首頁>> 文學>> 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)
董貝父子 Dombey and Son
  《董貝父子》無論從形式方面還是從內容方面而論,都在狄更斯的作品中占據特別重要的地位,它突破了早期作品中流浪漢體(thepicaresque)的影響,緊緊圍繞一個中心人物、一個主導觀念來展開故事,在狄更斯的小說中是第一部結構嚴謹的代表作。作者在序言、書信中多次提到,在寫《董貝父子》時,他時刻註意“扣緊該書的一般目的與設計,並以此嚴格束縛自己”。《董貝父子》形式上的新特點是跟內容方面的發展相聯繫的。在這以前,狄更斯在小說中曾抨擊了負債人監獄、新的濟貧法、地方上的所謂慈善事業以及大城市底層的罪惡與黑暗,多多少少把它們當作孤立的現象。《董貝父子》卻試圖在更嚴謹的形式中以現代城市為背景,通過一個資産者的典型形象表達出對資本主義社會的總體觀,而不復在個別社會弊病上做文章。當然,這並不一定意味着作者的小說藝術嚮着更高級階段發展——結構的嚴謹在美學上不一定比流浪漢體小說的鬆散更優越,它們可以各有各自的美,但無論如何,《董貝父子》代表了作者思想的深化,表現了他對社會問題的進一步思考。
    英國19世紀小說專傢凱瑟琳·蒂洛遜在她的學術名著《19世紀40年代的小說》一書中把《董貝父子》列為40年代的代表作不是偶然的。《董貝父子》具有鮮明的時代特色:作者在這裏表現一個新時代——40年代工業發達的英國社會。小說中的倫敦是一個金融和商業中心、一個大港口,又是上流社會社交中心。董貝就是處在這樣生活漩渦中的巨商。《董貝父子》用不少篇幅描寫一個破落的航海儀器商所羅門·吉爾斯;他的小店鋪裏擺着些過時的儀器,從來沒有人光顧,除非是進來問路或兌換零錢。吉爾斯悲嘆道:“競爭、不停的競爭——新發明、層出不窮的新發明……世界把我拋在後邊了”。時代的落伍者所羅門·吉爾斯和他的小店鋪在小說中與董貝先生和他的大公司形成對比,愈加突出了《董貝父子》內容題材的時代特色。
    狄更斯就是在這樣一種背景上塑造了一個資産者的典型形象。關於《董貝父子》的創作意圖,狄更斯曾說,在這裏他要處理的是“傲慢”問題,正如前一部小說《馬丁·柴則爾維持》裏要着重描寫“自私自利”。的確,在董貝形象的塑造上,作者是從傲慢入手的。小說一開始就寫到,在董貝先生看來,“世界是為了董貝父子經商而創造的,太陽和月亮是為了給他們光亮而創造的。河川和海洋是為了讓他們航船而構成的;虹霓使他們有逢到好天氣的希望;風的順逆影響他們實業的成敗;星辰在他們的軌道內運行,保持以他們為中心的一種不能侵犯的係統”。董貝公司稱霸四海,在當時的資本主義經濟體係中居於中心地位,於是董貝先生就自認是世界的中心,他的傲慢由此而來。他的傲慢不是由於作為一個人有任何優越於他人的地方,而是由於他的公司的地位、他的資本力量。在董貝的形象中,狄更斯不把問題局限於一般的自私貪婪,事實上在私德方面,董貝基本上是恩格斯說的那種“具有各種私德的可敬人物”。正如西方馬剋思主義者A·T·傑剋遜所指出的,“董貝的傲慢是他作為一傢大公司的頭目的地位帶給他的品質”。因此,傲慢衹是其表,而根本問題在於董貝作為人,與資本同一了。他失去了人的本質,衹是資本的化身,亦如某些西方評論所說的,是“19世紀企業精神”的象徵,“一種制度、競爭心理和冷酷無情”的典範。《董貝父子》以連載形式問世以後,當時便有評論指出: “描繪董貝這類的人物簡直是當務之急——倫敦的世界裏充滿了冷漠的、裝模作樣的、僵硬的、炫耀金錢的人物,想法跟董貝一模一樣……”可見董貝的形象在當時的英國社會是具有代表性的。
    首先狄更斯強調了董貝作為一個資産者的非人性。他把感情完全排除在自己的視野之外:“董貝父子一嚮跟皮貨打交道,而不跟感情打交道”。實際上《董貝父子》很少涉及具體的商業活動,它其實是一部以家庭生活為題材的小說,通過家庭關係,表現了作為丈夫、作為父親的董貝,唯其如此,更加烘托了他的冷酷無情。
  董貝父子-劇情
  
