首页>> 文学论坛>> 现实百态>> 查尔斯·狄更斯 Charles Dickens   英国 United Kingdom   汉诺威王朝   (1812年2月7日1870年6月9日)
双城记 A Tale of Two Cities
  故事发生于法国大革题命期间,英国londan律师席尼·卡顿,深深地爱上了巴黎女子露丝·曼纳。但露丝.曼纳却仅仅只是把他当作普通朋友,嫁给了法国贵族青年查尔斯·达雷。当法国政治局势陷入一团混乱时,查尔斯·达雷遭到暴民囚禁,露丝·曼纳走投无路,只好向席尼·卡饰顿请求帮助。席尼·卡顿为成全所爱之的幸福,竟然以牺牲自己生命的方式来挽救情敌,在黑牢探监之际施展策划周密的调包计将查尔斯·达雷救了出来,而他则义无反顾地步上断头台。男主角的高尚情操足以令天下人同声一哭。
  双城记-创作团队
  
  导演: 杰克·康威 罗伯特·Z·伦纳德
  主演: 罗纳德·考尔曼 唐纳德·伍兹 伊丽莎白·艾兰
  
  编剧 Writer:查尔斯·狄更斯 Charles Dickens 塞缪尔·N·贝尔曼 S.N. Behrman W.P. Lipscomb Thomas
  
  制作人 Produced by:大卫·O·塞尔兹尼克 David O. Selznick
  双城记-影评
  
  这是一个最好的时代,也是一个最坏的时代;这是明智的时代,这是愚昧的时代;这是信任的纪元,这是怀疑的纪元;这是光明的季节,这是黑暗的季节;这是希望的春日,这是失望的冬日;我们面前应有尽有,我们面前一无所有;我们都将直上天堂,我们都将直下地狱。。。
  ——狄更斯 《双城记》
  
  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 directly to Heaven, we were all going the other way.
  
  ——Charles Dichens (A Tale of Two Cities)
  
  为什么叫双城记?狄更斯的这部作品,让我想起了卡萨布兰卡,为了所爱的人,放弃了所爱的人。了解这个时代的背景是很重要的,不然前面会觉的转的太快。总的来说,大作家的小说还是无懈可击的。当下的社会与狄更斯眼中书中的时代是否相似?我们的出口又在哪里?欣赏狄更斯的这段名言。
  双城记-幕后花絮
  
  本片改编自狄更斯的同名不朽名著《双城记》,在大制作家大卫.塞茨尼克与导演杰克.康韦的倾力摄制下,完成了这部反映法国大革命时代悲剧的杰作,也是根据本书拍摄的六个电影版本中成绩最好的一部。狄更斯的小说利用各种元素描述一个动人心魄催人泪下的爱情故事,自出版以来受到无数读者的热心追捧,一版再版。本片并没有完全包括小说展现出来的所有元素,但却没有遗漏任何最为重要的情节。当然,没有哪一部通过优秀的小说改编的电...
  双城记-《双城记》原著简介:
  
  1775年12月的一个月夜,寓居巴黎的年轻医生梅尼特散步时,突然被厄弗里蒙地侯爵兄弟强迫出诊。在侯爵府第中,他目睹一个发狂的绝色农妇和一个身受剑伤的少年饮恨而死的惨状,并获悉侯爵兄弟为了片刻淫乐杀害他们全家的内情。他拒绝侯爵兄弟的重金贿赂,写信向朝廷告发。不料控告信落到被告人手中,医生被关进巴士底狱,从此与世隔绝,杳无音讯。两年后,妻子心碎而死。幼小的孤女路茜被好友劳雷接到伦敦,在善良的女仆普洛斯抚养下长大。
  
  18 年后,梅尼特医生获释。这位精神失常的白发老人被巴黎圣安东尼区的一名酒贩、他旧日的仆人得伐石收留。这时,女儿路茜已经成长,专程接他去英国居住。旅途上,他们邂逅法国青年查理·代尔纳,受到他的细心照料。
  
  原来代尔纳就是侯爵的儿子。他憎恨自己家族的罪恶,毅然放弃财产的继承权和贵族的姓氏,移居伦敦,当了一名法语教师。在与梅尼特父女的交往中,他对路茜产生了真诚的爱情。梅尼特为了女儿的幸福,决定埋葬过去,欣然同意他们的婚事。
  
