首頁>> 文學>> 现实百态>> 查爾斯·狄更斯 Charles Dickens   英國 United Kingdom   漢諾威王朝   (1812年二月7日1870年六月9日)
雙城記 A Tale of Two Cities
  故事發生於法國大革題命期間,英國londan律師席尼·卡頓,深深地愛上了巴黎女子露絲·曼納。但露絲.曼納卻僅僅衹是把他當作普通朋友,嫁給了法國貴族青年查爾斯·達雷。當法國政治局勢陷入一團混亂時,查爾斯·達雷遭到暴民囚禁,露絲·曼納走投無路,衹好嚮席尼·卡飾頓請求幫助。席尼·卡頓為成全所愛之的幸福,竟然以犧牲自己生命的方式來輓救情敵,在黑牢探監之際施展策劃周密的調包計將查爾斯·達雷救了出來,而他則義無反顧地步上斷頭臺。男主角的高尚情操足以令天下人同聲一哭。
  雙城記-創作團隊
  
  導演: 傑剋·康威 羅伯特·Z·倫納德
  主演: 羅納德·考爾曼 唐納德·伍茲 伊麗莎白·艾蘭
  
  編劇 Writer:查爾斯·狄更斯 Charles Dickens 塞繆爾·N·貝爾曼 S.N. Behrman W.P. Lipscomb Thomas
  
  製作人 Produced by:大衛·O·塞爾茲尼剋 David O. Selznick
  雙城記-影評
  
  這是一個最好的時代,也是一個最壞的時代;這是明智的時代,這是愚昧的時代;這是信任的紀元,這是懷疑的紀元;這是光明的季節,這是黑暗的季節;這是希望的春日,這是失望的鼕日;我們面前應有盡有,我們面前一無所有;我們都將直上天堂,我們都將直下地獄。。。
  ——狄更斯 《雙城記》
  
  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)
  
  為什麽叫雙城記?狄更斯的這部作品,讓我想起了卡薩布蘭卡,為了所愛的人,放棄了所愛的人。瞭解這個時代的背景是很重要的,不然前面會覺的轉的太快。總的來說,大作傢的小說還是無懈可擊的。當下的社會與狄更斯眼中書中的時代是否相似?我們的出口又在哪裏?欣賞狄更斯的這段名言。
  雙城記-幕後花絮
  
  本片改編自狄更斯的同名不朽名著《雙城記》,在大製作傢大衛.塞茨尼剋與導演傑剋.康韋的傾力攝製下,完成了這部反映法國大革命時代悲劇的傑作,也是根據本書拍攝的六個電影版本中成績最好的一部。狄更斯的小說利用各種元素描述一個動人心魄催人淚下的愛情故事,自出版以來受到無數讀者的熱心追捧,一版再版。本片並沒有完全包括小說展現出來的所有元素,但卻沒有遺漏任何最為重要的情節。當然,沒有哪一部通過優秀的小說改編的電...
  雙城記-《雙城記》原著簡介:
  
  1775年12月的一個月夜,寓居巴黎的年輕醫生梅尼特散步時,突然被厄弗裏蒙地侯爵兄弟強迫出診。在侯爵府第中,他目睹一個發狂的絶色農婦和一個身受劍傷的少年飲恨而死的慘狀,並獲悉侯爵兄弟為了片刻淫樂殺害他們全家的內情。他拒絶侯爵兄弟的重金賄賂,寫信嚮朝廷告發。不料控告信落到被告人手中,醫生被關進巴士底獄,從此與世隔絶,杳無音訊。兩年後,妻子心碎而死。幼小的孤女路茜被好友勞雷接到倫敦,在善良的女僕普洛斯撫養下長大。
  
  18 年後,梅尼特醫生獲釋。這位精神失常的白發老人被巴黎聖安東尼區的一名酒販、他舊日的僕人得伐石收留。這時,女兒路茜已經成長,專程接他去英國居住。旅途上,他們邂逅法國青年查理·代爾納,受到他的細心照料。
  
