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bèi Cousin Bette
   'ěr zhā ( 1799~1850) shì guó xiàn shí zhù wén xué shī shēng chuàng zuò de 91 chángzhōngduǎn piān xiǎo shuōquán shōu rén jiān zhōngchú liǎo guǎng wéi rén zhī deōu · lǎng tái》、《 gāo lǎo tóuděnghái yòubèi 》、《 lán huàděng
  《 bèi shì de zhù míng xiǎo shuōběn shū de zhù rén gōng bèi shì shēng zài xiāng xià de niàndài zhe shēn de xiāng yóu měi shàn liáng yòu dào gāo guì de táng jiě de guān qiē lái dào liǎo guó chéng xìng juéjiàng de bèi fāng miàn mǎn huái zhe duì táng jiě de fāng miàn yòu hàoshèng de wàng qín fèn xué chéng liǎo shǔ de jiā tíngrán 'ér shí dài shè huì de dòng dàng wàn biàn běn xìng de wán yòu xià biǎn chéng gōng rénjiē xià lái de shì bìng huì jiù píng dàn guòbèi méi yòu fàng xiàn zhuàngwéi zhe de biāo huó zhejiān qiáng pīn zuì zhōng dào liǎo de mǎn héng héng yòu liǎo fèn de shì
   bèi shì 'ěr zhā xià xiāng dāng shū de xíng xiàngxiǎo shuō mìng míng jiàn zuò jiā duì de zhòng shì wéi mǒu zhǒng qíng suǒ zuǒ yòudàn diào gòu chéng què shí fēn chǒu è shēnshì zhè rén gěi zhě de yìn xiàngzuò jiā wéi gòu huà liǎo lìng rén shēng yànlìng rén shēng wèi de màn huà xiàngyòu tóng yàng lìng rén shēng yànlìng rén shēng wèi de xīnzhè zhǒng fǎng shēng lái de guài xīn qīn rǎo zhe de líng hún huài zhe bié rén de xìng zài lāi de yín dàng jié hòugèng xíng chéng wéi zhǒng deshèn zhì nénghuǐ miè zhěng chéng shìde xié 'è liàngdàn shìbèi de xíng xiàng yòu yuǎn fēiède huà shēn


  La Cousine Bette (English: Cousin Betty or Cousin Bette) is an 1846 novel by French author Honoré de Balzac. Set in mid-19th century Paris, it tells the story of an unmarried middle-aged woman who plots the destruction of her extended family. Bette works with Valérie Marneffe, an unhappily married young lady, to seduce and torment a series of men. One of these is Baron Hector Hulot, husband to Bette's cousin Adeline. He sacrifices his family's fortune and good name to please Valérie, who leaves him for a tradesman named Crevel. The book is part of the Scènes de la vie parisienne section of Balzac's novel sequence La Comédie humaine.
  
  In the 1840s, a serial format known as the roman-feuilleton was highly popular in France, and the most acclaimed expression of it was the socialist writing of Eugène Sue. Balzac wanted to challenge Sue's supremacy, and prove himself the most capable feuilleton author in France. Writing quickly and with intense focus, Balzac produced La Cousine Bette, one of his longest novels, in two months. It was published in Le Constitutionnel at the end of 1846, then collected with a companion work, Le Cousin Pons, the following year.
  
  The novel's characters represent polarities of contrasting morality. The vengeful Bette and disingenuous Valérie stand on one side, with the merciful Adeline and her patient daughter Hortense on the other. The patriarch of the Hulot family, meanwhile, is consumed by his own sexual desire. Hortense's husband, the Polish exile Wenceslas Steinbock, represents artistic genius, though he succumbs to uncertainty and lack of motivation. Balzac based the character of Bette in part on his mother and the poet Marceline Desbordes-Valmore. At least one scene involving Baron Hulot was likely based on an event in the life of Balzac's friend, the novelist Victor Hugo.
  
  La Cousine Bette is considered Balzac's last great work. His trademark use of realist detail combines with a panorama of characters returning from earlier novels. Several critics have hailed it as a turning point in the author's career, and others have called it a prototypical naturalist text. It has been compared to William Shakespeare's Othello as well as Leo Tolstoy's War and Peace. The novel explores themes of vice and virtue, as well as the influence of money on French society. Bette's relationship with Valérie is also seen as an important exploration of homoerotic themes. A number of film versions of the story have been produced, including a 1971 BBC mini-series starring Margaret Tyzack and Dame Helen Mirren, and a 1998 feature film with Jessica Lange in the title role.
  
  By 1846 Honoré de Balzac had achieved tremendous fame as a writer, but his finances and health were deteriorating rapidly. After writing a series of potboiler novels in the 1820s, he published his first book under his own name, Les Chouans, in 1829. He followed this with dozens of well-received novels and stories, including La Peau de chagrin (1831), Le Père Goriot (1835), and the two-volume Illusions perdues (1837 and 1839). Because of his lavish lifestyle and penchant for financial speculation, however, he spent most of his life trying to repay a variety of debts. He wrote tirelessly, driven as much by economic necessity as by the muse and black coffee. This regimen of constant work exhausted his body and brought reprimands from his doctor.[2]
  
  As his work gained recognition, Balzac began corresponding with a Polish Baronness named Ewelina Hańska, who first contacted him through an anonymous 1832 letter signed "L'Étrangère". They developed an affectionate friendship in letters, and when she became a widow in 1841, Balzac sought her hand in marriage. He visited her often in Poland and Germany, but various complications prohibited their union. One of these was an affair Balzac had with his housekeeper, Louise Breugniot. As she became aware of his affection for Mme. Hanska, Breugniot stole a collection of their letters and used them to extort money from Balzac. Even after this episode, however, he grew closer to Mme. Hanska with each visit and by 1846 he had begun preparing a home to share with her. He grew hopeful that they could marry when she became pregnant, but she fell ill in December and suffered a miscarriage.[3]
  
  The mid-nineteenth century was a time of profound transformation in French government and society. The reign of King Charles X ended in 1830 when a wave of agitation and dissent forced him to abdicate. He was replaced by Louis-Philippe, who named himself "King of the French", rather than the standard "King of France" – an indication that he answered more to the nascent bourgeoisie than the aristocratic Ancien Régime. The change in government took place while the economy in France was moving from mercantilism to industrial development. This opened new opportunities for individuals hoping to acquire wealth, and led to significant changes in social norms. Members of the aristocracy, for example, were forced to relate socially to the nouveau riche, usually with tense results. The democratic spirit of the French Revolution also affected social interactions, with a shift in popular allegiance away from the church and the monarchy.[4]
  
  In the mid-nineteenth century, a new style of novel became popular in France. The serial format known as the roman-feuilleton presented stories in short regular installments, often accompanied by melodramatic plots and stock characters. Although Balzac's La Vielle fille (1836) was the first such work published in France,[5] the roman-feuilleton gained prominence thanks mostly to his friends Eugène Sue and Alexandre Dumas, père.[6] Balzac disliked their serial writing, however, especially Sue's socialist depiction of lower-class suffering.[7] Balzac wanted to dethrone what he called "les faux dieux de cette littérature bâtarde" ("the false gods of this bastard literature").[8] He also wanted to show the world that, despite his poor health and tumultuous career, he was "plus jeune, plus frais, et plus grand que jamais" ("younger, fresher, and greater than ever").[8] His first efforts to render a quality feuilleton were unsuccessful. Even though Splendeurs et misères des courtisanes (published in segments from 1838 to 1847) was celebrated by critics, Balzac complained to Mme. Hanska that he was "doing pue Sue".[9] He tried again in 1844 with Modeste Mignon, but public reactions were mixed.[10] Two years later Balzac began a new project, determined to create something from his "own old pen again".[9]
  Writing and publication
  Balzac first visited the Château de Saché in 1832, when he wrote the autobiographical novel Louis Lambert.[11]
  
  After resting for a week in June 1846 at the Château de Saché in Tours, Balzac returned to Paris and began working on a short story called "Le Parasite", which he eventually developed into the novel Le Cousin Pons. He intended from the start to pair it with another novel, collecting them under the title Les Parents pauvres ("The Poor Relations"). He based the second book on a story his sister Laure Surville had written called "La Cousine Rosalie" and published in 1844 in Le Journal des enfants.[12] Writing intensively, he produced the entire novel, named La Cousine Bette after the main character, in two months. This was a significant accomplishment owing to his bad health, but its length made Balzac's writing speed especially remarkable.[13] One critic calls the writing of Les Parents pauvres Balzac's "last explosion of creative energy".[14] Another suggests that this effort was "almost the last straw which broke down Balzac's gigantic strength".[15]
  
  Balzac's usual mode of revision involved vast, complicated edits made to galley proofs he received from the printer. When creating La Cousine Bette, however, he submitted the work to his editor piece by piece, without viewing a single proof.[15] The book was serialized in Le Constitutionnel from 8 October to 3 December, and Balzac rushed to keep up with the newspaper's rapid printing schedule. He produced an average of eight pages each day, but was struck by the unexpected enormity of the story as it evolved.[16] Balzac was paid 12,836 francs for the series, which was later published with Le Cousin Pons as a twelve-volume book by Chiendowski and Pétion.[17] The first collected edition of La Cousine Bette was organized into 132 chapters, but these divisions were removed when Balzac added it to his massive collection La Comédie humaine in 1848.[18]
  Plot summary
  While caring for him, Bette refers to Wenceslas Steinbock as "mon enfant ... un garçon qui se relève du cercueil" ("my child ... a son risen from the grave").[19]
  
  The first third of the novel provides a lengthy exploration of the characters' histories. Balzac makes this clear after 150 pages: "Ici se termine, en quelque sorte, l'introduction de cette histoire." ("Here ends what is, in a way, the introduction to this story.")[20] At the start of the novel, Adeline Hulot – wife of the successful Baron Hector Hulot – is being pressured into an affair by a wealthy perfumer named Célestin Crevel. His desire stems in part from an earlier contest in which the adulterous Baron Hulot had won the hand of the singer Josépha Mirah, also favored by Crevel. The Hulots' daughter, Hortense, has begun searching for a husband; their son Victorin is married to Crevel's daughter Celestine. Mme. Hulot resists Crevel's advances, and he turns his attention elsewhere.
  
  Mme. Hulot's cousin, Bette (also called Lisbeth), harbors a deep but hidden resentment of her relatives' success. A peasant woman with none of the physical beauty of her cousin, Bette has rejected a series of marriage proposals from middle-class suitors, and remains unmarried at the age of 42. One day she comes upon a young unsuccessful Polish sculptor named Wenceslas Steinbock, attempting suicide in the tiny apartment upstairs from her own. As she nourishes him back to health, she develops a maternal fondness for him. She also befriends Valérie, the wife of a War Department clerk named Marneffe; the two women form a bond of mutual affection and protection.
  
  Baron Hulot, meanwhile, is rejected by Josépha, who explains bluntly that she has chosen another man because of his larger fortune. Hulot's despair is quickly alleviated when he meets and falls in love with Valérie Marneffe. He showers her with gifts, and soon establishes a luxurious house for her and M. Marneffe, with whom he works at the War Department. These debts, compounded by the money he borrowed to lavish on Josépha, threaten the Hulot family's financial security. Panicked, he convinces his uncle Johann Fischer to quietly embezzle funds from a War Department outpost in Algiers. Hulot's woes are momentarily abated and Bette's happiness is shattered, when – at the end of the "introduction" – Hortense Hulot marries Wenceslas Steinbock.
  
  Crushed at having lost Steinbock's company, Bette swears vengeance on the Hulot family. She works behind the scenes with Valérie to extract more money from Baron Hulot. Valérie also seduces Crevel and watches with delight as they vie for her attention. With Bette's help, Valérie turns to Steinbock and draws him into her bedroom. When Hortense learns of his infidelity, she leaves Steinbock and returns with their son to live with her mother Adeline. Valérie also proclaims her love to a Brazilian Baron named Henri Montès de Montéjanos, and swears devotion constantly to each of the five men.
  When Baron Hulot marries the kitchen maid Agathe, his son Victorin concludes: "les enfants ne peuvent pas empêcher la folie des ancêtres en enfance" ("children cannot interfere with the insane acts of their parents in their second childhood").[21]
  
  Baron Hulot's brother, known as "le maréchal" ("the Marshal"), hires Bette as his housekeeper, and they develop a mild affection. He learns of his brother's infidelities (and the difficulties they have caused Adeline, who refuses to leave her husband), and promises to marry Bette if she will provide details. She agrees eagerly, delighted at the prospect of finally securing an enviable marriage. While investigating his brother's behavior, however, the Marshal discovers Baron Hulot's scheme in Algiers. He is overwhelmed by the disgrace, and his health deteriorates. Bette's last hope for a brighter future dies with him.
  
  When Valérie becomes pregnant, she tells each of her lovers (and her husband) that he is the father. She gives birth to a stillborn child, however, and her husband dies soon thereafter. Hulot and Crevel are ecstatic when they hear this news, each believing that he will become her only love once the official mourning period has passed. Valérie chooses Crevel for his comfortable fortune, and they quickly wed. This news outrages Baron Montès, and he devises a plot to poison the newlyweds. Crevel and Valérie die slowly, their bodies devoured by an exotic Brazilian toxin.
  