   《董貝父子》有兩處描寫了董貝先生竟然流露了一種天然感情。第一次是在他太太生了男孩之後,他到臥室去看望,“對董貝太太居然也加上了一個親密的稱呼(雖然不是沒有一些猶豫,因為他畢竟是一個不慣於叫出那種稱呼的人),叫道:‘董貝太太,我的——我的親愛的’。”在他們夫妻之間這一稱呼是那樣生疏,以至“那位生病的太太擡起眼睛朝他望去的時候,頓時間臉上漲滿了微感驚訝的紅暈”。其實即使這一次難得的感情流露,也不是與公司無關的。董貝先生想到自己得了兒子,從此以後“咱們的公司,不但名義上,而且事實上,又該叫做‘董貝父子’啦,董——貝父子!”他是在品嚐這幾個字的甜美滋味時情不自禁地叫了一聲 “我的親愛的”!從他的內心感情來說,我們無從判斷這“親愛的”是指他的太太還是更多指他的公司。同樣,在《董貝父子》一書中我們始終無法判斷這“董貝父子”是指公司還是指這爺兒倆的關係。這種有意無意的含混自然是意味深長的。
    董貝先生第二次感情流露是在看着剛出生的兒子時,他想到“他得成就一番命中註定的事業哪。命中註定的事業,小傢夥!”接着“把孩子的一隻手舉到自己的嘴唇上吻了一下,然後,好像深怕這種舉動有損他的尊嚴似的,他非常不自然地走開了”。總之,就是這兩次不可多得的感情流露,董貝先生也感到“猶豫”,“不習慣”,“有損尊嚴”,總之是“不自然”,即不合乎他那“資本化”了的本性。
    在對董貝的描寫中,作者把他比作“雕像”、“木頭人”,“全身直挺挺的不會打彎”,或是“颳得光光、剪裁整齊的闊紳士,光溜利索,像剛印出來的鈔票”。作者用一係列冰、霜、雪之類的形象來渲染董貝的特點,他的住宅陰冷,他的辦公室凄涼。在保羅受洗禮的那一天,不僅教堂裏寒氣逼人,而且在董貝隨後舉行的宴會上擺着的食物都是冰冷的,與席上的整個氣氛一致,作者還說,坐在首席上的董貝本人猶如一個“冰凍紳士”的標本。總之,作者通過誇張的細節描寫,把董貝置於一層層冰霜的包裹之中,把他描寫成一位十足的沒有人性的冷血動物。
    正如恩格斯所說的,資産階級“除了快快發財以外,不知道世界上還有別的快樂”一樣,繼承人意味着資本的延續,也就是資産階級理想中通嚮“永恆”與“不朽”的唯一道路,本質上還是發財的快樂。《董貝父子》一書的主綫和總的設計都是圍繞着董貝先生為自己,也是為公司,尋找繼承人的故事。如果按19世紀小說專傢史蒂芬·馬科斯的劃分,把作品劃分成四個部分,那麽可以看出,第一部分以繼承人小保羅的誕生開始,以他的死亡告終;第二部分描寫了董貝先生的悲痛以及他的第二次結婚,亦即再次要得到繼承人;第三部分表現了董貝先生婚後夫妻不睦,終於導致他的夫人私奔;第四部分描寫了董貝先生精神瓦解、企業倒閉,最後被他趕出傢門的女兒弗洛倫斯用自己的愛給他以安慰和力量,使老年的董貝在失去資本、失去繼承人之後恢復了自己的人性。而具有諷刺意味的是,“所謂董貝父子”,如書中一個人物說的“歸根結蒂是董貝父女”!但開始時,董貝先生哪裏能猜到等待他的命運!他把自己的感情全部傾註在公司的繼承人、剛剛誕生的兒子身上,至於女兒,既然不是繼承人,對董貝公司沒有意義,對他本人也就沒有意義,相當於“不能投資的一塊劣幣”。其實,就是對於他的兒子小保羅,董貝先生也衹能以自己的方式去愛。這是一種異化了的感情。他衹把保羅當作繼承人來對待,當作“董貝父子公司”中的“子”而不是作為一個有獨立生存權利的人、一個有權過快樂童年的兒童。董貝把保羅從降生到成人的時期都看作是難熬的過渡時期,“他急於進入未來,恨不得快點打發掉這中間的時光”。董貝對兒子的感情是那樣的獨占,他不信任奶娘波利·圖德爾,生怕兒子會對她有感情,從而受到“下等人”的沾染,後來董貝還是因為她擅自把保羅帶回傢而把這個好心的女人打發掉,致使嬰兒突然斷奶,從此體弱多病。董貝先生“望子成竜”心切,他把幼小的保羅送往布林伯博士學院。這是一座以填塞死知識著稱的住宿學校。在那裏,孩子們白天被逼得背誦天書一樣的古代典籍,晚上做夢都說希臘文!“那是一座大暖房,一架不停地移動的拔苗助長的機器,所有的孩子都提前‘開花’,但是不足三個禮拜就枯萎凋謝”。在那裏,可憐的小保羅的頭腦被塞滿了一大堆希臘羅馬的古董,他哭着說,“我要當兒童”,可那在董貝培養繼承人的計劃裏是不允許的。保羅在這些催化劑的作用下精神備受摧殘,不久以後便死去。具有諷刺意味的是,從解雇奶娘到提前送進學校的整個過程來看,不是別人,正是董貝先生自己一手促成了兒子的死亡。他完全按照自己性格的邏輯,按照他的“異化”了的感情行事,不可能有其他做法。這不能不說是董貝的悲劇。值得註意的還有,董貝不僅在兒子活着的時候對兒子的感情是“異化”的,而且在兒子死亡以後,他的反應也是“異化”的,那與其說是失去親骨肉的切膚之痛,倒更像是他的“自我”受到打擊、傲慢受到挫折而引起的痛苦。當老奶娘圖德爾的丈夫嚮董貝表示哀悼時,董貝不僅不為之感動,反而因為不相幹的人(與公司不相幹)妄想分擔他的痛苦而感到氣憤,好像自己受了污辱。這不是被資本“異化”了的感情又是什麽呢?
    對董貝來說,更可悲的是,由於他的古板、冷漠、沒有人情味,他的兒子與他感情疏遠而衷心喜愛那些董貝所厭惡、鄙視的人——姐姐弗洛倫斯、奶娘波利·圖德爾,還有公司裏的小雇員沃爾特·蓋伊,在自己幼小生命的最後時刻對他們戀戀不捨而把自己的父親排除在外。在思想上父子二人更是格格不入;董貝是那樣急切盼望兒子成長為精明的生意人,而幼小的保羅卻問“錢能幹什麽?”,當父親說錢可以辦到一切,他並不信服,說“它不能救活我媽媽”。“它不是殘酷的嗎?”狄更斯通過兒童的眼光批判了董貝所代表的價值觀。
    保羅雖然年紀幼小,卻總像是生活在一個彼岸世界,他“可以在糊墻紙上看出微型的老虎和獅子…… 看見一些人影衝着地板上的方塊和棱形圖案作怪臉,而別人卻什麽也看不見”。他像個老人似的長時間坐在海邊上,面對着一片天水茫茫沉思不語。他納悶“它沒結沒完地說些什麽呀?”——“我知道他們一直是在說些什麽的。說的總是同樣的事情。那兒是什麽地方呀?”他熱切地凝望那天水之際,在大海的喧騰中,聽到了時間老人的召喚,感到了死亡的預兆,最後在海濤聲中他安然與世長辭……。可以說,小保羅在任何意義上也不是董貝的繼承人。《董貝父子》的第一部分,也是最精采部分,便以董貝在培育繼承人方面的徹底失敗而告終。《董貝父子》最初連載發表時,保羅·羅貝夭亡的一章在當時讀者中引起強烈反響,“舉國上下,共同哀悼”,僅次於“自己傢裏辦喪事”。當時許多人,包括政界文化界著名人物都毫不隱諱自己為小保羅的死而痛哭流涕。這當然與當時盛行的感傷主義閱讀趣味分不開。小保羅的死,與《老古玩店》中小耐兒的死一樣,都是19世紀小說中公認的感傷主義的典範。但是,不可否認,保羅之死的著名篇章充滿了晶瑩的詩意—— “小船在波上的飄蕩已經引得他要去安眠了。河岸多麽蔥翠,長在河岸上的花草多麽明豔,那蘆葦又是多麽婷婷裊裊!這時小船已經駛到海裏,可是還在平靜地嚮前滑去”。小保羅去了,好像得到了他的天然歸宿。他不屬於公司,更遠離“貨幣、通貨、鈔票、外匯率”所構成的那個他命中要成就的“事業”。在那個孜孜名利的浮華世界上,保羅的死顯出了超塵拔俗的光彩,在默默無言之中對以“董貝父子公司”為代表的金錢利欲做出了最有力的批判。
    經過第一個打擊,董貝並沒有總結教訓、達到自我認識。不久以後,他又處心積慮地為得到繼承人而設法。他跟年輕美貌的寡婦伊迪絲·格蘭傑結婚了。這純粹是一筆交易,董貝就像在騾馬市上相馬似地觀察伊迪絲的才華與教養,最後决定買下。伊迪絲憤然對她母親說“十年以來,奴隸市場上的奴隸和集市上的馬都沒有像我這樣被展覽出售,炫耀給看客。”在這第二次婚姻中,董貝又失敗了。在伊迪絲身上,他碰到了對手,跟他一樣傲慢,跟他一樣強硬。兩下裏衝突的結果,伊迪絲為報復丈夫而與公司的經理卡剋私奔,造成了倫敦上流社會的頭號醜聞。此外,董貝剛愎自用,在卡剋的縱恿下投資不當,在家庭危機的同時,他的商船“子嗣”號在海上遇難,他的公司倒閉,他本人宣告破産。昔日富麗堂皇的宅第被債僅人剝得一幹二淨,連老鼠都不願逗留,衹剩下一個董貝像個幽靈似地在空樓中遊蕩。在他舉刀自殺的那一剎那,女兒弗洛倫斯趕到他跟前,用自己的愛感化了他,使董貝終於認識到,自己是有罪的,“需要得到寬恕”。董貝那違背天理人性的傲慢被弗洛倫斯的愛剋服了。在老年,他終於開始過上一種合乎人性的生活。董貝的命運,並不取决於外部事態的發展;是董貝自己性格的內在邏輯導致他的全面崩潰。他是在自己懲罰自己,並在一重一重的懲罰中一層一層地暴露出資産階級本性中那些違反天理人情的因素。
    若衹看故事情節,我們也不能否認《董貝父子》的結局是淺薄無力的。法國著名批評傢泰納說董貝的“轉變”毀了一本出色的小說。一位當代評論傢用不屑的口氣問道:難道要把董貝父子公司的世界貿易交給眼淚汪汪的弗洛倫斯去經營嗎?在這裏,我們又回到小說的時代特色問題。像弗洛倫斯那類的“安琪兒”是按照當時盛行的公式描寫的,本來就不現實,而董貝先生在鐵路四通八達國際貿易發達的時代是個真實的形象、一個階級的代表。弗洛倫斯怎麽可能用自己的眼淚去感化董貝的鐵石心腸呢?《董貝父子》一書的價值不在於作者虛構出怎麽樣的方案去解决矛盾,而在於他在四十年代資本主義經濟發達的歷史時期塑造了一個資産階級的典型形象,從而深刻地揭示了關於那個階級的真理。
    也是在《董貝父子》一書中,狄更斯第一次采用了一個象徵來貫穿全書,以傳達出一個總的世界圖景、一種對時代、對社會的理解。他曾用過霧、濁流、垃圾等形象作為這種象徵,而在這裏是鐵路。鐵路——火車、鐵軌——的形象在書中出現多次,往往在關鍵時刻渲染氣氛,烘托主題。用鐵路的形象來概括四十年代工業化的英國,當然是最恰當不過的,在19世紀上半葉,鐵路的發展速度是驚人的。據統計,1825年還衹有25英裏的鐵路綫,到了1845年就發展成2200多公裏,即在不到二十年的時間裏便增加了一百倍。處在火車、電報時代的董貝比起乘驛車的匹剋威剋先生簡直屬於兩個完全不同的世界。鐵路的發展改變了人們的生活方式,改變了人們對空間和時間的概念,還産生了一支新的勞動隊伍:鐵路工人。鐵路意味着力量、運動和速度,意味着更快的生活節奏。這時,鐵路是社會變革的象徵,它給破爛不堪的舊址帶來了新的生命。書中寫到,由於鐵路的建設,波利·圖德爾一傢原來住的貧民區“斯塔格斯花園”已不復存在——“它從地面上消失了,原來一些朽爛的涼亭殘存的地方,現在聳立着高大的宮殿;大理石的圓柱兩邊開道,通嚮鐵路的新世界”。書中還寫到,原先堆放垃圾的空地已被吞沒,代之而起的是“一層層庫房,裏面裝滿了豐富的物資和貴重的商品”。而原是荒無人煙的地方現在修起了花園、別墅、教堂和令人心曠神怡的林蔭大道。過去以掘煤為生的圖德爾,現在也在新建設起來的鐵路上當上了一名司爐工。從這個角度可以說,狄更斯是站在贊賞的立場去看以鐵路為象徵的工業化對社會物質發展的積極意義。
    但是,另一方面,鐵路、火車在狄更斯筆下又充滿了威脅,它力大無窮而又難以控製,它在急馳中似有自己的目的而把人的意願置於不顧。當保羅將要死去時,書中描寫了火車的運動:“日日夜夜,往返不停,翻騰的熱浪猶如生命的血流”。保羅在父親的培養下正在悄悄死去,而車聲隆隆正以雷霆萬鈞之勢駛來,顯得那樣冷酷無情。保羅死後,董貝乘火車旅行,火車的機械運動與董貝的沉重心情互相襯托,後來,董貝去追趕拐騙他妻子私奔的卡剋,他們一個在逃,一個緊追,這時火車像個可怕的怪獸,“混身冒火的魔鬼”,憤怒地奔騰咆哮,活像個復仇神,終於非常戲劇性地把卡剋碾死。
    這裏,問題並不在於死在火車輪下的卡剋是罪有應得。重要的是,在這裏,火車的形象猙獰可怕;它的來臨“伴隨着大地的震響,在耳邊顫抖的聲浪,以及遙遠的尖叫聲;一片暗光由遠而近,剎那間變成兩支火紅的眼睛和一團烈火,一路上掉着燃燒的煤塊;接着,一個龐然大物咆哮着、擴展着,以不可抗拒的氣勢壓過來”。這個形象遠遠超脫了卡剋命運的區區小事,而提出了更大的問題:機械的物質運動所釋放出來的力量對於人類社會究竟意味着什麽?在這裏,狄更斯表現了一個真正大作傢的氣魄。他透過現象去捕捉本質,通過鐵路的象徵對資本主義物質文明的發展表示了深深的憂慮;這奔騰嚮前的力量將把人類社會帶往何處?這懷疑與憂慮是跟作者通過董貝的形象所提出的問題完全一致的,它們都匯為一個總的對時代的疑問:資本主義的工業——鐵路——改善了人們的生存條件,但它將引起什麽樣的社會變化?一個董貝先生是被女兒的淚水感化了,但以鐵路為標志的英國資本主義的發展不是會産生更多的董貝嗎?
    《董貝父子》不是社會學論文。狄更斯的魔力就在於,他提出了當時社會最本質的問題,同時又寫出了人物衆多、情節復雜、情調多變的一部五光十色的小說巨著。在這裏,以董貝渴望子嗣的故事為中心,演出了那麽多扣人心弦的悲喜劇。社會地位有天壤之別的人物,命運卻那麽麯折地交織在一起:第二任董貝夫人伊迪絲跟被流放的娼妓愛麗絲不僅是同父異母的姐妹,而且也是被同一個男性——卡剋經理——欺辱的女性。這種情節性的背後不正是微妙地暗示着伊迪絲與董貝的婚姻的實質?《董貝父子》還充滿了陰謀和懸念。卡剋經理像個蜘蛛一樣坐在他編織的陰謀綱絡的中心,為董貝先生、伊迪絲,為弗洛倫斯和沃爾特,甚至為老實巴結的卡特爾船長都設下了圈套,派了釘哨。
    可是到頭來,正是他這個心腹 ——不爭氣的少年羅伯——出賣了他,導致他粉身碎骨在車輪之下,可謂事件本身的嘲諷。在《董貝父子》中,與正劇的主綫平行,總有喜劇鬧劇的副綫,甚至形成一環扣一環的命運的鎖鏈。如在董貝先生物色第二位夫人的時候,溜須拍馬但又可憐可笑的托剋斯小姐覬覦董貝夫人的寶座,冷落了有意於她的白格斯托剋少校,而老姦巨猾的白格斯托剋為了挫敗托剋斯小姐的野心,把伊迪絲引見給董貝,導致了他的第二次災難性的婚姻。
    在《董貝父子》一書中,狄更斯還描寫了許多小人物和他們的生活。破落小商人所羅門·吉爾斯、保羅的奶娘圖德爾一傢、弗洛倫斯的貼身女僕蘇珊等在各方面都與董貝形成對比。我們在書中看到,一方面是董貝的華貴府邸,另一方面是圖德爾一傢住的破爛不堪的貧民窟。儘管如此,前者冷若冰窖,後者熱氣騰騰,充滿友愛與歡樂。在那冷酷的資本主義社會,這些小人物身上體現了人情和人性中善良美好的本能。波利·圖德爾那興旺的傢族——她那豐富的乳汁和衆多的孩子都描寫的十分誇張、富於象徵意義,體現了生的歡樂和對未來的希望。有趣的是,在作者的巧妙安排之下,這些地位低賤的小人物又不斷跟董貝“遭遇”。如所羅門·吉爾斯的好友、落魄的船長內德·卡特爾竟跑去與董貝先生稱兄道弟,還以自己的糖俠子等可笑的“傳傢寶”來當抵押,要董貝藉款給他。這在董貝看來簡直是駭人聽聞。他擺出最威風凜凜的架勢,但最沒有現實感的卡特爾船長對此毫無察覺,弄得董貝反而手足無措。後來,女僕蘇珊又乘董貝臥病的當兒公然嚮他挑戰,指着他的鼻子數落他的不是,氣得董貝先生目瞪口呆。這些喜劇性場面烘托出了勞動人民生動活潑的形象;是他們戳破了董貝的傲慢,使他露出了底裏的空虛與軟弱。在四十年代描寫勞動人民形象的作品中,這種喜劇化的處理是別具一格的。
    總之,穿插於故事中的衆多的陪襯人物都天真無邪,不是傻得可愛就是“狡猾”得可笑。他們不僅推動情節發展,而且為全書帶來了歡樂氣氛和幽默情趣,使《董貝父子》成為狄更斯小說中既有深度又饒有趣味的代表作。還在連載的時候,不識字的老百姓在一天的勞累之後就要聚在一起聽人朗讀《董貝父子》,直至今天,它還受到廣大讀者的喜愛。


