shǒuyè>> wénxué>> 现实百态>> chá 'ěr · gèng Charles Dickens   yīng guó United Kingdom   hàn nuò wēi wáng cháo   (1812niánèryuè7rì1870niánliùyuè9rì)
shuāng chéng A Tale of Two Cities
   shì shēng guó mìng jiānyīng guó londan shī · dùnshēn shēn 'ài shàng liǎo · màn dàn màn què jǐn jǐn zhǐ shì dāng zuò tōng péng yǒujià gěi liǎo guó guì qīng nián chá 'ěr · léidāng guó zhèng zhì shì xiàn tuán hùn luàn shíchá 'ěr · léi zāo dào bào mín qiú jìn · màn zǒu tóu zhǐ hǎo xiàng · shì dùn qǐng qiú bāng zhù · dùn wéi chéng quán suǒ 'ài zhī de xìng jìng rán shēng shēng mìng de fāng shì lái wǎn jiù qíng zài hēi láo tàn jiān zhī shī zhǎn cèhuà zhōu de diào bāo jiāng chá 'ěr · léi jiù liǎo chū láiér fǎn shàng duàn tóu táinán zhùjué de gāo shàng qíng cāo lìng tiān xià rén tóng shēng
   shuāng chéng - chuàng zuò tuán duì
  
   dǎo yǎnjié · kāng wēi luó ·Z· lún
   zhù yǎnluó · kǎo 'ěr màn táng · suō bái · ài lán
  
   biān Writer: chá 'ěr · gèng CharlesDickens sài miù 'ěr ·N· bèi 'ěr màn S.N.BehrmanW.P.LipscombThomas
  
   zhì zuò rén Producedby: wèi ·O· sài 'ěr DavidO.Selznick
   shuāng chéng - yǐng píng
  
   zhè shì zuì hǎo de shí dài shì zuì huài de shí dàizhè shì míng zhì de shí dàizhè shì mèi de shí dàizhè shì xìn rèn de yuánzhè shì huái de yuánzhè shì guāng míng de jiézhè shì hēi 'àn de jiézhè shì wàng de chūn zhè shì shī wàng de dōng men miàn qián yīngyǒu jìn yòu men miàn qián suǒ yòu men jiāng zhí shàng tiān táng men jiāng zhí xià 。。。
   héng héng gèng shuāng chéng
  
  Itwasthebestoftimes,itwastheworstoftimes;itwastheageofwisdom,itwastheageoffoolishness;itwastheepochofbelief,itwastheepochofincredulity;itwastheseasonofLight,itwastheseasonofDarkness;itwasthespringofhope,itwasthewinterofdespair;wehadeverythingbeforeus,wehadnothingbeforeus;wewereallgoingdirectlytoHeaven,wewereallgoingtheotherway.
  
   héng héng CharlesDichens(ATaleofTwoCities)
  
   wèishénme jiào shuāng chéng gèng de zhè zuò pǐnràng xiǎng liǎo lán wèile suǒ 'ài de rénfàng liǎo suǒ 'ài de rénliǎo jiě zhè shí dài de bèi jǐng shì hěn zhòng yào de rán qián miàn huì jué de zhuǎn de tài kuàizǒng de lái shuō zuò jiā de xiǎo shuō hái shì xiè dedāng xià de shè huì gèng yǎn zhōng shū zhōng de shí dài shì fǒu xiāng men de chū kǒu yòu zài xīn shǎng gèng de zhè duàn míng yán
   shuāng chéng - hòu huā
  
   běn piàn gǎi biān gèng de tóng míng xiǔ míng zhùshuāng chéng 》, zài zhì zuò jiā wèisài dǎo yǎn jié kāng wéi de qīng shè zhì xiàwán chéng liǎo zhè fǎn yìng guó mìng shí dài bēi de jié zuò shì gēn běn shū pāi shè de liù diàn yǐng bǎn běn zhōng chéng zuì hǎo de gèng de xiǎo shuō yòng zhǒng yuán miáo shù dòng rén xīn cuī rén lèi xià de 'ài qíng shì chū bǎn lái shòu dào shù zhě de xīn zhuī pěng bǎn zài bǎnběn piàn bìng méi yòu wán quán bāo kuò xiǎo shuō zhǎn xiàn chū lái de suǒ yòu yuán dàn què méi yòu lòu rèn zuì wéi zhòng yào de qíng jiédāng ránméi yòu tōng guò yōu xiù de xiǎo shuō gǎi biān de diàn ...
   shuāng chéng -《 shuāng chéng yuán zhù jiǎn jiè
  
  1775 nián 12 yuè de yuè de nián qīng shēng méi sàn shí rán bèi 'è méng hóu jué xiōng qiǎngpò chū zhěnzài hóu jué zhōng kuáng de jué nóng shēn shòu jiàn shāng de shàonián yǐn hèn 'ér de cǎn zhuàngbìng huò hóu jué xiōng wèile piàn yín shā hài men quán jiā de nèi qíng jué hóu jué xiōng de zhòng jīn huì xiě xìn xiàng cháo tíng gào liào kòng gào xìn luò dào bèi gào rén shǒu zhōng shēng bèi guān jìn shì cóng shì juéyǎo yīn xùnliǎng nián hòu xīn suì 'ér yòu xiǎo de qiàn bèi hǎo yǒu láo léi jiē dào lún dūnzài shàn liáng de luò yǎng xià cháng
  
  18 nián hòuméi shēng huò shìzhè wèi jīng shén shī cháng de báifà lǎo rén bèi shèng 'ān dōng de míng jiǔ fàn jiù de rén shí shōu liúzhè shí 'ér qiàn jīng chéngzhǎngzhuān chéng jiē yīng guó zhù shàng men xiè hòu guó qīng nián chá · dài 'ěr shòu dào de xīn zhào liào
  
   yuán lái dài 'ěr jiù shì hóu jué de 'ér zēng hèn jiā de zuì 'è rán fàng cái chǎn de chéng quán guì de xìng shì lún dūndāng liǎo míng jiào shīzài méi de jiāo wǎng zhōng duì qiàn chǎn shēng liǎo zhēn chéng de 'ài qíngméi wèile 'ér de xìng jué dìng mái zàng guò xīn rán tóng men de hūn shì
  
   zài guódài 'ěr xiāng shìshū 'è méng hóu jué wéi suǒ wéidāng kuáng zài de chē ruò shì zhá nóng mín de hái hòuzhōng bèi hái qīn yòng dāo shā yīcháng mìng de fēng bào zhèng zài yùn niàng zhī zhōng shí de jiǔ diàn jiù shì mìng huó dòng de lián luò diǎn de tíng guì de bào xíng biān zhì chéng tóng de huā wén zài wéi jīn shàng wàng chóu
  
  1739 nián guó mìng de fēng bào zhōng lái liǎo rén mín gōng zhàn liǎo shì guì sòng shàng duàn tóu táiyuǎn zài lún dūn de dài 'ěr wèile yíng jiù guǎn jiā gài bái mào xiǎn huí guó dào jiù bèi méi wén xùn hòu xīng gǎn dào shēng de chū tíng zuò zhèng shǐ dài 'ěr huí dào de shēn biān shì xiǎo shí hòudài 'ěr yòu bèi dài zài tíng shàng shí xuān liǎo dāng nián shēng zài zhōng xiě xià de xuè shūxiàng cāng tiān kòng gào 'è méng jiā de zuì hòu rén tíng pàn chù dài 'ěr xíng
  
   jiù zài zhè shí zhí 'àn 'àn 'ài qiàn de shī zhù shǒu 'ěr dēng lái dào mǎi tōng hùn jiān dǐng liǎo hūn zhōng de dài 'ěr méi zǎo zhǔn bèi jiù dài 'ěr dào shàng chū yīháng rén shùn kāi guó
  
   shí tài tài zài dài 'ěr bèi pàn jué hòuyòu dào méi zhù suǒ sōu qiàn yòu zài luò de zhēng dǒu zhōngyīn qiāng zhī zǒu huǒ 'ér mìngér duàn tóu tái shàng 'ěr dēng wèile 'ài qíngcóng róng xiàn shēn
   shuāng chéng - dǎo
  
   shuāng chéng shuāng chéng
   shì jiè míng zhùshuāng chéng 》 --- zuò zhě gèng "ATaleofTwoCities"(1859)byCharlesDickens(1812-1870)
  
  《 shuāng chéng shì gèng zuì zhòng yào de dài biǎo zuò zhī zǎo zài chuàng zuòshuāng chéng zhī qián hěn jiǔ gèng jiù duì guó mìng wéi guān zhùfǎn yán yīng guó shǐ xué jiā lāi 'ěr de guó mìng shǐ xué zhě de yòu guān zhù zuò duì guó mìng de nóng hòu xīng duān duì dāng shí yīng guó qián zhe de yán zhòng de shè huì wēi de dān yōu。 1854 nián shuō xiāng xìn mǎn qíng xiàng zhè yàng mào yān huǒ shāo lái hái yào huài duōzhè bié xiàng guó zài mìng bào qián de gōng zhòng xīn zhè jiù yòu wēi xiǎnyóu qiān bǎi zhǒng yuán yīn héng héng shōu chéng hǎoguì jiē de zhuān héng néng jīng jǐn zhāng de miàn zuì hòu jiā jǐnhǎi wài zhàn zhēng de shī guó nèi 'ǒu shì jiàn děng děng héng héng biàn chéng cóng wèi jiàn guò de yīcháng de huǒ jiàn,《 shuāng chéng zhè shǐ xiǎo shuō de chuàng zuò dòng zài jiè fěng jīn guó mìng de shǐ jīng yàn wéi jiè jiàngěi yīng guó tǒng zhì jiē qiāo xiǎng jǐng zhōngtóng shítōng guò duì mìng kǒng de duān miáo xiě duì xīn huái fèn mèn bào duì kàng bào zhèng de rén mín qún zhòng chū jǐng gàohuàn xiǎng wéi shè huì máo dùn jiā shēn de yīng guó xiàn zhuàng xún zhǎo tiáo chū
  
   cóng zhè mùdì chū xiǎo shuō shēn jiē liǎo guó mìng qián shēn shēn huà liǎo de shè huì máo dùnqiáng liè pēng guì jiē de huāng yín cán bàobìng shēnqiè tóng qíng xià céng rén mín de nánzuò pǐn jiān ruì zhǐ chūrén mín qún zhòng de rěn nài shì yòu xiàn dezài guì jiē de cán bào tǒng zhì xiàrén mín qún zhòng shēng rán fèn fǎn kàngzhè zhǒng fǎn kàng shì zhèng dexiǎo shuō hái miáo huì liǎo rén mín gōng shì děng zhuàng guān chǎng jǐngbiǎo xiàn liǎo rén mín qún zhòng de wěi liàngrán 'érzuò zhě zhàn zài chǎn jiē rén dào zhù de chǎng shàng fǎn duì cán rén mín de bào zhèng fǎn duì mìng rén mín fǎn kàng bào zhèng de bào zài gèng xiàzhěng mìng bèi miáo xiě chéng yīcháng huǐ miè qiē de zāinàn qíng chéng zuì 'è de guì jiē máng shā hài de rén men
  