  原來代爾納就是侯爵的兒子。他憎恨自己傢族的罪惡,毅然放棄財産的繼承權和貴族的姓氏,移居倫敦,當了一名法語教師。在與梅尼特父女的交往中,他對路茜産生了真誠的愛情。梅尼特為了女兒的幸福,决定埋葬過去,欣然同意他們的婚事。
  
  在法國,代爾納父母相繼去世,叔父厄弗裏蒙地侯爵繼續為所欲為。當他那狂載的馬車若無其事地軋死一個農民的孩子後,終於被孩子父親用刀殺死。一場革命的風暴正在醖釀之中,得伐石的酒店就是革命活動的聯絡點,他的妻子不停地把貴族的暴行編織成不同的花紋,記錄在圍巾上,渴望復仇。
  
  1739年法國大革命的風暴終於襲來了。巴黎人民攻占了巴士底獄,把貴族一個個送上斷頭臺。遠在倫敦的代爾納為了營救管傢蓋白勒,冒險回國,一到巴黎就被捕入獄。梅尼特父女聞訊後星夜趕到。醫生的出庭作證使代爾納回到妻子的身邊。可是,幾小時後,代爾納又被逮捕。在法庭上,得伐石宣讀了當年醫生在獄中寫下的血書:嚮蒼天和大地控告厄弗裏蒙地傢族的最後一個人。法庭判處代爾納死刑。
  
  就在這時,一直暗暗愛慕路茜的律師助手卡爾登來到巴黎,買通獄卒,混入監獄,頂替了昏迷中的代爾納,梅尼特父女早已準備就緒,代爾納一到,馬上出發。一行人順利地離開法國。
  
  得伐石太太在代爾納被判决後,又到梅尼特住所搜捕路茜及其幼女,在與普洛斯的爭鬥中,因槍支走火而斃命。而斷頭臺上,卡爾登為了愛情,從容獻身。
  雙城記-導讀
  
  雙城記雙城記
  世界名著《雙城記》---作者狄更斯"A Tale of Two Cities" (1859) by Charles Dickens (1812 - 1870)
  
  《雙城記》是狄更斯最重要的代表作之一。早在創作《雙城記》之前很久,狄更斯就對法國大革命極為關註,反復研讀英國歷史學家卡萊爾的《法國革命史》和其他學者的有關著作。他對法國大革命的濃厚興趣發端於對當時英國潛伏着的嚴重的社會危機的擔憂。1854年底,他說:“我相信,不滿情緒像這樣冒煙比火燒起來還要壞得多,這特別像法國在第一次革命爆發前的公衆心理,這就有危險,由於千百種原因——如收成不好、貴族階級的專橫與無能把已經緊張的局面最後一次加緊、海外戰爭的失利、國內偶發事件等等——變成那次從未見過的一場可怕的大火。”可見,《雙城記》這部歷史小說的創作動機在於藉古諷今,以法國大革命的歷史經驗為藉鑒,給英國統治階級敲響警鐘;同時,通過對革命恐怖的極端描寫,也對心懷憤懣、希圖以暴力對抗暴政的人民群衆提出警告,幻想為社會矛盾日益加深的英國現狀尋找一條出路。
  
  從這個目的出發,小說深刻地揭露了法國大革命前深深激化了的社會矛盾,強烈地抨擊貴族階級的荒淫殘暴,並深切地同情下層人民的苦難。作品尖銳地指出,人民群衆的忍耐是有限度的,在貴族階級的殘暴統治下,人民群衆迫於生計,必然奮起反抗。這種反抗是正義的。小說還描繪了起義人民攻擊巴士底獄等壯觀場景,表現了人民群衆的偉大力量。然而,作者站在資産階級人道主義的立場上,即反對殘酷壓迫人民的暴政,也反對革命人民反抗暴政的暴力。在狄更斯筆下,整個革命被描寫成一場毀滅一切的巨大災難,它無情地懲罰罪惡的貴族階級,也盲目地殺害無辜的人們。
  