  Victorin Hulot is later visited by the Prince of Wissembourg, who delivers news of economic good fortune. The Marshal, prior to his death, had made arrangements for repayment of the Baron's debts, as well as employment for Adeline in a Catholic charity. Baron Hulot has disappeared, and Adeline spends her free time searching for him in houses of ill repute. She eventually finds him living with a fifteen-year-old courtesan, and begs him to return to the family. He agrees, but as he climbs into the carriage, Hulot asks: "mais pourrai-je emmener la petite?" ("But can I take the girl?")[22] The Hulot home is reunited for a time, and Bette's fury at their apparent happiness hastens her death. One evening after the funeral, Adeline overhears Hulot seducing a kitchen maid named Agathe. On her deathbed, Adeline delivers her first rebuke to her husband: "[D]ans un moment, tu seras libre, et tu pourras faire une baronne Hulot." ("In a moment, you will be free, and you can make another Baronne Hulot.")[23] Soon after burying his wife, Hulot marries Agathe.
  Characters and inspirations
  The death of Marshal Hulot has been called "one of the most moving in all of Balzac".[24]
  
  Balzac had written more than seventy novels when he began La Cousine Bette, and populated them with recurring characters. Many of the characters in the novel, therefore, appear with extensive back-stories and biographical depth. For example, Célestin Crevel first appeared in Balzac's 1837 novel César Birotteau, working for the title character. Having accumulated a considerable fortune in that book, Crevel spends his time in La Cousine Bette enjoying the spoils of his labor. Another important recurring character is Marshal Hulot, who first appeared as a colonel in Les Chouans. In the years between that story and La Cousine Bette, he became the Count of Forzheim; in a letter to the Constitutionnel, Balzac described how Marshal Hulot gained this title. The presence of Crevel and Marshal Hulot – among others – in La Cousine Bette allows a continuation of each character's life story, adding emphasis or complexity to earlier events.[25]
  
  Other recurring characters appear only briefly in La Cousine Bette; previous appearances, however, give deep significance to the characters' presence. This is the case with Vautrin, the criminal mastermind who tutors young Eugene de Rastignac in Balzac's 1835 novel Le Père Goriot. When he resurfaces in La Cousine Bette, he has joined the police and introduces the Hulot family to his aunt, Mme. Nourrison, who offers a morally questionable remedy for their woes. Although Vautrin's presence in La Cousine Bette is brief, his earlier adventures in Le Père Goriot provide instant recognition and emotional texture. Elsewhere, Balzac presents an entire world of experience by including characters from a particular sphere of society. For example, several scenes feature artists like Jean-Jacques Bixiou, who first appeared in 1837's Les Employés and in many other books thereafter. The world of Parisian nightlife is quickly brought to mind with the inclusion of several characters from Les Comédiens sans le savoir (1846), and Bianchon appears – as always – when a doctor is needed.[26]
  
  Balzac's use of recurring characters has been identified as a unique component of his fiction. It enables a depth of characterization that goes beyond simple narration or dialogue. "When the characters reappear", notes the critic Samuel Rogers, "they do not step out of nowhere; they emerge from the privacy of their own lives which, for an interval, we have not been allowed to see."[27] Some readers, however, are intimidated by the depth created by these interdependent stories, and feel deprived of important context for the characters. Detective novelist Arthur Conan Doyle said that he never tried to read Balzac, because he "did not know where to begin".[28] The characterization in La Cousine Bette is considered especially skillful. Anthony Pugh, in his book Balzac's Recurring Characters, says that the technique is employed "for the most part without that feeling of self-indulgence that mars some of Balzac's later work. Almost every example arises quite naturally out of the situation."[29] Biographer Noel Gerson calls the characters in La Cousine Bette "among the most memorable Balzac ever sketched".[30]
  Bette Fischer
  Lisbeth Fischer (Cousin Bette) is described as "maigre, brune ... les sourcils épais et réunis par un bouquet ... quelques verrues dans sa face longue et simiesque" ("lean, brown, with ... thick eyebrows joining in a tuft ... and some moles on her narrow simian face").[31]
  
  Descriptions of Bette are often connected to savagery and animal imagery. Her name, for example, is a homophone in French for "bête" ("beast"). One passage explains that "elle ressemblait aux singes habillés en femmes" ("she sometimes looked like one of those monkeys in petticoats");[32] elsewhere her voice is described as having "une jalousie de tigre" ("tiger-like jealousy").[33] Her beastly rage comes to the surface with ferocity when she learns of Steinbock's engagement to Hortense:
  
   La physionomie de la Lorraine était devenue terrible. Ses yeux noirs et pénétrants avaient la fixité de ceux des tigres. Sa figure ressemblait à celles que nous supposons aux pythonisses, elle serrait les dents pour les empêcher de claquer, et une affreuse convulsion faisait trembler ses membres. Elle avait glissé sa main crochue entre son bonnet et ses cheveux pour les empoigner et soutenir sa tête, devenue trop lourde; elle brûlait! La fumée de l'incendie qui la ravageait semblait passer par ses rides comme par autant de crevasses labourées par une éruption volcanique.
  
   The peasant-woman's face was terrible; her piercing black eyes had the glare of the tiger's; her face was like that we ascribe to a pythoness; she set her teeth to keep them from chattering, and her whole frame quivered convulsively. She had pushed her clenched fingers under her cap to clutch her hair and support her head, which felt too heavy; she was on fire. The smoke of the flame that scorched her seemed to emanate from her wrinkles as from the crevasses rent by a volcanic eruption.[34]
  
  When she learns that her cousin Adeline has been welcoming Steinbock into the Hulot home, Bette swears revenge: "Adeline! se dit Lisbeth, ô Adeline, tu me le payeras, je te rendrai plus laide que moi!" ("'Adeline!' muttered Lisbeth. 'Oh, Adeline, you shall pay for this! I will make you uglier than I am.'")[34] Her cruelty and lust for revenge lead critics to call her "demonic"[35] and "one of Balzac's most terrifying creations".[36] Because of her willingness to manipulate the people around her, Bette has been compared to Iago in William Shakespeare's play Othello.[37] Her fierce persona is attributed partly to her peasant background, and partly to her virginity, which provides (according to Balzac) "une force diabolique ou la magie noire de la volonté" ("diabolical strength, or the black magic of the Will").[38][39]
  
  In a letter to Mme. Hanska, Balzac indicated that he based the character of Bette on three women from his life: his mother, Mme. Hanska's aunt Rosalie Rzewuska, and the poet Marceline Desbordes-Valmore. Balzac had a tumultuous relationship with his mother for most of his life, and he incorporated some of her personality (particularly her "obstinate persistence in living",[40] as one critic calls it) into Bette.[41] Rosalie Rzewuska disapproved of Mme. Hanska's relationship with Balzac; biographers agree that her cold determination was part of the author's recipe for Bette.[42] Elements taken from Marceline Desbordes-Valmore are more complex; she faced many setbacks in life and she and Balzac became friends after she left the theatre to take up poetry.[43]
  Valérie Marneffe
  
  Bette's co-conspirator in the destruction of the Hulot family is beautiful and greedy Valérie Marneffe, the unsatisfied wife of a War Department clerk. They develop a deep friendship, which many critics consider an example of lesbian affection.[44] Because of their relationship and similar goals, the critic Frederic Jameson says that "Valérie serves as a kind of emanation of Bette".[45]
  Valérie Marneffe "attirait tous les regards, excitait tous les désirs, dans le cercle où elle rayonnait" ("attracted every eye, and excited every desire in the circle she shone upon").[46]
  
  Valérie is repulsed by her ugly husband and has gone five years without kissing him.[47] She explains bluntly that her position as a married woman provides subtleties and options unavailable to the common prostitute who has one set price; after Marneffe dies, Valérie jockeys for position between Hulot and Montés (while also sleeping with Steinbock), then discards them all to marry Crevel, who offers the most wealth. She amuses herself by mocking her lovers' devotion, and this wickedness – not to mention her gruesome demise – has led some critics to speculate that she is actually the focus of Balzac's morality tale.[48]
  
  In one important scene, Valérie models for Steinbock as Delilah, standing victorious over the ruined Samson. With obvious parallels to her own activities, she describes her vision for the piece: "Il s'agit d'exprimer la puissance de la femme. Samson n'est rien, là. C'est le cadavre de la force. Dalila, c'est la passion qui ruine tout." ("What you have to show is the power of woman. Samson is a secondary consideration. He is the corpse of dead strength. It is Delilah—passion—that ruins everything.")[49]
  
  Although Balzac did not draw specifically from the women in his life to create Valérie, parallels have been observed in some areas. The tumultuous end of his affair with Louise Breugniot and the advantage she gains from his devotion to Mme. Hanska is similar in some ways to Valérie's manipulation of Steinbock.[50] Critics also connect the pride and anguish felt by Balzac during Mme. Hanska's pregnancy and miscarriage to the same emotions felt by Baron Hulot when Valérie conceives and loses her child.[51] Although he never ascribed to Mme. Hanska any of the traits in Valérie's treacherous character, he felt a devotion similar to that of Hulot. He once wrote to her: "je fais pour mon Eve toute les folies qu'un Hulot fait pour une Marneffe, je te donnerai mon sang, mon honneur, ma vie" ("I commit for [you] all the follies that a Hulot commits for Madame Marneffe; I give you my blood, my honor, my life").[52]
  Hector and Adeline Hulot
  
  Baron Hector Hulot is a living manifestation of male sexual desire, unrestrained and unconcerned with its consequences for the man or his family. As the novel progresses, he becomes consumed by his libido, even in a physical sense. When Valérie tells him to stop dyeing his hair, he does so to please her. His financial woes and public disgrace lead him to flee his own home; by the end of the book he is an elderly, decrepit shell of a man. Baron Hulot is so overcome by his taste for female flesh that he even asks his wife – without irony – if he can bring home his fifteen-year-old mistress.[53]
  
  Adeline Hulot, on the other hand, is mercy personified. Like her cousin Bette, she comes from a peasant background, but has internalized the ideals of 19th-century womanhood, including devotion, grace, and deference. She reveals in the first scene that she has known for years about her husband's infidelities, but refuses to condemn him. Adeline's forgiving nature is often considered a significant character flaw. Some suggest that she is partly to blame for Hulot's wandering affection. C.A. Prendergast, for example, calls her forgiveness "an inadequate and even positively disastrous response" to her situation.[54] He further suggests that Adeline, by choosing the role of quiet and dutiful wife, has excised from herself the erotic power to which the Baron is drawn. "[O]ne could at the very least offer the tentative speculation that Hulot's obsessional debauchery is in part the result of a certain poverty in Adeline, that the terrible logic of Hulot's excess is partially shaped by a crucial deficiency in his wife."[55] Others are less accusatory; Adeline's nearly infinite mercy, they say, is evidence of foolishness. Critic Herbert J. Hunt declares that she shows "more imbecility than Christian patience",[56] and David Bellos points out that, like her husband, she is driven by passion – albeit of a different kind: "Adeline's desire (for good, for the family, for Hector, for God) is so radically different from the motivating desires of the other characters that she seems in their context to be without desire...."[57]
  
  Balzac's inspiration for the characters of Hector and Adeline remain unclear, but several critics have been eager to speculate. Three officers named Hulot were recognized for their valor in the Napoleonic Wars, and some suggest that Balzac borrowed the name of Comte Hector d'Aure. None of these men, however, were known for the sort of philandering or thievery exhibited by Baron Hulot in the novel. Instead, Balzac may have used himself as the model; his many affairs with women across the social spectrum lead some to suggest that the author "found much of Hulot in himself".[58] Balzac's friend Victor Hugo, meanwhile, was famously discovered in bed with his mistress in July 1845. The similarity of his name to Hector Hulot (and that of his wife's maiden name, Adèle Foucher, to Adeline Fischer) has been posited as a possible indication of the characters' origins.[59]
  Wenceslas Steinbock
  "Quoique Steinbock eût vingt-neuf ans, il paraissait, comme certains blonds, avoir cinq ou six ans de moins ... cette jeunesse ... avait cédé sous les fatigues et les misères de l'exil" ("Though Steinbock was nine-and-twenty, like many fair men, he looked five or six years younger ... his youth ... had faded under the fatigue and stress of life in exile".)[60]
  
  The Polish sculptor Wenceslas Steinbock is important primarily because of Bette's attachment to him. He offers Bette a source of pride, a way for her to prove herself worthy of her family's respect. When Hortense marries Steinbock, Bette feels as though she has been robbed. Prendergast insists that the incident "must literally be described as an act of theft".[61]
  
  Steinbock's relevance also lies in his background and profession, illustrating Balzac's conception of the Polish people, as well as himself. Having spent more than a decade befriending Mme. Hanska and visiting her family in Poland, Balzac believed he had insight into the national character (as he felt about most groups he observed). Thus, descriptions of Steinbock are often laced with commentary about the Polish people: "Soyez mon amie, dit-il avec une de ces démonstrations caressantes si familières aux Polonais, et qui les font accuser assez injustement de servilité." ("'Be my sweetheart,' he added, with one of the caressing gestures familiar to the Poles, for which they are unjustly accused of servility.")[62][63]
  
  Critics also consider Steinbock important because of his artistic genius. Like Louis Lambert and Lucien Chardon in Illusions perdues, he is a brilliant man – just as Balzac considered himself to be. Before he is nurtured and directed by Bette, however, Steinbock's genius languishes under his own inertia and he attempts suicide. Later, when he leaves Bette's circle of influence, he fails again. Thus he demonstrates Balzac's conviction that genius alone is useless without determination.[64] Bellos organizes Steinbock and Bette into a duality of weakness and strength; whereas the Polish artist is unable to direct his energies into productive work, Bette draws strength from her virginity and thus becomes powerful by denying the lust to which Steinbock falls prey.[65] Steinbock's drive is further eroded by the praise he receives for his art, which gives him an inflated sense of accomplishment. One critic refers to the artist's downfall as "vanity ... spoiled by premature renown".[66]
  Style
  