   zhè xiǎo shuō zào liǎo sān lèi rén lèi shì 'è méng hóu jué xiōng wéi dài biǎo de fēng jiàn guì menwéi dòng yáo de zhé xué jiù shì rén”, shì zuò zhě tòng jiā biān de duì xiànglìng lèi shì shí děng mìng qún zhòng zhǐ chū de shì men de xíng xiàng shì bèi niǔ de shí de 'ān chū shēng bèi bèi hài de nóng jiāduì fēng jiàn guì huái zhe shēn chóu hènzuò zhě shēnqiè tóng qíng de bēi cǎn zāo mìng bào qián hòu hěn zàn shǎng jiān qiáng de xìng zhuó yuè de cái zhì fēi fán de zhì lǐng dǎo néng dàn dāng mìng jìn shēn shíjiù fēng zhuǎn biǎn chì wéi lěng xiōng hěnxiá 'ài de chóu zhěyóu shì dāng dào shēng zhù suǒ sōu qiàn xiǎo qiàn shígèng bèi biǎo xiàn wéi shì xuè chéng xìng de kuáng rénzuì hòuzuò zhě ràng zài de qiāng kǒu zhī xiàmíng què biǎo shì liǎo fǒu dìng de tài sān lèi shì xiǎng huà rén shì zuò zhě xīn zhōng rén dào zhù jiě jué shè huì máo dùn 'ài zhàn shèng chóu hèn de bǎng yàngbāo kuò méi dài 'ěr láo léi 'ěr dēng děngméi shēng bèi hóu jué xiōng hài jiā rén wángduì hóu jué xiōng huái yòu shēn chóu hèndàn shì wèile 'ér de 'ài bìng chóu jiù hèndài 'ěr shì hóu jué xiōng de zhí chè qiǎn jiā de zuì 'èpāo jué wèi cái chǎnjué xīn de xíng dòng láishú zuì”。 zhè duì xiāng huī yìng de rén shì guì bào zhèng de shòu hài zhěkuān róng wéi huái shì guì hóu jué de chéng rénzhù zhāng rén 'ài men zhōng jiāngèng yòu zuò wéi 'ér de qiànzài 'ài de niǔ dài de wéi xià men chéng xiāng liàng jiěgǎn qíng róng qià de xìng jiā tíngzhè xiǎn rán shì zuò zhě shè xiǎng de tiáo bào mìng jié rán xiāng fǎn de jiě jué shè huì máo dùn de chū shì bùqiè shí de
  
  《 shuāng chéng yòu tóng bān shǐ xiǎo shuō de fāng de rén zhù yào qíng jié dōushì gòu dezài guó mìng guǎng kuò de zhēn shí bèi jǐng xiàzuò zhě gòu rén méi shēng de jīng wéi zhù xiàn suǒ yuān ài qíng chóu sān xiāng 'ér yòu xiāng guān lián de shì jiāo zhì zài qíng jié cuò zōngtóu fēn fánzuò zhě cǎi dàoxùchā diàn děng shǒu shǐ xiǎo shuō jié gòu wán zhěng yán qíng jié zhé jǐn zhāng 'ér yòu xìngbiǎo xiàn liǎo zhuó yuè de shù qiǎo。《 shuāng chéng fēng chén chōng mǎn yōu fèndàn quē shǎo zǎo zuò pǐn de yōu


  A Tale of Two Cities (1859) is a novel by Charles Dickens, set in London and Paris before and during the French Revolution. With 200 million copies sold, it is the most printed original English book, and among the most famous works of fiction.
  
  It depicts the plight of the French peasantry demoralized by the French aristocracy in the years leading up to the revolution, the corresponding brutality demonstrated by the revolutionaries toward the former aristocrats in the early years of the revolution, and many unflattering social parallels with life in London during the same time period. It follows the lives of several protagonists through these events, most notably Charles Darnay, a French once-aristocrat who falls victim to the indiscriminate wrath of the revolution despite his virtuous nature, and Sydney Carton, a dissipated British barrister who endeavours to redeem his ill-spent life out of love for Darnay's wife, Lucie Manette.
  
  The novel was published in weekly installments (not monthly, as with most of his other novels). The first installment ran in the first issue of Dickens' literary periodical All the Year Round appearing on 30 April 1859; the thirty-first and last ran on 25 November of the same year.
  
  Plot summary
  Book the First: Recalled to Life
  “ It was the best of times, it was the worst of times... ”
  
  —Opening line of A Tale of Two Cities
  
  It is 1775. Jarvis Lorry, an employee of Tellson's Bank, is travelling from England to France to bring Dr. Alexandre Manette to London. At Dover, before crossing to France, he meets seventeen-year-old Lucie Manette and reveals to her that her father, Dr. Manette, is not dead, as she had been told. He has been a prisoner in the Bastille for the last 18 years.
  
  Lorry and Lucie travel to Saint Antoine, a suburb of Paris, where they meet the Defarges. Monsieur Ernest and Madame Therese Defarge own a wine shop. They also (secretly) lead a band of revolutionaries, who refer to each other by the codename "Jacques" (drawn from the name of an actual French revolutionary group, the Jacquerie).
  
  Monsieur Defarge (who was Dr. Manette's servant before Manette's imprisonment, and now has care of him) takes them to see Dr. Manette. Manette has withdrawn from reality due to the horror of his imprisonment. He sits in a dark room all day making shoes, a trade he had learned whilst imprisoned. At first he does not know his daughter, but eventually recognizes her by her long golden hair which resembles her mother's. Dr. Manette had long kept a strand of his wife's hair which was found on his sleeve when he was imprisoned. Lucie's eyes are blue also just like his. Lorry and Lucie take him back to England.
  Book the Second: The Golden Thread
  "The Golden Thread" redirects here. For the legal judgement, see Golden thread (law).
  
  It is now 1780. French emigrant Charles Darnay is being tried at the Old Bailey for treason. Two British spies, John Barsad and Roger Cly, are trying to frame the innocent Darnay for their own gain. They claim that Darnay, a Frenchman, gave information about British troops in North America to the French. Darnay is acquitted when a witness who claims he would be able to recognise Darnay anywhere cannot tell Darnay apart from a barrister present in court (not one of those defending Darnay), Sydney Carton, who just happens to look almost identical to him.
  
  In Paris, the Marquis St. Evrémonde (Monseigneur), Darnay's uncle, runs over and kills the son of the peasant Gaspard; he throws a coin to Gaspard to compensate him for his loss. Monsieur Defarge comforts Gaspard. As the Marquis's coach drives off, Defarge throws the coin back into the coach, enraging the Marquis.
  
  Arriving at his château, the Marquis meets with his nephew: Charles Darnay. (Darnay's real surname, therefore, is Evrémonde; out of disgust with his family, Darnay has adopted a version of his mother's maiden name, D'Aulnais.) They argue: Darnay has sympathy for the peasantry, while the Marquis is cruel and heartless:
  
   "Repression is the only lasting philosophy. The dark deference of fear and slavery, my friend," observed the Marquis, "will keep the dogs obedient to the whip, as long as this roof," looking up to it, "shuts out the sky."
  
  That night, Gaspard (who has followed the Marquis to his château, hanging under his coach) murders the Marquis in his sleep. He leaves a note saying, "Drive him fast to his tomb. This, from JACQUES."
  
  In London, Darnay gets Dr. Manette's permission to wed Lucie. But Carton confesses his love to Lucie as well. Knowing she will not love him in return, Carton promises to "embrace any sacrifice for you and for those dear to you".
  
  On the morning of the marriage, Darnay, at Dr. Manette's request, reveals who his family is, a detail which Dr. Manette had asked him to withhold until then. This unhinges Dr. Manette, who reverts to his obsessive shoemaking. His sanity is restored before Lucie returns from her honeymoon; to prevent a further relapse, Lorry destroys the shoemaking bench, which Dr. Manette had brought with him from Paris.
  
  It is 14 July 1789. The Defarges help to lead the storming of the Bastille. Defarge enters Dr. Manette's former cell, "One Hundred and Five, North Tower". The reader does not know what Monsieur Defarge is searching for until Book 3, Chapter 9. (It is a statement in which Dr. Manette explains why he was imprisoned.)
  
  In the summer of 1792, a letter reaches Tellson's bank. Mr. Lorry, who is planning to go to Paris to save the French branch of Tellson's, announces that the letter is addressed to Evrémonde. Nobody knows who Evrémonde is, because Darnay has kept his real name name a secret in England. Darnay acquires the letter by pretending Evrémonde is an acquaintance of his. The letter turns out to be from Gabelle, a servant of the former Marquis. Gabelle has been imprisoned, and begs the new Marquis to come to his aid. Darnay, who feels guilty, leaves for Paris to help Gabelle.
  Book the Third: The Track of a Storm
  "The Sea Rises", an illustration for Book 2, Chapter 21 by "Phiz"
  
  In France, Darnay is denounced for emigrating from France, and imprisoned in La Force Prison in Paris. Dr. Manette and Lucie—along with Miss Pross, Jerry Cruncher, and "Little Lucie", the daughter of Charles and Lucie Darnay—come to Paris and meet Mr. Lorry to try to free Darnay. A year and three months pass, and Darnay is finally tried.
  
  Dr. Manette, who is seen as a hero for his imprisonment in the hated Bastille, is able to get him released. But that same evening Darnay is again arrested, and is put on trial again the next day, under new charges brought by the Defarges and one "unnamed other". We soon discover that this other is Dr. Manette, through the testimony of his statement (his own account of his imprisonment, written in the Bastille in the "last month of the tenth year of [his] captivity"); Manette does not know that his statement has been found, and is horrified when his words are used to condemn Darnay.
  
  On an errand, Miss Pross is amazed to see her long-lost brother, Solomon Pross, but Pross does not want to be recognised. Sydney Carton suddenly appears (stepping forward from the shadows much as he had done after Darnay's first trial in London) and identifies Solomon Pross as John Barsad, one of the men who tried to frame Darnay for treason at his first trial in London. Carton threatens to reveal Solomon's identity as a Briton and an opportunist who spies for the French or the British as it suits him. If this were revealed, Solomon would surely be executed, so Carton's hand is strong.
  
