19世纪上半叶,铁路的发展速度是惊人的。据统计,1825年还只有25英里的铁路线,到了1845年就发展成2200多公里,即在不到二十年的时间里便增加了一百倍。处在火车、电报时代的董贝比起乘驿车的匹克威克先生简直属于两个完全不同的世界。铁路的发展改变了人们的生活方式,改变了人们对空间和时间的概念,还产生了一支新的劳动队伍:铁路工人。铁路意味着力量、运动和速度,意味着更快的生活节奏。这时,铁路是社会变革的象征,它给破烂不堪的旧址带来了新的生命。书中写到,由于铁路的建设,波利·图德尔一家原来住的贫民区“斯塔格斯花园”已不复存在——“它从地面上消失了,原来一些朽烂的凉亭残存的地方,现在耸立着高大的宫殿;大理石的圆柱两边开道,通向铁路的新世界”。书中还写到,原先堆放垃圾的空地已被吞没,代之而起的是“一层层库房,里面装满了丰富的物资和贵重的商品”。而原是荒无人烟的地方现在修起了花园、别墅、教堂和令人心旷神怡的林荫大道。过去以掘煤为生的图德尔,现在也在新建设起来的铁路上当上了一名司炉工。从这个角度可以说,狄更斯是站在赞赏的立场去看以铁路为象征的工业化对社会物质发展的积极意义。
    但是,另一方面,铁路、火车在狄更斯笔下又充满了威胁,它力大无穷而又难以控制,它在急驰中似有自己的目的而把人的意愿置于不顾。当保罗将要死去时,书中描写了火车的运动:“日日夜夜,往返不停,翻腾的热浪犹如生命的血流”。保罗在父亲的培养下正在悄悄死去,而车声隆隆正以雷霆万钧之势驶来,显得那样冷酷无情。保罗死后,董贝乘火车旅行,火车的机械运动与董贝的沉重心情互相衬托,后来,董贝去追赶拐骗他妻子私奔的卡克,他们一个在逃,一个紧追,这时火车像个可怕的怪兽,“混身冒火的魔鬼”,愤怒地奔腾咆哮,活像个复仇神,终于非常戏剧性地把卡克碾死。
    这里,问题并不在于死在火车轮下的卡克是罪有应得。重要的是,在这里,火车的形象狰狞可怕;它的来临“伴随着大地的震响,在耳边颤抖的声浪,以及遥远的尖叫声;一片暗光由远而近,刹那间变成两支火红的眼睛和一团烈火,一路上掉着燃烧的煤块;接着,一个庞然大物咆哮着、扩展着,以不可抗拒的气势压过来”。这个形象远远超脱了卡克命运的区区小事,而提出了更大的问题:机械的物质运动所释放出来的力量对于人类社会究竟意味着什么?在这里,狄更斯表现了一个真正大作家的气魄。他透过现象去捕捉本质,通过铁路的象征对资本主义物质文明的发展表示了深深的忧虑;这奔腾向前的力量将把人类社会带往何处?这怀疑与忧虑是跟作者通过董贝的形象所提出的问题完全一致的,它们都汇为一个总的对时代的疑问:资本主义的工业——铁路——改善了人们的生存条件,但它将引起什么样的社会变化?一个董贝先生是被女儿的泪水感化了,但以铁路为标志的英国资本主义的发展不是会产生更多的董贝吗?
    《董贝父子》不是社会学论文。狄更斯的魔力就在于,他提出了当时社会最本质的问题,同时又写出了人物众多、情节复杂、情调多变的一部五光十色的小说巨著。在这里,以董贝渴望子嗣的故事为中心,演出了那么多扣人心弦的悲喜剧。社会地位有天壤之别的人物,命运却那么曲折地交织在一起:第二任董贝夫人伊迪丝跟被流放的娼妓爱丽丝不仅是同父异母的姐妹,而且也是被同一个男性——卡克经理——欺辱的女性。这种情节性的背后不正是微妙地暗示着伊迪丝与董贝的婚姻的实质?《董贝父子》还充满了阴谋和悬念。卡克经理像个蜘蛛一样坐在他编织的阴谋纲络的中心,为董贝先生、伊迪丝,为弗洛伦斯和沃尔特,甚至为老实巴结的卡特尔船长都设下了圈套,派了钉哨。
    可是到头来,正是他这个心腹 ——不争气的少年罗伯——出卖了他,导致他粉身碎骨在车轮之下,可谓事件本身的嘲讽。在《董贝父子》中,与正剧的主线平行,总有喜剧闹剧的副线,甚至形成一环扣一环的命运的锁链。如在董贝先生物色第二位夫人的时候,溜须拍马但又可怜可笑的托克斯小姐觊觎董贝夫人的宝座,冷落了有意于她的白格斯托克少校,而老奸巨猾的白格斯托克为了挫败托克斯小姐的野心,把伊迪丝引见给董贝,导致了他的第二次灾难性的婚姻。
    在《董贝父子》一书中,狄更斯还描写了许多小人物和他们的生活。破落小商人所罗门·吉尔斯、保罗的奶娘图德尔一家、弗洛伦斯的贴身女仆苏珊等在各方面都与董贝形成对比。我们在书中看到,一方面是董贝的华贵府邸,另一方面是图德尔一家住的破烂不堪的贫民窟。尽管如此,前者冷若冰窖,后者热气腾腾,充满友爱与欢乐。在那冷酷的资本主义社会,这些小人物身上体现了人情和人性中善良美好的本能。波利·图德尔那兴旺的家族——她那丰富的乳汁和众多的孩子都描写的十分夸张、富于象征意义,体现了生的欢乐和对未来的希望。有趣的是,在作者的巧妙安排之下,这些地位低贱的小人物又不断跟董贝“遭遇”。如所罗门·吉尔斯的好友、落魄的船长内德·卡特尔竟跑去与董贝先生称兄道弟,还以自己的糖侠子等可笑的“传家宝”来当抵押,要董贝借款给他。这在董贝看来简直是骇人听闻。他摆出最威风凛凛的架势,但最没有现实感的卡特尔船长对此毫无察觉,弄得董贝反而手足无措。后来,女仆苏珊又乘董贝卧病的当儿公然向他挑战,指着他的鼻子数落他的不是,气得董贝先生目瞪口呆。这些喜剧性场面烘托出了劳动人民生动活泼的形象;是他们戳破了董贝的傲慢,使他露出了底里的空虚与软弱。在四十年代描写劳动人民形象的作品中,这种喜剧化的处理是别具一格的。
    总之,穿插于故事中的众多的陪衬人物都天真无邪,不是傻得可爱就是“狡猾”得可笑。他们不仅推动情节发展,而且为全书带来了欢乐气氛和幽默情趣,使《董贝父子》成为狄更斯小说中既有深度又饶有趣味的代表作。还在连载的时候,不识字的老百姓在一天的劳累之后就要聚在一起听人朗读《董贝父子》,直至今天,它还受到广大读者的喜爱。


  Dombey and Son is a novel by the Victorian author Charles Dickens. It was first published in monthly parts between October 1846 and April 1848 with the full title Dealings with the Firm of Dombey and Son: Wholesale, Retail and for Exportation. Dickens started writing the book in Lausanne, Switzerland, but travelled extensively during the course of its writing, returning to England to begin another work before completing Dombey and Son.
  
  Plot summary
  
  The story concerns Paul Dombey, the wealthy owner of the shipping company of the book's title, whose dream is to have a son to continue his business. The book begins when his son is born, and Dombey's wife dies shortly after giving birth. Following the advice of Mrs Louisa Chick, his sister, Dombey employs a wet nurse named Mrs Richards (Toodle). Dombey already has a daughter, Florence, whom he neglects. One day, Mrs Richards, Florence and her maid, Susan Nipper, secretly pay a visit Mrs Richard's house in Stagg's Gardens in order that she can see her children. During this trip, Florence becomes separated and is kidnapped for a short time by Good Mrs Brown before being returned to the streets. She makes her way to Dombey and Son's offices in the City and is guided there by Walter Gay, an employee, who first introduces her to his uncle, the navigation instrument maker Solomon Gill, at his shop the Midshipman.
  