  Dombey and Son is a novel by the Victorian author Charles Dickens. It was first published in monthly parts between October 1846 and April 1848 with the full title Dealings with the Firm of Dombey and Son: Wholesale, Retail and for Exportation. Dickens started writing the book in Lausanne, Switzerland, but travelled extensively during the course of its writing, returning to England to begin another work before completing Dombey and Son.
  
  Plot summary
  
  The story concerns Paul Dombey, the wealthy owner of the shipping company of the book's title, whose dream is to have a son to continue his business. The book begins when his son is born, and Dombey's wife dies shortly after giving birth. Following the advice of Mrs Louisa Chick, his sister, Dombey employs a wet nurse named Mrs Richards (Toodle). Dombey already has a daughter, Florence, whom he neglects. One day, Mrs Richards, Florence and her maid, Susan Nipper, secretly pay a visit Mrs Richard's house in Stagg's Gardens in order that she can see her children. During this trip, Florence becomes separated and is kidnapped for a short time by Good Mrs Brown before being returned to the streets. She makes her way to Dombey and Son's offices in the City and is guided there by Walter Gay, an employee, who first introduces her to his uncle, the navigation instrument maker Solomon Gill, at his shop the Midshipman.
  
  The child, also named Paul, is weak and often ill, and does not socialize normally with others; adults call him "old fashioned". He is intensely fond of his elder sister, Florence, who is deliberately neglected by her father as irrelevant and a distraction. He is sent away to Brighton, first for his health, where he and Florence lodge with the ancient and acidic Mrs Pipchin, and then for his education to Dr and Mrs Blimber's school, where he and the other boys undergo both an intense and arduous education under the tutelage of Mr Feeder, B.A. and Cornelia Blimber. It is here that Paul is befriended by a fellow pupil, the amiable Mr Toots.
  