  Darnay is confronted at the tribunal by Monsieur Defarge, who identifies Darnay as the Marquis St. Evrémonde and reads the letter Dr. Manette had hidden in his cell in the Bastille. Defarge can identify Darnay as Evrémonde because Barsad told him Darnay's identity when Barsad was fishing for information at the Defarges' wine shop in Book 2, Chapter 16. The letter describes how Dr. Manette was locked away in the Bastille by the deceased Marquis Evrémonde (Darnay's father) and his twin brother (who held the title of Marquis when we met him earlier in the book, and is the Marquis who was killed by Gaspard; Darnay's uncle) for trying to report their crimes against a peasant family. The younger brother had become infatuated with a girl. He had kidnapped and raped her and killed her husband, the knowledge of which killed her father, and her brother died in the act of fighting to protect her honor. Prior to his death, the brother of the raped peasant had hidden the last member of the family, his younger sister, "somewhere safe". The paper concludes by condemning the Evrémondes, "them and their descendants, to the last of their race". Dr. Manette is horrified, but his protests are ignored—he is not allowed to take back his condemnation. Darnay is sent to the Conciergerie and sentenced to be guillotined the next day.
  
  Carton wanders into the Defarges' wine shop, where he overhears Madame Defarge talking about her plans to have the rest of Darnay's family (Lucie and "Little Lucie") condemned. Carton discovers that Madame Defarge was the surviving sister of the peasant family savaged by the Evrémondes. The only plot detail that might give one any sympathy for Madame Defarge is the loss of her family and that she has no (family) name. "Defarge" is her married name, and Dr. Manette cannot learn her family name, though he asks her dying sister for it. The next morning, when Dr. Manette returns shattered after having spent the previous night in many failed attempts to save Charles' life, he reverts to his obsessive shoemaking. Carton urges Lorry to flee Paris with Lucie, her father and "Little Lucie".
  
  That same morning Carton visits Darnay in prison. Carton drugs Darnay, and Barsad (whom Carton is blackmailing) has Darnay carried out of the prison. Carton—who looks so similar to Darnay that a witness at Darnay's trial in England could not tell them apart—has decided to pretend to be Darnay, and to be executed in his place. He does this out of love for Lucie, recalling his earlier promise to her. Following Carton's earlier instructions, Darnay's family and Lorry flee Paris and France with an unconscious man in their coach who carries Carton's identification papers, but is actually Darnay.
  
  Meanwhile Madame Defarge, armed with a pistol, goes to the residence of Lucie's family, hoping to catch them mourning for Darnay (since it was illegal to sympathise with or mourn for an enemy of the Republic); however, Lucie, her child, Dr. Manette and Mr. Lorry are already gone. To give them time to escape, Miss Pross confronts Madame Defarge and they struggle. Pross speaks only English and Defarge speaks only French, so neither can understand each other verbally. In the fight, Madame Defarge's pistol goes off, killing her; the noise of the shot and the shock of Madame Defarge's death cause Miss Pross to go permanently deaf.
  
  The novel concludes with the guillotining of Sydney Carton. Carton's unspoken last thoughts are prophetic: Carton foresees that many of the revolutionaries, including Defarge, Barsad and The Vengeance (a lieutenant of Madame Defarge) will be sent to the guillotine themselves, and that Darnay and Lucie will have a son whom they will name after Carton: a son who will fulfill all the promise that Carton wasted. Lucie and Darnay have a first son earlier in the book who is born and dies within a single paragraph. It seems likely that this first son appears in the novel so that their later son, named after Carton, can represent another way in which Carton restores Lucie and Darnay through his sacrifice.
  “ It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to, than I have ever known. ”
  
  —Final sentence of A Tale of Two Cities
  Analysis
  
  A Tale of Two Cities is one of only two works of historical fiction by Charles Dickens (Barnaby Rudge is the other one). It has fewer characters and sub-plots than a typical Charles Dickens novel. The author's primary historical source was The French Revolution: A History by Thomas Carlyle: Charles Dickens wrote in his Preface to Tale that "no one can hope to add anything to the philosophy of Mr. Carlyle's wonderful book" Carlyle's view that history cycles through destruction and resurrection was an important influence on the novel, illustrated especially well by the life and death of Sydney Carton.
  Language
  
  Dickens uses literal translations of French idioms for characters who can't speak English, such as "What the devil do you do in that galley there?!!" and "Where is my husband? ---Here you see me." The Penguin Classics edition of the novel notes that "Not all readers have regarded the experiment as a success."
  Humor
  
  Dickens is renowned for his humor, but A Tale of Two Cities is one of his least comical books. Nonetheless, Jerry Cruncher, Miss Pross, and Mr. Stryver provide much comedy. Dickens also uses sarcasm as humour in the book to show different points of view. The book is full of tragic situations, therefore, leaving little room for intended humor provided by Dickens.
  Foreshadowing
  
  A Tale of Two Cities contains much foreshadowing:
  
   * Carton's promise to Lucie, the "echoing footsteps" heard by the Manettes in their quiet home, and the wine spilling from the wine cask are only a few of dozens of instances.
   * Carton promises Lucie he would die for her because he loves her so much.
   * Echoing footsteps can either be the people coming into their lives or the revolutionaries.
   * The wine spilling in the streets can be blood running through the streets of France.
   * The wine cask breaking is a corrupted government, freedom, or blood from guillotine.
   * The negro cupids show danger, and death from the guillotine.
  
  Themes
  "Recalled to Life"
  
  In Dickens' England, resurrection always sat firmly in a Christian context. Most broadly, Sydney Carton is resurrected in spirit at the novel's close (even as he, paradoxically, gives up his physical life to save Darnay's—just as, in Christian belief, Christ died for the sins of all people.) More concretely, "Book the First" deals with the rebirth of Dr. Manette from the living death of his incarceration.
  
  Resurrection appears for the first time when Mr. Lorry replies to the message carried by Jerry Cruncher with the words "Recalled to Life". Resurrection also appears during Mr. Lorry's coach ride to Dover, as he constantly ponders a hypothetical conversation with Dr. Manette: ("Buried how long?" "Almost eighteen years." ... "You know that you are recalled to life?" "They tell me so.") He believes he is helping with Dr. Manette's revival, and imagines himself "digging" Dr. Manette up from his grave.
  
  Resurrection is the main theme in the novel. In Jarvis Lorry's thoughts of Dr. Manette, resurrection is first spotted as a theme. It is also the last theme: Carton's sacrifice. Dickens originally wanted to call the entire novel Recalled to Life. (This instead became the title of the first of the novel's three "books".)
  
  Jerry is also part of the recurring theme: he himself is involved in death and resurrection in way that the reader does not yet know. The first piece of foreshadowing comes in his remark to himself: "You'd be in a blazing bad way, if recalling to life was to come into fashion, Jerry!" The black humour of this statement becomes obvious only much later on. Five years later, one cloudy and very dark night (in June 1780), Mr. Lorry reawakens the reader's interest in the mystery by telling Jerry it is "Almost a night ... to bring the dead out of their graves". Jerry responds firmly that he has never seen the night do that.
  
  It turns out that Jerry Cruncher's involvement with the theme of resurrection is that he is what the Victorians called a "Resurrection Man", one who (illegally) digs up dead bodies to sell to medical men (there was no legal way to procure cadavers for study at that time).
  
  The opposite of resurrection is of course death. Death and resurrection appear often in the novel. Dickens is angered that in France and England, courts hand out death sentences for insignificant crimes. In France, peasants are even put to death without any trial, at the whim of a noble. The Marquis tells Darnay with pleasure that "[I]n the next room (my bedroom), one fellow ... was poniarded on the spot for professing some insolent delicacy respecting his daughter—his daughter!"
  
  Interestingly, the demolition of Dr. Manette's shoe-making workbench by Miss Pross and Mr. Lorry is described as "the burning of the body". It seems clear that this is a rare case where death or destruction (the opposite of resurrection) has a positive connotation, since the "burning" helps liberate the doctor from the memory of his long imprisonment. But Dickens' description of this kind and healing act is strikingly odd:
  "The Accomplices", an illustration for Book 2, Chapter 19 by "Phiz"
  
   So wicked do destruction and secrecy appear to honest minds, that Mr. Lorry and Miss Pross, while engaged in the commission of their deed and in the removal of its traces, almost felt, and almost looked, like accomplices in a horrible crime.
  
  Sydney Carton's martyrdom atones for all his past wrongdoings. He even finds God during the last few days of his life, repeating Christ's soothing words, "I am the resurrection and the life". Resurrection is the dominant theme of the last part of the novel. Darnay is rescued at the last moment and recalled to life; Carton chooses death and resurrection to a life better than that which he has ever known: "it was the peacefullest man's face ever beheld there ... he looked sublime and prophetic".
  
  In the broadest sense, at the end of the novel Dickens foresees a resurrected social order in France, rising from the ashes of the old one.
  Water
  
  Many in the Jungian archetypal tradition might agree with Hans Biedermann, who writes that water "is the fundamental symbol of all the energy of the unconscious—an energy that can be dangerous when it overflows its proper limits (a frequent dream sequence)." This symbolism suits Dickens' novel; in A Tale of Two Cities, the frequent images of water stand for the building anger of the peasant mob, an anger that Dickens sympathises with to a point, but ultimately finds irrational and even animalistic.
  
  Early in the book, Dickens suggests this when he writes, “[T]he sea did what it liked, and what it liked was destruction.” The sea here represents the coming mob of revolutionaries. After Gaspard murders the Marquis, he is “hanged there forty feet high—and is left hanging, poisoning the water.” The poisoning of the well represents the bitter impact of Gaspard's execution on the collective feeling of the peasants.
  
  After Gaspard’s death, the storming of the Bastille is led (from the St. Antoine neighbourhood, at least) by the Defarges; “As a whirlpool of boiling waters has a centre point, so, all this raging circled around Defarge’s wine shop, and every human drop in the cauldron had a tendency to be sucked towards the vortex...” The crowd is envisioned as a sea. “With a roar that sounded as if all the breath in France had been shaped into a detested word [the word Bastille], the living sea rose, wave upon wave, depth upon depth, and overflowed the city...”
  
  Darnay’s jailer is described as “unwholesomely bloated in both face and person, as to look like a man who had been drowned and filled with water.” Later, during the Reign of Terror, the revolution had grown “so much more wicked and distracted ... that the rivers of the South were encumbered with bodies of the violently drowned by night...” Later a crowd is “swelling and overflowing out into the adjacent streets ... the Carmagnole absorbed them every one and whirled them away.”
  
  During the fight with Miss Pross, Madame Defarge clings to her with “more than the hold of a drowning woman”. Commentators on the novel have noted the irony that Madame Defarge is killed by her own gun, and perhaps Dickens means by the above quote to suggest that such vicious vengefulness as Madame Defarge's will eventually destroy even its perpetrators.
  
  So many read the novel in a Freudian light, as exalting the (British) superego over the (French) id. Yet in Carton's last walk, he watches an eddy that "turned and turned purposeless, until the stream absorbed it, and carried it onto the sea"—his fulfilment, while masochistic and superego-driven, is nonetheless an ecstatic union with the subconscious.
  Darkness and light
  
  As is common in English literature, good and evil are symbolised with light and darkness. Lucie Manette is often associated with light and Madame Defarge with darkness.
  