  在法国,代尔纳父母相继去世,叔父厄弗里蒙地侯爵继续为所欲为。当他那狂载的马车若无其事地轧死一个农民的孩子后,终于被孩子父亲用刀杀死。一场革命的风暴正在酝酿之中,得伐石的酒店就是革命活动的联络点,他的妻子不停地把贵族的暴行编织成不同的花纹,记录在围巾上,渴望复仇。
  
  1739年法国大革命的风暴终于袭来了。巴黎人民攻占了巴士底狱,把贵族一个个送上断头台。远在伦敦的代尔纳为了营救管家盖白勒,冒险回国,一到巴黎就被捕入狱。梅尼特父女闻讯后星夜赶到。医生的出庭作证使代尔纳回到妻子的身边。可是,几小时后,代尔纳又被逮捕。在法庭上,得伐石宣读了当年医生在狱中写下的血书:向苍天和大地控告厄弗里蒙地家族的最后一个人。法庭判处代尔纳死刑。
  
  就在这时,一直暗暗爱慕路茜的律师助手卡尔登来到巴黎,买通狱卒,混入监狱,顶替了昏迷中的代尔纳,梅尼特父女早已准备就绪,代尔纳一到,马上出发。一行人顺利地离开法国。
  
  得伐石太太在代尔纳被判决后,又到梅尼特住所搜捕路茜及其幼女,在与普洛斯的争斗中,因枪支走火而毙命。而断头台上,卡尔登为了爱情,从容献身。
  双城记-导读
  
  双城记双城记
  世界名著《双城记》---作者狄更斯"A Tale of Two Cities" (1859) by Charles Dickens (1812 - 1870)
  
  《双城记》是狄更斯最重要的代表作之一。早在创作《双城记》之前很久,狄更斯就对法国大革命极为关注,反复研读英国历史学家卡莱尔的《法国革命史》和其他学者的有关著作。他对法国大革命的浓厚兴趣发端于对当时英国潜伏着的严重的社会危机的担忧。1854年底,他说:“我相信,不满情绪像这样冒烟比火烧起来还要坏得多,这特别像法国在第一次革命爆发前的公众心理,这就有危险,由于千百种原因——如收成不好、贵族阶级的专横与无能把已经紧张的局面最后一次加紧、海外战争的失利、国内偶发事件等等——变成那次从未见过的一场可怕的大火。”可见,《双城记》这部历史小说的创作动机在于借古讽今,以法国大革命的历史经验为借鉴,给英国统治阶级敲响警钟;同时,通过对革命恐怖的极端描写,也对心怀愤懑、希图以暴力对抗暴政的人民群众提出警告,幻想为社会矛盾日益加深的英国现状寻找一条出路。
  
  从这个目的出发,小说深刻地揭露了法国大革命前深深激化了的社会矛盾,强烈地抨击贵族阶级的荒淫残暴,并深切地同情下层人民的苦难。作品尖锐地指出,人民群众的忍耐是有限度的,在贵族阶级的残暴统治下,人民群众迫于生计,必然奋起反抗。这种反抗是正义的。小说还描绘了起义人民攻击巴士底狱等壮观场景,表现了人民群众的伟大力量。然而,作者站在资产阶级人道主义的立场上,即反对残酷压迫人民的暴政,也反对革命人民反抗暴政的暴力。在狄更斯笔下,整个革命被描写成一场毁灭一切的巨大灾难,它无情地惩罚罪恶的贵族阶级,也盲目地杀害无辜的人们。
  
  这部小说塑造了三类人物。一类是以厄弗里蒙地侯爵兄弟为代表的封建贵族,他们“唯一不可动摇的哲学就是压迫人”,是作者痛加鞭挞的对象。另一类是得伐石夫妇等革命群众。必须指出的是,他们的形象是被扭曲的。例如得伐石的妻子狄安娜,她出生于被侮辱、被迫害的农家,对封建贵族怀着深仇大恨,作者深切地同情她的悲惨遭遇,革命爆发前后很赞赏她坚强的性格、卓越的才智和非凡的组织领导能力;但当革命进一步深入时,就笔锋一转,把她贬斥为一个冷酷、凶狠、狭隘的复仇者。尤其是当她到医生住所搜捕路茜和小路茜时,更被表现为嗜血成性的狂人。最后,作者让她死在自己的枪口之下,明确地表示了否定的态度。第三类是理想化人物,是作者心目中以人道主义解决社会矛盾、以博爱战胜仇恨的榜样,包括梅尼特父女、代尔纳、劳雷和卡尔登等。梅尼特医生被侯爵兄弟害得家破人亡,对侯爵兄弟怀有深仇大恨,但是为了女儿的爱,可以摒弃宿仇旧恨;代尔纳是侯爵兄弟的子侄,他大彻大悟,谴责自己家族的罪恶,抛弃爵位和财产,决心以自己的行动来“赎罪”。这对互相辉映的人物,一个是贵族暴政的受害者,宽容为怀;一个是贵族侯爵的继承人,主张仁爱。他们中间,更有作为女儿和妻子的路茜。在爱的纽带的维系下,他们组成一个互相谅解、感情融洽的幸福家庭。这显然是作者设想的一条与暴力革命截然相反的解决社会矛盾的出路,是不切实际的。
  