  這部小說塑造了三類人物。一類是以厄弗裏蒙地侯爵兄弟為代表的封建貴族,他們“唯一不可動搖的哲學就是壓迫人”,是作者痛加鞭撻的對象。另一類是得伐石夫婦等革命群衆。必須指出的是,他們的形象是被扭麯的。例如得伐石的妻子狄安娜,她出生於被侮辱、被迫害的農傢,對封建貴族懷着深仇大恨,作者深切地同情她的悲慘遭遇,革命爆發前後很贊賞她堅強的性格、卓越的才智和非凡的組織領導能力;但當革命進一步深入時,就筆鋒一轉,把她貶斥為一個冷酷、兇狠、狹隘的復仇者。尤其是當她到醫生住所搜捕路茜和小路茜時,更被表現為嗜血成性的狂人。最後,作者讓她死在自己的槍口之下,明確地表示了否定的態度。第三類是理想化人物,是作者心目中以人道主義解决社會矛盾、以博愛戰勝仇恨的榜樣,包括梅尼特父女、代爾納、勞雷和卡爾登等。梅尼特醫生被侯爵兄弟害得傢破人亡,對侯爵兄弟懷有深仇大恨,但是為了女兒的愛,可以摒棄宿仇舊恨;代爾納是侯爵兄弟的子侄,他大徹大悟,譴責自己傢族的罪惡,拋棄爵位和財産,决心以自己的行動來“贖罪”。這對互相輝映的人物,一個是貴族暴政的受害者,寬容為懷;一個是貴族侯爵的繼承人,主張仁愛。他們中間,更有作為女兒和妻子的路茜。在愛的紐帶的維係下,他們組成一個互相諒解、感情融洽的幸福家庭。這顯然是作者設想的一條與暴力革命截然相反的解决社會矛盾的出路,是不切實際的。
  