  If Balzac's goal was (as he claimed) to write a realist novel from his "own old pen" rather than mimic the style of Eugène Sue, history and literary criticism have declared him successful. William Stowe calls La Cousine Bette "a masterpiece of classical realism"[67] and Bellos refers to it as "one of the great achievements of nineteenth-century realism", comparing it to War and Peace.[68] Some sections of the book are criticized for being melodramatic, and Balzac biographer V. S. Pritchett even refers to a representative excerpt as "bad writing".[69] Most critics, however, consider the moralistic elements of the novel deceptively complex, and some point out that the roman-feuilleton format required a certain level of titillation to keep readers engaged.[70] Others indicate that Balzac's interest in the theatre was an important reason for the inclusion of melodramatic elements.[71]
  Émile Zola said that Balzac's fiction was "uniquement le compte-rendu brutal de ce que l'écrivain a observé" ("only the brutal report of what the writer has observed").[72]
  
  Balzac's trademark realism begins on the first page of the novel, wherein Crevel is described wearing a National Guard uniform, complete with the Légion d'honneur. Details from the 1830s also appear in the novel's geographic locations. The Hulot family home, for example, is found in the aristocratic area of Paris known as the Faubourg Saint-Germain.[73] Bette's residence is on the opposite end of the social spectrum, in the impoverished residential area which surrounded the Louvre: "Les ténèbres, le silence, l'air glacial, la profondeur caverneuse du sol concourent à faire de ces maisons des espèces de cryptes, des tombeaux vivants." ("Darkness, silence, an icy chill, and the cavernous depth of the soil combine to make these houses a kind of crypt, tombs of the living.")[74] Descriptions of her meager quarters are – as usual in Balzac's work – an acute reflection of her personality. The same is true of the Marneffe home at the outset: it contains "les trompeuses apparences de ce faux luxe" ("the illusory appearance of sham luxury"),[75] from the shabby chairs in the drawing-room to the dust-coated bedroom.[76]
  
  Precise detail is not spared in descriptions of decay and disease, two vivid elements in the novel. Marneffe, for example, represents crapulence. His decrepit body is a symbol of society's weakness at the time, worn away from years of indulgence. The poison which kills Valérie and Crevel is also described in ghastly detail. The doctor Bianchon explains: "Ses dents et ses cheveux tombent, elle a l'aspect des lépreux, elle se fait horreur à elle-même; ses mains, épouvantables à voir, sont enflées et couvertes de pustules verdâtres; les ongles déchaussés restent dans les plaies qu'elle gratte; enfin, toutes les extrémités se détruisent dans la sanie qui les ronge." ("She is losing her hair and teeth, her skin is like a leper's, she is a horror to herself; her hands are horrible, covered with greenish pustules, her nails are loose, and the flesh is eaten away by the poisoned humors.")[77]
  
  La Cousine Bette is unapologetic in its bleak outlook, and makes blunt connections between characters' origins and behavior. For these reasons, it is considered a key antecedent to naturalist literature. Novelist Émile Zola called it an important "roman expérimental" ("experimental novel"),[78] and praised its acute exploration of the characters' motivations.[79][80] Some critics note that La Cousine Bette showed an evolution in Balzac's style – one which he had little time to develop. Pointing to the nuance of plot and comprehensive narration style, Stowe suggests that the novel "might in happier circumstances have marked the beginning of a new, mature 'late Balzac'".[81]
  Themes
  Passion, vice, and virtue
  
  Valérie's line about Delilah being "la passion qui ruine tout" ("passion which ruins everything") is symbolic, coming as it does from a woman whose passion accelerates the ruin of most people around her – including herself. Baron Hulot, meanwhile, is desire incarnate; his wandering libido bypasses concern for his wife, brother, children, finances, and even his own health. Bette, of course, is living vengeance, and Adeline desperately yearns for the happy home she imagined in the early years of marriage. Each character is driven by a fiery passion, which in most cases consumes the individual.[82] As Balzac puts it: "La passion est un martyre." ("Passion is martyrdom.")[83]
  After acknowledging herself as Delilah, Valérie warns her guests: "Prenez garde à vos toupets, messieurs!" ("Take care of your wigs, gentlemen!")[84]
  
  The intensity of passion, and the consequences of its manifestation, result in a stark contrast of vice and virtue. Bette and Valérie are pure wickedness, and even celebrate the ruin of their targets. As one critic says, "life's truths are viewed in their most atrocious form".[85] Mocking the use of the guillotine during the French Revolution while acknowledging her own malicious intent, Valérie says with regard to Delilah: "La vertu coupe la tête, le Vice ne vous coupe que les cheveux." ("Virtue cuts off your head; vice only cuts off your hair.")[84] Hulot is not intentionally cruel, but his actions are no less devastating to the people around him.[86]
  
  On the other side of the moral divide, Adeline and her children stand as shining examples of virtue and nobility – or so it would seem. Hortense ridicules her aunt when Bette mentions her protégé Wenceslas Steinbock, providing a psychological catalyst for the ensuing conflict.[87] Victorin repeatedly expresses outrage at his father's philandering, yet crosses a significant moral boundary when he agrees to fund Mme. Nourrison's plan to eradicate Valérie. As one critic puts it, Victorin's decision marks a point in the novel where "the scheme of right versus wrong immediately dissolves into a purely amoral conflict of different interests and passions, regulated less by a transcendent moral law than by the relative capacity of the different parties for cunning and ruthlessness."[88] The cruelties of the Hulot children are brief but significant, owing as much to their obliviousness (intentional in the case of Victorin, who asks not to learn the details of Mme. Nourrison's scheme) as to malicious forethought.[89]
  
  The question of Adeline's virtue is similarly complicated. Although she is forgiving to the point of absurdity, she is often considered more of a dupe than a martyr. Some have compared her to Balzac's title character in Le Père Goriot, who sacrifices himself for his daughters.[90] As Bellos puts it: "Adeline's complicity with Hector certainly makes her more interesting as a literary character, but it undermines her role as the symbol of virtue in the novel."[91] This complicity reaches an apex when she unsuccessfully attempts to sell her affections to Crevel (who has since lost interest) in order to repay her husband's debts. Her flirtation with prostitution is sometimes considered more egregious than Valérie's overt extortion, since Adeline is soiling her own dignity in the service of Baron Hulot's infidelity. For the remainder of the novel, Adeline trembles uncontrollably, a sign of her weakness.[92] Later, when she visits the singer Josépha (on whom her husband once doted), Adeline is struck by the splendor earned by a life of materialistic seduction. She wonders aloud if she is capable of providing the carnal pleasures Hulot seeks outside of their home.[93]
  
  Ultimately, both vice and virtue fail. Valérie is devoured by Montés' poison, a consequence of her blithe attitude toward his emotion. Bette is unsuccessful in her effort to crush her cousin's family, and dies (as one critic puts it) "in the margins".[94] Adeline's Catholic mercy, on the other hand, fails to redeem her husband, and her children are similarly powerless – as Victorin finally admits on the novel's last page. Like Raphael de Valentin in Balzac's 1831 novel La Peau de chagrin, Hulot is left with nothing but "vouloir": desire, a force which is both essential for human existence and eventually apocalyptic.[95]
  Gender and homoeroticism
  
  Gender roles, especially the figure of the ideal woman, are central to La Cousine Bette. The four leading female characters (Bette, Valérie, Adeline, and Hortense) embody stereotypically feminine traits. Each pair of women revolves around a man, and they compete for his attention: Valérie and Adeline for Baron Hulot; Bette and Hortense for Wenceslas Steinbock. Balzac's study of masculinity is limited to the insatiable lust of Hulot and the weak-willed inconstancy of Steinbock, with the occasional appearance of Victorin as a sturdy patriarch in his father's absence.[96]
  French painter Henri de Toulouse-Lautrec depicted lesbian relationships similar to (though more explicit than) that of Bette and Valérie, as in his 1893 painting "In Bed".[97]
  
  Critics pay special attention to Bette's lack of traditional femininity, and her unconventional relationships with two characters. She is described from the outset as having "des qualités d'homme" ("certain manly qualities"),[98] with similar descriptions elsewhere. Her relationship and attitude toward Steinbock, moreover, hint at her masculinity. She commands him into submission, and even binds him with economic constraints by lending him the money to develop his sculpture. Her domination is tempered by maternal compassion, but the couple's relationship is compared to an abusive marriage: "Il fut comme une femme qui pardonne les mauvais traitements d'une semaine à cause des caresses d'un fugitif raccommodement." ("He was like a woman who forgives a week of ill-usage for the sake of a kiss and a brief reconciliation.")[99][100]
  
  Bette's relationship with Valérie is layered with overtones of lesbianism. Early in the book Bette is "captée" ("bewitched")[101] by Valérie, and quickly declares to her: "Je vous aime, je vous estime, je suis à vous!" ("I love you, I esteem you, I am wholly yours!")[102] This affection may have been platonic, but neighbors of the Marneffes – along with many readers – suspect that their bond transcends friendship.[103] As with Steinbock, Bette and Valérie assume butch and femme roles; the narration even mentions "Le contraste de la mâle et sèche nature de la Lorraine avec la jolie nature créole de Valérie" ("The contrast between Lisbeth's dry masculine nature and Valerie's creole prettiness").[104] The homoeroticism evolves through the novel, as Bette feeds on Valérie's power to seduce and control the Hulot men. As one critic says: "Valérie's body becomes, at least symbolically, the locus of Bette's only erotic pleasure."[105]
  Wealth and society
  Balzac once wrote: "The worst fault of the July Revolution is that it did not allow Louis-Philippe three months of dictatorship in which to put the rights of the people and the throne on a secure basis."[106]
  
  As with many of his novels, Balzac analyzes the influence of history and social status in La Cousine Bette. The book takes places between 1838 and 1846, when the reign of Louis-Philippe reflected and directed significant changes in the social structure. Balzac was a legitimist favoring the House of Bourbon, and idolized Napoleon Bonaparte as a paragon of effective absolutist power. Balzac felt that French society under the House of Orléans lacked strong leadership, and was fragmented by the demands of parliament. He also believed that Catholicism provided guidance for the nation, and that its absence heralded moral decay.[107]
  
  Balzac demonstrated these beliefs through the characters' lives in La Cousine Bette. The conflict between Baron Hulot and the perfumer Crevel mirrors the animosity between the aristocracy of the Ancien Régime and the newly-developed bourgeoisie of traders and industrial entrepreneurs. Although he despised the socialist politics of Eugène Sue, Balzac worried that bourgeois desperation for financial gain drove people from life's important virtues. The characters – especially Bette, Valérie, and Crevel – are fixated on their need for money, and do whatever they must to obtain it.[108] As Crevel explains to Adeline: "Vous vous abusez, cher ange, si vous croyez que c'est le roi Louis-Philippe qui règne ... au-dessus de la Charte il y a la sainte, la vénérée, la solide, l'aimable, la gracieuse, la belle, la noble, la jeune, la toute-puissante pièce de cent sous!" ("You are quite mistaken, my angel, if you suppose that King Louis-Philippe rules us ... supreme above the Charter reigns the holy, venerated, substantial, delightful, obliging, beautiful, noble, ever-youthful, and all-powerful five-franc piece!")[109]
  
  Themes of corruption and salvation are brought to the fore as Valérie and Crevel lie dying from the mysterious poison. When his daughter urges him to meet with a priest, Crevel angrily refuses, mocking the church and indicating that his social stature will be his salvation: "la mort regarde à deux fois avant de frapper un maire de Paris!" ("Death thinks twice of it before carrying off a Mayor of Paris.")[110] Valérie, meanwhile, makes a deathbed conversion and urges Bette to abandon her quest for revenge. Ever the courtesan, Valérie describes her new Christianity in terms of seduction: "je ne puis maintenant plaire qu'à Dieu! je vais tâcher de me réconcilier avec lui, ce sera ma dernière coquetterie!" ("I can please no one now but God. I will try to be reconciled to Him, and that will be my last flirtation...!")[111]
  Reception and adaptations
  In 1921 actor Bette Davis, born Ruth Elizabeth Davis, chose Bette as her stage name in honor of Balzac's character.[112]
  
  The critical reaction to La Cousine Bette was immediate and positive, which Balzac did not expect. Whether due to the intensity of its creation or the tumult of his personal life, the author was surprised by the praise he received. He wrote: "I did not realize how good La Cousine Bette is.... There is an immense reaction in my favour. I have won!"[113] The collected edition sold consistently well, and was reprinted nineteen times before the turn of the century. 20th-century critics remain enthusiastic in their praise for the novel; Saintsbury insists it is "beyond all question one of the very greatest of [Balzac's] works".[114] Biographer Graham Robb calls La Cousine Bette "the masterpiece of his premature old age".[115]
  
  Some 19th-century critics attacked the book, on the grounds that it normalized vice and corrupt living. Chief among these were disciples of the utopian theorist Charles Fourier; they disapproved of the "immorality" inherent in the novel's bleak resolution. Critics like Alfred Nettement and Eugène Marron declared that Balzac's sympathy lay with Baron Hulot and Valérie Marneffe. They lambasted him for not commenting more on the characters' degenerate behavior – the same stylistic choice later celebrated by naturalist writers Émile Zola and Hippolyte Taine.[116]
  
  Balzac's novel has been adapted several times for the screen. The first was in 1927, when French filmmaker Max DeRieux directed Alice Tissot in the title role.[117] Margaret Tyzack played the role of Bette in the five part serial Cousin Bette aired on the BBC, which also starred Helen Mirren as Valérie Marneffe.[118] The film Cousin Bette was released in 1998, directed by Des McAnuff. Jessica Lange starred in the title role, joined by Bob Hoskins as Crevel, and Elisabeth Shue as the singer Jenny Cadine. Screenwriters Lynn Siefert and Susan Tarr changed the story significantly, and eliminated Valérie. The 1998 film was panned by critics for its generally poor acting and awkward dialogue. Stephen Holden of the New York Times commented that the movie "treats the novel as a thoroughly modern social comedy peopled with raging narcissists, opportunists and flat-out fools".[119][120]
  