  Lucie meets her father for the first time in a room kept by the Defarges:." Lucie's hair symbolises joy as she winds "the golden thread that bound them all together". She is adorned with "diamonds, very bright and sparkling", and symbolic of the happiness of the day of her marriage.
  
  Darkness represents uncertainty, fear and peril. It is dark when Mr. Lorry rides to Dover; it is dark in the prisons; dark shadows follow Madame Defarge; dark, gloomy doldrums disturb Dr. Manette; his capture and captivity are shrouded in darkness; the Marquis’s estate is burned in the dark of night; Jerry Cruncher raids graves in the darkness; Charles's second arrest also occurs at night. Both Lucie and Mr. Lorry feel the dark threat that is Madame Defarge. "That dreadful woman seems to throw a shadow on me," remarks Lucie. Although Mr. Lorry tries to comfort her, "the shadow of the manner of these Defarges was dark upon himself". Madame Defarge is "like a shadow over the white road", the snow symbolising purity and Madame Defarge's darkness corruption. Dickens also compares the dark colour of blood to the pure white snow: the blood takes on the shade of the crimes of its shedders.
  Social injustice
  
  Charles Dickens was a champion of the maltreated poor because of his terrible experience when he was forced to work in a factory as a child. His sympathies, however, lie only up to a point with the revolutionaries; he condemns the mob madness which soon sets in. When madmen and -women massacre eleven hundred detainees in one night and hustle back to sharpen their weapons on the grindstone, they display "eyes which any unbrutalised beholder would have given twenty years of life, to petrify with a well-directed gun".
  
  The reader is shown the poor are brutalised in France and England alike. As crime proliferates, the executioner in England is "stringing up long rows of miscellaneous criminals; now hanging housebreaker ... now burning people in the hand" or hanging a broke man for stealing sixpence. In France, a boy is sentenced to have his hands removed and be burned alive, only because he did not kneel down in the rain before a parade of monks passing some fifty yards away. At the lavish residence of Monseigneur, we find "brazen ecclesiastics of the worst world worldly, with sensual eyes, loose tongues, and looser lives ... Military officers destitute of military knowledge ... [and] Doctors who made great fortunes ... for imaginary disorders".
  
  The Marquis recalls with pleasure the days when his family had the right of life and death over their slaves, "when many such dogs were taken out to be hanged". He won't even allow a widow to put up a board bearing her dead husband’s name, to discern his resting place from all the others. He orders Madame Defarge's sick brother-in-law to heave a cart all day and allay frogs at night to exacerbate the young man's illness and hasten his death.
  
  In England, even banks endorse unbalanced sentences: a man may be condemned to death for nicking a horse or opening a letter. Conditions in the prisons are dreadful. "Most kinds of debauchery and villainy were practised, and ... dire diseases were bred", sometimes killing the judge before the accused.
  
  So riled is Dickens at the brutality of English law that he depicts some of its punishments with sarcasm: "the whipping-post, another dear old institution, very humanising and softening to behold in action". He faults the law for not seeking reform: "Whatever is right" is the dictum of the Old Bailey. The gruesome portrayal of quartering highlights its atrocity.
  
  Without entirely forgiving him, Dickens understands that Jerry Cruncher robs graves only to feed his son, and reminds the reader that Mr. Lorry is more likely to rebuke Jerry for his humble social status than anything else. Jerry reminds Mr. Lorry that doctors, men of the cloth, undertakers and watchmen are also conspirators in the selling of bodies.
  
  Dickens wants his readers to be careful that the same revolution that so damaged France will not happen in Britain, which (at least at the beginning of the book) is shown to be nearly as unjust as France. But his warning is addressed not to the British lower classes, but to the aristocracy. He repeatedly uses the metaphor of sowing and reaping; if the aristocracy continues to plant the seeds of a revolution through behaving unjustly, they can be certain of harvesting that revolution in time. The lower classes do not have any agency in this metaphor: they simply react to the behaviour of the aristocracy. In this sense it can be said that while Dickens sympathises with the poor, he identifies with the rich: they are the book's audience, its "us" and not its "them". "Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms. Sow the same seed of rapacious licence and oppression over again, and it will surely yield the same fruit according to its kind".
  Relation to Dickens' personal life
  
  Some have argued that in A Tale of Two Cities Dickens reflects on his recently begun affair with eighteen-year-old actress Ellen Ternan, which was possibly asexual but certainly romantic. Lucie Manette resembles Ternan physically, and some have seen "a sort of implied emotional incest" in the relationship between Dr. Manette and his daughter.
  
  After starring in a play by Wilkie Collins entitled The Frozen Deep, Dickens was first inspired to write Tale. In the play, Dickens played the part of a man who sacrifices his own life so that his rival may have the woman they both love; the love triangle in the play became the basis for the relationships between Charles Darnay, Lucie Manette, and Sydney Carton in Tale.
  
  Sydney Carton and Charles Darnay may also bear importantly on Dickens' personal life. The plot hinges on the near-perfect resemblance between Sydney Carton and Charles Darnay; the two look so alike that Carton twice saves Darnay through the inability of others to tell them apart. It is implied that Carton and Darnay not only look alike, but they have the same "genetic" endowments (to use a term that Dickens would not have known): Carton is Darnay made bad. Carton suggests as much:
  
   'Do you particularly like the man [Darnay]?' he muttered, at his own image [which he is regarding in a mirror]; 'why should you particularly like a man who resembles you? There is nothing in you to like; you know that. Ah, confound you! What a change you have made in yourself! A good reason for talking to a man, that he shows you what you have fallen away from and what you might have been! Change places with him, and would you have been looked at by those blue eyes [belonging to Lucie Manette] as he was, and commiserated by that agitated face as he was? Come on, and have it out in plain words! You hate the fellow.'
  
  Many have felt that Carton and Darnay are doppelgängers, which Eric Rabkin defines as a pair "of characters that together, represent one psychological persona in the narrative". If so, they would prefigure such works as Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde. Darnay is worthy and respectable but dull (at least to most modern readers), Carton disreputable but magnetic.
  
  One can only suspect whose psychological persona it is that Carton and Darnay together embody (if they do), but it is often thought to be the psyche of Dickens himself. Dickens was quite aware that between them, Carton and Darnay shared his own initials.
  Characters
  
  Many of Dickens' characters are "flat", not "round", in the novelist E. M. Forster's famous terms, meaning roughly that they have only one mood. In Tale, for example, the Marquis is unremittingly wicked and relishes being so; Lucie is perfectly loving and supportive. (As a corollary, Dickens often gives these characters verbal tics or visual quirks that he mentions over and over, such as the dints in the nose of the Marquis.) Forster believed that Dickens never truly created rounded characters, but a character such as Carton surely at least comes closer to roundness.
  
   * Sydney Carton – A quick-minded but depressed English barrister alcoholic, and cynic; his Christ-like self-sacrifice redeems his own life and that of Charles Darnay.
  
   * Lucie Manette – An ideal Victorian lady, perfect in every way. She was loved by both Carton and Charles Darnay (whom she marries), and is the daughter of Dr. Manette. She is the "golden thread" after whom Book Two is named, so called because she holds her father's and her family's lives together (and because of her blond hair like her mother's). She also ties nearly every character in the book together.
  
   * Charles Darnay – A young French noble of the Evrémonde family. In disgust at the cruelty of his family to the French peasantry, he has taken on the name "Darnay" (after his mother's maiden name, D'Aulnais) and left France for England.
  
   * Dr. Alexandre Manette – Lucie's father, kept a prisoner in the Bastille for eighteen years.
  
   * Monsieur Ernest Defarge – The owner of a French wine shop and leader of the Jacquerie; husband of Madame Defarge; servant to Dr. Manette as a youth. One of the key revolutionary leaders, he leads the revolution with a noble cause, unlike many of other revolutionaries.
  
   * Madame Therese Defarge – A vengeful female revolutionary, arguably the novel's antagonist
  
   * The Vengeance – A companion of Madame Defarge referred to as her "shadow" and lieutenant, a member of the sisterhood of women revolutionaries in Saint Antoine, and revolutionary zealot. (Many Frenchmen and women did change their names to show their enthusiasm for the Revolution)
  
   * Jarvis Lorry – An elderly manager at Tellson's Bank and a dear friend of Dr. Manette.
  
   * Miss Pross – Lucie Manette's governess since Lucie was ten years old. Fiercely loyal to Lucie and to England.
  
   * The Marquis St. Evrémonde – The cruel uncle of Charles Darnay.
  
   * John Barsad (real name Solomon Pross) – A spy for Britain who later becomes a spy for France (at which point he must hide that he is British). He is the long-lost brother of Miss Pross.
  
   * Roger Cly – Another spy, Barsad's collaborator.
  
   * Jerry Cruncher – Porter and messenger for Tellson's Bank and secret "Resurrection Man" (body-snatcher). His first name is short for Jeremiah.
  
   * Young Jerry Cruncher - Son of Jerry and Mrs. Cruncher. Young Jerry often follows his father around to his father's odd jobs, and at one point in the story, follows his father at night and discovers that his father is a resurrection man. Young Jerry looks up to his father as a role model, and aspires to become a resurrection man himself when he grows up.
  
   * Mrs. Cruncher - Wife of Jerry Cruncher. She is a very religious woman, but her husband, being a bit paranoid, claims she is praying against him, and that is why he doesn't succeed at work often. She is often abused verbally, and almost as often, abused physically, by Jerry, but at the end of the story, he appears to feel a bit guilty about this.
  
   * Mr. Stryver – An arrogant and ambitious barrister, senior to Sydney Carton. There is a frequent mis-perception that Stryver's full name is "C. J. Stryver", but this is very unlikely. The mistake comes from a line in Book 2, Chapter 12: "After trying it, Stryver, C. J., was satisfied that no plainer case could be." The initials C. J. almost certainly refer to a legal title (probably "chief justice"); Stryver is imagining that he is playing every role in a trial in which he browbeats Lucie Manette into marrying him.
  
   * The Seamstress – A young woman caught up in The Terror. She precedes Sydney Carton, who comforts her, to the guillotine.
  
   * Gabelle – Gabelle is "the Postmaster, and some other taxing functionary, united" for the tenants of the Marquis St. Evrémonde. Gabelle is imprisoned by the revolutionaries, and his beseeching letter brings Darnay to France. Gabelle is "named after the hated salt tax".
  
   * Gaspard – Gaspard is the man whose son is run over by the Marquis. He then kills the Marquis and goes into hiding for a year. He eventually is found, arrested, and executed.
  