  《雙城記》有其不同於一般歷史小說的地方,它的人物和主要情節都是虛構的。在法國大革命廣阔的真實背景下,作者以虛構人物梅尼特醫生的經歷為主綫索,把冤獄、愛情與復仇三個互相獨立而又互相關聯的故事交織在一起,情節錯綜,頭緒紛繁。作者采取倒敘、插敘、伏筆、鋪墊等手法,使小說結構完整嚴密,情節麯折緊張而富有戲劇性,表現了卓越的藝術技巧。《雙城記》風格肅穆、沉鬱,充滿憂憤,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 時代
  那是最美好的時代,那是最糟糕的時代;那是智慧的年頭,那是愚昧的年頭;那是信仰的時期,那是懷疑的時期;那是光明的季節,那是黑暗的季節;那是希望的春天,那是失望的鼕天;我們全都在直奔天堂,我們全都在直奔相反的方向--簡而言之,那時跟現在非常相象,某些最喧囂的權威堅持要用形容詞的最高級來形容它。說它好,是最高級的;說它不好,也是最高級的。
   英格蘭寶座上有一個大下巴的國王和一個面貌平庸的王後;法蘭西寶座上有一個大下巴的國王和一個面貌姣好的王後。對兩國支配着國傢全部財富的老爺來說,國傢大局足以萬歲千秋乃是比水晶還清楚的事。
   那是耶穌一幹七百七十五年。靈魂啓示在那個受到歡迎的時期跟現在一樣在英格蘭風行一時。騷斯柯特太太剛滿了她幸福的二十五歲,王室衛隊一個先知的士兵已宣佈這位太太早已作好安排,要使倫敦城和西敏寺陸沉,從而為她崇高形象的出現開闢道路。即使雄雞巷的幽靈在咄咄逼人地發出它的預言之後銷聲匿跡整整十二年,去年的精靈們咄咄逼人發出的預言仍跟她差不多,衹是少了幾分超自然的獨創性而已。前不久英國國王和英國百姓纔得到一些人世間的消息。那是從遠在美洲的英國臣民的國會傳來的。說來奇怪,這些信息對於人類的影響竟然比雄雞巷魔鬼的子孫們的預言還要巨大。
   法蘭西的靈異事物大體不如她那以盾和三叉戟為標志的姐妹那麽受寵。法蘭西正在一個勁兒地往坡下滑,印製着鈔票,使用着鈔票。除此之外她也在教士們的指引下建立些仁慈的功勳,尋求點樂趣。比如判决一個青年斬去雙手,用鉗子拔掉舌頭,然後活活燒死,因為他在一群和尚的骯髒儀仗隊從五六十碼之外他看得見的地方經過時,竟然沒有跪倒在雨地裏嚮它致敬。而在那人被處死時,生長在法蘭西和挪威森林裏的某些樹木很可能已被“命運”這個樵夫看中,要砍倒它們,鋸成木板,做成一種在歷史上以恐怖著名的可以移動的架子,其中包含了一個口袋和一把鍘刀。而在同一天,巴黎近郊板結的土地上某些農戶的簡陋的小披屋裏也很可能有一些大車在那兒躲避風雨。那些車很粗糙,濺滿了郊野的泥漿,豬群在它旁邊嗅着,傢禽在它上面棲息。這東西也極有可能已被“死亡”這個農民看中,要在時給它派上死囚囚車的用場。可是那“樵夫”和“農民”儘管忙個不停,卻總是默不作聲,躡手躡腳,不讓人聽見。因此若是有人猜想到他們已在行動,反倒會被看作是無神論和大逆不道。
   英格蘭幾乎沒有秩序和保障,難以為民族自誇提供佐證。武裝歹徒膽大包天的破門搶劫和攔路翦徑在京畿重地每天晚上出現。有公開的警告發表:各傢各戶,凡要離城外出,務須把傢具什物存入傢具店的倉庫,以保安全。黑暗中的強盜卻是大白天的城市商人。他若是被他以“老大”的身份搶劫的同行認了出來,遭到挑戰,便瀟灑地射穿對方的腦袋,然後揚長而去。七個強盜搶劫郵車,被押車衛士擊斃了三個,衛士自己也不免“因為彈盡援絶”被那四個強盜殺死,然後郵件便被從從容容地弄走。倫敦市的市長大人,一個神氣十足的大員,在特恩安森林被一個翦徑的強徒喝住,衹好乖乖地站住不動。那強盜竟當着衆隨員的面把那個顯赫人物擄了個精光。倫敦監獄的囚犯跟監獄看守大打出手;法律的最高權威對着囚犯開槍,大口徑短槍槍膛裏填進了一排又一排的子彈和鐵砂。小偷在法庭的客廳裏扯下了貴族大人脖子上的鑽石十字架。火槍手闖進聖.嘉爾斯教堂去檢查私貨,暴民們卻對火槍手開槍。火槍手也對暴民還擊。此類事件大傢早已習以為常,見慣不驚。在這樣的情況之下劊子手不免手忙腳亂。這種人無用勝於有用,卻總是應接不暇。他們有時把各色各樣的罪犯一大排一大排地挂起來。有時星期二抓住的強盜,星期六就絞死; 有時就在新門監獄把囚犯成打成打地用火刑燒死;有時又在西敏寺大廳門前焚燒小册子。今天處决一個窮兇極惡的殺人犯,明天殺死一個衹搶了農傢孩子六便士的可憐的小偷。
   諸如此類的現象,還加上一千樁類似的事件,就像這樣在可愛的古老的一千七百七十五年相繼發生,層出不窮。在這些事件包圍之中,“樵夫”和“農民”仍然悄悄地幹着活,而那兩位大下巴和另外兩張平常的和姣好的面孔卻都威風凜凜,專橫地運用着他們神授的君權。一幹七百七十五年就是像這樣表現出了它的偉大,也把成幹上萬的小人物帶上了他們前面的路--我們這部歷史中的幾位也在其中。