  The child, also named Paul, is weak and often ill, and does not socialize normally with others; adults call him "old fashioned". He is intensely fond of his elder sister, Florence, who is deliberately neglected by her father as irrelevant and a distraction. He is sent away to Brighton, first for his health, where he and Florence lodge with the ancient and acidic Mrs Pipchin, and then for his education to Dr and Mrs Blimber's school, where he and the other boys undergo both an intense and arduous education under the tutelage of Mr Feeder, B.A. and Cornelia Blimber. It is here that Paul is befriended by a fellow pupil, the amiable Mr Toots.
  
  Here, Paul's health declines even further in this 'great hothouse' and he finally dies, still only six years old. Dombey pushes his daughter away from him after the death of his son, while she futilely tries to earn his love. In the meantime, Walter, who works for Dombey and Son, is sent off to work in Barbados through the manipulations of the firm's manager, Mr James Carker, 'with his white teeth', who sees him as a potential rival through his association with Florence. His boat is reported lost and he is presumed drowned. Walter's uncle leaves to go in search of Walter, leaving his great friend Captain Edward Cuttle in charge of the Midshipman. Meanwhile, Florence is now left alone with few friends to keep her company.
  
  Dombey goes to Leamington Spa with a new friend, Major Joseph B. Bagstock. The Major deliberately sets out to befriend Dombey in order to spite his neighbour in Princess's Place, Miss Tox, who has turned cold towards him owing to her hopes - through her close friendship with Mrs Chick - of marrying Mr Dombey. At the spa, Dombey is introduced via the Major to Mrs Skewton and her widowed daughter, Mrs Edith Granger. It is here that he develops an affection for Edith, encouraged by both the Major and the avaricious mother. After they return to London, Dombey remarries, effectively 'buying' the beautiful but haughty Edith as she and her mother are in a poor financial state. The marriage is loveless; his wife despises Dombey for his overbearing pride and herself for being shallow and worthless. Her love for Florence initially prevents her from leaving, but finally she conspires with Mr Carker to ruin Dombey's public image by running away together to Dijon. They do so after her last final argument with Dombey in which he once again attempts to subdue her to his will. When he discovers that she has left him, he blames Florence for siding with her step-mother, striking her on the breast in his anger, and she is forced to run away from home. Highly distraught, she finally makes her way to The Midshipman where she lodges with Captain Cuttle as he attempts to restore her back to health. They are visited frequently by Mr Toots and his boxing companion, the Chicken, since Mr Toots has been desperately in love with Florence since their time together in Brighton.
  
  Dombey sets out to find his wife. He is helped in this by Mrs Brown and her daughter, Alice, who, it turns out, was a former lover of Mr Carker. After being transported as a convict after he involved her in some criminal activities, she is seeking her revenge against him now she is returned to England. Going to Mrs Brown's house, Dombey overhears the conversation between Rob the Grinder - who is in the employment of Mr Carker - and the old woman as to the couple's whereabouts and sets off in pursuit. In the meantime, in Dijon, Mrs Dombey informs Carker that she sees him in no better a light than she sees Dombey, that she will not stay with him and she flees their apartment. Distraught, with both his financial and personal hopes lost, Carker flees from his former employer's pursuit. He seeks refuge back in England but, being greatly overwrought, accidentally falls under a train and is killed.
  
  After Carker's death, it is discovered that he had been running the firm far beyond its means. This information is gleaned by Carker's brother and sister, John and Harriet, from Mr Morfin, the assistant manager at Dombey and Son, who sets out to help John Carker. He often overheard the conversations between the two brothers in which James, the younger, often abused John, the older, who was just a lowly clerk and who is sacked by Dombey because of his filial relationship to the former manager. Meanwhile, back at the Midshipman, Walter reappears, having been saved by a passing ship after floating adrift with two other sailors on some wreckage. After some time, he and Florence are finally reunited - not as 'brother' and 'sister' but as lovers, and they marry prior to sailing for China on Walter's new ship. This is also the time when Sol Gills returns to the Midshipman. As he relates to his friends, he received news whilst in Barbados that a homeward-bound China trader had picked up Walter and so had returned to England immediately. He said he had sent letters whilst in the Caribbean to his friend Ned Cuttle c/o Mrs MacStinger at Cuttle's former lodgings, and the bemused Captain recounts how he fled the place, thus never receiving them.
  
  Florence and Walter depart and Sol Gills is entrusted with a letter, written by Walter to her father, pleading for him to be reconciled towards them both. A year passes and Alice Brown has slowly been dying despite the tender care of Harriet Carker. One night Alice's mother reveals that Alice herself is the [illegitimate]] cousin of Edith Dombey (which accounts for their similarity in appearance when they both meet). In a chapter entitled 'Retribution', Dombey and Son goes bankrupt. Dombey retires to two rooms in his house and all its contents are put up for sale. Mrs Pipchin, for some time the housekeeper, dismisses all the servants and she herself returns to Brighton, to be replaced by Mrs Richards. Dombey spends his days sunk in gloom, seeing no-one and thinking only of his daughter:
  “ He thought of her as she had been that night when he and his bride came home. He thought of her as she had been in all the home events of the abandoned house. He thought, now, that of all around him, she alone had never changed. His boy had faded into dust, his proud wife had sunk into a polluted creature, his flatterer and friend had been transformed into the worst of villains, his riches had melted away, the very walls that sheltered him looked on him as a stranger; she alone had turned the same, mild gentle look upon him always. Yes, to the latest and the last. She had never changed to him - nor had he ever changed to her - and she was lost. ”
  
  However, one day Florence returns to the house with her son, Paul, and is lovingly reunited with her father.
  
  Dombey accompanies his daughter to her and Walter's house where he slowly starts to decline, cared for by Florence and also Susan Nipper, now Mrs Toots. They receive a visit from Edth's Cousin Feenix who takes Florence to Edith for one final time - Feenix sought Edith out in France and she returned to England under his protection. Edith gives Florence a letter, asking Dombey to forgive her her crime before her departure to the South of Italy with her elderly relative. As she says to Florence, 'I will try, then to forgive him his share of the blame. Let him try to forgive me mine!'
  
  The final chapter (LXII) sees Dombey now a white-haired old man, 'whose face bears heavy marks of care and suffering; but they are traces of a storm that has passed on for ever, and left a clear evening in its track'.. Sol Gills and Ned Cuttle are now partners at the Midshipman, a source of great pride to the latter, and Mr and Mrs Toots announce the birth of their third daughter. Walter is doing well in business, having been appointed to a position of great confidence and trust, and Dombey is the proud grandfather of both a grandson and grand-daughter of whom he dotes on, and the book ends with the highly moving lines:
  “ 'Dear grandpapa, why do you cry when you kiss me?'
  
  He only answers, 'Little Florence! Little Florence!' and smooths away the curls that shade her earnest eyes.
   ”
  Source
  
  Dombey and Son, Charles Dickens, Wordsworth Classics, 1995, ISBN 1 85326 257 9
  Critical appreciation
  
  Dombey and Son was conceived first and foremost as a continuous novel. A letter from Dickens to Forster on 26th July, 1846 shows the major details of the plot and theme already substantially worked out. According to the critic George Gissing, 'Dombey was begun at Lausanne, continued at Paris, completed in London, and at English seaside places; whilst the early parts were being written, a Christmas story, The Battle of Life, was also in hand, and Dickens found it troublesome to manage both together. That he overcame the difficulty -- that, soon after, we find him travelling about England as member of an amateur dramatic company -- that he undertook all sorts of public engagements and often devoted himself to private festivity -- Dombey going on the while, from month to month -- is matter enough for astonishment to those who know anything about artistic production. But such marvels become commonplaces in the life of Charles Dickens.'
  