  《双城记》有其不同于一般历史小说的地方,它的人物和主要情节都是虚构的。在法国大革命广阔的真实背景下,作者以虚构人物梅尼特医生的经历为主线索,把冤狱、爱情与复仇三个互相独立而又互相关联的故事交织在一起,情节错综,头绪纷繁。作者采取倒叙、插叙、伏笔、铺垫等手法,使小说结构完整严密,情节曲折紧张而富有戏剧性,表现了卓越的艺术技巧。《双城记》风格肃穆、沉郁,充满忧愤,但缺少早期作品的幽默。


  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.
第一章 时代
  那是最美好的时代,那是最糟糕的时代;那是智慧的年头,那是愚昧的年头;那是信仰的时期,那是怀疑的时期;那是光明的季节,那是黑暗的季节;那是希望的春天,那是失望的冬天;我们全都在直奔天堂,我们全都在直奔相反的方向--简而言之,那时跟现在非常相象,某些最喧嚣的权威坚持要用形容词的最高级来形容它。说它好,是最高级的;说它不好,也是最高级的。
   英格兰宝座上有一个大下巴的国王和一个面貌平庸的王后;法兰西宝座上有一个大下巴的国王和一个面貌姣好的王后。对两国支配着国家全部财富的老爷来说,国家大局足以万岁千秋乃是比水晶还清楚的事。
   那是耶稣一干七百七十五年。灵魂启示在那个受到欢迎的时期跟现在一样在英格兰风行一时。骚斯柯特太太刚满了她幸福的二十五岁,王室卫队一个先知的士兵已宣布这位太太早已作好安排,要使伦敦城和西敏寺陆沉,从而为她崇高形象的出现开辟道路。即使雄鸡巷的幽灵在咄咄逼人地发出它的预言之后销声匿迹整整十二年,去年的精灵们咄咄逼人发出的预言仍跟她差不多,只是少了几分超自然的独创性而已。前不久英国国王和英国百姓才得到一些人世间的消息。那是从远在美洲的英国臣民的国会传来的。说来奇怪,这些信息对于人类的影响竟然比雄鸡巷魔鬼的子孙们的预言还要巨大。
   法兰西的灵异事物大体不如她那以盾和三叉戟为标志的姐妹那么受宠。法兰西正在一个劲儿地往坡下滑,印制着钞票,使用着钞票。除此之外她也在教士们的指引下建立些仁慈的功勋,寻求点乐趣。比如判决一个青年斩去双手,用钳子拔掉舌头,然后活活烧死,因为他在一群和尚的肮脏仪仗队从五六十码之外他看得见的地方经过时,竟然没有跪倒在雨地里向它致敬。而在那人被处死时,生长在法兰西和挪威森林里的某些树木很可能已被“命运”这个樵夫看中,要砍倒它们,锯成木板,做成一种在历史上以恐怖著名的可以移动的架子,其中包含了一个口袋和一把铡刀。而在同一天,巴黎近郊板结的土地上某些农户的简陋的小披屋里也很可能有一些大车在那儿躲避风雨。那些车很粗糙,溅满了郊野的泥浆,猪群在它旁边嗅着,家禽在它上面栖息。这东西也极有可能已被“死亡”这个农民看中,要在时给它派上死囚囚车的用场。可是那“樵夫”和“农民”尽管忙个不停,却总是默不作声,蹑手蹑脚,不让人听见。因此若是有人猜想到他们已在行动,反倒会被看作是无神论和大逆不道。
   英格兰几乎没有秩序和保障,难以为民族自夸提供佐证。武装歹徒胆大包天的破门抢劫和拦路翦径在京畿重地每天晚上出现。有公开的警告发表:各家各户,凡要离城外出,务须把家具什物存入家具店的仓库,以保安全。黑暗中的强盗却是大白天的城市商人。他若是被他以“老大”的身份抢劫的同行认了出来,遭到挑战,便潇洒地射穿对方的脑袋,然后扬长而去。七个强盗抢劫邮车,被押车卫士击毙了三个,卫士自己也不免“因为弹尽援绝”被那四个强盗杀死,然后邮件便被从从容容地弄走。伦敦市的市长大人,一个神气十足的大员,在特恩安森林被一个翦径的强徒喝住,只好乖乖地站住不动。那强盗竟当着众随员的面把那个显赫人物掳了个精光。伦敦监狱的囚犯跟监狱看守大打出手;法律的最高权威对着囚犯开枪,大口径短枪枪膛里填进了一排又一排的子弹和铁砂。小偷在法庭的客厅里扯下了贵族大人脖子上的钻石十字架。火枪手闯进圣.嘉尔斯教堂去检查私货,暴民们却对火枪手开枪。火枪手也对暴民还击。此类事件大家早已习以为常,见惯不惊。在这样的情况之下刽子手不免手忙脚乱。这种人无用胜于有用,却总是应接不暇。他们有时把各色各样的罪犯一大排一大排地挂起来。有时星期二抓住的强盗,星期六就绞死; 有时就在新门监狱把囚犯成打成打地用火刑烧死;有时又在西敏寺大厅门前焚烧小册子。今天处决一个穷凶极恶的杀人犯,明天杀死一个只抢了农家孩子六便士的可怜的小偷。
   诸如此类的现象,还加上一千桩类似的事件,就像这样在可爱的古老的一千七百七十五年相继发生,层出不穷。在这些事件包围之中,“樵夫”和“农民”仍然悄悄地干着活,而那两位大下巴和另外两张平常的和姣好的面孔却都威风凛凛,专横地运用着他们神授的君权。一干七百七十五年就是像这样表现出了它的伟大,也把成干上万的小人物带上了他们前面的路--我们这部历史中的几位也在其中。