  Here, Paul's health declines even further in this 'great hothouse' and he finally dies, still only six years old. Dombey pushes his daughter away from him after the death of his son, while she futilely tries to earn his love. In the meantime, Walter, who works for Dombey and Son, is sent off to work in Barbados through the manipulations of the firm's manager, Mr James Carker, 'with his white teeth', who sees him as a potential rival through his association with Florence. His boat is reported lost and he is presumed drowned. Walter's uncle leaves to go in search of Walter, leaving his great friend Captain Edward Cuttle in charge of the Midshipman. Meanwhile, Florence is now left alone with few friends to keep her company.
  
  Dombey goes to Leamington Spa with a new friend, Major Joseph B. Bagstock. The Major deliberately sets out to befriend Dombey in order to spite his neighbour in Princess's Place, Miss Tox, who has turned cold towards him owing to her hopes - through her close friendship with Mrs Chick - of marrying Mr Dombey. At the spa, Dombey is introduced via the Major to Mrs Skewton and her widowed daughter, Mrs Edith Granger. It is here that he develops an affection for Edith, encouraged by both the Major and the avaricious mother. After they return to London, Dombey remarries, effectively 'buying' the beautiful but haughty Edith as she and her mother are in a poor financial state. The marriage is loveless; his wife despises Dombey for his overbearing pride and herself for being shallow and worthless. Her love for Florence initially prevents her from leaving, but finally she conspires with Mr Carker to ruin Dombey's public image by running away together to Dijon. They do so after her last final argument with Dombey in which he once again attempts to subdue her to his will. When he discovers that she has left him, he blames Florence for siding with her step-mother, striking her on the breast in his anger, and she is forced to run away from home. Highly distraught, she finally makes her way to The Midshipman where she lodges with Captain Cuttle as he attempts to restore her back to health. They are visited frequently by Mr Toots and his boxing companion, the Chicken, since Mr Toots has been desperately in love with Florence since their time together in Brighton.
  
  Dombey sets out to find his wife. He is helped in this by Mrs Brown and her daughter, Alice, who, it turns out, was a former lover of Mr Carker. After being transported as a convict after he involved her in some criminal activities, she is seeking her revenge against him now she is returned to England. Going to Mrs Brown's house, Dombey overhears the conversation between Rob the Grinder - who is in the employment of Mr Carker - and the old woman as to the couple's whereabouts and sets off in pursuit. In the meantime, in Dijon, Mrs Dombey informs Carker that she sees him in no better a light than she sees Dombey, that she will not stay with him and she flees their apartment. Distraught, with both his financial and personal hopes lost, Carker flees from his former employer's pursuit. He seeks refuge back in England but, being greatly overwrought, accidentally falls under a train and is killed.
  
  After Carker's death, it is discovered that he had been running the firm far beyond its means. This information is gleaned by Carker's brother and sister, John and Harriet, from Mr Morfin, the assistant manager at Dombey and Son, who sets out to help John Carker. He often overheard the conversations between the two brothers in which James, the younger, often abused John, the older, who was just a lowly clerk and who is sacked by Dombey because of his filial relationship to the former manager. Meanwhile, back at the Midshipman, Walter reappears, having been saved by a passing ship after floating adrift with two other sailors on some wreckage. After some time, he and Florence are finally reunited - not as 'brother' and 'sister' but as lovers, and they marry prior to sailing for China on Walter's new ship. This is also the time when Sol Gills returns to the Midshipman. As he relates to his friends, he received news whilst in Barbados that a homeward-bound China trader had picked up Walter and so had returned to England immediately. He said he had sent letters whilst in the Caribbean to his friend Ned Cuttle c/o Mrs MacStinger at Cuttle's former lodgings, and the bemused Captain recounts how he fled the place, thus never receiving them.
  
  Florence and Walter depart and Sol Gills is entrusted with a letter, written by Walter to her father, pleading for him to be reconciled towards them both. A year passes and Alice Brown has slowly been dying despite the tender care of Harriet Carker. One night Alice's mother reveals that Alice herself is the [illegitimate]] cousin of Edith Dombey (which accounts for their similarity in appearance when they both meet). In a chapter entitled 'Retribution', Dombey and Son goes bankrupt. Dombey retires to two rooms in his house and all its contents are put up for sale. Mrs Pipchin, for some time the housekeeper, dismisses all the servants and she herself returns to Brighton, to be replaced by Mrs Richards. Dombey spends his days sunk in gloom, seeing no-one and thinking only of his daughter:
  “ He thought of her as she had been that night when he and his bride came home. He thought of her as she had been in all the home events of the abandoned house. He thought, now, that of all around him, she alone had never changed. His boy had faded into dust, his proud wife had sunk into a polluted creature, his flatterer and friend had been transformed into the worst of villains, his riches had melted away, the very walls that sheltered him looked on him as a stranger; she alone had turned the same, mild gentle look upon him always. Yes, to the latest and the last. She had never changed to him - nor had he ever changed to her - and she was lost. ”
  
  However, one day Florence returns to the house with her son, Paul, and is lovingly reunited with her father.
  
  Dombey accompanies his daughter to her and Walter's house where he slowly starts to decline, cared for by Florence and also Susan Nipper, now Mrs Toots. They receive a visit from Edth's Cousin Feenix who takes Florence to Edith for one final time - Feenix sought Edith out in France and she returned to England under his protection. Edith gives Florence a letter, asking Dombey to forgive her her crime before her departure to the South of Italy with her elderly relative. As she says to Florence, 'I will try, then to forgive him his share of the blame. Let him try to forgive me mine!'
  
  The final chapter (LXII) sees Dombey now a white-haired old man, 'whose face bears heavy marks of care and suffering; but they are traces of a storm that has passed on for ever, and left a clear evening in its track'.. Sol Gills and Ned Cuttle are now partners at the Midshipman, a source of great pride to the latter, and Mr and Mrs Toots announce the birth of their third daughter. Walter is doing well in business, having been appointed to a position of great confidence and trust, and Dombey is the proud grandfather of both a grandson and grand-daughter of whom he dotes on, and the book ends with the highly moving lines:
  “ 'Dear grandpapa, why do you cry when you kiss me?'
  
  He only answers, 'Little Florence! Little Florence!' and smooths away the curls that shade her earnest eyes.
   ”
  Source
  
  Dombey and Son, Charles Dickens, Wordsworth Classics, 1995, ISBN 1 85326 257 9
  Critical appreciation
  
  Dombey and Son was conceived first and foremost as a continuous novel. A letter from Dickens to Forster on 26th July, 1846 shows the major details of the plot and theme already substantially worked out. According to the critic George Gissing, 'Dombey was begun at Lausanne, continued at Paris, completed in London, and at English seaside places; whilst the early parts were being written, a Christmas story, The Battle of Life, was also in hand, and Dickens found it troublesome to manage both together. That he overcame the difficulty -- that, soon after, we find him travelling about England as member of an amateur dramatic company -- that he undertook all sorts of public engagements and often devoted himself to private festivity -- Dombey going on the while, from month to month -- is matter enough for astonishment to those who know anything about artistic production. But such marvels become commonplaces in the life of Charles Dickens.'
  
  As with most of Dickens' work, a number of socially significant themes are to be found in this book. In particular the book deals with the then-prevalent common practice of arranged marriages for financial gain. Other themes to be detected within this work include child cruelty (particularly in Dombey's treatment of Florence), familial relationships, and as ever in Dickens, betrayal and deceit and the consequences thereof. Another strong central theme, which the critic George Gissing elaborates on in detail in his 1925 work The Immortal Dickens, is that of pride and arrogance, of which Paul Dombey senior is the extreme exemplification in Dickens' work.
  
  Gissing makes a number of points about certain key inadequacies in the novel, not the least that Dickens's central character is largely unsympathetic and an unsuitable vehicle and also that after the death of the young Paul Dombey the reader is somewhat estranged from the rest of what is to follow. He notes that 'the moral theme of this book was Pride -- pride of wealth, pride of place, personal arrogance. Dickens started with a clear conception of his central character and of the course of the story in so far as it depended upon that personage; he planned the action, the play of motive, with unusual definiteness, and adhered very closely in the working to this well-laid scheme'. However, he goes on to write that,'Dombey and Son is a novel which in its beginning promises more than its progress fulfils' and gives the following reasons why:
  “ Impossible to avoid the reflection that the death of Dombey's son and heir marks the end of a complete story, that we feel a gap between Chapter XVI and what comes after (the author speaks of feeling it himself, of his striving to "transfer the interest to Florence") and that the narrative of the later part is ill-constructed, often wearisome, sometimes incredible. We miss Paul, we miss Walter Gay (shadowy young hero though he be); Florence is too colourless for deep interest, and the second Mrs. Dombey is rather forced upon us than accepted as a natural figure in the drama. Dickens's familiar shortcomings are abundantly exemplified. He is wholly incapable of devising a plausible intrigue, and shocks the reader with monstrous improbabilities such as all that portion of the denouement in which old Mrs. Brown and her daughter are concerned. A favourite device with him (often employed with picturesque effect) was to bring into contact persons representing widely severed social ranks; in this book the "effect" depends too often on "incidences of the boldest artificiality," as nearly always we end by neglecting the story as a story, and surrendering ourselves to the charm of certain parts, the fascination of certain characters.' ”
  
  Characters in the novel
  
  Karl Ashley Smith (the University of St Andrews) in his Introduction to Wordsworth Classics' Dombey and Son makes some reflections on the novel's characters. He believes that Dombey’s power to disturb comes from his belief that human relationships can be controlled by money, giving the following examples to support this viewpoint:
  “ He tries to prevent Mrs Richards from developing an attachment to Paul by emphasising the wages he pays her. Mrs Pipchin’s small talk satisfies him as ‘the sort of think for which he paid her so much a quarter’ (p.132). Worst of all, he effectively buys his second wife and expects that his wealth and position in society will be enough to keep her in awed obedience to him. Paul’s questions about money are only the first indication of the naivety of his outlook'. ”
  
  However, he also believes that the satire against this man is tempered with compassion.
  