  Adaptations
  Films
  
  There have been at least five feature films based on the book:
  
   * A Tale of Two Cities, a 1911 silent film.
   * A Tale of Two Cities, a 1917 silent film.
   * A Tale of Two Cities, a 1922 silent film.
   * A Tale of Two Cities, a 1935 black-and-white MGM film starring Ronald Colman, Elizabeth Allan, Reginald Owen, Basil Rathbone and Edna Mae Oliver. It was nominated for the Academy Award for Best Picture.
   * A Tale of Two Cities, a 1958 version, starring Dirk Bogarde, Dorothy Tutin, Christopher Lee, Leo McKern and Donald Pleasance.
  
  In the 1981 film History of the World, Part I, the French Revolution segment appears to be a pastiche of A Tale of Two Cities.
  
  In the film A Simple Wish, the protagonist's father Oliver (possibly a reference to another of Dickens' famous novels, Oliver Twist) is vying for a spot in his theatre company's production of a musical of A Tale of Two Cities, of which we see the beginning and end, using the two famous quotes, including "It is a far, far better thing that I do", as part of a few solos.
  
  Terry Gilliam also developed a film version in the mid-1990s with Mel Gibson and Liam Neeson. The project was eventually abandoned.
  Radio
  
  In 1938, The Mercury Theatre on the Air (aka The Campbell Playhouse) produced a radio adapted version starring Orson Welles.
  
  In 1945, a portion of the novel was adapted to the syndicated program The Weird Circle as "Dr. Manette's Manuscript."
  
  In 1950, a radio adaptation written by Terence Rattigan and John Gielgud was broadcast by the BBC. They had written it in 1935, as a stage play, but it was not produced.
  
  In June 1989, BBC Radio 4 produced a 7-hour drama adapted for radio by Nick McCarty and directed by Ian Cotterell. This adaptation is occasionally repeated by BBC Radio 7. The cast included:
  
   * Charles Dance as Sydney Carton
   * Maurice Denham as Dr. Alexandre Manette
   * Charlotte Attenborough as Lucie Manette
   * Richard Pasco as Jarvis Lorry
   * John Duttine as Charles Darnay
   * Barbara Leigh-Hunt as Miss Pross
   * Margaret Robertson as Madame Defarge
   * John Hollis as Jerry Cruncher
   * John Bull as Ernest Defarge
   * Aubrey Woods as Mr. Stryver
   * Eva Stuart as Mrs. Cruncher
   * John Moffat as Marquis St. Evremonde
   * Geoffrey Whitehead as John Barsad and Jacques #2
   * Nicholas Courtney as Jacques #3 and The Woodcutter
  
  Television programs
  
  An 8-part mini-series was produced by the BBC in 1957 starring Peter Wyngarde as "Sydney Carton", Edward de Souza as "Charles Darnay" and Wendy Hutchinson as "Lucie Manette".
  
  Another mini-series, this one in 10 parts, was produced by the BBC in 1965.
  
  A third BBC mini-series (in 8 parts) was produced in 1980 starring Paul Shelley as "Carton/Darnay", Sally Osborne as "Lucie Manette" and Nigel Stock as "Jarvis Lorry".
  
  The novel was adapted into a 1980 television movie starring Chris Sarandon as "Sydney Carton/Charles Darnay". Peter Cushing as "Dr. Alexandre Manette", Alice Krige as "Lucie Manette", Flora Robson as "Miss Pross", Barry Morse as "The Marquis St. Evremonde" and Billie Whitelaw as "Madame Defarge".
  
  In 1989 Granada Television made a mini-series starring James Wilby as "Sydney Carton", Serena Gordon as "Lucie Manette", Xavier Deluc as "Charles Darnay", Anna Massey as "Miss Pross" and John Mills as "Jarvis Lorry", which was shown on American television as part of the PBS television series Masterpiece Theatre.
  
  In the 1970 Monty Python's Flying Circus episode "The Attila the Hun Show", the sketch "The News for Parrots" included a scene of A Tale of Two Cities (As told for parrots).
  
  The children's television series Wishbone adapted the novel for the episode "A Tale of Two Sitters".
  
  This novel was also mentioned in the Nickelodeon show Hey Arnold, where Oscar was learning how to read.
  Books
  
  In Nicholas Meyer's novel The Canary Trainer, descended from Charles and Lucie, once more titled the Marquis de St. Evremonde, attends the Paris Opera during the events of The Phantom of the Opera.
  
  American author Susanne Alleyn's novel A Far Better Rest, a reimagining of A Tale of Two Cities from the point of view of Sydney Carton, was published in the USA in 2000.
  
  Diane Mayer self-published her novel Evremonde through iUniverse in 2005; it tells the story of Charles and Lucie Darnay and their children after the French Revolution.
  
  Simplified versions of A Tale of Two Cities for English language learners have been published by Penguin Readers, in several levels of difficulty.
  Stage musicals
  
  There have been four musicals based on the novel:
  
  A 1968 stage version, Two Cities, the Spectacular New Musical, with music by Jeff Wayne, lyrics by Jerry Wayne and starring Edward Woodward.
  
  A Tale of Two Cities, Jill Santoriello's musical adaptation of A Tale of Two Cities, was performed at the Asolo Repertory Theatre in Sarasota, Florida, in October and November 2007. James Stacy Barbour ("Sydney Carton") and Jessica Rush ("Lucie Manette") were among the cast. A production of the musical began previews on Broadway on 19 August 2008, opening on 18 September at the Al Hirschfeld Theatre. Warren Carlyle is the director/choreographer; the cast includes James Stacy Barbour as "Sydney Carton", Brandi Burkhardt as "Lucie Manette", Aaron Lazar as "Charles Darnay", Gregg Edelman as "Dr. Manette", Katherine McGrath as "Miss Pross", Michael Hayward-Jones as "Jarvis Lorry" and Natalie Toro as "Madame Defarge".
  
  In 2006, Howard Goodall collaborated with Joanna Read in writing a separate musical adaptation of the novel called Two Cities. The central plot and characters were maintained, though Goodall set the action during the Russian Revolution.
  
  The novel has also been adapted as a musical by Takarazuka Revue, the all-female opera company in Japan. The first production was in 1984, starring Mao Daichi at the Grand Theater, and the second was in 2003, starring Jun Sena at the Bow Hall.
  Opera
  
  Arthur Benjamin's operatic version of the novel, subtitled Romantic Melodrama in six scenes, was premiered by the BBC on 17 April 1953, conducted by the composer; it received its stage premiere at Sadler's Wells on 22 July 1957, under the baton of Leon Lovett.
zhāng shí dài
   shì zuì měi hǎo de shí dài shì zuì zāo gāo de shí dài shì zhì huì de nián tóu shì mèi de nián tóu shì xìn yǎng de shí shì huái de shí shì guāng míng de jié shì hēi 'àn de jié shì wàng de chūn tiān shì shī wàng de dōng tiān men quándōu zài zhíbèn tiān táng men quándōu zài zhíbèn xiāng fǎn de fāng xiàng -- jiǎn 'ér yán zhī shí gēn xiàn zài fēi cháng xiāng xiàngmǒu xiē zuì xuān 'áo de quán wēi jiān chí yào yòng xíng róng de zuì gāo lái xíng róng shuō hǎoshì zuì gāo deshuō hǎo shì zuì gāo de
   yīng lán bǎo zuò shàng yòu xià de guó wáng miàn mào píng yōng de wáng hòu lán bǎo zuò shàng yòu xià de guó wáng miàn mào jiāo hǎo de wáng hòuduì liǎng guó zhī pèi zhe guó jiā quán cái de lǎo lái shuōguó jiā wàn suì qiān qiū nǎi shì shuǐ jīng hái qīng chǔ de shì
   shì gān bǎi shí niánlíng hún shì zài shòu dào huān yíng de shí gēn xiàn zài yàng zài yīng lán fēng xíng shísāo tài tài gāng mǎn liǎo xìng de 'èr shí suìwáng shì wèi duì xiān zhī díshì bīng xuān zhè wèi tài tài zǎo zuò hǎo 'ān páiyào shǐ lún dūn chéng mǐn chéncóng 'ér wéi chóng gāo xíng xiàng de chū xiàn kāipì dào shǐ xióng xiàng de yōu líng zài duō duō rén chū de yán zhī hòu xiāo shēng zhěng zhěng shí 'èr nián nián de jīng líng men duō duō rén chū de yán réng gēn chàbù duōzhǐ shì shǎo liǎo fēn chāo rán de chuàng xìng 'ér qián jiǔ yīng guó guó wáng yīng guó bǎi xìng cái dào xiē rén shì jiān de xiāo shì cóng yuǎn zài měi zhōu de yīng guó chén mín de guó huì chuán lái deshuō lái guàizhè xiē xìn duì rén lèi de yǐng xiǎng jìng rán xióng xiàng guǐ de sūn men de yán hái yào
   lán de líng shì dùn sān chā wéi biāo zhì de jiě mèi me shòu chǒng lán zhèng zài jìn 'ér wǎng xià huáyìn zhì zhe chāo piàoshǐ yòng zhe chāo piàochú zhī wài zài jiào shì men de zhǐ yǐn xià jiàn xiē rén de gōng xūnxún qiú diǎn pàn jué qīng nián zhǎn shuāng shǒuyòng qián diào shé tóurán hòu huó huó shāo yīn wéi zài qún shàng de 'āng zàng zhàng duì cóng liù shí zhī wài kàn jiàn de fāng jīng guò shíjìng rán méi yòu guì dǎo zài xiàng zhì jìngér zài rén bèi chǔsǐ shíshēngzhǎng zài lán nuó wēi sēn lín de mǒu xiē shù hěn néng bèimìng yùnzhè qiáo kàn zhōngyào kǎn dǎo men chéng bǎnzuò chéng zhǒng zài shǐ shàng kǒng zhù míng de dòng de jià zhōng bāo hán liǎo kǒu dài zhá dāoér zài tóng tiān jìn jiāo bǎn jié de shàng mǒu xiē nóng de jiǎn lòu de xiǎo hěn néng yòu xiē chē zài 'ér duǒ fēng xiē chē hěn cāojiàn mǎn liǎo jiāo de jiāngzhū qún zài bàng biān xiù zhejiā qín zài shàng miàn zhè dōng yòu néng bèi wángzhè nóng mín kàn zhōngyào zài shí gěi pài shàng qiú qiú chē de yòng chǎng shì qiáo nóng mínjìn guǎn máng tíngquè zǒng shì zuò shēngniè shǒu niè jiǎo ràng rén tīng jiànyīn ruò shì yòu rén cāi xiǎng dào men zài xíng dòngfǎn dǎo huì bèi kàn zuò shì shén lùn dào
   yīng lán jīhū méi yòu zhì bǎo zhàngnán wèimín kuā gōng zuǒ zhèng zhuāng dǎi dǎn bāo tiān de mén qiǎng jié lán jiǎn jìng zài jīng zhòng měi tiān wǎn shàng chū xiànyòu gōng kāi de jǐng gào biǎo jiā fán yào chéng wài chū jiā shí cún jiā diàn de cāng bǎo 'ān quánhēi 'àn zhōng de qiáng dào què shì bái tiān de chéng shì shāng rén ruò shì bèi lǎo de shēn fèn qiǎng jié de tóng xíng rèn liǎo chū láizāo dào tiǎo zhànbiàn xiāo shè chuān duì fāng de nǎo dàirán hòu yáng cháng 'ér qiáng dào qiǎng jié yóu chēbèi chē wèi shì liǎo sān wèi shì miǎnyīn wéi dàn jìn yuán juébèi qiáng dào shā rán hòu yóu jiàn biàn bèi cóng cóng róng róng nòng zǒulún dūn shì de shì cháng rén shén shí de yuánzài 'ēn 'ān sēn lín bèi jiǎn jìng de qiáng zhùzhǐ hǎo guāi guāi zhàn zhù dòng qiáng dào jìng dāng zhe zhòng suí yuán de miàn xiǎn rén liǎo jīng guānglún dūn jiān de qiú fàn gēn jiān kānshǒu chū shǒu de zuì gāo quán wēi duì zhe qiú fàn kāi qiāng kǒu jìng duǎn qiāng qiāng táng tián jìn liǎo pái yòu pái de dàn tiě shāxiǎo tōu zài tíng de tīng chě xià liǎo guì rén shàng de zuàn shí shí jiàhuǒ qiāng shǒu chuǎng jìn shèng . jiā 'ěr jiào táng jiǎn chá huòbào mín men què duì huǒ qiāng shǒu kāi qiānghuǒ qiāng shǒu duì bào mín hái lèi shì jiàn jiā zǎo wéi chángjiàn guàn jīngzài zhè yàng de qíng kuàng zhī xià guì shǒu miǎn shǒu máng jiǎo luànzhè zhǒng rén yòng shèng yòu yòngquè zǒng shì yìng jiē xiá men yòu shí yàng de zuì fàn pái pái guà láiyòu shí xīng 'èr zhuā zhù de qiáng dàoxīng liù jiù jiǎo yòu shí jiù zài xīn mén jiān qiú fàn chéng chéng yòng huǒ xíng shāo yòu shí yòu zài mǐn tīng mén qián fén shāo xiǎo jīn tiān chǔjué qióng xiōng 'è de shā rén fànmíng tiān shā zhǐ qiǎng liǎo nóng jiā hái liù biàn shì de lián de xiǎo tōu
   zhū lèi de xiàn xiànghái jiā shàng qiān zhuāng lèi de shì jiànjiù xiàng zhè yàng zài 'ài de lǎo de qiān bǎi shí nián xiāng shēngcéng chū qióngzài zhè xiē shì jiàn bāo wéi zhī zhōng,“ qiáo nóng mínréng rán qiāoqiāo gān zhe huóér liǎng wèi xià lìng wài liǎng zhāng píng cháng de jiāo hǎo de miàn kǒng què wēi fēng lǐn lǐnzhuān héng yùn yòng zhe men shén shòu de jūn quán gān bǎi shí nián jiù shì xiàng zhè yàng biǎo xiàn chū liǎo de wěi chéng gān shàng wàn de xiǎo rén dài shàng liǎo men qián miàn de -- men zhè shǐ zhōng de wèi zài zhōng