  As with most of Dickens' work, a number of socially significant themes are to be found in this book. In particular the book deals with the then-prevalent common practice of arranged marriages for financial gain. Other themes to be detected within this work include child cruelty (particularly in Dombey's treatment of Florence), familial relationships, and as ever in Dickens, betrayal and deceit and the consequences thereof. Another strong central theme, which the critic George Gissing elaborates on in detail in his 1925 work The Immortal Dickens, is that of pride and arrogance, of which Paul Dombey senior is the extreme exemplification in Dickens' work.
  
  Gissing makes a number of points about certain key inadequacies in the novel, not the least that Dickens's central character is largely unsympathetic and an unsuitable vehicle and also that after the death of the young Paul Dombey the reader is somewhat estranged from the rest of what is to follow. He notes that 'the moral theme of this book was Pride -- pride of wealth, pride of place, personal arrogance. Dickens started with a clear conception of his central character and of the course of the story in so far as it depended upon that personage; he planned the action, the play of motive, with unusual definiteness, and adhered very closely in the working to this well-laid scheme'. However, he goes on to write that,'Dombey and Son is a novel which in its beginning promises more than its progress fulfils' and gives the following reasons why:
  “ Impossible to avoid the reflection that the death of Dombey's son and heir marks the end of a complete story, that we feel a gap between Chapter XVI and what comes after (the author speaks of feeling it himself, of his striving to "transfer the interest to Florence") and that the narrative of the later part is ill-constructed, often wearisome, sometimes incredible. We miss Paul, we miss Walter Gay (shadowy young hero though he be); Florence is too colourless for deep interest, and the second Mrs. Dombey is rather forced upon us than accepted as a natural figure in the drama. Dickens's familiar shortcomings are abundantly exemplified. He is wholly incapable of devising a plausible intrigue, and shocks the reader with monstrous improbabilities such as all that portion of the denouement in which old Mrs. Brown and her daughter are concerned. A favourite device with him (often employed with picturesque effect) was to bring into contact persons representing widely severed social ranks; in this book the "effect" depends too often on "incidences of the boldest artificiality," as nearly always we end by neglecting the story as a story, and surrendering ourselves to the charm of certain parts, the fascination of certain characters.' ”
  
  Characters in the novel
  
  Karl Ashley Smith (the University of St Andrews) in his Introduction to Wordsworth Classics' Dombey and Son makes some reflections on the novel's characters. He believes that Dombey’s power to disturb comes from his belief that human relationships can be controlled by money, giving the following examples to support this viewpoint:
  “ He tries to prevent Mrs Richards from developing an attachment to Paul by emphasising the wages he pays her. Mrs Pipchin’s small talk satisfies him as ‘the sort of think for which he paid her so much a quarter’ (p.132). Worst of all, he effectively buys his second wife and expects that his wealth and position in society will be enough to keep her in awed obedience to him. Paul’s questions about money are only the first indication of the naivety of his outlook'. ”
  
  However, he also believes that the satire against this man is tempered with compassion.
  
  Smith also draws attention to the fact that certain characters in the novel 'develop a pattern from Dickens's earlier novels, whilst pointing the way to future works'. One such character is Little Paul who is a direct descendant of Little Nell. Another is James Carker, the ever-smiling manager of Dombey and Son. Smith notes there are strong similarities between him and the likes of Jaggers in Great Expectations and, even more so, the evil barrister, Mr Tulkinghorn, in Bleak House:
  “ From Fagin (Oliver Twist) onwards, the terrifying figure exerting power over others by an infallible knowledge of their secrets becomes one of the author’s trademarks ... His gentlemanly businesslike respectability marks him out as the ancestor of Tulkinghorn in Bleak House and even of Jaggers in Great Expectations. And his involvements in the secrets of others leads him to as sticky an end as Tulkinghorn’s. The fifty-fifth chapter, where he is forced to flee his outraged employer, magnificently continues the theme of the guilt-hunted man from Bill Sikes in Oliver Twist and Jonas’s restless sense of pursuit in Martin Chuzzlewit. There is always a strong sense in Dickens of the narrative drive of discovery catching up with those who deal in darkness...' ”
  
  Gissing looks at some of the minor characters in the novel and is particularly struck by that of Edward (Ned) Cuttle.
  “ Captain Cuttle has a larger humanity than his roaring friend [Captain Bunsby], he is the creation of humour. That the Captain suffered dire things at the hands of Mrs. MacStinger is as credible as it is amusing, but he stood in no danger of Bunsby's fate; at times he can play his part in a situation purely farcical, but the man himself moves on a higher level. He is one of the most familiar to us among Dickens's characters, an instance of the novelist's supreme power, which (I like to repeat) proves itself in the bodying forth of a human personality henceforth accepted by the world. His sentences have become proverbs; the mention of his name brings before the mind's eye an image of flesh and blood -- rude, tending to the grotesque, but altogether lovable. Captain Cuttle belongs to the world of Uncle Toby, with, to be sure, a subordinate position. Analyse him as you will, make the most of those extravagances which pedants of to-day cannot away with, and in the end you will still be face to face with something vital -- explicable only as the product of genius. ”
  
  The growth of the railways
  
  A strong theme is the destruction and degradation (of people and places) caused by industrialisation, illustrated in particular by the building of the new railway through Camden Town (assumed to represent the London and Birmingham Railway constructed between 1833 and 1837). This reflects Dickens's apparent antipathy towards railways[citation needed], later reinforced by his involvement in a train crash in 1865. Soon after this incident he wrote two short stories (Mugby Junction and The Signal-Man) which projected a morbid view of the railways.
  
  Final thoughts
  
  Gissing refers to Dickens's instinctive genius for reflecting the thoughts and morals of the common man in his writing. He observes that the author was in constant communication with Forster,
  “ ... as to the feeling of his readers about some proposed incident or episode; not that he feared, in any ignoble sense, to offend his public, but because his view of art involved compliance with ideals of ordinary simple folk. He held that view as a matter of course. Quite recently it has been put forth with prophetic fervour by Tolstoy, who cites Dickens among the few novelists whose work will bear this test. An instinctive sympathy with the moral (and therefore the artistic) prejudices of the everyday man guided Dickens throughout his career, teaching him when, and how far, he might strike at things he thought evil, yet never defeat his prime purpose of sending forth fiction acceptable to the multitude. Himself, in all but his genius, a representative Englishman of the middle-class, he was able to achieve this task with unfailing zeal and with entire sincerity. ”
  
  Karl Smith, in his turn, gives his specific reasons for what makes Dombey and Son - and the works of Dickens as a whole - worth reading again and again. He observes that this is based in part on Dickens's 'recognition that solemn themes require humour and verbal vigour to accompany and complement them' and goes on to conclude:
  “ Grim psychological realism, social commentary, comic absurdity and symbolic transcendence are here brought together more than in any previous novel with the possible exception of Oliver Twist. Dombey and Son not only prepares the ground for Dickens’s later masterpieces, but demands to be enjoyed for its own energy and richness. ”
  Characters in "Dombey and Son"
  The "Wooden Midshipman" of Uncle Sol's nautical instrument shop of the same name. Statue in the Charles Dickens Museum.
  