  La Cousine Bette was adapted for the stage by Jeffrey Hatcher, best known for his screenplay Stage Beauty (based on his stage play Compleat Female Stage Beauty). The Antaeus Company in North Hollywood produced a workshop in 2008 and presented the world premiere of Cousin Bette in early 2010 in North Hollywood, California.[121] The adaptation retains many of the main characters but places Bette as the story's narrator.
bèi -1
   sān nián yuè zhōng xún liàng zài jiē tóu xīn liú xíng de jiào zuò jué de chēzài xué jiē shàng zǒu zhechē shàng zuò liǎo zhōng děng shēn cái de pàng chuānzhuó guó mín wèi jūn shàng wèi de
   zài bān fēng wéi rén gòu bìng de rén zhōng jiān rán yòu xiē wéi chuān shàng jūn biàn zhī yào miàn duō shǎobìng qiě rèn wéi rén men guāng qiǎn lòuzhǐ xiāo máo gāo sǒng de jūn mào quán zhuāngbiàn huì gěi men hǎo yìn xiàng
   zhè wèi 'èr jūn tuán de shàng wèiméi zhī jiān liú chū pài xīn mǎn de shén shǐ hóng táng táng de zhuóshí féi pàng de liǎn páng xiǎn gèng guāng cǎidān píng zhè dào kào mǎi mài zhèng lái de cái zhào zài tuì xiū de xiǎo diàn lǎo bǎn men 'é shàng de jīn guāng men biàn cāi dào shì de rén zhì shǎo shì běn de zhù cháng zhī lèisuǒ xiàng shì rén yàng lǎo gāo de xiōngpú shàngróng xūn wèi de shòu dài shì jué shǎo liǎo dezhǐ gāo yáng de zuò zài chē xiāng de jiǎozhè pèi dài xūn shì de nán zuǒ yòu pàn de xíng rén wǎng wǎng jiù zài zhè zhǒng qíng xíng xià dào xiē mǎn miàn chūn fēng de xiào liǎn shí xiào liǎn shì wéi xīn zhōng de měi rén 'ér de
   jué dào liǎo shòu liè jiē gèn jiē zhōng jiān de duànzài zuò fáng mén qián tíng xià shì zài yòu huā yuán de jiù zhái kōng shàng xīn dejiù zhái běn shēn bìng méi gǎi dòngzài diào liǎo bàn de yuàn lìng tóu bǎo chí yuán zhuàng
   zhǐ yào kàn shàng wèi xià chē shí zěn yàng jiē shòu de shì hòubiàn zhī dào shì shí kāi wài de rén liǎoyòu xiē xiǎn 'ér jiàn de bèn zhòng de dòngxiàng chū shēng zhèng yàng cáng liǎo shàng wèi huáng shǒu tào chóngxīn dài shàng yòu shǒu xiàng mén fáng wèn xùnjìng cháo céng de shí zǒu shén fǎng shì shuō:“ shì de liǎo!” kānmén rén de yǎn shì hěn gāo míng defán shì pèi dài xūn shìchuānzhuó lán jiǎo chén zhòng de rén men jué lánzǒng zhī men rèn chū yòu qián de rén
  ① lán shì guó mín wèi jūn de yán
   céng quán shì luò · · āi 'ěr wéi nán jué jiā zhù denán jué zài gòng zhèng shí dài dāng guò hòu qín lìng jiān jūn guānzài duì dāng guò jūn zǒng jiānxiàn rèn jūn mǒu zhòng yào de shǔ de shǔ chángjiān cān guānróng xūn wèi 'èr xūn zhāng huò zhě tóu xián shèng bèi zài
   luò nán jué gǎi yòng de chū shēng 'āi 'ěr wéi zuò xìng shì biàn de fēn kāi lái shì yòu míng de luò jiāng jūnqián guó jìn wèi jūn shàng xiào jiǔ nián zhàn zhī hòu yóu lún fēng wéi zhī hǎn juézhè wèi cháng xiōng wéi zhào jiàn qīn yàng zhōu de xīn lǎo zǎo 'ān chā zài jūn shì guānhòu lái yóu xiōng liǎng rén de láo nán jué dào liǎo lún yīngyǒu de shǎng shícóng nián jīng shì zhù bān jūn de jūn zǒng jiān
   àn guò mén língmín tuán shàng wèifèi liǎo hǎo jìn cái de qiān dòng qián fān hòu juàn de huī yuán zhuàng chuān hào de dāngchāi kàn jiàn shàng qǐng jìnzhè wēi fēng shí de yào rén biàn gēn zhe jìn rén kāi tīng de mén tōng bào
  “ wéi 'ěr xiān shēng dào!”
  ① dāng shí de guó mín wèi jūn quán yóu zhōng chǎn jiē gōng shāng jiè chéng chēng mín tuán
   tīng dào zhè míng shí de xìng shì①, wèi gāo shēn liàngjīn tóu bǎo yǎng hěn hǎo de xiàng bèi diàn liǎo máng dié de zhàn máng máng duì zài bàng xiù de 'ér shuō
  “ ào táng hǎo hái gēn bèi dào huā yuán 。”
   ào táng · luò xiǎo jiě hěn wén de duì shàng wèi xíng guò dài zhe lǎo chǔnǚ cóng mén chū liǎo gān biě de lǎo niàn suī rán nán jué rén xiǎo suìkàn shàng què cāng lǎo duō
  “ shì guān de qīn shì ,” bèi zài shēng 'ào táng 'ěr biān shuōnán jué rén men shí duì suí suí piánpián de tài bìng méi yòu shēng
   zhè zhǒng shù de dài cóng de zhe shàng dào jiě shì
   lǎo chǔnǚ chuān jiàn lín táo gān yán de máo liào shāncái jiǎn gǔn biān dōushì wáng zhèng shí dài de kuǎn shì tiáo tiǎo xiù lǐng wéi gài zhí sān láng dǐng zhe jiù duàn dài jié de cǎo màojié zhōu wéi xiāng zhe cǎo biànxiàng zhōng yāng cài shì chǎng shàng de cài fàn dài dekàn dào shuāng shì yàng míng míng shì xié jiàng zuò de yáng xiéshēng jiù gǎn bèi dàngzuò zhù rén de qīn zhāo yīn wéi wán quán xiàng zuò líng gōng de cái féng shì lǎo niàn chū zhī qiánzhào yàng duì wéi 'ěr xiān shēng qīn de zhāo wéi 'ěr xiān shēng huì xīn de diǎn diǎn tóushuō:“ míng tiān lái de fěi xiē 'ěr xiǎo jiě?”
  ① Crevol( wéi 'ěr Crevé, yīn xiāng fǎngqián zhě shì xìng shìhòu zhě shì pàng
  ② lín míng shèng chǎn táo zhù chēng
  “ méi yòu wài ?” bèi wèn
  “ chú liǎo jiù shì hái 。” rén dào
  “ me,” huí shuō,“ dìng 。”
   mín tuán shàng wèi duì nán jué rén chóngxīn xíng liǎo shuō dào
  “ rén lái tīng de fēn ,” shuō huà zhī jiān xiàng nán jué rén fēi liǎo yǎn fēnghuó xiàng shì yǎn 'ěr diū de wài shěng zài jié huò táng lèi de chéng wéi fēi zhè yàng wàng yǎn 'ài 'ěr 'ěrjiù xiǎn chū juésè de
  ① 'ěr diū 'āi wěi jūn zhōng de zhù rén gōngshì zhāo yáo zhuàng piàn de wěi jūn xiǎng 'ào 'ěr gōng de tài tài 'ài 'ěr 'ěr de 'ér piàn dào shǒu
  “ xiān shēngqǐng suí láitán zhèng jīng shì hái shì 'ér tīng hǎo,” luò rén biān shuō biān zhǐ zhe de jiān fángcóng de lái kàn yīngdāng shì pái de fáng jiān
   xiǎo fáng kāi dào báobáo de bǎn lìng yòu jiān chuāng lín zhe huā yuán de shàng fáng luò tài tài ràng wéi 'ěr děng zheyīn wéi jué shàng fáng de chuāng mén yīngdāng guān yánmiǎn yòu rén tōu tīng hái zhèng zhòng shì de guān shàng tīng de ménshùn biàn duì zuò zài huā yuán shēn chù jiù tíng de 'ér bèi wēi wēi xiàohuí lái chǎng kāi pái jiān de mén biàn yòu rén jìn láijiù tīng jiàn tīng de mén shēngzhè yàng lái lái wǎng wǎng de shí hòuméi yòu shénme bàng guān de rén zài chǎngsuǒ nán jué rén de xīn shì quándōu bǎi míng zài liǎn shàngyào shì yòu rén kàn dào dìng huì yīn de huāng luàn 'ér chī jīng dedàn cóng tīng de mén zǒu xiàng pái jiān shíliǎn shàng guà dào gāo shēn de shì suǒ yòu de hài lián zuì shuǎng zhí de zài nèi huì yùn yòng de
   zhè xiē zhǔn bèi gōng zuò kàn lái zhēn shì guài hěn shíshàng wèi zhèng zài dǎliang xiǎo tīng de jiā chén shèběn shì hóng de chóu chuāng liángěi tài yáng shài chéng liǎo zhòu kuài yào tǎn de yán jīng tuì jìnjiā shàng de jīn jīng luò wán liǎo mǎn diǎn de huā chóu miàn chū kuài de jīng wěikàn dào zhè xiēbào shāng rén píng bǎn de liǎn shàngtiān zhēn liú chū xiān shì zài shì mǎnér hòu shì wàng de biǎo qíng zhào zhe guó shì jiù zuò zhōng shàng miàn de jìng shàng shàng xià xià duān xiáng fān rán zhèn shān de shēng yīn bào gào nán jué rén lái liǎo shì bǎi hǎo shì
   nán jué rén jiǎn liǎo zhāng sān shí nián qián dāng rán hěn piào liàng de xiǎo shuāng rén shā zuò xiàràng rén zuò zài zhāng kào shǒu jìn tóu diāo zhe fēn de tóude jīng luò 'ér chū bái de kào shàng
  ① fēn shī shēn rén miàn xiàng
  “ tài tài zhè yàng de fáng fàn zhōu dǎo hěn xiàng zhāo dài …”
  “ zhāo dài qíng rén shì shì?” jié zhù liǎo de huà
  “ zhè yàng shuō hái chā diǎn 'ér jìn,” yòu shǒu fàng zài xīn kǒuzhǎ zhuóyǎn jīng shén zài lěng jìng de kàn lái shì yǒng yuǎn yào xiào de,“ qíng rénqíng rén
   yīngdāng shuō shén hún diān dǎo de qíng rén……”
  “ tīng shuō wéi 'ěr xiān shēng,” nán jué rén zhèng jīng jìn 'ér shǐ xiào xiào chū lái,“ zhī dào jīn nián shí luò xiǎo shí suì shì zài de nián rén zài yào nào yòu xiē shū de yóu shì wèile měi màobiàn shì wèile nián qīngwèile míng wàngwèile gōng wèile diǎn chōng hūn men de tóu nǎoshǐ men wàng diào qiēshèn zhì wàng diào men nián de xuǎn de guāng huá suī rán yòu wàn láng de shōu de nián líng de cái xiāo liǎo rén rèn wéi shǎo de tiáo jiàn yàng méi yòu……”
  “ yòu 'ài qíng hái chéng ?” zhàn shēn lái xiàng qián zǒu liǎo ,“ ér qiě 'ài qíng……”
  “ xiān shēng shì xīn yǎn 'ér!” nán jué rén duàn liǎo de huà ràng lǎo shì liáo
  “ duì 'ājiù shì 'ài qíng de xīn yǎn 'ér bìng qiě hái zhǐ zhè diǎnhái yòu quán ……”
  “ quán ?” luò tài tài rǎng dào yòu shì yòu shì qīng mièyòu shì fèn kǎi。“ liǎo zhè tào shuō xià shì méi wán de qǐng lái shì jiù huà chóngtíyào tán dāng chū shǐ zhè wèi zhì qīn néng shàng mén de huí shì……”
  “ dǎo wéi……”
  “ yòu lái liǎoxiān shēng néng zhè yàng qīng sōng demǎn zài de dào qíng rénài qíng xiē shǐ rén zuì wéi nán de nán dào hái kàn chū wán quán zhù shèn zhì háo gēn liǎng rén guān zài zhè jiān
   méi yòu de rén huì zhè yàng míng míng zhī dào wèishénme qǐng lái!……”
  “ zhī dàotài tài,” wéi 'ěr bàn bīng lěng de liǎnmǐn jǐn liǎo zuǐchóngxīn bǎi hǎo shì
  “ hǎo de huà huì duōshěngde duō shòu zuì,” nán jué rén wàng zhe wéi 'ěr shuō
   wéi 'ěr dài zhe fěng wèi xíng liǎo zhè xiànèi xíng rén jiù kàn chū cóng qián dāng guò páo jiē de pài
  “ men de 'ér liǎo de 'ér……”
  “ zěn mehái yào chóngxīn lái guò ?” wéi 'ěr shuō