  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.
第二章 邮车
  十一月下旬的一个星期五晚上,多佛大道伸展在跟这段历史有关的几个人之中的第一个人前面。多佛大道对此人说来就在多佛邮车的另一面。这时那邮车隆隆响着往射手山苦苦爬去。这人正随着邮车跟其他乘客一起踏着泥泞步行上山。倒不是因为乘客们对步行锻炼有什么偏爱,而是因为那山坡、那马具、那泥泞和邮件都太叫马匹吃力,它们已经三次站立不动,有一次还拉着邮车横过大路,要想叛变,把车拖回黑荒原去。好在缰绳、鞭子、车夫和卫士的联合行动有如宣读了一份战争文件的道理。那文件禁止擅自行动,因为它可以大大助长野蛮动物也有思想的理论。于是这套马便俯首投降,回头执行起任务来。
   几匹马低着头、摇着尾,踩着深深的泥泞前进着,时而歪斜,时而趔趄,仿佛要从大骨节处散了开来。车夫每次让几匹马停下步子休息休息并发出警告,“哇嗬!嗦嗬,走!”他身边的头马便都要猛烈地摇晃它的头和头上的一切。那马仿佛特别认真,根本不相信邮车能够爬上坡去。每当头马这样叮叮当当一摇晃,那旅客便要吓一跳,正如一切神经紧张的旅人一样,总有些心惊胆战。
   四面的山洼雾气氤氲,凄凉地往山顶涌动,仿佛是个的精灵,在寻找歇脚之地,却没有找到。那雾粘乎乎的,冰寒彻骨,缓缓地在空中波浪式地翻滚,一浪一浪,清晰可见,然后宛如污浊的海涛,彼此渗诱,融合成了一片。雾很浓,车灯只照得见翻卷的雾和几码之内的路,此外什么也照不出。劳作着的马匹发出的臭气也蒸腾进雾里,仿佛所有的雾都是从它们身上散发出来的。
   除了刚才那人之外,还有两个人也在邮车旁艰难地行进。三个人都一直裹到颧骨和耳朵,都穿着长过膝盖的高统靴,彼此都无法根据对方的外表辨明他们的容貌。三个人都用尽多的障碍包裹住自己,不让同路人心灵的眼睛和肉体的眼睛看出自己的形迹。那时的旅客都很警惕,从不轻易对人推心置腹,因为路上的人谁都可能是强盗或者跟强盗有勾结。后者的出现是非常可能的,因为当时每一个邮车站,每一家麦酒店都可能有人“拿了老大的钱”,这些人从老板到最糟糕的马厩里的莫名其妙的人都有,这类花样非常可能出现。一千七百七十五年十一月底的那个星期五晚上,多佛邮车的押车卫士心里就是这么想的。那时他正随着隆隆响着的邮车往射手山上爬。他站在邮件车厢后面自己的专用踏板上,跺着脚,眼睛不时瞧着面前的武器箱,手也搁在那箱上。箱里有一把子弹上膛的大口径短抢,下面是六或八支上好子弹的马枪,底层还有一把短剑。
   多佛邮车像平时一样“愉快和睦”:押车的对旅客不放心,旅客彼此不放心,对押车的也不放心,他们对任何人都不放心,车夫也是对谁都不放心,他放心的只有马。他可以问心无愧地把手放在《圣经》上发誓,他相信这套马并不适合拉这趟车。
   “喔嗬!”赶车的说。“加劲!再有一段就到顶了,你们就可以他妈的下地狱了!赶你们上山可真叫我受够了罪!乔!”
   “啊!”卫兵回答。
   “儿点钟了,你估计,乔?”
   “十一点过十分,没错。”
   “操!”赶车的心烦意乱,叫道,“还没爬上射手山!啐!哟,拉呀!”