   * Mr Paul Dombey – the wealthy owner of the shipping company
   * Edith Granger – proud widowed daughter of Mrs Skewton, becomes second Mrs Dombey
   * Mrs Fanny Dombey – Mr Dombey's first wife, mother of Florence and Paul, dies soon after Paul is born
   * Master Paul Dombey (Little Dombey) – the son, is weak and often ill
   * Miss Florence (Floy) Dombey – the elder daughter whom Mr Dombey neglects
   * Mrs Louisa Chick – Mr Dombey's sister
   * Mr Chick – husband of Mrs Chick
   * Miss Lucretia Tox – friend of Mrs Chick, great admirer of Mr Dombey, and neighbour of Major Joseph Bagstock
   * James Carker (Mr Carker the Manager) – devious manager in Mr Dombey's business
   * John Carker (Mr Carker the Junior) – disgraced older brother of James, lower level employee in Dombey's business
   * Miss Harriet Carker – sister of James and John
   * Mr Morfin – assistant manager in Mr Dombey's business
   * Mr Perch – messenger in Mr Dombey's business
   * Solomon (Uncle Sol) Gills – ships' instrument maker and owner of the "Wooden Midshipman", a shop
   * Walter Gay – nephew of Gills, friend to Florence, employee of Mr Dombey, sent away by Carker the Manager
   * Captain Edward (Ned) Cuttle – retired sea captain, friend of Gills
   * Major Joseph Bagstock (Josh, Joe, J.B., Old Joe) – conceited retired army major, admirer of Miss Tox, friend of Mr Dombey until his downfall
   * Briggs – schoolmate of Paul's
   * Tozer – schoolmate of Paul's
   * Mr P. Toots – schoolmate of Paul's, later a dandy in love with Florence
   * The Game Chicken – rowdy companion of Mr Toots
   * Miss Susan Nipper – Florence's loyal nurse, later marries Mr. Toots
   * Mrs Cleopatra Skewton – Edith Dombey's infirm mother and former lover of Bagstock
   * Mr Toodle – a railway engineer
   * Polly Toodle (Mrs Richards) – wife of Mr Toodle, engaged as nurse to Paul under the name Mrs Richards (by Mr Dombey's order)
   * Robin Toodle (Rob the Grinder, Biler) – son of Mr Toodle and Polly, sent to Charitable Grinders school, later engaged in service to Captain Cuttle and Mr. Carker the Manager
   * Good Mrs. Brown – an elderly rag dealer
   * Alice – daughter of Brown, former lover of Carker's, recently returned from transportation
   * Jack Bunsby – commander of a ship, and regarded as an oracle by Captain Cuttle. Eventually is wedded to Mrs MaacStinger.
   * Mrs MacStinger – Captain Cuttle's landlady and nemesis
   * Mrs Pipchin – stern widow who keeps an 'infantine Boarding-House of a very select description' in Brighton, where Paul is sent for his health
   * Master Bitherstone – a fellow-boarder at Mrs. Pipchin's, much later a student at Doctor Blimber's
   * Miss Pankey – a fellow-boarder at Mrs. Pipchin's
   * Sir Barnet Skettles –
   * Lady Skettles –
   * Master Skettles – Brighton school pupil
   * Doctor Blimber – runs a school in Brighton which Paul briefly attends
   * Mrs Blimber – Doctor Blimber's wife
   * Miss Cornelia Blimber – Doctor Blimber's daughter, teacher at the school
   * Mr Feeder, B.A. – Doctor Blimber's assistant, teacher at the school
   * Diogenes (Di) – A dog from the school, befriended by Paul and adopted by Florence after Paul's death
  
  Film, TV or theatrical adaptations
  
  The novel has been adapted for the screen at least three times:
  
   * 1917 - a silent starring Norman McKinnel as Paul Dombey and Hayford Hobbs as Walter Gay
   * 1969 - a television mini-series starring John Carson as Paul Dombey and Derek Seaton as Walter Gay
   * 1983 - a television mini-series starring Julian Glover as Paul Dombey and Max Gold as Walter Gay
  
  There have also been BBC radio adaptations.
  
  In 2007, a two-part French miniseries, Dombais et Fils, was produced by France 3, directed by Laurent Jaoui and starring Christophe Malavoy as "Charles Dombais" (Paul Dombey).
  
  It was announced in September 2009 that Andrew Davies would no longer be writing a proposed television adaptation for the BBC.
  Original publication
  
  Dombey and Son was originally published in 19 monthly instalments; each cost one shilling (except for the last, which cost two shillings, being a double issue) and contained 32 pages of text with two illustrations by Phiz:
  
   * I - October 1846 (chapters 1-4);
   * II - November 1846 (chapters 5-7);
   * III - December 1846 (chapters 8-10);
   * IV - January 1847 (chapters 11-13);
   * V - February 1847 (chapters 14-16);
   * VI - March 1847 (chapters 17-19);
   * VII - April 1847 (chapters 20-22);
   * VIII - May 1847 (chapters 23-25);
   * IX - June 1847 (chapters 26-28);
   * X - July 1847 (chapters 29-31);
   * XI - August 1847 (chapters 32-34);
   * XII - September 1847 (chapters 35-38);
   * XIII - October 1847 (chapters 39-41);
   * XIV - November 1847 (chapters 42-45);
   * XV - December 1847 (chapters 46-48);
   * XVI - January 1848 (chapters 49-51);
   * XVII - February 1848 (chapters 52-54);
   * XVIII - March 1848 (chapters 55-57);
   * XIX-XX - April 1848 (chapters 58-62).
  
  Trivia
  
   * The motto of the publication Notes and Queries, "When found, make a note of", comes from the novel.
   * In the illustrated plate, "Major Bagstock is delighted to have that opportunity," the lettering "HOTEL" on the central building in the background is written in mirror-writing. Phiz, the illustrator, evidently forgot to reverse the lettering so that it would read correctly when the plate was printed. (However, strangely, he got the other lettering in the same plate correct.)
   * Sir Harry Johnston wrote a sequel to Dombey and Son in about 1920, titled The Gay-Dombeys.
   * In the novel Velocity by Dean Koontz, the comatose wife of the main protagonist often makes incoherent references to the works of Dickens, the 'most mysterious' coming from Dombey and Son, "I want to know what it says, the sea. What it is that it keeps on saying."
主要人物表
  约瑟夫·白格斯托克少校:退休军官
   布林伯博士:私营男学生寄宿学校的创办人
   杰克·邦斯贝:“谨慎的克拉拉”号商船的船长
   詹姆斯·卡克先生:董贝父子公司的经理,极受董贝先生信任
   约翰·卡克先生:董贝父子公司的低级职员
   约翰·奇克先生:董贝先生的妹夫
   爱德华·卡特尔船长:退休的商船船长,沃尔特和他舅舅的朋友
   保罗·董贝:董贝先生年幼的儿子和继承人
   保罗·董贝先生:富有的伦敦商人
   菲德先生:布林伯博士学校中的助理
   沃尔特·盖伊(爱称为沃尔或沃利):董贝先生雇佣的一位年轻人
   所罗门·吉尔斯:航海仪器制造商,沃尔特·盖伊的舅舅
   珀奇先生:董贝先生营业所办公室中的信差
   巴尼特·斯克特尔斯爵士:众议院议员
   罗宾·图德尔(“拜勒”,有时又称“磨工罗布”),慈善学校的学生,后来成为卡克先生的暗探
   普·图茨先生:有钱的年轻的绅士,心地善良,智力低下
   托马斯·托林森:董贝先生的男仆
   托泽:小保罗·董贝的同学威瑟斯·斯丘顿夫人的侍童
   安妮:董贝先生的女仆
   布林伯夫人:布林伯博士的妻子
   科妮莉亚·布林伯小姐:布林伯夫妇的女儿
   艾丽斯·布朗:别名艾丽斯·马伍德,詹姆斯·卡克以前的情妇
   布朗太太:艾丽斯·布朗的母亲
   哈里特·卡克:约翰,卡克和詹姆斯·卡克的姐姐
   路易莎·奇克夫人:董贝先生的妹妹
   伊迪丝·董贝夫人:董贝先生的第二个妻子
   弗洛伦斯·董贝(爱称为弗洛伊):董贝先生的女儿
   麦克斯廷杰太太:凶悍的寡妇,卡特尔船长的女房东
   苏珊·尼珀:弗洛伦斯·董贝的侍女
   珀奇太太:珀奇先生的妻子
   皮普钦太太:儿童寄宿所所长,后来是董贝先生的女管家
   斯克托尔斯夫人:斯克托尔斯爵士的妻子
   斯丘顿夫人(“克利奥佩特拉”):伊迪丝·董贝的母亲
   波利·图德尔(“理查兹”):小保罗·董贝的奶妈
   卢克丽霞·托克斯小姐:路易莎·奇克夫人的的好友;怀有野心,想成为董贝先生的续弦夫人
   威肯姆大嫂:一位侍者的妻子,小保罗·董贝的保姆