  “ zhè tóu qīn shì huì chéng gōng de liǎo,” nán jué rén hěn kuài dāng de huí 。“ shì méi yòu shénme hǎo bào yuàn de 'ér dàn shì liú de shībìng qiě jīng dāng liǎo nián yuánzài guó huì chū de biǎo xiàn xiāng dāng jīng cǎi jiǔ jiù yòu dāng chén de wàngwéi tuō lán zuò guò liǎng zhòng yào 'àn de bào gào yuányào shì yuàn zǎo dāng shàng zuì gāo yuàn de shǒu jiǎn chá guān
   suǒ cháng shǐ de shì shuō jiǎo shàng liǎo méi yòu cái chǎn de ……”
  “ hēng yào wéi chí de ,” wéi 'ěr huí ,“ jué zhè méi yòu cái chǎn gèng zāotài tài gěi 'ér de shí wàn láng péi jiàèr shí wàn tiān zhī dào huā dào 'ér liǎo…… lìng láng hái zhài zhuāng bàn jīn huī huánghéng héng suǒ shí wàn láng de shōu hái dào wàn yīn wéi zhù liǎo zuì hǎo de fèn hái qiàn 'èr shí liù wàn láng de jià…… shōu lái de fáng zhǐ gòu jià de jīn nián gěi liǎo 'ér liǎng wàn láng cái yǎn guò dāng shī de shōu nián yòu sān wànāitīng shuō wèile guó huì dǎo zài liǎo……”
  “ xiān shēngzhè xiē réng guò shì xián wénzhǐ néng chà kāi men de běn zǒng kuò cháng shǐ 'ér dāng liǎo chéngěi de róng xūn wèi xūn zhāng jìn zài gěi nòng shì zhèng cān mexiàng zhè yàng huā fěn shāng chū shēn de rén méi yòu shénme hǎo bào yuàn de liǎo……”
  “ ātài tài dào zhè lái liǎoduì shì zuò xiǎo mǎi mài dekāi demài xìng rén bǐng táo xiāng shuǐ gēn tóu tòng yóu de yīngdāng jué hěn róng xìng yǎng 'ér pān shàng liǎo luò · · āi 'ěr wéi nán jué de gōng xiǎo jiāng lái shì nán jué rén zhè shì shè zhèng wáng pài shí pàigōng tíng pàihǎo …… huān sài lāi jiù xiàng rén jiā huān yǎng 'ér yàngyīn wéi téng yīn wéi lián xiōng mèi dōubù xiǎng gěi tiān suǒ suī shì zài guān duō me fāng biàn,( ér qiě zài nián qiáng de shí hòutài tài!) zhào yàng rěn shòu shì qǐng míng báijìn guǎn 'ài 'ér què kěn wèile de 'ér dòng yáo de chǎn zài zuò guò mǎi mài de rén kàn lái de yòng yòu xiē qīng chǔ……”
  “ xiān shēngzài shāng yǎn qián jiù yòu wèi bāo nuò xiān shēngcóng qián zài lún jiē shàng kāi yào de……”
  “ shì de lǎo péng yǒu 'ātài tài!……” tuì xiū de huā fěn shāng rén shuō:“ yīn wéi sài lāi tǎn · wéi 'ěrběn shì sài chá · luó tuō lǎo tóu shǒu xià de huǒ de shì pán xià de luó tuō shì bāo nuò de zhàng rénbāo nuò dāng shí zài diàn guò shì xiǎo huǒ ér zhè xiē hái shì gēn deyīn wéi shuō gōng píng huàduì yòu shēn jiā de rénduì nián yòu liù wàn láng jìn kuǎn de rén bìng jiāo 'ào。”
  “ me xiān shēng jiàn suǒ wèi de shè zhèng wáng pài de guān niàn jīng guò shí liǎoxiàn zài jiā kàn rén zhǐ kàn běn shēn de jià zhí 'ér jià gěi de 'ér shì wèicǐ……”
  “ cái zhī dào tóu qīn shì shì zěn me chéng gōng de !……” wéi 'ěr shēng shuō dào。“ ādān shēn hàn de shēng huó zhēn shì gāi yào shì shēng huó luàn zāojīn tiān sài lāi zǎo dāng shàng bāo nuò jué rén liǎo!”
  “ gào chéng shì shí yòng liǎo,” nán jué rén zhǎn dīng jié tiě de shuō
  “ yào tán de shì guò zhǒng guài de xíng wéixiǎo 'ào táng de qīn shì shì chéng gōng de wán quán cāo zài shǒu wéi kuān hóng liàng wéi duì xīn zhōng zhǐ yòu zhàng méi yòu bié rén de dìng huì zhù chí gōng dào wéi néng gòu liàng zhāo dài miǎn shòu qiān lěi wéi néng gòu dào zhì qīn de miànér chéng 'ào táng cān guān de hūn shì…… què liào xiān shēng jìng huài liǎo men de shì……”
  “ rén guò shì lǎo shí rén shuō lǎo shí huàrén jiā wèn 'ào táng xiǎo jiě de 'èr shí wàn láng péi jià néng néng duì xiàn shuō gǎn dān bǎo luò jiā péi jià pài gěi de dān shì jiù yòu zhài ér qiě rèn wéiyào shì luò · · āi 'ěr wéi xiān shēng míng tiān shì de guǎ jiù yào 'è jiù shì zhè yànghǎo tài tài。”
   luò tài tài yǎn jīng dīng zhù liǎo wéi 'ěrwèn dào
  “ xiān shēngcháng shǐ wéi liǎo 'ér yòu sǔn dào hái huì huì shuō zhè fān huà ?……”
  “ méi yòu quán shuō liǎoqīn 'ài de 'ā dài ,” zhè guài de qíng rén jié zhù liǎo nán jué rén de huà,“ yīn wéi zài qíng xíng zhī xià zài de bāo zhǎo dào fèn péi jià liǎo。”
   wéi biǎo shì shuō dào zuò dàopàng wéi 'ěr dāng táng cuì xiàpěng zhe luò tài tài de shǒu qīn wěn shuō shàng huà què dàngzuò chí jué
  “ yòng zhè dài jià lái huàn 'ér de xìng ?…… ōxiān shēng láiyào rán jiù líng liǎo……”
   lǎo huā fěn shāng hěn fèi shì de zhàn shēn zhǒng gān miàn shǐ wéi fèn bǎi hǎo liǎo shìchàbù duō suǒ yòu de nán rén huì zhuāng chū mǒu zhǒng gōng jià wéi néng gòu xiǎn chū de měi diǎn wéi 'ěr de gōng jiàshì shǒu bǎi chéng lún shì zhe fēn zhī sān de nǎo dàixué zhe huà jiā zài xiào xiàng shàng lún 'ān pái de guāngwàng zhe tiān biān zhuāng zuò shèng fèn kǎi de yàng shuō
  “ xīn de xìn rènxìn rèn hàosè……”
  “ xìn rèn zhí xìn rèn de zhàng ,” luò tài tài duàn liǎo wéi 'ěr de huà ràng shuō chū yuàn tīng de yǎn
  “ etài tài xiě xìn jiào lái yào zhī dào wèishénme yàng zuòér chū wáng hòu bān de shén yòng me qiáo rén rén de tài shì dāng cái kàn zhēn de xiāng xìn yòu quán láilái…… zhuī qiú …… yīn wéi…… ǒu tài 'ài liǎo néng shuō……”
  “ shuō xiān shēngzài guò tiān jiù shí suì liǎo shì shénme jiǎ zhēn jié de shǎ rénshénme huà dōunéng tīng……”
  “ me néng néng zhēn jié zuò dān bǎohéng héng 'āisuàn dǎo méi de què shì zhēn jié de rénhéng héng néng néng dān bǎo de míng xiè shì gào de ?”
  “ jiǎ shǐ zhè shì jiē chuān de tiáo jiàn me děng huì gào de huāng táng shì 'ér shì duì shuídōu shuō cóng 'ér tīng lái deduì zhàng shuō。”
  “ duì yīn wéi zhè jiàn shì jiù gēn liǎ yòu guān……”
   luò tài tài liǎn liǎo bái
  “ āyào shì hái 'ài luò yào nán shòu de hái shì shuō de hǎo。”
  “ shuō xiān shēngyīn wéi zhào de shuō yīngdāng biǎo míng xià wèishénme yào duì jiǎng xiē fēng huàwèishénme bái làiyào zhé xiàng zhè děng nián de rén zhǐ yào jià liǎo 'érjiù 'ān 'ān xīn xīn de liǎo!”
  “ qiáo jīng zài shāng xīn liǎo……”
  “ ?”
  “ shì 'ā de gāo guì měi de rén !” wéi 'ěr jiào dào,“ jiù shì tài liǎo de guāi……”
  “ xiān shēngchū yào ránfàng guīju xiē!”
  “ āitài tài zhī dào luò rén gēn shì zěn me rèn shí de ?……
   zài zán men de qíng rén jiā tài tài。”
  “ ōxiān shēng……”
  “ zài zán men de qíng rén jiā tài tài,” wéi 'ěr yòng tái shàng shuō bái shìde yīn diào chóngfù liǎo biàntóng shí yòu shǒu liǎo shǒu shì
  “ me hòu xiān shēng?” nán jué rén de zhèn jìngjiào wéi 'ěr lèng zhù liǎo
   xīn bēi de hàosè zhī shì yǒng yuǎn huì liǎo jiě wěi de xīn líng de
  “ shí jīng guān liǎo nián,” wéi 'ěr xiàng jiǎng shì bān de shuō,“ tǐng huān 'érwèile de yuàn yuàn zài jiā shēng shénme guān suī rán dāng shí yòu hěn piào liàng de zhàng fángzhè yàng jiù nòng liǎo chù suǒ shuō de xiǎo gōng guǎnyǎng zhe shí suì de gōngjiǎn zhí shì tiān xiān shìde měi rén 'érlǎo shí shuō 'ài 'ài hún dōuméi yòu liǎosuǒ tài tài xiāng xià de jiē chū láigēn xiǎo 'ér kuài zhùjiān shǐ zài zhè …… zhè sān de wèi shàng jìn néng de 'ānfèn shǒu xiǎo guāi guāi hěn yòu yīnyuè tiān cái qǐng liǎo jiào shīgěi shòu jiào 。( zǒng yòu diǎn shì 'ér gěi jiě jiě mèn 'ā。) zài shuō xiǎng tóng shí zuò de qīnēn rénjiān dài…… tuī kāi tiān chuāng shuō liàng huàqíng rénzuò liǎo jiàn hǎo shì liǎo qíng shì liǎng kuài huó liǎo niánxiǎo guāi guāi de sǎng jiào jiā yuàn cáichú liǎo shuō shì rén zhī zhōng de léi①, méi yòu xíng róngdān wéi zāi péi de chàng měi nián jiù huā shàng liǎng qiān láng shǐ duì yīnyuè zhe liǎo wèile de 'ér zài yuàn cháng yòu bāo xiāngjīn tiān dài sài lāi míng tiān dài yuē ……”
  ① léi( 1806 héng 1896), dāng shí yòu míng de nán gāo yīn chàng jiā
  “ zěn mejiù shì yòu míng de chàng jiā?……”
  “ shì 'ātài tài,” wéi 'ěr hěn de huí ,“ zhè yòu míng de yuē yàng shì kào liǎo …… huà shuō huí lái sān niánxiǎo guāi guāi 'èr shí suì wéi duì yǒng yuǎn huì biàn xīn liǎo chǒng hàixiǎng gěi diǎn 'ér xiāo qiǎnjiè shào rèn shí liǎo piào liàng de zhēn · zhēn de mìng yùn gēn yòu hǎo xiē fāng xiāng xiàng qiē kào hòu tái fèi jìn xīn péi yǎng chéng gōng dezhè hòu tái biàn shì luò nán jué……”
  “ zhī dàoxiān shēng,” nán jué rén zhèn jìng de shēng yīn chéng biàn
  “ ō……!” wéi 'ěr yuè lái yuè chà liǎo。“ hǎo shì zhī dào méi yòu lǎo yāo jīng de zhàng zhào zhēn · de shí hòu zhǐ yòu shí sān suì?”
  “ me xiān shēng hòu ?”
  “ zhēn · rèn shí yuē de shí hòuliǎng réndōu shì 'èr shí suìnán jué cóng 'èr liù nián jiù xiàng shí duì dài · luó màn xiǎo jiě shí xiàn zài hái yào xiǎo shí 'èr suì……”
  “ xiān shēng fàng rèn luò shì yòu de yóu de。”
  “ tài tài zhè zhǒng huǎng huàméi yòu wèn suǒ yòu de zuì niè gòu xiāoshǐ táng,” wéi 'ěr jiǎo kuài de shén shǐ nán jué rén hóng liǎo liǎn。“ jìng 'ài de wěi de tài tài zhè huà duì bàng rén shuōquè néng duì wéi 'ěr lǎo tóu shuō míng bái gēn huài dàn zhàng huā tiān jiǔ hùn tài jiǔ liǎojué huì zhī dào de hǎo chùliǎng bēi jiǔ xià yòu shí huì shí shuō chū de yōu diǎn dùne duì zhī dào tài qīng chǔ liǎo shì tiān shǐ gēn 'èr shí suì de shàonǚ fàng zài hàosè de rén hái wěi jué xià jué yóu 。”
  “ xiān shēng!……”
  “ hǎo shuō liǎo…… shì gào shèng jié de tài tàizuò zhàng de yīzhāo zuì liǎohuì tài tài de shì nǎo 'ér shuō gěi qíng men tīng men xiào tòng de。”
   luò tài tài měi de jié máo zhōng jiānliàng yòu xiū yòu fèn de lèi zhū wéi 'ěr dùn shí huà yān liǎo xià lián bǎi shì wàng liǎo