  It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way--in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.
   There were a king with a large jaw and a queen with a plain face, on the throne of England; there were a king with a large jaw and a queen with a fair face, on the throne of France. In both countries it was clearer than crystal to the lords of the State preserves of loaves and fishes, that things in general were settled for ever.
   It was the year of Our Lord one thousand seven hundred and seventy-five. Spiritual revelations were conceded to England at that favoured period, as at this. Mrs. Southcott had recently attained her five-and-twentieth blessed birthday, of whom a prophetic private in the Life Guards had heralded the sublime appearance by announcing that arrangements were made for the swallowing up of London and Westminster. Even the Cock-lane ghost had been laid only a round dozen of years, after rapping out its messages, as the spirits of this very year last past (supernaturally deficient in originality) rapped out theirs. Mere messages in the earthly order of events had lately come to the English Crown and People, from a congress of British subjects in America: which, strange to relate, have proved more important to the human race than any communications yet received through any of the chickens of the Cock-lane brood.
   France, less favoured on the whole as to matters spiritual than her sister of the shield and trident, rolled with exceeding smoothness down hill, making paper money and spending it. Under the guidance of her Christian pastors, she entertained herself, besides, with such humane achievements as sentencing a youth to have his hands cut off, his tongue torn out with pincers, and his body burned alive, because he had not kneeled down in the rain to do honour to a dirty procession of monks which passed within his view, at a distance of some fifty or sixty yards. It is likely enough that, rooted in the woods of France and Norway, there were growing trees, when that sufferer was put to death, already marked by the Woodman, Fate, to come down and be sawn into boards, to make a certain movable framework with a sack and a knife in it, terrible in history. It is likely enough that in the rough outhouses of some tillers of the heavy lands adjacent to Paris, there were sheltered from the weather that very day, rude carts, bespattered with rustic mire, snuffed about by pigs, and roosted in by poultry, which the Farmer, Death, had already set apart to be his tumbrils of the Revolution. But that Woodman and that Farmer, though they work unceasingly, work silently, and no one heard them as they went about with muffled tread: the rather, forasmuch as to entertain any suspicion that they were awake, was to be atheistical and traitorous.
   In England, there was scarcely an amount of order and protection to justify much national boasting. Daring burglaries by armed men, and highway robberies, took place in the capital itself every night; families were publicly cautioned not to go out of town without removing their furniture to upholsterers' warehouses for security; the highwayman in the dark was a City tradesman in the light, and, being recognised and challenged by his fellow- tradesman whom he stopped in his character of "the Captain," gallantly shot him through the head and rode away; the mall was waylaid by seven robbers, and the guard shot three dead, and then got shot dead himself by the other four, "in consequence of the failure of his ammunition:" after which the mall was robbed in peace; that magnificent potentate, the Lord Mayor of London, was made to stand and deliver on Turnham Green, by one highwayman, who despoiled the illustrious creature in sight of all his retinue; prisoners in London gaols fought battles with their turnkeys, and the majesty of the law fired blunderbusses in among them, loaded with rounds of shot and ball; thieves snipped off diamond crosses from the necks of noble lords at Court drawing-rooms; musketeers went into St. Giles's, to search for contraband goods, and the mob fired on the musketeers, and the musketeers fired on the mob, and nobody thought any of these occurrences much out of the common way. In the midst of them, the hangman, ever busy and ever worse than useless, was in constant requisition; now, stringing up long rows of miscellaneous criminals; now, hanging a housebreaker on Saturday who had been taken on Tuesday; now, burning people in the hand at Newgate by the dozen, and now burning pamphlets at the door of Westminster Hall; to-day, taking the life of an atrocious murderer, and to-morrow of a wretched pilferer who had robbed a farmer's boy of sixpence.
   All these things, and a thousand like them, came to pass in and close upon the dear old year one thousand seven hundred and seventy-five. Environed by them, while the Woodman and the Farmer worked unheeded, those two of the large jaws, and those other two of the plain and the fair faces, trod with stir enough, and carried their divine rights with a high hand. Thus did the year one thousand seven hundred and seventy-five conduct their Greatnesses, and myriads of small creatures--the creatures of this chronicle among the rest--along the roads that lay before them.
'èr zhāng yóu chē
  shí yuè xià xún de xīng wǎn shàngduō dào shēn zhǎn zài gēn zhè duàn shǐ yòu guān de rén zhī zhōng de rén qián miànduō dào duì rén shuō lái jiù zài duō yóu chē de lìng miànzhè shí yóu chē lóng lóng xiǎng zhe wǎng shè shǒu shān zhè rén zhèng suí zhe yóu chē gēn chéng zhe nìng xíng shàng shāndǎo shì yīn wéi chéng men duì xíng duàn liàn yòu shénme piān 'àiér shì yīn wéi shān nìng yóu jiàn tài jiào chī men jīng sān zhàn dòngyòu hái zhe yóu chē héng guò yào xiǎng pàn biàn chē tuō huí hēi huāng yuán hǎo zài jiāng shéngbiān chē wèi shì de lián xíng dòng yòu xuān liǎo fèn zhàn zhēng wén jiàn de dào wén jiàn jìn zhǐ shàn xíng dòngyīn wéi zhùzhǎng mán dòng yòu xiǎng de lùn shì zhè tào biàn shǒu tóu jiànghuí tóu zhí xíng rèn lái
   zhe tóuyáo zhe wěicǎi zhe shēn shēn de nìng qián jìn zheshí 'ér wāi xiéshí 'ér lièqiefǎng yào cóng jié chù sàn liǎo kāi láichē měi ràng tíng xià xiū xiū bìng chū jǐng gào,“ suo zǒu!” shēn biān de tóu biàn dōuyào měng liè yáo huàng de tóu tóu shàng de qiē fǎng bié rèn zhēngēn běn xiāng xìn yóu chē néng gòu shàng měi dāng tóu zhè yàng dīng dīng dāng dāng yáo huàng biàn yào xià tiàozhèng qiē shén jīng jǐn zhāng de rén yàngzǒng yòu xiē xīn jīng dǎn zhàn
   miàn de shān yīn yūn liáng wǎng shān dǐng yǒng dòngfǎng shì de jīng língzài xún zhǎo xiē jiǎo zhī què méi yòu zhǎo dào nián debīng hán chè huǎn huǎn zài kōng zhōng làng shì fān gǔn làng làngqīng jiànrán hòu wǎn zhuó de hǎi tāo shèn yòuróng chéng liǎo piàn hěn nóngchē dēng zhǐ zhào jiàn fān juàn de zhī nèi de wài shénme zhào chūláo zuò zhe de chū de chòu zhēng téng jìn fǎng suǒ yòu de shì cóng men shēn shàng sàn chū lái de