  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 郵車
  十一月下旬的一個星期五晚上,多佛大道伸展在跟這段歷史有關的幾個人之中的第一個人前面。多佛大道對此人說來就在多佛郵車的另一面。這時那郵車隆隆響着往射手山苦苦爬去。這人正隨着郵車跟其他乘客一起踏着泥濘步行上山。倒不是因為乘客們對步行鍛煉有什麽偏愛,而是因為那山坡、那馬具、那泥濘和郵件都太叫馬匹吃力,它們已經三次站立不動,有一次還拉着郵車橫過大路,要想叛變,把車拖回黑荒原去。好在繮繩、鞭子、車夫和衛士的聯合行動有如宣讀了一份戰爭文件的道理。那文件禁止擅自行動,因為它可以大大助長野蠻動物也有思想的理論。於是這套馬便俯首投降,回頭執行起任務來。
   幾匹馬低着頭、搖着尾,踩着深深的泥濘前進着,時而歪斜,時而趔趄,仿佛要從大骨節處散了開來。車夫每次讓幾匹馬停下步子休息休息並發出警告,“哇嗬!嗦嗬,走!”他身邊的頭馬便都要猛烈地搖晃它的頭和頭上的一切。那馬仿佛特別認真,根本不相信郵車能夠爬上坡去。每當頭馬這樣叮叮當當一搖晃,那旅客便要嚇一跳,正如一切神經緊張的旅人一樣,總有些心驚膽戰。
   四面的山窪霧氣氤氳,凄涼地往山頂涌動,仿佛是個的精靈,在尋找歇腳之地,卻沒有找到。那霧粘乎乎的,冰寒徹骨,緩緩地在空中波浪式地翻滾,一浪一浪,清晰可見,然後宛如污濁的海濤,彼此滲誘,融合成了一片。霧很濃,車燈衹照得見翻捲的霧和幾碼之內的路,此外什麽也照不出。勞作着的馬匹發出的臭氣也蒸騰進霧裏,仿佛所有的霧都是從它們身上散發出來的。
   除了剛纔那人之外,還有兩個人也在郵車旁艱難地行進。三個人都一直裹到顴骨和耳朵,都穿着長過膝蓋的高統靴,彼此都無法根據對方的外表辨明他們的容貌。三個人都用盡多的障礙包裹住自己,不讓同路人心靈的眼睛和肉體的眼睛看出自己的形跡。那時的旅客都很警惕,從不輕易對人推心置腹,因為路上的人誰都可能是強盜或者跟強盜有勾結。後者的出現是非常可能的,因為當時每一個郵車站,每一傢麥酒店都可能有人“拿了老大的錢”,這些人從老闆到最糟糕的馬廄裏的莫名其妙的人都有,這類花樣非常可能出現。一千七百七十五年十一月底的那個星期五晚上,多佛郵車的押車衛士心裏就是這麽想的。那時他正隨着隆隆響着的郵車往射手山上爬。他站在郵件車廂後面自己的專用踏板上,跺着腳,眼睛不時瞧着面前的武器箱,手也擱在那箱上。箱裏有一把子彈上膛的大口徑短搶,下面是六或八支上好子彈的馬槍,底層還有一把短劍。
   多佛郵車像平時一樣“愉快和睦”:押車的對旅客不放心,旅客彼此不放心,對押車的也不放心,他們對任何人都不放心,車夫也是對誰都不放心,他放心的衹有馬。他可以問心無愧地把手放在《聖經》上發誓,他相信這套馬並不適合拉這趟車。
   “喔嗬!”趕車的說。“加勁!再有一段就到頂了,你們就可以他媽的下地獄了!趕你們上山可真叫我受夠了罪!喬!”
   “啊!”衛兵回答。
   “兒點鐘了,你估計,喬?”
   “十一點過十分,沒錯。”
   “操!”趕車的心煩意亂,叫道,“還沒爬上射手山!啐!喲,拉呀!”