  “ yán guī zhèng chuán,” yòu shuō,“ yīn wéi niàn 'ér men de guān gēn nán jué jiāo liǎo péng yǒuxiàng suǒ yòu de hàosè guǐ yàngnán jué hěnrén tòng kuàiō shí duō huān zhè xiǎo zhēn de wán 'ér duō hěnguò de huí yòng …… zǒng zhī men liǎng xiàng xiōng yàng…… zhè huài dàn pài shè zhèng shí de zuò fēngpàn mìng xiǎng jiào huài zài nán guān shàng xuān chuán tào jìn suǒ néng suǒ de huàgào zěn yàng jiào zuò wáng pàigōng tíng pài shì píng duì xiǎo niàn de 'ài qíngzhēn xiǎng guò láiyào shì shēng hái de huà dāng shí de jiāo qíng men liǎng lǎo zěn me xiǎng jié 'ér qìngjiā sài lāi jià liǎo sān yuè zhī hòu luò jiǎn zhí zhī dào jiào shénme hǎozhè húndàn liǎng gèdōu piàn liǎotài tài!……), ōuzhè húndàn de xiǎo yuē tōu shàng liǎo shí zhēn · zài tái shàng yuè lái yuè zǒu hóng huài dōng zhī dào de xīn jīng gěi nián qīng de cān guān shù jiāzhēn shì shí!) zhàn liǎo biàn lái qiǎng lián de xiǎo qíng rén huā de měi rén 'érō dìng zài yuàn kàn jiàn guò shì kào de qíng miàn jìn de de zhàng xiàng yòu fēn cùn jǐng jǐng yòu tiáo de xiàng xiàn ,( wèile zhēn · jīng fèi shǎoměi nián huā shàng jìn sān wàn láng。) zhè huí zhī dào wèile yuē zhōng qián jiǎo guāng liǎoyuē tài tàishì yóu tài rénxìng ( Mirah), shì lán( Hiram) de diān dǎorén jiā wèile biàn rèn jiàn zuò de yóu tài biāo yīn wéi shì xiǎo shí hòu bèi rén diū zài guó de。( de diào cházhèng míng shì yóu tài yínháng jiā de shēng 'ér。) zài guǎn jiào zhī xià xiàng hěn guīju huā qián shì jìn yuànzài jiā zhēn · xiōng tài tài jiā huǒ rén jiào huì liǎo zěn yàng yìng lǎo tóu 'ér zǎo lái rén huān jīn yín zhū bǎo huān jīn de běn xìng diǎn xǐng liǎochéng míng hòu de biàn chéng tān yànzhǐ xiǎng gǎo qiángǎo qiánrén jiā wéi huī huò de jué lái huī huò luò lǎo tài zuò shì yàn pǐnruǎn piàn yìng zhà guā jīng guāngqiě shuō bān zhuān pěng yuē de míng de qún zhònggāi de luò xiān gēn kǎi jiā de xiōng 'āi wēng hóu jué dǒu liǎng réndōu shì gěi yuē zhù liǎo deér hòulái liǎo cái zhù mìng wéi chàng shù de gōng jué qiǎng liǎo men jiào shénme de…… ǎi dōng guā shì shì 'āi wéi 'ěr gōng juézhè wèi kuò lǎo cún xīn yào yuē zhànfēng yuè chǎng zhōng de réndōu zài tán lùn zhè jiàn shìjiù shèng nán jué rén zhī dàozài qíng fāng miànhǎo xiàng bié de fāng miàn yàng wán quán méng zài qíng réngēn zhàng yàngzǒng shì zuì hòu zhī dào dexiàn zài suǒ wèi de quán dǒng liǎo hǎo tài tài zhàng de xìng cóng guān hòu wéi de duó liǎoshì deyào shì dǎo méi dào zhè lǎo fēng liúdào xiàn zài yuē hái shì deyīn wéigào yǒng yuǎn huì sòng jìn yuàn huì chū míng huì 'ān 'ānfèn fēn de shǒu zhe ōyào shì zài nián zhī qián kàn dào shòu shòu deshén jīng zhì dejīn huáng de 'ān měi yóu yóu de tóu xiàng duàn yǎn jīng zài de jié máo zhōng jiān chū shǎn guāng zhǐ fānghǎo gōng jué rényòu yòu zhuāng zhòngxiàng bān rén lián 'àiyóu luò rén zhī guòzhè xiē fēng yùnzhè zhǒng chún jié qiē biàn liǎo xiàn rén kēngbiàn liǎo xiāo jīn zhè xiǎo rén xiàng suǒ shuō debiàn chéng liǎo yín 'è zhī xiàn zài yóu qiāng huá diàocóng qián shénme dōubù dǒnglián yóu zuǐ huá shé zhè yǎn dōubù zhī dào de。”
  ① zhì 'èr sān nián guó 'ào 'ěr liáng gōng jué shè zhèng shí gōng tíng fēng wéi shē méi huà
  ② ān bān míng
bèi -2
  shuō dào zhè lǎo huā fěn shāng liǎo yǎn lèitòng de zhēn shí xìng gǎn dòng liǎo luò tài tài huǎng huǎng de xīn shōu liǎo huí lái
  “ xiǎngtài tài rén dào liǎo shí 'èr suìhái néng zhǎo dào zhè yàng de bǎo bèi zài zhè nián língài qíng de dài jià yào sān wàn láng niánzhè shù shì cóng zhàng zhī dào deér qiě tài huān sài lāi liǎo néng ràng de cái chǎn shòu dào sǔn hàizài zhāo dài men de wǎn huì shàng kàn jiàn jiù míng bái luò zhè xiǎo wèishénme yào yǎng zhēn · …… gài xiàng huáng hòu…… tài tài hái dào sān shí suìkàn shàng nián qīng hěnér qiě zhēn měilǎo shí shuō tiān zhēn dòng liǎo xīn xià pán suàn zhe:‘ yào shì méi yòu yuē me luò lǎo tóu rán de rén diū zài biān duì dǎo xiàng shǒu tào yàng shì。’ āduì yòu shì shēng rén de kǒu tóu chán cháng cháng yào chū huā fěn shāng de jiǎoxià gǎn zài xiǎng dāng yuánhéng héng duì liǎng xiàng men zhè yàng de lǎo huǒ péng yǒu de qíng shì shén shèng qīn fàn deyīn yīzhāo nán jué me bēi de piàn liǎo jiù shì yào de nòng shàng shǒuzhè cái gōng dàonán jué méi yòu huà shuō dezán men liǎ yīngdāng chě zhí liào gāng kāi kǒu shuō chū xīn de huà jiù dāng gǒu yàng gǎn liǎo chū shì xià gèng jiā qiáng liǎo de 'ài qíngjiā qiáng liǎo de xīn yǎn 'ér guǒ huān zhè me shuōér qiě chí zǎo shì de。”
  “ zěn me huì?”
  “ zhī dào shì dìng degào tài tàixīn zhōng zhǐ yòu niàn tóu dechǔn tóu chǔn nǎo de huā fěn shāng,( jīng gào lǎo debié wàng liǎo!) zhǒng niàn tóu chéng qiān lěi wàncōng míng líng de rényào qiáng duō wéi fēng diān liǎoér qiě shì bào chóu de gōng zhè děng de qíng zēng jiā liǎo bèi zhè shì kāi chéng gōng duì shuō de dìng liǎo zhù shuō dezhèng duì shuō:‘ jué huì shì de’, duì de shuō huà shì yàng de lěng jìngzǒng zhīxiàng suǒ shuō de pái tān míng zài zhuō shàng shì dedào liǎo mǒu shí dìng shì de…… ō shí suì hái shì yào zuò de qíng méi yòu wèn yīn wéi liào dào zhàng yòu tiān……”
   luò tài tài duì zhè lǎo móu shēn suàn de shì kuàihài zhí dèng zhe yǎn wéi 'ěr wéi fēng liǎo gǎn zài wǎng xià shuō
  “ zhè shì zhāo lái de qiáo tiǎo jiào shuō!” jué gāng cái hěn de huà yào biǎo bái xià
  “ ō de 'ér de 'ér!” nán jué rén rǎng zheshēng yīn xiàng kuài yào de rén
  “ ā jiǎn zhí nòng míng bái liǎo,” wéi 'ěr jiē zhe shuō。“ yuē gěi piàn zǒu de tiān hǎo tóu gěi rén qiǎng liǎo xiǎo 'ér…… duì jiù gēn xiàn zài yànghēng de 'érbiàn shì zhēng de shǒu duàn cuò huài liǎo 'ér de hūn yīn!…… méi yòu bāng máng xiū xiǎng jià rén
   guǎn 'ào táng xiǎo jiě shēng duō měizǒng yòu fèn péi jià……”
  “ āi liánzhèng shì 。” nán jué rén liǎo yǎn jīng
  “ wèn nán jué yào wàn láng shì shì kàn,” wéi 'ěr shuō zhe yòu bǎi hǎo liǎo shì
   xiē liǎo huìxiàng dào bái biǎo míng duàn luò shìderán hòu jiān zhe hóu lóng
  “ shǐ yòu shì yào gěi yuē de rén dezǒu shàng liǎo zhè tiáo hái huì xuán xiān shì tài huān rén liǎo!( zán men de wáng shàng shuō hǎo qiēdōu yòu zhōng yōng zhī dào。①) zài jiā róng xīn zuò guài shì měi nán wèile kuài huóhuì jiào men shuì cǎo diàn deér qiě men jīng zǒu shàng jiù yuàn de liǎo qiáo cóng shàng mén zhī hòu men jiù méi yòu néng huàn zhè tīng de jiā suǒ yòu tào de xiāng biān shàng bǎi míng zhe qióng suān liǎng shàng děng rén jiā de qióng shì zuì de zhè zhǒng zhē yǎn liǎo de jiǒng xiāng jiàn liǎo xià páo kāi guò shì nèi xíng de shēng rén zhǐ yào yǎn jīng piējiù néng kàn chū shì zhēn yòu qián hái shì jiǎ yòu qián…… shì méi yòu qián liǎo,” shēng yīn fàng liǎo shuō。“ chù chù kàn chūcóng men dāngchāi de shàng kàn chūhái yòu jiàn mán zhe de yào yào gào ?……”
  ① wáng fěi wèi chū céng jīng zhè yàng shuō míng de zuǒ yòu de duì nèi zhèng :“ men jiāng fèng xíng zhōng yōng zhī dào。” 'ěr zhā zài zhè dào wáng shàng xiǎn rán yòu fěng wèi
  “ xiān shēnggòu liǎogòu liǎo!” luò tài tài kuài shǒu jìn shī liǎo
  “ āi de qián gěi lǎo kāi tóu shuō 'ér de yòng jiù shì zhǐ zhè diǎn shì jué ràng 'ér chī kuī…… fàng xīn。”
  “ ō 'ér jià liǎo rén jiù liǎo!……” lián de rén jiào zheméi yòu liǎo zhù
  “ yào jià 'éryòu de shì bàn !” lǎo huā fěn shāng shuō
   luò tài tài bào zhe mǎn qiāng wàngchǒu zhe wéi 'ěràn shuō zhè zhǎ yǎn zhī jiān zhuǎn bēi wéi de biǎo qíng yǐn zhè nán rén de lián mǐnér fàng xiào de jìhuà de
  “ hái piào liàng shí nián,” wéi 'ěr shuō zhechóngxīn bǎi hǎo liǎo shì,“ zhǐ yào duì hǎoào táng xiǎo jiě de qīn shì jiù chéng gōng liǎo jīng shuō guò luò gěi liǎo quán lǎo shí de chū de tiáo jiàn néng shēng desān nián lái zài diào de jīnyīn wéi de huāng táng shì yòu jié zhì dechú liǎo yuán lái de jiā chǎn zhī wài duō liǎo sān shí wàn lángzhè qián jiù shì de……”
  “ chū xiān shēngchū yǒng yuǎn zài zài miàn qián chū xiànyào shì duì 'ào táng de qīn shì xíng wéi bēi …… shì debēi ……” kàn jiàn wéi 'ěr zuò liǎo shìbiàn chóngfù biàn。“ zěn me néng duì lián de hái měi de de hái xià zhè zhǒng shǒu?…… yào shì xiǎng zhī dào zhè zhǒng xíng wéi de dòng yào shì shòu shāng de xìng fēi zhī dào de yóu jīn tiān jué néng zài gēn shuō huàjué néng zài shàng de mén rén sān shí 'èr nián de míng sān shí 'èr nián de qīng báijué wéi wéi wéi 'ěr xiān shēng……”
  “ wéi 'ěrtuì xiū de huā fěn shāngsài chá · luó tuō de hòu rènshèng 'ào nuò léi jiē shàng méi guī huáng hòu de lǎo bǎnqián rèn zhù chángxiàn rèn wèi jūn shàng wèi shòu róng xūn wèi xūn zhānggēn de lǎo dōng jiā yàng。” wéi 'ěr de shuō
  “ xiān shēng luò guīju liǎo 'èr shí nián zhī hòu néng duì de yàn juàn zhǐ shì de shì 'érgēn bàng rén xiāng gān shì qiáo hái de zhōng shí mán jǐn jǐn deyīn wéi zhī dào zài yuē xiǎo jiě de xīn shì jiē liǎo de wèi zhì……”
  “ ō!” wéi 'ěr jiào dào,“ yòng duō shǎo huáng jīn mǎi detài tài!…… liǎng nián zhī zhōngzhè huā liǎo zhǐ shí wànhēnghēng de nán hái méi yòu wán ……”
  “ zhè xiē huà dōubù yòng liǎo wéi 'ěr xiān shēng yào zài yōng bào hái men de shí hòuyǒng yuǎn méi yòu diǎn 'ér cán kuì yào shòu quán jiā de jìng zhòngài dài yào de líng hún chén rǎn de hái gěi shàng zhè xiē jué wéi shēng de。”