   那认真的头马到做出个动作表示坚决反对,就被一鞭子抽了回去,只好苦挨苦挣着往上拉,另外三匹马也跟着学样。多佛邮车再度向上挣扎。旅客的长统靴在邮车旁踩着烂泥叭卿叭哪地响。刚才邮车停下时他们也停下了,他们总跟它形影不离。如果三人之中有人胆大包天敢向另一个人建议往前赶几步走进雾气和黑暗中去,他就大有可能立即被人当作强盗枪杀。
   最后的一番苦挣扎终于把邮车拉上了坡顶。马匹停下脚步喘了喘气,押车卫士下来给车轮拉紧了刹车,然后打开车门让旅客上去。
   “你听,乔!”赶车的从座位上往下望着,用警惕的口吻叫道。
   “你说什么,汤姆?”
   两人都听。
   “我看是有匹马小跑过来了。”
   “我可说是有匹马快跑过来了,汤姆,”卫士回答。他放掉车门,敏捷地跳上踏板。
   “先生们:以国王的名义,大家注意!”
   他仓促地叫了一声,便扳开几支大口径短抢的机头,作好防守准备。
   本故事记述的那位旅客已踩在邮车踏板上,正要上车,另外两位乘客也已紧随在后,准备跟着进去。这时那人却踩着踏板不动了--他半边身子进了邮车,半边却留在外面,那两人停在他身后的路上。三个人都从车夫望向卫士,又从卫士望向车夫,也都在听。车夫回头望着,卫兵回头望着,连那认真的头马也两耳一竖,回头看了看,并没有表示。
   邮车的挣扎和隆隆声停止了,随之而来的沉寂使夜显得分外安谧平静,寂无声息。马匹喘着气,传给邮车一份轻微的震颤,使邮车也仿佛激动起来,连旅客的心跳都似乎可以听见。不过说到底,从那寂静的小憩中也还听得出人们守候着什么东西出现时的喘气、屏息、紧张,还有加速了的心跳。
   一片快速激烈的马蹄声来到坡上。
   “嗦嗬!”卫兵竭尽全力大喊大叫。“那边的人,站住!否则我开枪了!”
   马蹄声戛然而止,一阵泼刺吧唧的声音之后,雾里传来一个男入的声音,“前面是多佛邮车么?”
   “别管它是什么!”卫兵反驳道,“你是什么人?”
   “你们是多佛邮车么?”
   “你为什么要打听?”
   “若是邮车,我要找一个旅客。”
   “什么旅客?”
   “贾维斯.罗瑞先生。”
   我们提到过的那位旅客马上表示那就是他的名字。押车的、赶车的和两位坐车的都不信任地打量着他。
   “站在那儿别动,”卫兵对雾里的声音说,“我若是一失手,你可就一辈子也无法改正了。谁叫罗瑞,请马上回答。”
   “什么事?”那旅客问,然后略带几分颤抖问道,“是谁找我?是杰瑞么?”
   (“我可不喜欢杰瑞那声音,如果那就是杰瑞的话,”卫兵对自己咕噜道,“嘶哑到这种程度。我可不喜欢这个杰瑞。”)
   “是的,罗瑞先生。”
   “什么事?”
   “那边给你送来了急件。T公司。”
   “这个送信的我认识,卫兵,”罗瑞先生下到路上--那两个旅客忙不迭地从后面帮助他下了车,却未必出于礼貌,然后立即钻进车去,关上车门,拉上车窗。“你可以让他过来,不会有问题的。”
   “我倒也希望没有问题,可我他妈的放心不下,”那卫兵粗声粗气地自言自语。“哈罗,那位!”
   “嗯,哈罗!”杰瑞说,嗓子比刚才更沙哑。