   那認真的頭馬到做出個動作表示堅决反對,就被一鞭子抽了回去,衹好苦挨苦掙着往上拉,另外三匹馬也跟着學樣。多佛郵車再度嚮上掙紮。旅客的長統靴在郵車旁踩着爛泥叭卿叭哪地響。剛纔郵車停下時他們也停下了,他們總跟它形影不離。如果三人之中有人膽大包天敢嚮另一個人建議往前趕幾步走進霧氣和黑暗中去,他就大有可能立即被人當作強盜槍殺。
   最後的一番苦掙紮終於把郵車拉上了坡頂。馬匹停下腳步喘了喘氣,押車衛士下來給車輪拉緊了剎車,然後打開車門讓旅客上去。
   “你聽,喬!”趕車的從座位上往下望着,用警惕的口吻叫道。
   “你說什麽,湯姆?”
   兩人都聽。
   “我看是有匹馬小跑過來了。”
   “我可說是有匹馬快跑過來了,湯姆,”衛士回答。他放掉車門,敏捷地跳上踏板。
   “先生們:以國王的名義,大傢註意!”
   他倉促地叫了一聲,便扳開幾支大口徑短搶的機頭,作好防守準備。
   本故事記述的那位旅客已踩在郵車踏板上,正要上車,另外兩位乘客也已緊隨在後,準備跟着進去。這時那人卻踩着踏板不動了--他半邊身子進了郵車,半邊卻留在外面,那兩人停在他身後的路上。三個人都從車夫望嚮衛士,又從衛士望嚮車夫,也都在聽。車夫回頭望着,衛兵回頭望着,連那認真的頭馬也兩耳一竪,回頭看了看,並沒有表示。
   郵車的掙紮和隆隆聲停止了,隨之而來的沉寂使夜顯得分外安謐平靜,寂無聲息。馬匹喘着氣,傳給郵車一份輕微的震顫,使郵車也仿佛激動起來,連旅客的心跳都似乎可以聽見。不過說到底,從那寂靜的小憩中也還聽得出人們守候着什麽東西出現時的喘氣、屏息、緊張,還有加速了的心跳。
   一片快速激烈的馬蹄聲來到坡上。
   “嗦嗬!”衛兵竭盡全力大喊大叫。“那邊的人,站住!否則我開槍了!”
   馬蹄聲戛然而止,一陣潑刺吧唧的聲音之後,霧裏傳來一個男入的聲音,“前面是多佛郵車麽?”
   “別管它是什麽!”衛兵反駁道,“你是什麽人?”
   “你們是多佛郵車麽?”
   “你為什麽要打聽?”
   “若是郵車,我要找一個旅客。”
   “什麽旅客?”
   “賈維斯.羅瑞先生。”
   我們提到過的那位旅客馬上表示那就是他的名字。押車的、趕車的和兩位坐車的都不信任地打量着他。
   “站在那兒別動,”衛兵對霧裏的聲音說,“我若是一失手,你可就一輩子也無法改正了。誰叫羅瑞,請馬上回答。”
   “什麽事?”那旅客問,然後略帶幾分顫抖問道,“是誰找我?是傑瑞麽?”
   (“我可不喜歡傑瑞那聲音,如果那就是傑瑞的話,”衛兵對自己咕嚕道,“嘶啞到這種程度。我可不喜歡這個傑瑞。”)
   “是的,羅瑞先生。”
   “什麽事?”
   “那邊給你送來了急件。T公司。”
   “這個送信的我認識,衛兵,”羅瑞先生下到路上--那兩個旅客忙不迭地從後面幫助他下了車,卻未必出於禮貌,然後立即鑽進車去,關上車門,拉上車窗。“你可以讓他過來,不會有問題的。”
   “我倒也希望沒有問題,可我他媽的放心不下,”那衛兵粗聲粗氣地自言自語。“哈羅,那位!”
   “嗯,哈羅!”傑瑞說,嗓子比剛纔更沙啞。