   chú liǎo gāng cái rén zhī wàihái yòu liǎng rén zài yóu chē bàng jiān nán xíng jìnsān réndōu zhí guǒ dào quán 'ěr duǒ chuānzhuó cháng guò gài de gāo tǒng xuē dōuwú gēn duì fāng de wài biǎo biàn míng men de róng màosān réndōu yòng jìn duō de zhàng 'ài bāo guǒ zhù ràng tóng rén xīn líng de yǎn jīng ròu de yǎn jīng kàn chū de xíng shí de dōuhěn jǐng cóng qīng duì rén tuī xīn zhì yīn wéi shàng de rén shuídōu néng shì qiáng dào huò zhě gēn qiáng dào yòu gòu jiéhòu zhě de chū xiàn shì fēi cháng néng deyīn wéi dāng shí měi yóu chē zhànměi jiā mài jiǔ diàn dōukě néng yòu rén liǎo lǎo de qián”, zhè xiē rén cóng lǎo bǎn dào zuì zāo gāo de jiù de míng miào de réndōu yòuzhè lèi huā yàng fēi cháng néng chū xiàn qiān bǎi shí nián shí yuè de xīng wǎn shàngduō yóu chē de chē wèi shì xīn jiù shì zhè me xiǎng de shí zhèng suí zhe lóng lóng xiǎng zhe de yóu chē wǎng shè shǒu shān shàng zhàn zài yóu jiàn chē xiāng hòu miàn de zhuān yòng bǎn shàngduǒ zhe jiǎoyǎn jīng shí qiáo zhe miàn qián de xiāngshǒu zài xiāng shàngxiāng yòu dàn shàng táng de kǒu jìng duǎn qiǎngxià miàn shì liù huò zhī shàng hǎo dàn de qiāng céng hái yòu duǎn jiàn
   duō yóu chē xiàng píng shí yàng kuài ”: chē de duì fàng xīn fàng xīnduì chē de fàng xīn men duì rèn réndōu fàng xīnchē shì duì shuídōu fàng xīn fàng xīn de zhǐ yòu wèn xīn kuì shǒu fàng zàishèng jīngshàng shì xiāng xìn zhè tào bìng shì zhè tàng chē
  “ !” gǎn chē de shuō。“ jiā jìnzài yòu duàn jiù dào dǐng liǎo men jiù de xià liǎogǎn men shàng shān zhēn jiào shòu gòu liǎo zuìqiáo!”
  “ ā!” wèi bīng huí
  “ ér diǎn zhōng liǎo qiáo?”
  “ shí diǎn guò shí fēnméi cuò。”
  “ cāo!” gǎn chē de xīn fán luànjiào dào,“ hái méi shàng shè shǒu shāncuì !”
   rèn zhēn de tóu dào zuò chū dòng zuò biǎo shì jiān jué fǎn duìjiù bèi biān chōu liǎo huí zhǐ hǎo 'āi zhèng zhe wǎng shàng lìng wài sān gēn zhe xué yàngduō yóu chē zài xiàng shàng zhēngzhá de cháng tǒng xuē zài yóu chē bàng cǎi zhe làn qīng xiǎnggāng cái yóu chē tíng xià shí men tíng xià liǎo men zǒng gēn xíng yǐng guǒ sān rén zhī zhōng yòu rén dǎn bāo tiān gǎn xiàng lìng rén jiàn wǎng qián gǎn zǒu jìn hēi 'àn zhōng jiù yòu néng bèi rén dāng zuò qiáng dào qiāng shā
   zuì hòu de fān zhēngzhá zhōng yóu chē shàng liǎo dǐng tíng xià jiǎo chuǎn liǎo chuǎn chē wèi shì xià lái gěi chē lún jǐn liǎo shāchērán hòu kāi chē mén ràng shàng
  “ tīngqiáo!” gǎn chē de cóng zuò wèi shàng wǎng xià wàng zheyòng jǐng de kǒu wěn jiào dào
  “ shuō shénmetānɡ ?”
   liǎng réndōu tīng
  “ kàn shì yòu xiǎo páo guò lái liǎo。”
  “ shuō shì yòu kuài páo guò lái liǎotānɡ ,” wèi shì huí fàng diào chē mén , mǐn jié tiào shàng bǎn
  “ xiān shēng men guó wáng de míng jiā zhù !”
   cāng jiào liǎo shēngbiàn bān kāi zhī kǒu jìng duǎn qiǎng de tóuzuò hǎo fáng shǒu zhǔn bèi
   běn shì shù de wèi cǎi zài yóu chē bǎn shàngzhèng yào shàng chēlìng wài liǎng wèi chéng jǐn suí zài hòuzhǔn bèi gēn zhe jìn zhè shí rén què cǎi zhe bǎn dòng liǎo -- bàn biān shēn jìn liǎo yóu chēbàn biān què liú zài wài miàn liǎng rén tíng zài shēn hòu de shàngsān réndōu cóng chē wàng xiàng wèi shìyòu cóng wèi shì wàng xiàng chē yědōu zài tīngchē huí tóu wàng zhewèi bīng huí tóu wàng zhelián rèn zhēn de tóu liǎng 'ěr shùhuí tóu kàn liǎo kànbìng méi yòu biǎo shì
   yóu chē de zhēngzhá lóng lóng shēng tíng zhǐ liǎosuí zhī 'ér lái de chén shǐ xiǎn fènwài 'ān píng jìng shēng chuǎn zhe chuán gěi yóu chē fèn qīng wēi de zhèn chànshǐ yóu chē fǎng dòng láilián de xīn tiào tīng jiàn guò shuō dào cóng jìng de xiǎo zhōng hái tīng chū rén men shǒu hòu zhe shénme dōng chū xiàn shí de chuǎn bǐngxījǐn zhānghái yòu jiā liǎo de xīn tiào
   piàn kuài liè de shēng lái dào shàng
  “ suo !” wèi bīng jié jìn quán hǎn jiào。“ biān de rénzhàn zhùfǒu kāi qiāng liǎo!”
   shēng jiá rán 'ér zhǐ zhèn de shēng yīn zhī hòu chuán lái nán de shēng yīn,“ qián miàn shì duō yóu chē me?”
  “ bié guǎn shì shénme!” wèi bīng fǎn dào,“ shì shénme rén?”
  “ men shì duō yóu chē me?”
  “ wèishénme yào tīng?”
  “ ruò shì yóu chē yào zhǎo 。”
  “ shénme ?”
  “ jiǎ wéi . luó ruì xiān shēng。”
   men dào guò de wèi shàng biǎo shì jiù shì de míng chē degǎn chē de liǎng wèi zuò chē dedōu xìn rèn dǎliang zhe
  “ zhàn zài 'ér bié dòng,” wèi bīng duì de shēng yīn shuō,“ ruò shì shī shǒu jiù bèi gǎi zhèng liǎoshuí jiào luó ruìqǐng shàng huí 。”
  “ shénme shì?” wènrán hòu lüè dài fēn chàn dǒu wèn dào,“ shì shuí zhǎo shì jié ruì me?”
  (“ huān jié ruì shēng yīn guǒ jiù shì jié ruì de huà,” wèi bīng duì dào,“ dào zhè zhǒng chéng huān zhè jié ruì。”)
  “ shì deluó ruì xiān shēng。”
  “ shénme shì?”
  “ biān gěi sòng lái liǎo jiàn gōng 。”
  “ zhè sòng xìn de rèn shíwèi bīng,” luó ruì xiān shēng xià dào shàng -- liǎng máng dié cóng hòu miàn bāng zhù xià liǎo chēquè wèi chū màorán hòu zuàn jìn chē guān shàng chē mén shàng chē chuāng。“ ràng guò lái huì yòu wèn de。”
  “ dǎo wàng méi yòu wèn de fàng xīn xià,” wèi bīng shēng yán 。“ luó wèi!”
  “ ǹg luó!” jié ruì shuōsǎng gāng cái gèng shā
  “ màn màn zǒu guò lái bié jiè 'ān shàng ruò shì yòu qiāng tào bié ràng kàn jiàn de shǒu kào jìn zhè rén shī shǒu lái kuài yào mìng shī shǒu fēi chū de jiù shì dànxiàn zài ràng men lái kàn kàn 。”
   rén de shēn yǐng cóng pán xuán de zhōng màn màn chūzǒu dào yóu chē bàng zhàn zhe de fāng rén wān què tái yǎn jīng miáo zhe wèi shìjiāo gěi zhāng zhé hǎo de xiǎo zhǐ piàn de chuǎn zhe lián rén dài cóng dào tóu shàng de mào jiàn mǎn liǎo
  “ wèi bīng!” píng jìng yòng zhǒng gōng shì gōng bàn 'ér yòu tuī xīn zhì de kǒu shuō
   chōng mǎn jǐng de chē wèi shì yòu shǒu zhuā zhù tái de kǒu jìng duǎn qiāngzuǒ shǒu zhù qiāng guǎnyǎn jīng dīng zhù rénjiǎn duǎn huí dào,“ xiān shēng。”
  “ méi yòu shénme hǎo hài de shì tái 'ěr sēn yínháng de -- lún dūn de tái 'ěr sēn yínháng dìng zhī dào de yào dào chūchāi zhè lǎng qǐng jiǔ zhè fēng xìn me?”
  “ guò yào kuài diǎnxiān shēng。”
   chāi kāi xìnjiù zhe chē zhè de dēng guāng liǎo lái - xiān kàn wánrán hòu chū liǎo shēng yīn:“ zài duō děng hòu xiǎo jiě bìng cháng kànwèi shìjié ruì de huí gào men rén huó liǎo。”
   jié ruì zài 'ān shàng lèng liǎo xià。“ huí guài tòu liǎo”, shuōsǎng shā dào liǎo diǎn
  “ zhè huà dài huí men jiù zhī dào jīng shōu dào xìngēn xiě liǎo huí xìn yàng shàng duō jiā xiǎo xīnwǎn 'ān。”
   shuō wán zhè huà biàn kāi yóu chē de ménzuàn liǎo jìn zhè huí bàn men shuí méi bāng zhù men zǎo cōng cōng shǒu biǎo qián bāo sài jìn liǎo xuē xiàn zài jiǎ zhuāng shuì zhe liǎo men zài méi yòu shénme míng què de suànzhǐ xiǎng huí qiē néng yǐn huó dòng de wēi xiǎn
   yóu chē yòu lóng lóng qián jìnxià shí bèi gèng nóng de xiàng huā huán wéi zhùwèi shì kǒu jìng duǎn qiǎng fàng huí liǎo xiāngrán hòu kàn liǎo kàn xiāng de qiāng zhīkàn liǎo kàn dài shàng guà de bèi yòng shǒu qiāngzài kàn liǎo kàn zuò wèi xià de xiǎo xiāng xiāng yòu tiě jiàng gōng liǎng sān huǒ huǒ pèi bèi quánruò shì yóu chē de dēng bèi fēng huò fēng bào guā miè shì cháng yòu de shì), zhǐ zuàn jìn chē xiāng ràng suì shí chū de huǒ xīng luò dào cǎo shàngbiàn néng zài fēn zhōng zhī nèi qīng qīng sōng sōng diǎn rán chē dēngér qiě xiāng dāng 'ān quán
  “ tānɡ !” chē dǐng shàng yòu qīng róu de shēng yīn chuán lái
  “ luóqiáo。”
  “ tīng jiàn xiāo liǎo me?”
  “ tīng jiàn liǎoqiáo。”
  “ duì zěn me kàntānɡ ?”
  “ shénme kàn dōuméi yòuqiáo。”
  “ shì qiǎo ,” wèi shì chén zhe shuō,“ yīn wéi shénme kàn dōuméi yòu。”
   jié ruì rén liú zài liǎo hēi 'àn de zhōng xià liǎo ràng bèi kān de qīng sōng qīng sōng liǎn shàng de shuǐzài mào yán shàng de shuǐfèn shuǎi diào -- mào yán néng zhuāng shàng liǎo bàn jiā lún shuǐ ràng jiāng zài jiàn mǎn liǎo jiāng de shǒu shàngzhàn liǎo huì 'érzhí dào chē lún shēng zài tīng jiàn shí fēn jìngcái zhuǎn shēn wǎng shān xià zǒu
  “ cóng xué huì dào zhè 'ér zhè tàng páo wán de lǎo tài tài duì qián tuǐ jiù fàng xīn liǎo xiān ràng píng jìng xià lái,” zhè shā hóu lóng de xìn shǐ piē liǎo de yǎnshuō。“ rén huó liǎo!” zhè xiāo zhēn shì guài tòu dǐng duì tài liǎojié ruì shuō jié ruì yào dǎo méiruò shì rén huó de shì liú xíng lái de huàjié ruì