  Dombey sat in the corner of the darkened room in the great arm-chair by the bedside, and Son lay tucked up warm in a little basket bedstead, carefully disposed on a low settee immediately in front of the fire and close to it, as if his constitution were analogous to that of a muffin, and it was essential to toast him brown while he was very new.
   Dombey was about eight-and-forty years of age. Son about eight-and-forty minutes. Dombey was rather bald, rather red, and though a handsome well-made man, too stern and pompous in appearance, to be prepossessing. Son was very bald, and very red, and though (of course) an undeniably fine infant, somewhat crushed and spotty in his general effect, as yet. On the brow of Dombey, Time and his brother Care had set some marks, as on a tree that was to come down in good time - remorseless twins they are for striding through their human forests, notching as they go - while the countenance of Son was crossed with a thousand little creases, which the same deceitful Time would take delight in smoothing out and wearing away with the flat part of his scythe, as a preparation of the surface for his deeper operations.
   Dombey, exulting in the long-looked-for event, jingled and jingled the heavy gold watch-chain that depended from below his trim blue coat, whereof the buttons sparkled phosphorescently in the feeble rays of the distant fire. Son, with his little fists curled up and clenched, seemed, in his feeble way, to be squaring at existence for having come upon him so unexpectedly.
   'The House will once again, Mrs Dombey,' said Mr Dombey, 'be not only in name but in fact Dombey and Son;' and he added, in a tone of luxurious satisfaction, with his eyes half-closed as if he were reading the name in a device of flowers, and inhaling their fragrance at the same time; 'Dom-bey and Son!'
   The words had such a softening influence, that he appended a term of endearment to Mrs Dombey's name (though not without some hesitation, as being a man but little used to that form of address): and said, 'Mrs Dombey, my - my dear.'
   A transient flush of faint surprise overspread the sick lady's face as she raised her eyes towards him.
   'He will be christened Paul, my - Mrs Dombey - of course.'
   She feebly echoed, 'Of course,' or rather expressed it by the motion of her lips, and closed her eyes again.
   'His father's name, Mrs Dombey, and his grandfather's! I wish his grandfather were alive this day! There is some inconvenience in the necessity of writing Junior,' said Mr Dombey, making a fictitious autograph on his knee; 'but it is merely of a private and personal complexion. It doesn't enter into the correspondence of the House. Its signature remains the same.' And again he said 'Dombey and Son, in exactly the same tone as before.
   Those three words conveyed the one idea of Mr Dombey's life. The earth was made for Dombey and Son to trade in, and the sun and moon were made to give them light. Rivers and seas were formed to float their ships; rainbows gave them promise of fair weather; winds blew for or against their enterprises; stars and planets circled in their orbits, to preserve inviolate a system of which they were the centre. Common abbreviations took new meanings in his eyes, and had sole reference to them. A. D. had no concern with Anno Domini, but stood for anno Dombei - and Son.
   He had risen, as his father had before him, in the course of life and death, from Son to Dombey, and for nearly twenty years had been the sole representative of the Firm. Of those years he had been married, ten - married, as some said, to a lady with no heart to give him; whose happiness was in the past, and who was content to bind her broken spirit to the dutiful and meek endurance of the present. Such idle talk was little likely to reach the ears of Mr Dombey, whom it nearly concerned; and probably no one in the world would have received it with such utter incredulity as he, if it had reached him. Dombey and Son had often dealt in hides, but never in hearts. They left that fancy ware to boys and girls, and boarding-schools and books. Mr Dombey would have reasoned: That a matrimonial alliance with himself must, in the nature of things, be gratifying and honourable to any woman of common sense. That the hope of giving birth to a new partner in such a House, could not fail to awaken a glorious and stirring ambition in the breast of the least ambitious of her sex. That Mrs Dombey had entered on that social contract of matrimony: almost necessarily part of a genteel and wealthy station, even without reference to the perpetuation of family Firms: with her eyes fully open to these advantages. That Mrs Dombey had had daily practical knowledge of his position in society. That Mrs Dombey had always sat at the head of his table, and done the honours of his house in a remarkably lady-like and becoming manner. That Mrs Dombey must have been happy. That she couldn't help it.
   Or, at all events, with one drawback. Yes. That he would have allowed. With only one; but that one certainly involving much. With the drawback of hope deferred. That hope deferred, which, (as the Scripture very correctly tells us, Mr Dombey would have added in a patronising way; for his highest distinct idea even of Scripture, if examined, would have been found to be; that as forming part of a general whole, of which Dombey and Son formed another part, it was therefore to be commended and upheld) maketh the heart sick. They had been married ten years, and until this present day on which Mr Dombey sat jingling and jingling his heavy gold watch-chain in the great arm-chair by the side of the bed, had had no issue.
   - To speak of; none worth mentioning. There had been a girl some six years before, and the child, who had stolen into the chamber unobserved, was now crouching timidly, in a corner whence she could see her mother's face. But what was a girl to Dombey and Son! In the capital of the House's name and dignity, such a child was merely a piece of base coin that couldn't be invested - a bad Boy - nothing more.
   Mr Dombey's cup of satisfaction was so full at this moment, however, that he felt he could afford a drop or two of its contents, even to sprinkle on the dust in the by-path of his little daughter.
   So he said, 'Florence, you may go and look at your pretty brother, if you lIke, I daresay. Don't touch him!'
   The child glanced keenly at the blue coat and stiff white cravat, which, with a pair of creaking boots and a very loud ticking watch, embodied her idea of a father; but her eyes returned to her mother's face immediately, and she neither moved nor answered.
   'Her insensibility is as proof against a brother as against every thing else,' said Mr Dombey to himself He seemed so confirmed in a previous opinion by the discovery, as to be quite glad of it'
   Next moment, the lady had opened her eyes and seen the child; and the child had run towards her; and, standing on tiptoe, the better to hide her face in her embrace, had clung about her with a desperate affection very much at variance with her years.