  “ ā mén!” wéi 'ěr liǎn shàng 'è hěn hěn deyòu xiū yòu nǎozhèng bān hài dān xiāng de rén yòu pèng liǎo dīng yàng。“ hái méi yòu dào zuì hòu de chù xiū kuì,…… chǐ …… běn xiǎng diǎn xǐng xiǎng jiù gēn de 'ér!…… hǎo yuè lǎo yuè hūn de làng zhè xīn míng jiāng lái yào de chū de wèi de yǎn lèi gēn de 'ào shǐ hěn gǎn dòngyīn wéi kàn xīn 'ài de rén tǎng yǎn lèi shì zuì nán shòu de!……” wéi 'ěr shuō dào zhè zuò liǎo xià lái。“ suǒ néng dāyìng deqīn 'ài de 'ā dài shì jué zuò jiàn nán wéi huò shì nán wéi zhàng de shì shì bié rén jiā lái xiàng tàn tīng shàng de shí 'ér 。”
  “ zěn me bàn ?” luò tài tài rǎng dào
   zhì wéi zhǐnán jué rén hěn yǒng gǎn de 'áo zhù liǎo sān zhòng xíng yīn wéi zài xìng xìng sān fāng miàn shòu dào chǐ zhǐ yào qìngjiā 'ào màn de wēi wèile kàng shì kuài de xiōng héngdǎo hái néng yǒng shì shī de qíng rénshòu dào de miàn shàng wèizài nài zhōng rán ruǎn huàquè ràng jǐn zhāng dào kuài yào liè de shén jīng sōng chí liǎo xià lái níng zhe de shǒu zuò tuánhūn hūn chén chén delián wéi 'ěr guì zhe wěn de shǒu dōubù céng kàng
  “ tiān zěn me bàn ?” liǎo yǎn lèi,“ zuò qīn de néng gòu yìng zhe xīn cháng yǎn kàn 'ér qiáo cuì jiāng lái zěn bàn zhè yàng de rén pǐntiān me hòuzài qīn bàng biān guò zhe me zhēn jié de shēng huóyòu xiē rén zài huā yuán sàn jiù yuán de bēi shāng hái xiàn yǎn jīng lèi wāng wāng de……”
  “ 'èr shí suì ,” wéi 'ěr shuō
  “ yào yào sòng jìn xiū dào yuàn dào zhè děng wēi zōng jiào wǎng wǎng zhì liǎo tiān xìngshòu guò zuì qián chéng de jiào yǎng de niàn huì shī diào xìng dehéng héng 'āixiān shēng lái hái míng bái men zhī jiān qiēdōu wán liǎo duì yàn 'è dào liǎo diǎnzuò qīn de zuì hòu de wàng gěi huǐ diào liǎo!……”
  “ yào shì de wàng jiù huí lái ?……” shuō
   luò tài tài chǒu zhe wéi 'ěr jīng shén cuò luàn de biǎo qíngshǐ de xīn ruǎn liǎo ruǎn shì xiǎng dào duì yàn 'è dào diǎn de huà yòu xīn zhōng de lián mǐn liǎo xià zhèng rén jūn wǎng wǎng guò gěng zhí zhī dào yòng xìng qíng zhìwēi yán 'ào zhǐ guǎi wān jiǎo de yìng wéi nán de miàn
  “ zhè nián yuèxiàng 'ào táng xiǎo jiě yàng piào liàng de niànméi yòu péi jià jiù méi yòu rén yào,” wéi 'ěr bǎn zhe liǎn shuō,“ zhǒng měi zuò zhàng de jiàn liǎo yào hài dehǎo míng guì de yào tài duō de qián zhào liàojué huì yòu duō shǎo mǎi zhù néng chān zhe zhè děng rén zài jiē shàng zǒu jiādōu yào chǒu zhe gēn zài hòu miàn tài tài de zhù zhè zhǒng zhāo yáofán shì xiǎng gēn qíng jué dǒu de nán réndōu yào jué tóu tòngyīn wéi jiēguǒqíng jué zhǐ liǎng zhào de chǔjìngyào jià diào 'ér zhǐ yòu sān tiáo yóu bāng máng què yuàn zhè shì tiáozhǎo liù shí suì de lǎo tóuhěn yòu qiánméi yòu hái 'ér xiǎng yào hái dezhè zhǒng rén rán róng zhǎo shì hái néng pèng shàngyǎng zhe yuē zhēn · de lǎo tóu 'ér yòu de shìgànmá jiù zhǎo dào yòng míng méi zhèng de fāng zuò zhè zhǒng shǎ shì de rén?…… yào shì méi yòu sài lāi liǎng wài sūn jiù huì 'ào táng zhè shì 'èr tiáozuì hòu tiáo shì zuì fāng biàn de……”
   luò rén tái tóu lái shèng jiāo de chǒu zhe lǎo huā fěn shāng
  “ shì qiē yòu de rén zhōng de fāng men xiàng shēng de zhí zài guó shàng shēng de cháng lái zhōng yòu de shì jiā shì de rén cáiyòu de shì suǒ bùwèi de yǒng cái de yǒng …… ǒu xiē rén ……( zài xià dāng nián jiù shì zhōng hái rèn shǎo !…… èr shí nián zhī qián · yòu xiē shénmebāo nuò yòu xiē shénme?…… liǎng réndōu zài luó tuō lǎo tóu guǐ hùnchú liǎo xiàng shàng de wàng wàishénme jīn dōuméi yòu shì rèn wéizhì gēn běn yàng zhí qián!…… běn shì chīde wán dezhì shì chī wán de!…… yòu yòu xiē shénmehái shì xīn xiàng shànghái shì yǒng liǎo · jīn tiān gēn rén shàngxiǎo jiā huǒ bāo nuòlún jiē shàng zuì yīn shí de yào cái shāngdāng liǎo yuán jīn yòu dāng liǎo chén……) ǒu zhǐ yòu bān zuò mǎi mài dexiě wén zhāng dehuà huà de mào xiǎn jiācái huì míng wén de piào liàng yīn wéi men bèi zhǒng yàng de yǒng bāo nuò xiān shēng luó tuō xiǎo jiě de shí hòugēn běn méi yòu xiǎng yào qián de péi jiàzhè xiē réndōu shì fēng men xiāng xìn 'ài qíngjiù xiàng men xiāng xìn de yùn xiāng xìn de néng yàng!…… fáng zhǎo yòu de rén yào shì 'ài shàng liǎo 'érhuì yǎn qián 'ér de chéng rèn zhè zhǒng rén shì gòu kāng kǎi de liǎoyīn wéi gěi chū de zhù duì shì de。”
  “ ā wéi 'ěr xiān shēng guǒ xiǎng zuò de péng yǒujiù yīnggāi fàng huāng miù de niàn tóu!……”
  “ huāng miùtài tài yào bào kàn kàn …… 'ài zǎo wǎn huì de yào yòu cháo néng gòu duì luò shuō:“ qiǎng liǎo de yuē zhàn liǎo de lǎo !……’ zhè shì hái de lǎo dìng yào shí xiàn de jìhuàchú fēi biàn chǒuér qiě dìng chéng gōng tīng de yóu,” chóngxīn bǎi zhèng shìchǒu zhe luò tài tàitíng liǎo huìyòu shuō:“ zhǎo dào lǎo tóu 'ér zhǎo dào chī qíng de qīng nián rén téng de 'érjué kěn sòng gěi lǎo guǐ bǎi tóng shí luò nán jué rén guó jìn wèi jūn liú xiàn bīng tuán lìng de jué méi yòu yǒng zhāo gān de guāng gùn zuò yǎn qián de wèi jiù jiào shòu liǎoyīn wéi zhǐ shì tōng gōng rén héng héng xiàn zài mǒu bǎi wàn wēngshí nián zhī qián jiù guò shì jiànghéng héng zhǐ shì jiān gōng shénme chǎng de gōng tóu zhī lèiděng dào hòu láiyǎn jiàn 'èr shí suì de 'ér hěn néng yīn chōng dòng 'ér shī jié de shí hòu jiù huì duì shuō:‘ hái ràng lái shī jié guǒ wéi 'ěr lǎo tóu kěn shǒu jiù hǎo zuàn dào 'ér de péi jiàèr shí wàn lángdài jià shì shí nián de guān gēn zhè cóng qián de huā fěn shāng wéi 'ěr lǎo tóu!……’ xīn fán shuō de shì dào de huàshì shì shì guǒ téng 'ér de qíng jiū zhe de xīn huì gēn bān 'ài 'ér de qīn yàngxiǎng chū yóu lái …… zǒng 'ér yán zhīào táng de zǎo wǎn huì shǐ xiǎng chū yóu de liáng xīn tóu jiàng de……”
  “ ào táng hái yòu jiù gōng 。”
  “ shuífěi xiē 'ěr lǎo tóu ?…… hái zhōu ér qiě yòu shì shòu nán jué de lěifán shì sōu kuò dào de fāng gěi sōu kuò dào liǎo。”
  “ hái yòu luò jué……”
  “ ōtài tài zhàng jīng lǎo jiāng jūn de gān liǎozhuāng xiū de gōng guǎn liǎo…… ǒunán dào gěi diǎn 'ér wàng jiù ràng zǒu ?”
  “ zài huìxiān shēng wéi zhè zhǒng nián de rén hài de xiāng bìngshì róng zhì hǎo de huì xié guī zhèngshàng bǎo yòu nán de rén……”
   nán jué rén zhàn shēn jiào shàng wèi fēi gào jìn liǎo tīng
  “ zhè zhǒng luò fāng shì měi de luò tài tài zhù de ?”
   shuō zhǐ zhe zhǎn jiù dēng zuò jīn tuì jìn de diào dēngjīng wěi de tǎn qiē làn dōng shǐ zhè jiān bái miáo jīn de tīngchéng wéi zhèng shí dài chǎng miàn de cán hái
  “ xiān shēngzhè xiē zhào chū zhēn jié de guāng huī xiǎng yào shénme táng huáng de jiā ér chéng kuā jiǎng de de měi màobiàn liǎo xiàn rén kēngbiàn liǎo xiāo jīn !”
   wéi 'ěr yǎo yǎo zuǐ chúntīng chū liǎng shì gāng cái yuē tān xīn de huà
  “ shǒu jiéwéi zhe shuí ?” shuō
   zhè shí nán jué rén jīng lǎo huā fěn shāng dào tīng mén kǒu
  “ wéi hàosè zhī !……” shàng zhuāng chū bǎi wàn jiā de zhèng rén jūn de zuǐ liǎn
  “ yào shì de huà cuòxiān shēng me de shǒu jié jiù liǎo
   zhè shì shuō wán liǎo ?”
   xiàng tǎo yàn rén shìdeduì shàng wèi xíng liǎo máng máng huí shēn jìn céng kàn dào zuì hòu de bǎi shì méi yòu liú shén dào gào bié shí dài zhe wēihè wèi de tài páo kāi chuāng ménzǒu de shén gāo 'ào 'ér zhuāng yánfǎng luó dǒu shòu chǎng zhōng de xùn dào zhě shì jīn jìnzài quán dōushì lán yán de shàng fáng zhōngwàng biàn shàng tuí rán zuò xiàhǎo kuài yào bìng dǎo de rén zhí dèng zhe yǎnchǒu zhe 'ér bèi zài nóng nóng de tíng
   cóng jié hūn de zuì chū tiān zhí dào zhè shí hòunán jué rén 'ài de zhàng xiàng yuē fēn 'ài lún yàngshì zhǒng qīn pèi de xìng de wèi duǎn de 'ài suī zhī dào wéi 'ěr gāng cái shuō de jiéquè hěn zhī dào 'èr shí nián lái nán jué sān fān de duì zhōng shí shàng yǎn jīng zhuāng kàn jiànzhǐ shì de liú lèizuǐ cóng lái liù chū yán bàn de mányuànzhè zhǒng tiān shǐ bān de wēn róu liǎo zhàng de jìng zhòng dàngzuò shén míng bān de zàn duì zhàng de wēn qíng pěng gāo gāo zài shàng de jìng zài jiā tíng zhōng shì yòu chuán rǎn xìng deào táng xiàng qīn dàngzuò fàn zhàng zhì xiǎo luòcóng xiǎo zhǐ zhī dào pèi nán juéhéng héng shuídōu dāng shì lún de yuán xūn zhī dào kào liǎo qīn de xìng shì wèi cái yòu jīn ér qiě tóng nián de yìn xiàng wǎng wǎng yòu jiǔ yuǎn de yǐng xiǎng hái jiàn liǎo qīn hài yīn shǐ cāi dào wéi 'ěr suǒ shuō de xiē huāng táng dàn yīn wéi jìng wèi zhī 'ér gǎn jiā fēinànbìng qiě wèile zài zhè zhǒng wèn shàng duì bān nán rén de kàn hái huì jiā yuán liàng
   xiàn zài men yīngdāng jiě shì wèishénme zhè yòu měi yòu wěi de duì zhàng zhōng zhēn 'èr dào zhè xià miàn biàn shì shēng jiǎn duǎn de shǐ
   zài luò lín shěng biān jìng de duānkào zhe shān jiǎo de cūn yòu sān xìng fěi xiē 'ěr de xiōng dōushì nóng zài gòng zhèng zhēng bīng de shí hòu jiā liǎo lāi yīn duì
   jiǔ jiǔ niánsān xiōng zhōng de lǎo 'èrān liè luò tài tài de qīnyīn wéi liǎo 'ér jiāo gěi cháng xiōng 'āi 'ěr · fěi xiē 'ěr zhào 'āi 'ěr zài jiǔ jiǔ nián shòu liǎo shāng tuì zhī hòukào liǎo hòu qín lìng luò · · āi 'ěr wéi nán jué chēng yāozài jūn shì yùn shū fāng miàn jīng yíng xiǎo fēn shì luò yòu shì shàng bǎopèng qiǎo jiàn dào liǎo fěi xiē 'ěr jiā shí 'ā dài de qīn de xiōng dōuzài 'ā 'ěr shěng gān gōng yìng liáng de shì