   “慢慢地走過來,你可別介意。你那馬鞍上若是有槍套,可別讓我看見你的手靠近它。我這個人失起手來快得要命,一失手飛出的就是子彈。現在讓我們來看看你。”
   一個騎馬人的身影從盤旋的霧氣中慢慢露出,走到郵車旁那旅客站着的地方。騎馬人彎子,卻擡起眼睛瞄着衛士,交給旅客一張折好的小紙片。他的馬呼呼地喘着氣,連人帶馬,從馬蹄到頭上的帽子都濺滿了泥。
   “衛兵!”旅客平靜地用一種公事公辦而又推心置腹的口氣說。
   充滿警惕的押車衛士右手抓住擡起的大口徑短槍,左手扶住槍管,眼睛盯住騎馬人,簡短地回答道,“先生。”
   “沒有什麽好害怕的。我是臺爾森銀行的--倫敦的臺爾森銀行,你一定知道的。我要到巴黎出差去。這個剋朗請你喝酒。我可以讀這封信麽?”
   “可以,不過要快一點,先生。”
   他拆開信,就着馬車這一側的燈光讀了起來-一他先自己看完,然後讀出了聲音:“‘在多佛等候小姐。’並不長,你看,衛士。傑瑞,把我的回答告訴他們:死人復活了。”
   傑瑞在馬鞍上愣了一下。“回答也怪透了”,他說,嗓子沙啞到了極點。
   “你把這話帶回去,他們就知道我已經收到信,跟寫了回信一樣。路上多加小心,晚安。”
   說完這幾句話,旅客便打開郵車的門,鑽了進去。這回旅伴們誰也沒幫助他。他們早匆匆把手錶和錢包塞進了靴子,現在已假裝睡着了。他們再也沒有什麽明確的打算,衹想回避一切能引起其他活動的危險。
   郵車又隆隆地前進,下坡時被更濃的霧像花環似地圍住。衛士立即把大口徑短搶放回了武器箱,然後看了看箱裏的其它槍支,看了看皮帶上挂的備用手槍,再看了看座位下的一個小箱子,那箱裏有幾把鐵匠工具、兩三個火炬和一個取火盒。他配備齊全,若是郵車的燈被風或風暴颳滅(那是常有的事),他衹須鑽進車廂,不讓燧石砸出的火星落到鋪草上,便能在五分鐘之內輕輕鬆鬆點燃車燈,而且相當安全。
   “湯姆!”馬車頂上有輕柔的聲音傳來。
   “哈羅,喬。”
   “你聽見那消息了麽?”
   “聽見了,喬。”
   “你對它怎麽看,湯姆?”
   “什麽看法都沒有,喬。”
   “那也是巧合,”衛士沉思着說,“因為我也什麽看法都沒有。”
   傑瑞一個人留在了黑暗裏的霧中。此刻他下了馬,讓他那疲憊不堪的馬輕鬆輕鬆,也擦擦自己臉上的泥水,再把帽檐上的水分甩掉--帽檐裏可能裝上了半加侖水。他讓馬繮搭在他那濺滿了泥漿的手臂上,站了一會兒,直到那車輪聲再也聽不見,夜已十分寂靜,纔轉身往山下走去。
   “從法學會到這兒這一趟跑完,我的老太太,我對你那前腿就不大放心了。我得先讓你平靜下來,”這沙喉嚨的信使瞥了他的母馬一眼,說。“死人復活了!”這消息真是奇怪透頂,它對你可太不利了,傑瑞!我說傑瑞!你怕要大倒其黴,若是死人復活的事流行起來的話,傑瑞!


  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!"
首頁>> 文學>> 现实百态>> 查爾斯·狄更斯 Charles Dickens   英國 United Kingdom   漢諾威王朝   (1812年二月7日1870年六月9日)