   'Oh Lord bless me!' said Mr Dombey, rising testily. 'A very illadvised and feverish proceeding this, I am sure. Please to ring there for Miss Florence's nurse. Really the person should be more care-'
   'Wait! I - had better ask Doctor Peps if he'll have the goodness to step upstairs again perhaps. I'll go down. I'll go down. I needn't beg you,' he added, pausing for a moment at the settee before the fire, 'to take particular care of this young gentleman, Mrs - '
   'Blockitt, Sir?' suggested the nurse, a simpering piece of faded gentility, who did not presume to state her name as a fact, but merely offered it as a mild suggestion.
   'Of this young gentleman, Mrs Blockitt.'
   'No, Sir, indeed. I remember when Miss Florence was born - '
   'Ay, ay, ay,' said Mr Dombey, bending over the basket bedstead, and slightly bending his brows at the same time. 'Miss Florence was all very well, but this is another matter. This young gentleman has to accomplish a destiny. A destiny, little fellow!' As he thus apostrophised the infant he raised one of his hands to his lips, and kissed it; then, seeming to fear that the action involved some compromise of his dignity, went, awkwardly enough, away.
   Doctor Parker Peps, one of the Court Physicians, and a man of immense reputation for assisting at the increase of great families, was walking up and down the drawing-room with his hands behind him, to the unspeakable admiration of the family Surgeon, who had regularly puffed the case for the last six weeks, among all his patients, friends, and acquaintances, as one to which he was in hourly expectation day and night of being summoned, in conjunction with Doctor Parker Pep.
   'Well, Sir,' said Doctor Parker Peps in a round, deep, sonorous voice, muffled for the occasion, like the knocker; 'do you find that your dear lady is at all roused by your visit?'
   'Stimulated as it were?' said the family practitioner faintly: bowing at the same time to the Doctor, as much as to say, 'Excuse my putting in a word, but this is a valuable connexion.'
   Mr Dombey was quite discomfited by the question. He had thought so little of the patient, that he was not in a condition to answer it. He said that it would be a satisfaction to him, if Doctor Parker Peps would walk upstairs again.
   'Good! We must not disguise from you, Sir,' said Doctor Parker Peps, 'that there is a want of power in Her Grace the Duchess - I beg your pardon; I confound names; I should say, in your amiable lady. That there is a certain degree of languor, and a general absence of elasticity, which we would rather - not -
   'See,' interposed the family practitioner with another inclination of the head.
   'Quite so,' said Doctor Parker Peps,' which we would rather not see. It would appear that the system of Lady Cankaby - excuse me: I should say of Mrs Dombey: I confuse the names of cases - '
   'So very numerous,' murmured the family practitioner - 'can't be expected I'm sure - quite wonderful if otherwise - Doctor Parker Peps's West-End practice - '
   'Thank you,' said the Doctor, 'quite so. It would appear, I was observing, that the system of our patient has sustained a shock, from which it can only hope to rally by a great and strong - '
   'And vigorous,' murmured the family practitioner.
   'Quite so,' assented the Doctor - 'and vigorous effort. Mr Pilkins here, who from his position of medical adviser in this family - no one better qualified to fill that position, I am sure.'
   'Oh!' murmured the family practitioner. '"Praise from Sir Hubert Stanley!"'
   'You are good enough,' returned Doctor Parker Peps, 'to say so. Mr Pilkins who, from his position, is best acquainted with the patient's constitution in its normal state (an acquaintance very valuable to us in forming our opinions in these occasions), is of opinion, with me, that Nature must be called upon to make a vigorous effort in this instance; and that if our interesting friend the Countess of Dombey - I beg your pardon; Mrs Dombey - should not be - '
   'Able,' said the family practitioner.
   'To make,' said Doctor Parker Peps.
   'That effort,' said the family practitioner.
   'Successfully,' said they both together.
   'Then,' added Doctor Parker Peps, alone and very gravely, a crisis might arise, which we should both sincerely deplore.'
   With that, they stood for a few seconds looking at the ground. Then, on the motion - made in dumb show - of Doctor Parker Peps, they went upstairs; the family practitioner opening the room door for that distinguished professional, and following him out, with most obsequious politeness.
   To record of Mr Dombey that he was not in his way affected by this intelligence, would be to do him an injustice. He was not a man of whom it could properly be said that he was ever startled, or shocked; but he certainly had a sense within him, that if his wife should sicken and decay, he would be very sorry, and that he would find a something gone from among his plate and furniture, and other household possessions, which was well worth the having, and could not be lost without sincere regret. Though it would be a cool,. business-like, gentlemanly, self-possessed regret, no doubt.
   His meditations on the subject were soon interrupted, first by the rustling of garments on the staircase, and then by the sudden whisking into the room of a lady rather past the middle age than otherwise but dressed in a very juvenile manner, particularly as to the tightness of her bodice, who, running up to him with a kind of screw in her face and carriage, expressive of suppressed emotion, flung her arms around his neck, and said, in a choking voice,
   'My dear Paul! He's quite a Dombey!'
   'Well, well!' returned her brother - for Mr Dombey was her brother - 'I think he is like the family. Don't agitate yourself, Louisa.'
   'It's very foolish of me,' said Louisa, sitting down, and taking out her pocket~handkerchief, 'but he's - he's such a perfect Dombey!'
   Mr Dombey coughed.
   'It's so extraordinary,' said Louisa; smiling through her tears, which indeed were not overpowering, 'as to be perfectly ridiculous. So completely our family. I never saw anything like it in my life!'
   'But what is this about Fanny, herself?' said Mr Dombey. 'How is Fanny?'
   'My dear Paul,' returned Louisa, 'it's nothing whatever. Take my word, it's nothing whatever. There is exhaustion, certainly, but nothing like what I underwent myself, either with George or Frederick. An effort is necessary. That's all. If dear Fanny were a Dombey! - But I daresay she'll make it; I have no doubt she'll make it. Knowing it to be required of her, as a duty, of course she'll make it. My dear Paul, it's very weak and silly of me, I know, to be so trembly and shaky from head to foot; but I am so very queer that I must ask you for a glass of wine and a morsel of that cake.'
   Mr Dombey promptly supplied her with these refreshments from a tray on the table.
   'I shall not drink my love to you, Paul,' said Louisa: 'I shall drink to the little Dombey. Good gracious me! - it's the most astonishing thing I ever knew in all my days, he's such a perfect Dombey.'
   Quenching this expression of opinion in a short hysterical laugh which terminated in tears, Louisa cast up her eyes, and emptied her glass.