   shí liù suì de 'ā dài hěn gēn míng dǐng dǐng de rénxiāng tóng yàng shì luò lín shěng chū shēn shì zhǒng shí quán shí měidòng rén xīn xián de měi rénshì 'ān rén liúzào zhù bié jiā gōng de chū pǐn yòu zuì bǎo guì de tiān miàngāo mèi fāng zhòng tóng de tiáoyún bié měi hǎo de zhè lèi de měi dōuhěn xiāng xiàng 'áng jiā · pèi luò de xiào xiàng shì lóng nuò de jié zuò zhī ), 'ān · · 'āirǎn · róng zuò wéi wéi de cái), ào lín rén de huà xiàng cáng zài duō měi shù guǎn), hái yòu nóng rén 'ān rénqiáo zhì xiǎo jiěléi 'āi rénsuǒ yòu zhè xiē jìn guǎn shàng liǎo nián jìn guǎn jīng guò qíng hǎi fēng jìn guǎn qióng shē shì yǒng yuǎn guāng yàn zhào rén men de shēn duàn měi de pǐn zhìdōuyòu míng xiǎn de xiāng zhī chùfǎng dài yòu dài de rén hǎi zhōng zhēn yòu měi de cháo liúzài tóng zhèn làng huā zhōng chǎn shēng chū zhè xiē wéi 。②
   zhè bān xiān qún zhōng zuì měi de ā dài · fěi xiē 'ěrxiàng tiān shēng de hòu fēi bān bèi zuì wán měi de yōu diǎnwān yán zhé de xiàn tiáojiǎn zhí shì qīng guó qīng chéng de rén pǐnshàng chuán gěi xià de zhǒng jīn huáng tóu huáng hòu bān de shēn duànyōng róng huá guì de pàilún kuò zhuāng yán de yǐng dàn de xiāng cūn qíng diàohuì jiào shàng suǒ yòu de nán níng móu zhù shìxiàng jiàn shǎng jiā dào fěi 'ěr zuò pǐn yàng yōu rán shén wǎnghòu qín lìng jiàn 'ā dài · fěi xiē 'ěr xiǎo jiěbiàn zài dìng xiàn mǎn zhī hòu liǎo guò shǐ wèi chóng bài shàng de fěi xiē 'ěr xiōng wéi jīng
  ① rén( 1743 héng 1793), shí de qíng
  ② shén huà chuán shuōwéi shì cóng hǎi làng de shuǐ zhōng chū shēng de
  ③ guó mín guī dìnghūn yīn xiān jīng zhèng gōng kāi gàomǎn shí hòu fāng xíng hūn yán mǎn zhī hòu ……, wèi dài
   'āi 'ěr · fěi xiē 'ěr jiǔ 'èr nián de jūn rénwéi sāng 'ěr zhōng shòu liǎo zhòng shāngduì lún yòu guān jūn de qiē xiàng shì chóng bài tóu deān liè ruò 'ān luò lìng jìng zhòng fēi fánbìng qiě men de wèi shì quán kào zhè wèi lún de qīn xìn lái deyīn wéi luò · · āi 'ěr wéi jué men cōng míng chéng shí men cóng yùn shū duì zhōng láidāng jǐn gōng chéng de zhù guǎnzài de zhàn zhōngsān xiōng liǎo gōngzhàn hòu luò men zài 'ā 'ěr nòng shàng zhè gōng yìng liáng de chāishidāng shí bìng méi xiǎng dào hòu lái huì fèng pài dào bǎo zhǔn bèi liù nián de zhàn shì
  ① wéi sāng 'ěr guó chéng míng nián yuè shì jūn duì jūn
   zhè mén qīn shìduì nián qīng de xiāng xià niàn jiǎn zhí shì bái fēi shēngměi de 'ā dài cóng běn cūn de nào zhōngpíng qīng yún jiǎo jìn liǎo shì gōng tíng de tiān táng shí hòu qín lìng shì jūn zhōng zuì néng gānzuì chéng shízuì huó yuè de fēng liǎo nán juébèi lún huáng zhào zhōng shū biān guó jìn wèi jūnměi de xiāng xià niàn 'ài zhàng 'ài fēng bānjìng rán wèile 'ér yǒng jiào láibìng qiě luò jiù hǎo 'ā dài zài nán rén shēn shàng de fān bǎn shì shǔ yōu xiù de měi nán qún degāo jiēshíjīn huáng tóu lán yǎn jīng qíng zhǒng biàn huà xiē wēi miào de biǎo qíng yòu kàng de mèi shēn yāo xiù měizài 'ào 'ěr sài 'ěr bān 'ěr liú rén zhōng zǒng zhī shì zhèng shí dài měi nán duì zhōng de rén qíng chǎng de nán duì rén yòu bào zhe shí shì de guān niàn wèile zhī 'ài rán yòu hǎo nián fēng liú yàn shì guò biān
   yīn zài 'ā dài xīn zhōng kāi chǎng nán jué biàn shén míng bān huì yòu cuò shī de de qiēdōu zhī zhàng xiān shì cái yòu liǎo yòu liǎo chē yòu liǎo dāng shí qiē shē huá de xiǎng yòngrán hòu shì xìng rén rén zhī dào zhàng 'ài rán hòu shì tóu xián shì nán jué rénrán hòu shì shēng míngzài jiā chēng wéi měi de luò rénzuì hòu hái hěn róng xìng de xiè jué liǎo huáng de qīng lái liǎo tiáo zuàn shí xiàng liàncháng cháng zài rén qián shí wèn:“ měi de luò rénhái shì me 'ānfèn ?” yán xià yòu shuí yào zài shī bài de shì qíng shàng chéng gōng huì jiā bào de
   suǒ luò rén chú liǎo 'ài qíng wài duì zhàng de xìnyòng dào shénme cōng míng de rénjiù néng zài chún jiétiān zhēnyōu měi de xīn líng zhōngzhǎo chū de dòng xiān shì shēn xìn zhàng yǒng yuǎn huì duì ér hòu duì de chuàng zào zhě cún xīn yào zuò qiān gōngzhōng chéngmáng mùdì rén shēng lái jiù míng shì xiàng píng mín yàng de míng bái shì shǐ de jiào gèng zhā shízài jiāo chǎng zhōng kāi kǒu shuō rèn rén huài huà fēng máng tīng zhe rén jiāduì měi jiàn shì qíng jiā suǒ zuì guīju zuì yòu shēn fēn de rén wéi bǎng yàng
   nián luò de zhī jiāo wéi sāng 'ěr qīn wáng cǎi zhì xíng dòngbāng zhe zhì zhī lín shí còu de jūn duìjiù shì huá tiě zhàng lún de shì jié shù liǎo de zhī jūn duì liù niánnán jué biàn chéng liǎo fèi 'ěr rénde yǎn zhōng dīngzhí dào 'èr sān nián cái chóngxīn yòngjìn liǎo jūn gòuyīn wéi duì bān de zhàn zhēng yào sān nián fěi yòng lún jiù shí luò yòu zài nèi zhōng chū xiàn shì yōng bàng wáng shì de yòu zhīdeduì fěi de dēng tái bié chū guò suǒ cóng sān nián chéng wéi jūn zhōng shǎo de shǔ chángtóng shí jīng liǎo yuán shuài xiánchú liǎo rèn mìng zuò cháng huò guì yuàn yuán zhī wàiwáng shàng méi yòu bié de fāng chǒng liǎo
  ① fèi 'ěr ( 1765 héng 1818), 'ěr jiāng jūndāng shí de jūn chén
  ② fěi de zhī
   zài dào 'èr sān zhè duàn xián de shí zhōng luò nán jué zài zhī fěn duì huó dòng luò rén zhī dào de 'āi tuō zuì zǎo de zhōng shí yào zhuī dào zhèng jié shù de shí dàiyóu jiàn nán jué rén de chǒng shàn zhuān fáng gòng shì shí 'èr nián gōng zhī hòu zhào yàng shòu dào wǎng de wēn qíngfán shì gān yǐn rěnzhǐ zuò wēn róu xián shū de bàn shízhàng dāng rán huì duì bǎo chí zhǒng nián shēn yuè jiǔ de gǎn qíng míng zhī zhǐ yào mányuàn de huà lùn qíng liǎo shì shàng yǎn jīngméng zhe 'ěr duǒ yuàn zhī dào zhàng zài wài biān de xíng wéizǒng zhī duì de 'āi tuō yòu qīn duì dài jiāo yǎng de hái zài shàng miàn duàn duì huà de qián sān niánào táng piē jiàn de qīn zài duō yuàn zhèng tīng de bāo xiāng péi zhe zhēn · yóu jiào dào
  “ yōu !”
  “ kàn cuò liǎohái jīn wǎn zài yuán shuài jiā ,” nán jué rén huí
   shí míng míng kàn dào zhēn · suī rán xiàn hěn měinán jué rén bìng méi gǎn dào zhǐ 'àn cǔn dào:“ āi tuō zhè huài dōng dìng hěn kuài huó li。” shì réng miǎn liǎo xīn zhōng nán shòucháng cháng 'àn fèn yào dàn jiàn 'āi tuō de miàn yòu kàn dào shí 'èr nián chún cuì de xìng lián diǎn diǎn mányuàn de yǒng dōuméi yòu liǎo hěn wàng nán jué duì tuī xīn zhì dàn wèile zūn jìng cóng lái ràng jué chá zhī dào de huāng tángzhè zhǒng guòfèn de tiēzhǐ yòu shòu liǎo hái shǒu depíng mín chū shēn de cái huì yòu men de xuè hái bǎo liú diǎn 'ér chū xùn dào zhě de xuè tǒngshì jiā chū shēn de rényīn wéi zhàng píng děngcún zhe bào de xīnjué yào men zhé xià men de kuān róng xiàng tái qiú de shū yíng bānyòng xīn de huà xià lái biàn xiǎn chū de yōu yuèhuò shì bǎo liú hòu huí jìng de quán
   qīn pèi nán jué rén dào diǎn de shì de luò jiāng jūnqián guó jìn wèi jūn liú xiàn bīng lìng gāo wàng zhòngwǎn nián yǎn jiàn yào jìn shēng yuán shuài de jiǔ jiǔ dào nián zhī jiānzhè wèi lǎo rén céng jīng zài liè shěng zuò guò zhàn sān dào sān nián zhī jiān yòu dāng liǎo rèn tóng de jūn lìng zhǎngguānrán hòu huí dào zhù xiàkào jìn zhe xiōng shì xiàng xiàng qīn duì 'ér bān guān qiē delǎo jūn rén duì yòu hǎo gǎnchēng zàn shì xìng zhōng zuì shèng jié zuì gāo shàng de méi yòu jié hūnyīn wéi xiǎng zhǎo 'ā dài 'èrér zài nán zhēng běi tǎo páo guò de fāng cóng lái méi yòu néng shàng lún dào shí céng jīng shuō:“ luò zhè hǎo hàn shì zuì zhí de gòng dǎng shì yǒng yuǎn huì fǎn pàn de。” wèile zhè shēng qīng bái zhǐ zhāi de lǎo gòng dǎng de ā dài shǐ dào gāng cái gèng cǎn de tòng kěn rěn shòurán 'ér zhè shí 'èr suì de lǎo rénbǎi zhàn zhī jīng xīn jiāo cuìhuá tiě yòu shòu liǎo 'èr shí de shāngzhǐ néng zuò 'ā dài de chóng bài zhě 'ér fēi bǎo rén lián de juéchú liǎo bié de cán fèi zhī wàizhǐ yòu kào liǎo tīng tǒng cái néng tīng jiàn rén jiā shuō huà
   zhǐ yào luò · · āi 'ěr wéi shī wéi měi nán de qíng hái zhì yǐng xiǎng de cái chǎndàn dào liǎo shí suìjiù zài wài biǎo fēng shàng zuò gōng liǎozài zhè nián lǎo nián rén de 'ài qíng jīng chéng wéi 'è zhōng hái yòu huāng miù de róng xīn zuò suìsuǒ cóng shí ā dài xiàn zhàng duì shēn de xiū shì chū wài de qiú rǎn zhe tóu bìn jiǎoshù zhe yāo dàichuānzhuó xiōng qiē de yào bǎo chí de měicóng qián cháo xiào rén jiā de xiū shìxiàn zài jiù zhè tào jiǎng jiū wēi zhìzuì hòuā dài yòu xiàn nán jué de qíng men huī jīn de yòng yuán láidōu shì guā de de qián nián zhī jiānhěn de jiā gěi huā gān gān jìng jìng zhì liǎng nián qián 'ér chéng jiā de shí hòunán jué gào tài tài men de quán cái chǎn zhǐ yòu de xīn shuǐ liǎoā dài shuō liǎo
  “ zhè yàng xià men liǎo?”
  “ fàng xīn,” nán jué huí ,“ bàn gōng fèi liú gěi menzhì 'ào táng de péi jià men jiāng lái de shēng huó fèiràng gān xiē mǎi mài lái zhāng luó。”
   zhàng de quán shìshēng jiàcái néngyǒng dōushì shēn xìn desuǒ shí de yōu jiù guò liǎo
shǒuyè>> wénxué>> 现实百态>> 巴爾紮剋 Honoré de Balzac   法國 France   十九世紀的法國   (1799年五月20日1850年八月18日)