   “慢慢地走过来,你可别介意。你那马鞍上若是有枪套,可别让我看见你的手靠近它。我这个人失起手来快得要命,一失手飞出的就是子弹。现在让我们来看看你。”
   一个骑马人的身影从盘旋的雾气中慢慢露出,走到邮车旁那旅客站着的地方。骑马人弯子,却抬起眼睛瞄着卫士,交给旅客一张折好的小纸片。他的马呼呼地喘着气,连人带马,从马蹄到头上的帽子都溅满了泥。
   “卫兵!”旅客平静地用一种公事公办而又推心置腹的口气说。
   充满警惕的押车卫士右手抓住抬起的大口径短枪,左手扶住枪管,眼睛盯住骑马人,简短地回答道,“先生。”
   “没有什么好害怕的。我是台尔森银行的--伦敦的台尔森银行,你一定知道的。我要到巴黎出差去。这个克朗请你喝酒。我可以读这封信么?”
   “可以,不过要快一点,先生。”
   他拆开信,就着马车这一侧的灯光读了起来-一他先自己看完,然后读出了声音:“‘在多佛等候小姐。’并不长,你看,卫士。杰瑞,把我的回答告诉他们:死人复活了。”
   杰瑞在马鞍上愣了一下。“回答也怪透了”,他说,嗓子沙哑到了极点。
   “你把这话带回去,他们就知道我已经收到信,跟写了回信一样。路上多加小心,晚安。”
   说完这几句话,旅客便打开邮车的门,钻了进去。这回旅伴们谁也没帮助他。他们早匆匆把手表和钱包塞进了靴子,现在已假装睡着了。他们再也没有什么明确的打算,只想回避一切能引起其他活动的危险。
   邮车又隆隆地前进,下坡时被更浓的雾像花环似地围住。卫士立即把大口径短抢放回了武器箱,然后看了看箱里的其它枪支,看了看皮带上挂的备用手枪,再看了看座位下的一个小箱子,那箱里有几把铁匠工具、两三个火炬和一个取火盒。他配备齐全,若是邮车的灯被风或风暴刮灭(那是常有的事),他只须钻进车厢,不让燧石砸出的火星落到铺草上,便能在五分钟之内轻轻松松点燃车灯,而且相当安全。
   “汤姆!”马车顶上有轻柔的声音传来。
   “哈罗,乔。”
   “你听见那消息了么?”
   “听见了,乔。”
   “你对它怎么看,汤姆?”
   “什么看法都没有,乔。”
   “那也是巧合,”卫士沉思着说,“因为我也什么看法都没有。”
   杰瑞一个人留在了黑暗里的雾中。此刻他下了马,让他那疲惫不堪的马轻松轻松,也擦擦自己脸上的泥水,再把帽檐上的水分甩掉--帽檐里可能装上了半加仑水。他让马缰搭在他那溅满了泥浆的手臂上,站了一会儿,直到那车轮声再也听不见,夜已十分寂静,才转身往山下走去。
   “从法学会到这儿这一趟跑完,我的老太太,我对你那前腿就不大放心了。我得先让你平静下来,”这沙喉咙的信使瞥了他的母马一眼,说。“死人复活了!”这消息真是奇怪透顶,它对你可太不利了,杰瑞!我说杰瑞!你怕要大倒其霉,若是死人复活的事流行起来的话,杰瑞!


  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!"
首页>> 文学论坛>> 现实百态>> 查尔斯·狄更斯 Charles Dickens   英国 United Kingdom   汉诺威王朝   (1812年2月7日1870年6月9日)