   'I know it's very weak and silly of me,' she repeated, 'to be so trembly and shaky from head to foot, and to allow my feelings so completely to get the better of me, but I cannot help it. I thought I should have fallen out of the staircase window as I came down from seeing dear Fanny, and that tiddy ickle sing.' These last words originated in a sudden vivid reminiscence of the baby.
   They were succeeded by a gentle tap at the door.
   'Mrs Chick,' said a very bland female voice outside, 'how are you now, my dear friend?'
   'My dear Paul,' said Louisa in a low voice, as she rose from her seat, 'it's Miss Tox. The kindest creature! I never could have got here without her! Miss Tox, my brother Mr Dombey. Paul, my dear, my very particular friend Miss Tox.'
   The lady thus specially presented, was a long lean figure, wearing such a faded air that she seemed not to have been made in what linen-drapers call 'fast colours' originally, and to have, by little and little, washed out. But for this she might have been described as the very pink of general propitiation and politeness. From a long habit of listening admiringly to everything that was said in her presence, and looking at the speakers as if she were mentally engaged in taking off impressions of their images upon her soul, never to part with the same but with life, her head had quite settled on one side. Her hands had contracted a spasmodic habit of raising themselves of their own accord as in involuntary admiration. Her eyes were liable to a similar affection. She had the softest voice that ever was heard; and her nose, stupendously aquiline, had a little knob in the very centre or key-stone of the bridge, whence it tended downwards towards her face, as in an invincible determination never to turn up at anything.
   Miss Tox's dress, though perfectly genteel and good, had a certain character of angularity and scantiness. She was accustomed to wear odd weedy little flowers in her bonnets and caps. Strange grasses were sometimes perceived in her hair; and it was observed by the curious, of all her collars, frills, tuckers, wristbands, and other gossamer articles - indeed of everything she wore which had two ends to it intended to unite - that the two ends were never on good terms, and wouldn't quite meet without a struggle. She had furry articles for winter wear, as tippets, boas, and muffs, which stood up on end in rampant manner, and were not at all sleek. She was much given to the carrying about of small bags with snaps to them, that went off like little pistols when they were shut up; and when full-dressed, she wore round her neck the barrenest of lockets, representing a fishy old eye, with no approach to speculation in it. These and other appearances of a similar nature, had served to propagate the opinion, that Miss Tox was a lady of what is called a limited independence, which she turned to the best account. Possibly her mincing gait encouraged the belief, and suggested that her clipping a step of ordinary compass into two or three, originated in her habit of making the most of everything.
   'I am sure,' said Miss Tox, with a prodigious curtsey, 'that to have the honour of being presented to Mr Dombey is a distinction which I have long sought, but very little expected at the present moment. My dear Mrs Chick - may I say Louisa!'
   Mrs Chick took Miss Tox's hand in hers, rested the foot of her wine-glass upon it, repressed a tear, and said in a low voice, 'God bless you!'
   'My dear Louisa then,' said Miss Tox, 'my sweet friend, how are you now?'
   'Better,' Mrs Chick returned. 'Take some wine. You have been almost as anxious as I have been, and must want it, I am sure.'
   Mr Dombey of course officiated, and also refilled his sister's glass, which she (looking another way, and unconscious of his intention) held straight and steady the while, and then regarded with great astonishment, saying, 'My dear Paul, what have you been doing!'
   'Miss Tox, Paul,' pursued Mrs Chick, still retaining her hand, 'knowing how much I have been interested in the anticipation of the event of to-day, and how trembly and shaky I have been from head to foot in expectation of it, has been working at a little gift for Fanny, which I promised to present. Miss Tox is ingenuity itself.'
   'My dear Louisa,' said Miss Tox. 'Don't say so.
   'It is only a pincushion for the toilette table, Paul,' resumed his sister; 'one of those trifles which are insignificant to your sex in general, as it's very natural they should be - we have no business to expect they should be otherwise - but to which we attach some interest.
   'Miss Tox is very good,' said Mr Dombey.
   'And I do say, and will say, and must say,' pursued his sister, pressing the foot of the wine-glass on Miss Tox's hand, at each of the three clauses, 'that Miss Tox has very prettily adapted the sentiment to the occasion. I call "Welcome little Dombey" Poetry, myself!'
   'Is that the device?' inquired her brother.
译者前言
  查尔斯·狄更斯是英国文学中批判现实主义的创始人和最伟大的代表。他的创作时代是英国工业资本主义正在发展,各种矛盾日益激化的时代。他的作品生动地描绘了英国资本主义社会中极为广阔的生活图画。
   《董贝父子》是他在1846年开始创作并在1848年完成的长篇小说。它代表了他在创作道路上的一个重要转折点,也是他在创作成熟时期的第一个高峰。与他的前期作品比较,这部小说对英国资本主义社会,特别是对英国资产阶级的观察是更为深刻了;它在文学艺术上所达到的高度也超出了他的前期作品。在世界文学的美丽园林中,它始终是一株出类拔萃、苍翠常青的树木,只有少数作品在思想性与艺术性方面能与它媲美。
   这部长篇小说描述了一位英国资产阶级典型代表人物董贝先生所经历的悲剧。董贝先生是英国伦敦一个从事批发、零售和出口事业的公司的老板。在资本主义社会中,金钱几乎支配社会的一切事物。董贝先生由于拥有巨大的财富,成了一位极为高傲的人物。正像他对他的小儿子所说的,钱可以“使人们畏惧、尊敬、奉承和羡慕我们,并使我们在所有人们的眼中看来权势显赫、荣耀光彩”。他的生活目的就是去扩展他的公司,获得更多的利润。金钱主宰了他本人的思想,使他成了一个冷冰冰的、失去人类良好感情的人。小说开始时,他的久已盼望的儿子出世了,他感到兴高采烈。他喜爱他的儿子,主要是因为他是他的公司的继承人,他在他身上寄托着他的野心与期望。但是他丝毫也不去关心孩子的精神世界,因此他的儿子小保罗从他那里得不到真正的父爱,也享受不到真正的家庭欢乐。至于他的女儿弗洛伦斯,因为“在公司的声望与尊严的资本中……只不过是一枚不能用来投资的劣币”,所以长期受到他的冷落,使女孩子在精神上深深地感到痛苦。他的第一位夫人的去世,他只是“觉得从他的盘子、家具和其他家庭用品中间不见了一个什么东西,而这东西是值得有的”。他傲视劳动人民,与他们的关系是冷若冰霜的金钱关系,正如他对他小儿子奶妈所说的,“在我们这个交易中,您根本不需要爱上我的孩子,我的孩子也不需要爱上您……当您离开这里的时候,您就结束了这纯粹是买与卖、雇佣与辞退的交易关系。”
   可是他引以自傲的金钱并不能给他带来他所需要的一切东西。钱能做什么?这是他的小儿子向他提出的问题。世界上有不少东西,特别是人们相互之间出自内心的真正感情,不是钱能买得到的。这是这部小说的主题思想。严峻的事实残酷地教训了董贝先生。在冷冰冰的气氛的包围下,在他操之过急的愿望的支配下,并在不良的教育制度的摧残下,他的小儿子夭折了。金钱并不能使他享有健康。美丽的年轻寡妇伊迪丝在她贪婪的母亲的怂恿下,被他用金钱买到了,可是他并不能买到她的真正的爱情以及他想要得到的尊敬与服从。伊迪丝没有向他的蛮横的要求屈服,两个高傲的人之间发生了激烈的冲突。钱使他得到了他的经理的谄媚,但却得不到他的真正的忠诚。最后他的妻子抛弃了他,和他的经理一起离家私奔,在他的家庭生活中掀起了一场轩然大波,带来了一场大灾难。作为鲜明的衬托,小说为我们描绘了一些普通人民(如火车上烧锅炉的工人图德尔一家和卡特尔船长等)的生活。在这些主要不受金钱支配的普通人民身上闪现着人类良好感情的火花。董贝先生本人也只是在公司破产之后,他的曾经一度被金钱扭曲了的性格被纠正过来之后,他才在身上显露出良好的人类感情。他在丧失了巨大的财富之后却得到了宝贵的父女之爱,并享受到真正的天伦之乐。
   狄更斯在这部小说中描绘了19世纪英国资本主义社会中各个相互联系的侧面。我们在小说中可以看到权势显赫的资本家,也可以看到被资本主义竞争挤垮的小商人及普通的劳动人民;可以看到门第败落的贵族,也可以看到在生死线上挣扎的乞丐与沦落受辱的妓女。资本主义社会中这些不同阶级的人物并不是孤立地存在的,他们相互之间的关系是一幅内容丰富的图画。
   《董贝父子》是狄更斯所创作的一部结构严密的小说,与他前期作品中存在着结构松散的缺点有很大不同。他在创作之前,经过了细心的构思。所有人物的出场与故事情节的发展,都围绕着董贝先生的命运的发展来安排,各种事件都有机地结合在一起,故事十分生动有趣。狄更斯在小说中采用的艺术手法是多种多样的。有尖刻的讽刺,也有含笑的幽默;有客观的描写,也有故意的夸张;有直接朴素的陈述,也有妙趣横生的比喻。狄更斯笔下的人物一个个都是活生生的,他们有自己独特的性格,也有自己独特的语言,甚至一条狗、一只鹦鹉、一把火钳、一块窗帘有时也都鲜明地显示出了它们的思想感情。在阅读《董贝父子》的时候,读者的心是随着故事的进展而跳动的。他会对某些人物产生厌恶或愤怒,对另一些人物则会感到喜爱或关怀。他会流出同情的眼泪,但更多的是会因为那些幽默有趣的文字而发出欢快的微笑。
   《董贝父子》和狄更斯的其他许多小说一样,是作者一边创作,一边在杂志上分期发表的。当描写小保罗去世的那一章发表时,当时的英国小说家安娜·马什—考德威尔(AnnaMarsh—Caldwell)曾不加夸张地写道,它“把整个国家都投入了悲悼之中”;不仅当时的英国是这样,而且在法国也受到了程度不同的震动。《董贝父子》全书出版以后,立即赢得了广大的读者,成为当时的畅销书。由此可见这本书当时产生的巨大影响。我国读者都很喜爱狄更斯所写的小说《奥列佛尔·退斯特》(又译《雾都孤儿》)、《老古玩店》和《远大前程》(《又译《孤星血泪》)等。我相信,《董贝父子》在我国翻译出版后,我国读者也一定会深深地喜爱它。