  Smith also draws attention to the fact that certain characters in the novel 'develop a pattern from Dickens's earlier novels, whilst pointing the way to future works'. One such character is Little Paul who is a direct descendant of Little Nell. Another is James Carker, the ever-smiling manager of Dombey and Son. Smith notes there are strong similarities between him and the likes of Jaggers in Great Expectations and, even more so, the evil barrister, Mr Tulkinghorn, in Bleak House:
  “ From Fagin (Oliver Twist) onwards, the terrifying figure exerting power over others by an infallible knowledge of their secrets becomes one of the author’s trademarks ... His gentlemanly businesslike respectability marks him out as the ancestor of Tulkinghorn in Bleak House and even of Jaggers in Great Expectations. And his involvements in the secrets of others leads him to as sticky an end as Tulkinghorn’s. The fifty-fifth chapter, where he is forced to flee his outraged employer, magnificently continues the theme of the guilt-hunted man from Bill Sikes in Oliver Twist and Jonas’s restless sense of pursuit in Martin Chuzzlewit. There is always a strong sense in Dickens of the narrative drive of discovery catching up with those who deal in darkness...' ”
  
  Gissing looks at some of the minor characters in the novel and is particularly struck by that of Edward (Ned) Cuttle.
  “ Captain Cuttle has a larger humanity than his roaring friend [Captain Bunsby], he is the creation of humour. That the Captain suffered dire things at the hands of Mrs. MacStinger is as credible as it is amusing, but he stood in no danger of Bunsby's fate; at times he can play his part in a situation purely farcical, but the man himself moves on a higher level. He is one of the most familiar to us among Dickens's characters, an instance of the novelist's supreme power, which (I like to repeat) proves itself in the bodying forth of a human personality henceforth accepted by the world. His sentences have become proverbs; the mention of his name brings before the mind's eye an image of flesh and blood -- rude, tending to the grotesque, but altogether lovable. Captain Cuttle belongs to the world of Uncle Toby, with, to be sure, a subordinate position. Analyse him as you will, make the most of those extravagances which pedants of to-day cannot away with, and in the end you will still be face to face with something vital -- explicable only as the product of genius. ”
  
  The growth of the railways
  
  A strong theme is the destruction and degradation (of people and places) caused by industrialisation, illustrated in particular by the building of the new railway through Camden Town (assumed to represent the London and Birmingham Railway constructed between 1833 and 1837). This reflects Dickens's apparent antipathy towards railways[citation needed], later reinforced by his involvement in a train crash in 1865. Soon after this incident he wrote two short stories (Mugby Junction and The Signal-Man) which projected a morbid view of the railways.
  
  Final thoughts
  
  Gissing refers to Dickens's instinctive genius for reflecting the thoughts and morals of the common man in his writing. He observes that the author was in constant communication with Forster,
  “ ... as to the feeling of his readers about some proposed incident or episode; not that he feared, in any ignoble sense, to offend his public, but because his view of art involved compliance with ideals of ordinary simple folk. He held that view as a matter of course. Quite recently it has been put forth with prophetic fervour by Tolstoy, who cites Dickens among the few novelists whose work will bear this test. An instinctive sympathy with the moral (and therefore the artistic) prejudices of the everyday man guided Dickens throughout his career, teaching him when, and how far, he might strike at things he thought evil, yet never defeat his prime purpose of sending forth fiction acceptable to the multitude. Himself, in all but his genius, a representative Englishman of the middle-class, he was able to achieve this task with unfailing zeal and with entire sincerity. ”
  
  Karl Smith, in his turn, gives his specific reasons for what makes Dombey and Son - and the works of Dickens as a whole - worth reading again and again. He observes that this is based in part on Dickens's 'recognition that solemn themes require humour and verbal vigour to accompany and complement them' and goes on to conclude:
  “ Grim psychological realism, social commentary, comic absurdity and symbolic transcendence are here brought together more than in any previous novel with the possible exception of Oliver Twist. Dombey and Son not only prepares the ground for Dickens’s later masterpieces, but demands to be enjoyed for its own energy and richness. ”
  Characters in "Dombey and Son"
  The "Wooden Midshipman" of Uncle Sol's nautical instrument shop of the same name. Statue in the Charles Dickens Museum.
  
   * Mr Paul Dombey – the wealthy owner of the shipping company
   * Edith Granger – proud widowed daughter of Mrs Skewton, becomes second Mrs Dombey
   * Mrs Fanny Dombey – Mr Dombey's first wife, mother of Florence and Paul, dies soon after Paul is born
   * Master Paul Dombey (Little Dombey) – the son, is weak and often ill
   * Miss Florence (Floy) Dombey – the elder daughter whom Mr Dombey neglects
   * Mrs Louisa Chick – Mr Dombey's sister
   * Mr Chick – husband of Mrs Chick
   * Miss Lucretia Tox – friend of Mrs Chick, great admirer of Mr Dombey, and neighbour of Major Joseph Bagstock
   * James Carker (Mr Carker the Manager) – devious manager in Mr Dombey's business
   * John Carker (Mr Carker the Junior) – disgraced older brother of James, lower level employee in Dombey's business
   * Miss Harriet Carker – sister of James and John
   * Mr Morfin – assistant manager in Mr Dombey's business
   * Mr Perch – messenger in Mr Dombey's business
   * Solomon (Uncle Sol) Gills – ships' instrument maker and owner of the "Wooden Midshipman", a shop
   * Walter Gay – nephew of Gills, friend to Florence, employee of Mr Dombey, sent away by Carker the Manager
   * Captain Edward (Ned) Cuttle – retired sea captain, friend of Gills
   * Major Joseph Bagstock (Josh, Joe, J.B., Old Joe) – conceited retired army major, admirer of Miss Tox, friend of Mr Dombey until his downfall
   * Briggs – schoolmate of Paul's
   * Tozer – schoolmate of Paul's
   * Mr P. Toots – schoolmate of Paul's, later a dandy in love with Florence
   * The Game Chicken – rowdy companion of Mr Toots
   * Miss Susan Nipper – Florence's loyal nurse, later marries Mr. Toots
   * Mrs Cleopatra Skewton – Edith Dombey's infirm mother and former lover of Bagstock
   * Mr Toodle – a railway engineer
   * Polly Toodle (Mrs Richards) – wife of Mr Toodle, engaged as nurse to Paul under the name Mrs Richards (by Mr Dombey's order)
   * Robin Toodle (Rob the Grinder, Biler) – son of Mr Toodle and Polly, sent to Charitable Grinders school, later engaged in service to Captain Cuttle and Mr. Carker the Manager
   * Good Mrs. Brown – an elderly rag dealer
   * Alice – daughter of Brown, former lover of Carker's, recently returned from transportation
   * Jack Bunsby – commander of a ship, and regarded as an oracle by Captain Cuttle. Eventually is wedded to Mrs MaacStinger.
   * Mrs MacStinger – Captain Cuttle's landlady and nemesis
   * Mrs Pipchin – stern widow who keeps an 'infantine Boarding-House of a very select description' in Brighton, where Paul is sent for his health
   * Master Bitherstone – a fellow-boarder at Mrs. Pipchin's, much later a student at Doctor Blimber's
   * Miss Pankey – a fellow-boarder at Mrs. Pipchin's
   * Sir Barnet Skettles –
   * Lady Skettles –
   * Master Skettles – Brighton school pupil
   * Doctor Blimber – runs a school in Brighton which Paul briefly attends
   * Mrs Blimber – Doctor Blimber's wife
   * Miss Cornelia Blimber – Doctor Blimber's daughter, teacher at the school
   * Mr Feeder, B.A. – Doctor Blimber's assistant, teacher at the school
   * Diogenes (Di) – A dog from the school, befriended by Paul and adopted by Florence after Paul's death
  
  Film, TV or theatrical adaptations
  
  The novel has been adapted for the screen at least three times:
  
   * 1917 - a silent starring Norman McKinnel as Paul Dombey and Hayford Hobbs as Walter Gay
   * 1969 - a television mini-series starring John Carson as Paul Dombey and Derek Seaton as Walter Gay
   * 1983 - a television mini-series starring Julian Glover as Paul Dombey and Max Gold as Walter Gay
  
  There have also been BBC radio adaptations.
  