  It was the Dover road that lay, on a Friday night late in November, before the first of the persons with whom this history has business. The Dover road lay, as to him, beyond the Dover mail, as it lumbered up Shooter's Hill. He walked up hill in the mire by the side of the mail, as the rest of the passengers did; not because they had the least relish for walking exercise, under the circumstances, but because the hill, and the harness, and the mud, and the mail, were all so heavy, that the horses had three times already come to a stop, besides once drawing the coach across the road, with the mutinous intent of taking it back to Blackheath. Reins and whip and coachman and guard, however, in combination, had read that article of war which forbade a purpose otherwise strongly in favour of the argument, that some brute animals are endued with Reason; and the team had capitulated and returned to their duty.
   With drooping heads and tremulous tails, they mashed their way through the thick mud, floundering and stumbling between whiles, as if they were falling to pieces at the larger joints. As often as the driver rested them and brought them to a stand, with a wary "Wo-ho! so-ho- then!" the near leader violently shook his head and everything upon it--like an unusually emphatic horse, denying that the coach could be got up the hill. Whenever the leader made this rattle, the passenger started, as a nervous passenger might, and was disturbed in mind.
   There was a steaming mist in all the hollows, and it had roamed in its forlornness up the hill, like an evil spirit, seeking rest and finding none. A clammy and intensely cold mist, it made its slow way through the air in ripples that visibly followed and overspread one another, as the waves of an unwholesome sea might do. It was dense enough to shut out everything from the light of the coach-lamps but these its own workings, and a few yards of road; and the reek of the labouring horses steamed into it, as if they had made it all.
   Two other passengers, besides the one, were plodding up the hill by the side of the mail. All three were wrapped to the cheekbones and over the ears, and wore jack-boots. Not one of the three could have said, from anything he saw, what either of the other two was like; and each was hidden under almost as many wrappers from the eyes of the mind, as from the eyes of the body, of his two companions. In those days, travellers were very shy of being confidential on a short notice, for anybody on the road might be a robber or in league with robbers. As to the latter, when every posting-house and ale-house could produce somebody in "the Captain's" pay, ranging from the landlord to the lowest stable non-descript, it was the likeliest thing upon the cards. So the guard of the Dover mail thought to himself, that Friday night in November, one thousand seven hundred and seventy-five, lumbering up Shooter's Hill, as he stood on his own particular perch behind the mail, beating his feet, and keeping an eye and a hand on the arm-chest before him, where a loaded blunderbuss lay at the top of six or eight loaded horse-pistols, deposited on a substratum of cutlass.
   The Dover mail was in its usual genial position that the guard suspected the passengers, the passengers suspected one another and the guard, they all suspected everybody else, and the coachman was sure of nothing but the horses; as to which cattle he could with a clear conscience have taken his oath on the two Testaments that they were not fit for the journey.
   "Wo-ho!" said the coachman. "So, then! One more pull and you're at the top and be damned to you, for I have had trouble enough to get you to it!--Joe!"
   "Halloa!" the guard replied.
   "What o'clock do you make it, Joe?"
   "Ten minutes, good, past eleven."
   "My blood!" ejaculated the vexed coachman, "and not atop of Shooter's yet! Tst! Yah! Get on with you!"
   The emphatic horse, cut short by the whip in a most decided negative, made a decided scramble for it, and the three other horses followed suit. Once more, the Dover mail struggled on, with the jack-boots of its passengers squashing along by its side. They had stopped when the coach stopped, and they kept close company with it. If any one of the three had had the hardihood to propose to another to walk on a little ahead into the mist and darkness, he would have put himself in a fair way of getting shot instantly as a highwayman.
   The last burst carried the mail to the summit of the hill. The horses stopped to breathe again, and the guard got down to skid the wheel for the descent, and open the coach-door to let the passengers in.
   "Tst! Joe!" cried the coachman in a warning voice, looking down from his box.
   "What do you say, Tom?"
   They both listened.
   "I say a horse at a canter coming up, Joe."
   "_I_ say a horse at a gallop, Tom," returned the guard, leaving his hold of the door, and mounting nimbly to his place. "Gentlemen! In the kings name, all of you!"
   With this hurried adjuration, he cocked his blunderbuss, and stood on the offensive.
   The passenger booked by this history, was on the coach-step, getting in; the two other passengers were close behind him, and about to follow. He remained on the step, half in the coach and half out of; they re-mained in the road below him. They all looked from the coachman to the guard, and from the guard to the coachman, and listened. The coachman looked back and the guard looked back, and even the emphatic leader pricked up his ears and looked back, without contradicting.
   The stillness consequent on the cessation of the rumbling and labouring of the coach, added to the stillness of the night, made it very quiet indeed. The panting of the horses communicated a tremulous motion to the coach, as if it were in a state of agitation. The hearts of the passengers beat loud enough perhaps to be heard; but at any rate, the quiet pause was audibly expressive of people out of breath, and holding the breath, and having the pulses quickened by expectation.
   The sound of a horse at a gallop came fast and furiously up the hill.
   "So-ho!" the guard sang out, as loud as he could roar. "Yo there! Stand! I shall fire!"
   The pace was suddenly checked, and, with much splashing and floundering, a man's voice called from the mist, "Is that the Dover mail?"
   "Never you mind what it is!" the guard retorted. "What are you?"
   "IS that the Dover mail?"
   "Why do you want to know?"
   "I want a passenger, if it is."
   "What passenger?"
   "Mr. Jarvis Lorry."
   Our booked passenger showed in a moment that it was his name. The guard, the coachman, and the two other passengers eyed him distrustfully.
   "Keep where you are," the guard called to the voice in the mist, "because, if I should make a mistake, it could never be set right in your lifetime. Gentleman of the name of Lorry answer straight."
   "What is the matter?" asked the passenger, then, with mildly quavering speech. "Who wants me? Is it Jerry?"
   ("I don't like Jerry's voice, if it is Jerry," growled the guard to himself. "He's hoarser than suits me, is Jerry.")
   "Yes, Mr. Lorry."
   "What is the matter?"
   "A despatch sent after you from over yonder. T. and Co."
   "I know this messenger, guard," said Mr. Lorry, getting down into the road--assisted from behind more swiftly than politely by the other two passengers, who immediately scrambled into the coach, shut the door, and pulled up the window. "He may come close; there's nothing wrong."
   "I hope there ain't, but I can't make so 'Nation sure of that," said the guard, in gruff soliloquy. "Hallo you!"
   "Well! And hallo you!" said Jerry, more hoarsely than before.
   "Come on at a footpace! d'ye mind me? And if you've got holsters to that saddle o' yourn, don't let me see your hand go nigh 'em. For I'm a devil at a quick mistake, and when I make one it takes the form of Lead. So now let's look at you."
   The figures of a horse and rider came slowly through the eddying mist, and came to the side of the mail, where the passenger stood. The rider stooped, and, casting up his eyes at the guard, handed the passenger a small folded paper. The rider's horse was blown, and both horse and rider were covered with mud, from the hoofs of the horse to the hat of the man.
   "Guard!" said the passenger, in a tone of quiet business confidence.
   The watchful guard, with his right hand at the stock of his raised blunderbuss, his left at the barrel, and his eye on the horseman, answered curtly, "Sir."
   "There is nothing to apprehend. I belong to Tellson's Bank. You must know Tellson's Bank in London. I am going to Paris on business. A crown to drink. I may read this?"
   "If so be as you're quick, sir."
   He opened it in the light of the coach-lamp on that side, and read--first to himself and then aloud: "`Wait at Dover for Mam'selle.' It's not long, you see, guard. Jerry, say that my answer was, RECALLED TO LIFE."
   Jerry started in his saddle. "That's a Blazing strange answer, too," said he, at his hoarsest.
   "Take that message back, and they will know that I received this, as well as if I wrote. Make the best of your way. Good night."
   With those words the passenger opened the coach-door and got in; not at all assisted by his fellow-passengers, who had expeditiously secreted their watches and purses in their boots, and were now making a general pretence of being asleep. With no more definite purpose than to escape the hazard of originating any other kind of action.
   The coach lumbered on again, with heavier wreaths of mist closing round it as it began the descent. The guard soon replaced his blunderbuss in his arm-chest, and, having looked to the rest of its contents, and having looked to the supplementary pistols that he wore in his belt, looked to a smaller chest beneath his seat, in which there were a few smith's tools, a couple of torches, and a tinder-box. For he was furnished with that completeness that if the coach-lamps had been blown and stormed out, which did occasionally happen, he had only to shut himself up inside, keep the flint and steel sparks well off the straw, and get a light with tolerable safety and ease (if he were lucky) in five minutes.
   "Tom!" softly over the coach roof.
   "Hallo, Joe."
   "Did you hear the message?"
   "I did, Joe."
   "What did you make of it, Tom?"
   "Nothing at all, Joe."
   "That's a coincidence, too," the guard mused, "for I made the same of it myself."
   Jerry, left alone in the mist and darkness, dismounted meanwhile, not only to ease his spent horse, but to wipe the mud from his face, and shake the wet out of his hat-brim, which might be capable of holding about half a gallon. After standing with the bridle over his heavily-splashed arm, until the wheels of the mail were no longer within hearing and the night was quite still again, he turned to walk down the hill.
   "After that there gallop from Temple Bar, old lady, I won't trust your fore-legs till I get you on the level," said this hoarse messenger, glancing at his mare. "`Recalled to life.' That's a Blazing strange message. Much of that wouldn't do for you, Jerry! I say, Jerry! You'd be in a Blazing bad way, if recalling to life was to come into fashion, Jerry!"
shǒuyè>> wénxué>> 现实百态>> chá 'ěr · gèng Charles Dickens   yīng guó United Kingdom   hàn nuò wēi wáng cháo   (1812niánèryuè7rì1870niánliùyuè9rì)