  'That is the device,' returned Louisa.
   'But do me the justice to remember, my dear Louisa,' said Miss Toxin a tone of low and earnest entreaty, 'that nothing but the - I have some difficulty in expressing myself - the dubiousness of the result would have induced me to take so great a liberty: "Welcome, Master Dombey," would have been much more congenial to my feelings, as I am sure you know. But the uncertainty attendant on angelic strangers, will, I hope, excuse what must otherwise appear an unwarrantable familiarity.' Miss Tox made a graceful bend as she spoke, in favour of Mr Dombey, which that gentleman graciously acknowledged. Even the sort of recognition of Dombey and Son, conveyed in the foregoing conversation, was so palatable to him, that his sister, Mrs Chick - though he affected to consider her a weak good-natured person - had perhaps more influence over him than anybody else.
   'My dear Paul,' that lady broke out afresh, after silently contemplating his features for a few moments, 'I don't know whether to laugh or cry when I look at you, I declare, you do so remind me of that dear baby upstairs.'
   'Well!' said Mrs Chick, with a sweet smile, 'after this, I forgive Fanny everything!'
   It was a declaration in a Christian spirit, and Mrs Chick felt that it did her good. Not that she had anything particular to forgive in her sister-in-law, nor indeed anything at all, except her having married her brother - in itself a species of audacity - and her having, in the course of events, given birth to a girl instead of a boy: which, as Mrs Chick had frequently observed, was not quite what she had expected of her, and was not a pleasant return for all the attention and distinction she had met with.
   Mr Dombey being hastily summoned out of the room at this moment, the two ladies were left alone together. Miss Tox immediately became spasmodic.
   'I knew you would admire my brother. I told you so beforehand, my dear,' said Louisa. Miss Tox's hands and eyes expressed how much. 'And as to his property, my dear!'
   'Ah!' said Miss Tox, with deep feeling. 'Im-mense!'
   'But his deportment, my dear Louisa!' said Miss Tox. 'His presence! His dignity! No portrait that I have ever seen of anyone has been half so replete with those qualities. Something so stately, you know: so uncompromising: so very wide across the chest: so upright! A pecuniary Duke of York, my love, and nothing short of it!' said Miss Tox. 'That's what I should designate him.'
   'Why, my dear Paul!' exclaimed his sister, as he returned, 'you look quite pale! There's nothing the matter?'
   'I am sorry to say, Louisa, that they tell me that Fanny - '
   'Now, my dear Paul,' returned his sister rising, 'don't believe it. Do not allow yourself to receive a turn unnecessarily. Remember of what importance you are to society, and do not allow yourself to be worried by what is so very inconsiderately told you by people who ought to know better. Really I'm surprised at them.'
   'I hope I know, Louisa,' said Mr Dombey, stiffly, 'how to bear myself before the world.'
   'Nobody better, my dear Paul. Nobody half so well. They would be ignorant and base indeed who doubted it.'
   'Ignorant and base indeed!' echoed Miss Tox softly.
   'But,' pursued Louisa, 'if you have any reliance on my experience, Paul, you may rest assured that there is nothing wanting but an effort on Fanny's part. And that effort,' she continued, taking off her bonnet, and adjusting her cap and gloves, in a business-like manner, 'she must be encouraged, and really, if necessary, urged to make. Now, my dear Paul, come upstairs with me.'
   Mr Dombey, who, besides being generally influenced by his sister for the reason already mentioned, had really faith in her as an experienced and bustling matron, acquiesced; and followed her, at once, to the sick chamber.
   The lady lay upon her bed as he had left her, clasping her little daughter to her breast. The child clung close about her, with the same intensity as before, and never raised her head, or moved her soft cheek from her mother's face, or looked on those who stood around, or spoke, or moved, or shed a tear.
   'Restless without the little girl,' the Doctor whispered Mr Dombey. 'We found it best to have her in again.'
   'Can nothing be done?' asked Mr Dombey.
   The Doctor shook his head. 'We can do no more.'
   The windows stood open, and the twilight was gathering without.
   The scent of the restoratives that had been tried was pungent in the room, but had no fragrance in the dull and languid air the lady breathed.
   There was such a solemn stillness round the bed; and the two medical attendants seemed to look on the impassive form with so much compassion and so little hope, that Mrs Chick was for the moment diverted from her purpose. But presently summoning courage, and what she called presence of mind, she sat down by the bedside, and said in the low precise tone of one who endeavours to awaken a sleeper:
   'Fanny! Fanny!'
   There was no sound in answer but the loud ticking of Mr Dombey's watch and Doctor Parker Peps's watch, which seemed in the silence to be running a race.
   'Fanny, my dear,' said Mrs Chick, with assumed lightness, 'here's Mr Dombey come to see you. Won't you speak to him? They want to lay your little boy - the baby, Fanny, you know; you have hardly seen him yet, I think - in bed; but they can't till you rouse yourself a little. Don't you think it's time you roused yourself a little? Eh?'
   She bent her ear to the bed, and listened: at the same time looking round at the bystanders, and holding up her finger.
   'Eh?' she repeated, 'what was it you said, Fanny? I didn't hear you.'
   No word or sound in answer. Mr Dombey's watch and Dr Parker Peps's watch seemed to be racing faster.
   'Now, really, Fanny my dear,' said the sister-in-law, altering her position, and speaking less confidently, and more earnestly, in spite of herself, 'I shall have to be quite cross with you, if you don't rouse yourself. It's necessary for you to make an effort, and perhaps a very great and painful effort which you are not disposed to make; but this is a world of effort you know, Fanny, and we must never yield, when so much depends upon us. Come! Try! I must really scold you if you don't!'
   The race in the ensuing pause was fierce and furious. The watches seemed to jostle, and to trip each other up.
   'Fanny!' said Louisa, glancing round, with a gathering alarm. 'Only look at me. Only open your eyes to show me that you hear and understand me; will you? Good Heaven, gentlemen, what is to be done!'
   The two medical attendants exchanged a look across the bed; and the Physician, stooping down, whispered in the child's ear. Not having understood the purport of his whisper, the little creature turned her perfectly colourless face and deep dark eyes towards him; but without loosening her hold in the least
   The whisper was repeated.
   'Mama!' said the child.
   The little voice, familiar and dearly loved, awakened some show of consciousness, even at that ebb. For a moment, the closed eye lids trembled, and the nostril quivered, and the faintest shadow of a smile was seen.
   'Mama!' cried the child sobbing aloud. 'Oh dear Mama! oh dear Mama!'
   The Doctor gently brushed the scattered ringlets of the child, aside from the face and mouth of the mother. Alas how calm they lay there; how little breath there was to stir them!
   Thus, clinging fast to that slight spar within her arms, the mother drifted out upon the dark and unknown sea that rolls round all the world.
首页>> 旅游天下>> 现实百态>> Charles Dickens   United Kingdom   汉诺威王朝   (February 7, 1812 ADJune 9, 1870 AD)