  In 2007, a two-part French miniseries, Dombais et Fils, was produced by France 3, directed by Laurent Jaoui and starring Christophe Malavoy as "Charles Dombais" (Paul Dombey).
  
  It was announced in September 2009 that Andrew Davies would no longer be writing a proposed television adaptation for the BBC.
  Original publication
  
  Dombey and Son was originally published in 19 monthly instalments; each cost one shilling (except for the last, which cost two shillings, being a double issue) and contained 32 pages of text with two illustrations by Phiz:
  
   * I - October 1846 (chapters 1-4);
   * II - November 1846 (chapters 5-7);
   * III - December 1846 (chapters 8-10);
   * IV - January 1847 (chapters 11-13);
   * V - February 1847 (chapters 14-16);
   * VI - March 1847 (chapters 17-19);
   * VII - April 1847 (chapters 20-22);
   * VIII - May 1847 (chapters 23-25);
   * IX - June 1847 (chapters 26-28);
   * X - July 1847 (chapters 29-31);
   * XI - August 1847 (chapters 32-34);
   * XII - September 1847 (chapters 35-38);
   * XIII - October 1847 (chapters 39-41);
   * XIV - November 1847 (chapters 42-45);
   * XV - December 1847 (chapters 46-48);
   * XVI - January 1848 (chapters 49-51);
   * XVII - February 1848 (chapters 52-54);
   * XVIII - March 1848 (chapters 55-57);
   * XIX-XX - April 1848 (chapters 58-62).
  
  Trivia
  
   * The motto of the publication Notes and Queries, "When found, make a note of", comes from the novel.
   * In the illustrated plate, "Major Bagstock is delighted to have that opportunity," the lettering "HOTEL" on the central building in the background is written in mirror-writing. Phiz, the illustrator, evidently forgot to reverse the lettering so that it would read correctly when the plate was printed. (However, strangely, he got the other lettering in the same plate correct.)
   * Sir Harry Johnston wrote a sequel to Dombey and Son in about 1920, titled The Gay-Dombeys.
   * In the novel Velocity by Dean Koontz, the comatose wife of the main protagonist often makes incoherent references to the works of Dickens, the 'most mysterious' coming from Dombey and Son, "I want to know what it says, the sea. What it is that it keeps on saying."
主要人物表
  約瑟夫·白格斯托剋少校:退休軍官
   布林伯博士:私營男學生寄宿學校的創辦人
   傑剋·邦斯貝:“謹慎的剋拉拉”號商船的船長
   詹姆斯·卡剋先生:董貝父子公司的經理,極受董貝先生信任
   約翰·卡剋先生:董貝父子公司的低級職員
   約翰·奇剋先生:董貝先生的妹夫
   愛德華·卡特爾船長:退休的商船船長,沃爾特和他舅舅的朋友
   保羅·董貝:董貝先生年幼的兒子和繼承人
   保羅·董貝先生:富有的倫敦商人
   菲德先生:布林伯博士學校中的助理
   沃爾特·蓋伊(愛稱為沃爾或沃利):董貝先生雇傭的一位年輕人
   所羅門·吉爾斯:航海儀器製造商,沃爾特·蓋伊的舅舅
   珀奇先生:董貝先生營業所辦公室中的信差
   巴尼特·斯剋特爾斯爵士:衆議院議員
   羅賓·圖德爾(“拜勒”,有時又稱“磨工羅布”),慈善學校的學生,後來成為卡剋先生的暗探
   普·圖茨先生:有錢的年輕的紳士,心地善良,智力低下
   托馬斯·托林森:董貝先生的男僕
   托澤:小保羅·董貝的同學威瑟斯·斯丘頓夫人的侍童
   安妮:董貝先生的女僕
   布林伯夫人:布林伯博士的妻子
   科妮莉亞·布林伯小姐:布林伯夫婦的女兒
   艾麗斯·布朗:別名艾麗斯·馬伍德,詹姆斯·卡剋以前的情婦
   布朗太太:艾麗斯·布朗的母親
   哈裏特·卡剋:約翰,卡剋和詹姆斯·卡剋的姐姐
   路易莎·奇剋夫人:董貝先生的妹妹
   伊迪絲·董貝夫人:董貝先生的第二個妻子
   弗洛倫斯·董貝(愛稱為弗洛伊):董貝先生的女兒
   麥剋斯廷傑太太:兇悍的寡婦,卡特爾船長的女房東
   蘇珊·尼珀:弗洛倫斯·董貝的侍女
   珀奇太太:珀奇先生的妻子
   皮普欽太太:兒童寄宿所所長,後來是董貝先生的女管傢
   斯剋托爾斯夫人:斯剋托爾斯爵士的妻子
   斯丘頓夫人(“剋利奧佩特拉”):伊迪絲·董貝的母親
   波利·圖德爾(“理查茲”):小保羅·董貝的奶媽
   盧剋麗霞·托剋斯小姐:路易莎·奇剋夫人的的好友;懷有野心,想成為董貝先生的續弦夫人
   威肯姆大嫂:一位侍者的妻子,小保羅·董貝的保姆


  Dombey sat in the corner of the darkened room in the great arm-chair by the bedside, and Son lay tucked up warm in a little basket bedstead, carefully disposed on a low settee immediately in front of the fire and close to it, as if his constitution were analogous to that of a muffin, and it was essential to toast him brown while he was very new.
   Dombey was about eight-and-forty years of age. Son about eight-and-forty minutes. Dombey was rather bald, rather red, and though a handsome well-made man, too stern and pompous in appearance, to be prepossessing. Son was very bald, and very red, and though (of course) an undeniably fine infant, somewhat crushed and spotty in his general effect, as yet. On the brow of Dombey, Time and his brother Care had set some marks, as on a tree that was to come down in good time - remorseless twins they are for striding through their human forests, notching as they go - while the countenance of Son was crossed with a thousand little creases, which the same deceitful Time would take delight in smoothing out and wearing away with the flat part of his scythe, as a preparation of the surface for his deeper operations.
   Dombey, exulting in the long-looked-for event, jingled and jingled the heavy gold watch-chain that depended from below his trim blue coat, whereof the buttons sparkled phosphorescently in the feeble rays of the distant fire. Son, with his little fists curled up and clenched, seemed, in his feeble way, to be squaring at existence for having come upon him so unexpectedly.
   'The House will once again, Mrs Dombey,' said Mr Dombey, 'be not only in name but in fact Dombey and Son;' and he added, in a tone of luxurious satisfaction, with his eyes half-closed as if he were reading the name in a device of flowers, and inhaling their fragrance at the same time; 'Dom-bey and Son!'
   The words had such a softening influence, that he appended a term of endearment to Mrs Dombey's name (though not without some hesitation, as being a man but little used to that form of address): and said, 'Mrs Dombey, my - my dear.'
   A transient flush of faint surprise overspread the sick lady's face as she raised her eyes towards him.
   'He will be christened Paul, my - Mrs Dombey - of course.'
   She feebly echoed, 'Of course,' or rather expressed it by the motion of her lips, and closed her eyes again.
   'His father's name, Mrs Dombey, and his grandfather's! I wish his grandfather were alive this day! There is some inconvenience in the necessity of writing Junior,' said Mr Dombey, making a fictitious autograph on his knee; 'but it is merely of a private and personal complexion. It doesn't enter into the correspondence of the House. Its signature remains the same.' And again he said 'Dombey and Son, in exactly the same tone as before.
   Those three words conveyed the one idea of Mr Dombey's life. The earth was made for Dombey and Son to trade in, and the sun and moon were made to give them light. Rivers and seas were formed to float their ships; rainbows gave them promise of fair weather; winds blew for or against their enterprises; stars and planets circled in their orbits, to preserve inviolate a system of which they were the centre. Common abbreviations took new meanings in his eyes, and had sole reference to them. A. D. had no concern with Anno Domini, but stood for anno Dombei - and Son.
   He had risen, as his father had before him, in the course of life and death, from Son to Dombey, and for nearly twenty years had been the sole representative of the Firm. Of those years he had been married, ten - married, as some said, to a lady with no heart to give him; whose happiness was in the past, and who was content to bind her broken spirit to the dutiful and meek endurance of the present. Such idle talk was little likely to reach the ears of Mr Dombey, whom it nearly concerned; and probably no one in the world would have received it with such utter incredulity as he, if it had reached him. Dombey and Son had often dealt in hides, but never in hearts. They left that fancy ware to boys and girls, and boarding-schools and books. Mr Dombey would have reasoned: That a matrimonial alliance with himself must, in the nature of things, be gratifying and honourable to any woman of common sense. That the hope of giving birth to a new partner in such a House, could not fail to awaken a glorious and stirring ambition in the breast of the least ambitious of her sex. That Mrs Dombey had entered on that social contract of matrimony: almost necessarily part of a genteel and wealthy station, even without reference to the perpetuation of family Firms: with her eyes fully open to these advantages. That Mrs Dombey had had daily practical knowledge of his position in society. That Mrs Dombey had always sat at the head of his table, and done the honours of his house in a remarkably lady-like and becoming manner. That Mrs Dombey must have been happy. That she couldn't help it.
   Or, at all events, with one drawback. Yes. That he would have allowed. With only one; but that one certainly involving much. With the drawback of hope deferred. That hope deferred, which, (as the Scripture very correctly tells us, Mr Dombey would have added in a patronising way; for his highest distinct idea even of Scripture, if examined, would have been found to be; that as forming part of a general whole, of which Dombey and Son formed another part, it was therefore to be commended and upheld) maketh the heart sick. They had been married ten years, and until this present day on which Mr Dombey sat jingling and jingling his heavy gold watch-chain in the great arm-chair by the side of the bed, had had no issue.
   - To speak of; none worth mentioning. There had been a girl some six years before, and the child, who had stolen into the chamber unobserved, was now crouching timidly, in a corner whence she could see her mother's face. But what was a girl to Dombey and Son! In the capital of the House's name and dignity, such a child was merely a piece of base coin that couldn't be invested - a bad Boy - nothing more.
   Mr Dombey's cup of satisfaction was so full at this moment, however, that he felt he could afford a drop or two of its contents, even to sprinkle on the dust in the by-path of his little daughter.
   So he said, 'Florence, you may go and look at your pretty brother, if you lIke, I daresay. Don't touch him!'
   The child glanced keenly at the blue coat and stiff white cravat, which, with a pair of creaking boots and a very loud ticking watch, embodied her idea of a father; but her eyes returned to her mother's face immediately, and she neither moved nor answered.
   'Her insensibility is as proof against a brother as against every thing else,' said Mr Dombey to himself He seemed so confirmed in a previous opinion by the discovery, as to be quite glad of it'
   Next moment, the lady had opened her eyes and seen the child; and the child had run towards her; and, standing on tiptoe, the better to hide her face in her embrace, had clung about her with a desperate affection very much at variance with her years.
   'Oh Lord bless me!' said Mr Dombey, rising testily. 'A very illadvised and feverish proceeding this, I am sure. Please to ring there for Miss Florence's nurse. Really the person should be more care-'
   'Wait! I - had better ask Doctor Peps if he'll have the goodness to step upstairs again perhaps. I'll go down. I'll go down. I needn't beg you,' he added, pausing for a moment at the settee before the fire, 'to take particular care of this young gentleman, Mrs - '
   'Blockitt, Sir?' suggested the nurse, a simpering piece of faded gentility, who did not presume to state her name as a fact, but merely offered it as a mild suggestion.
   'Of this young gentleman, Mrs Blockitt.'
   'No, Sir, indeed. I remember when Miss Florence was born - '
   'Ay, ay, ay,' said Mr Dombey, bending over the basket bedstead, and slightly bending his brows at the same time. 'Miss Florence was all very well, but this is another matter. This young gentleman has to accomplish a destiny. A destiny, little fellow!' As he thus apostrophised the infant he raised one of his hands to his lips, and kissed it; then, seeming to fear that the action involved some compromise of his dignity, went, awkwardly enough, away.
   Doctor Parker Peps, one of the Court Physicians, and a man of immense reputation for assisting at the increase of great families, was walking up and down the drawing-room with his hands behind him, to the unspeakable admiration of the family Surgeon, who had regularly puffed the case for the last six weeks, among all his patients, friends, and acquaintances, as one to which he was in hourly expectation day and night of being summoned, in conjunction with Doctor Parker Pep.
   'Well, Sir,' said Doctor Parker Peps in a round, deep, sonorous voice, muffled for the occasion, like the knocker; 'do you find that your dear lady is at all roused by your visit?'
   'Stimulated as it were?' said the family practitioner faintly: bowing at the same time to the Doctor, as much as to say, 'Excuse my putting in a word, but this is a valuable connexion.'
   Mr Dombey was quite discomfited by the question. He had thought so little of the patient, that he was not in a condition to answer it. He said that it would be a satisfaction to him, if Doctor Parker Peps would walk upstairs again.
   'Good! We must not disguise from you, Sir,' said Doctor Parker Peps, 'that there is a want of power in Her Grace the Duchess - I beg your pardon; I confound names; I should say, in your amiable lady. That there is a certain degree of languor, and a general absence of elasticity, which we would rather - not -
   'See,' interposed the family practitioner with another inclination of the head.
   'Quite so,' said Doctor Parker Peps,' which we would rather not see. It would appear that the system of Lady Cankaby - excuse me: I should say of Mrs Dombey: I confuse the names of cases - '
   'So very numerous,' murmured the family practitioner - 'can't be expected I'm sure - quite wonderful if otherwise - Doctor Parker Peps's West-End practice - '
   'Thank you,' said the Doctor, 'quite so. It would appear, I was observing, that the system of our patient has sustained a shock, from which it can only hope to rally by a great and strong - '
   'And vigorous,' murmured the family practitioner.
   'Quite so,' assented the Doctor - 'and vigorous effort. Mr Pilkins here, who from his position of medical adviser in this family - no one better qualified to fill that position, I am sure.'
   'Oh!' murmured the family practitioner. '"Praise from Sir Hubert Stanley!"'
   'You are good enough,' returned Doctor Parker Peps, 'to say so. Mr Pilkins who, from his position, is best acquainted with the patient's constitution in its normal state (an acquaintance very valuable to us in forming our opinions in these occasions), is of opinion, with me, that Nature must be called upon to make a vigorous effort in this instance; and that if our interesting friend the Countess of Dombey - I beg your pardon; Mrs Dombey - should not be - '
   'Able,' said the family practitioner.
   'To make,' said Doctor Parker Peps.
   'That effort,' said the family practitioner.
   'Successfully,' said they both together.
   'Then,' added Doctor Parker Peps, alone and very gravely, a crisis might arise, which we should both sincerely deplore.'
   With that, they stood for a few seconds looking at the ground. Then, on the motion - made in dumb show - of Doctor Parker Peps, they went upstairs; the family practitioner opening the room door for that distinguished professional, and following him out, with most obsequious politeness.
   To record of Mr Dombey that he was not in his way affected by this intelligence, would be to do him an injustice. He was not a man of whom it could properly be said that he was ever startled, or shocked; but he certainly had a sense within him, that if his wife should sicken and decay, he would be very sorry, and that he would find a something gone from among his plate and furniture, and other household possessions, which was well worth the having, and could not be lost without sincere regret. Though it would be a cool,. business-like, gentlemanly, self-possessed regret, no doubt.
   His meditations on the subject were soon interrupted, first by the rustling of garments on the staircase, and then by the sudden whisking into the room of a lady rather past the middle age than otherwise but dressed in a very juvenile manner, particularly as to the tightness of her bodice, who, running up to him with a kind of screw in her face and carriage, expressive of suppressed emotion, flung her arms around his neck, and said, in a choking voice,
   'My dear Paul! He's quite a Dombey!'
   'Well, well!' returned her brother - for Mr Dombey was her brother - 'I think he is like the family. Don't agitate yourself, Louisa.'
   'It's very foolish of me,' said Louisa, sitting down, and taking out her pocket~handkerchief, 'but he's - he's such a perfect Dombey!'
   Mr Dombey coughed.
   'It's so extraordinary,' said Louisa; smiling through her tears, which indeed were not overpowering, 'as to be perfectly ridiculous. So completely our family. I never saw anything like it in my life!'
   'But what is this about Fanny, herself?' said Mr Dombey. 'How is Fanny?'
   'My dear Paul,' returned Louisa, 'it's nothing whatever. Take my word, it's nothing whatever. There is exhaustion, certainly, but nothing like what I underwent myself, either with George or Frederick. An effort is necessary. That's all. If dear Fanny were a Dombey! - But I daresay she'll make it; I have no doubt she'll make it. Knowing it to be required of her, as a duty, of course she'll make it. My dear Paul, it's very weak and silly of me, I know, to be so trembly and shaky from head to foot; but I am so very queer that I must ask you for a glass of wine and a morsel of that cake.'
   Mr Dombey promptly supplied her with these refreshments from a tray on the table.
   'I shall not drink my love to you, Paul,' said Louisa: 'I shall drink to the little Dombey. Good gracious me! - it's the most astonishing thing I ever knew in all my days, he's such a perfect Dombey.'
   Quenching this expression of opinion in a short hysterical laugh which terminated in tears, Louisa cast up her eyes, and emptied her glass.
   'I know it's very weak and silly of me,' she repeated, 'to be so trembly and shaky from head to foot, and to allow my feelings so completely to get the better of me, but I cannot help it. I thought I should have fallen out of the staircase window as I came down from seeing dear Fanny, and that tiddy ickle sing.' These last words originated in a sudden vivid reminiscence of the baby.
   They were succeeded by a gentle tap at the door.
   'Mrs Chick,' said a very bland female voice outside, 'how are you now, my dear friend?'
   'My dear Paul,' said Louisa in a low voice, as she rose from her seat, 'it's Miss Tox. The kindest creature! I never could have got here without her! Miss Tox, my brother Mr Dombey. Paul, my dear, my very particular friend Miss Tox.'
   The lady thus specially presented, was a long lean figure, wearing such a faded air that she seemed not to have been made in what linen-drapers call 'fast colours' originally, and to have, by little and little, washed out. But for this she might have been described as the very pink of general propitiation and politeness. From a long habit of listening admiringly to everything that was said in her presence, and looking at the speakers as if she were mentally engaged in taking off impressions of their images upon her soul, never to part with the same but with life, her head had quite settled on one side. Her hands had contracted a spasmodic habit of raising themselves of their own accord as in involuntary admiration. Her eyes were liable to a similar affection. She had the softest voice that ever was heard; and her nose, stupendously aquiline, had a little knob in the very centre or key-stone of the bridge, whence it tended downwards towards her face, as in an invincible determination never to turn up at anything.
   Miss Tox's dress, though perfectly genteel and good, had a certain character of angularity and scantiness. She was accustomed to wear odd weedy little flowers in her bonnets and caps. Strange grasses were sometimes perceived in her hair; and it was observed by the curious, of all her collars, frills, tuckers, wristbands, and other gossamer articles - indeed of everything she wore which had two ends to it intended to unite - that the two ends were never on good terms, and wouldn't quite meet without a struggle. She had furry articles for winter wear, as tippets, boas, and muffs, which stood up on end in rampant manner, and were not at all sleek. She was much given to the carrying about of small bags with snaps to them, that went off like little pistols when they were shut up; and when full-dressed, she wore round her neck the barrenest of lockets, representing a fishy old eye, with no approach to speculation in it. These and other appearances of a similar nature, had served to propagate the opinion, that Miss Tox was a lady of what is called a limited independence, which she turned to the best account. Possibly her mincing gait encouraged the belief, and suggested that her clipping a step of ordinary compass into two or three, originated in her habit of making the most of everything.
   'I am sure,' said Miss Tox, with a prodigious curtsey, 'that to have the honour of being presented to Mr Dombey is a distinction which I have long sought, but very little expected at the present moment. My dear Mrs Chick - may I say Louisa!'
   Mrs Chick took Miss Tox's hand in hers, rested the foot of her wine-glass upon it, repressed a tear, and said in a low voice, 'God bless you!'
   'My dear Louisa then,' said Miss Tox, 'my sweet friend, how are you now?'
   'Better,' Mrs Chick returned. 'Take some wine. You have been almost as anxious as I have been, and must want it, I am sure.'
   Mr Dombey of course officiated, and also refilled his sister's glass, which she (looking another way, and unconscious of his intention) held straight and steady the while, and then regarded with great astonishment, saying, 'My dear Paul, what have you been doing!'
   'Miss Tox, Paul,' pursued Mrs Chick, still retaining her hand, 'knowing how much I have been interested in the anticipation of the event of to-day, and how trembly and shaky I have been from head to foot in expectation of it, has been working at a little gift for Fanny, which I promised to present. Miss Tox is ingenuity itself.'
   'My dear Louisa,' said Miss Tox. 'Don't say so.
   'It is only a pincushion for the toilette table, Paul,' resumed his sister; 'one of those trifles which are insignificant to your sex in general, as it's very natural they should be - we have no business to expect they should be otherwise - but to which we attach some interest.
   'Miss Tox is very good,' said Mr Dombey.
   'And I do say, and will say, and must say,' pursued his sister, pressing the foot of the wine-glass on Miss Tox's hand, at each of the three clauses, 'that Miss Tox has very prettily adapted the sentiment to the occasion. I call "Welcome little Dombey" Poetry, myself!'
   'Is that the device?' inquired her brother.
譯者前言
  查爾斯·狄更斯是英國文學中批判現實主義的創始人和最偉大的代表。他的創作時代是英國工業資本主義正在發展,各種矛盾日益激化的時代。他的作品生動地描繪了英國資本主義社會中極為廣阔的生活圖畫。
   《董貝父子》是他在1846年開始創作並在1848年完成的長篇小說。它代表了他在創作道路上的一個重要轉折點,也是他在創作成熟時期的第一個高峰。與他的前期作品比較,這部小說對英國資本主義社會,特別是對英國資産階級的觀察是更為深刻了;它在文學藝術上所達到的高度也超出了他的前期作品。在世界文學的美麗園林中,它始終是一株出類拔萃、蒼翠常青的樹木,衹有少數作品在思想性與藝術性方面能與它媲美。
   這部長篇小說描述了一位英國資産階級典型代表人物董貝先生所經歷的悲劇。董貝先生是英國倫敦一個從事批發、零售和出口事業的公司的老闆。在資本主義社會中,金錢幾乎支配社會的一切事物。董貝先生由於擁有巨大的財富,成了一位極為高傲的人物。正像他對他的小兒子所說的,錢可以“使人們畏懼、尊敬、奉承和羨慕我們,並使我們在所有人們的眼中看來權勢顯赫、榮耀光彩”。他的生活目的就是去擴展他的公司,獲得更多的利潤。金錢主宰了他本人的思想,使他成了一個冷冰冰的、失去人類良好感情的人。小說開始時,他的久已盼望的兒子出世了,他感到興高采烈。他喜愛他的兒子,主要是因為他是他的公司的繼承人,他在他身上寄托着他的野心與期望。但是他絲毫也不去關心孩子的精神世界,因此他的兒子小保羅從他那裏得不到真正的父愛,也享受不到真正的家庭歡樂。至於他的女兒弗洛倫斯,因為“在公司的聲望與尊嚴的資本中……衹不過是一枚不能用來投資的劣幣”,所以長期受到他的冷落,使女孩子在精神上深深地感到痛苦。他的第一位夫人的去世,他衹是“覺得從他的盤子、傢具和其他家庭用品中間不見了一個什麽東西,而這東西是值得有的”。他傲視勞動人民,與他們的關係是冷若冰霜的金錢關係,正如他對他小兒子奶媽所說的,“在我們這個交易中,您根本不需要愛上我的孩子,我的孩子也不需要愛上您……當您離開這裏的時候,您就結束了這純粹是買與賣、雇傭與辭退的交易關係。”
   可是他引以自傲的金錢並不能給他帶來他所需要的一切東西。錢能做什麽?這是他的小兒子嚮他提出的問題。世界上有不少東西,特別是人們相互之間出自內心的真正感情,不是錢能買得到的。這是這部小說的主題思想。嚴峻的事實殘酷地教訓了董貝先生。在冷冰冰的氣氛的包圍下,在他操之過急的願望的支配下,並在不良的教育制度的摧殘下,他的小兒子夭折了。金錢並不能使他享有健康。美麗的年輕寡婦伊迪絲在她貪婪的母親的慫恿下,被他用金錢買到了,可是他並不能買到她的真正的愛情以及他想要得到的尊敬與服從。伊迪絲沒有嚮他的蠻橫的要求屈服,兩個高傲的人之間發生了激烈的衝突。錢使他得到了他的經理的諂媚,但卻得不到他的真正的忠誠。最後他的妻子拋棄了他,和他的經理一起離傢私奔,在他的家庭生活中掀起了一場軒然大波,帶來了一場大災難。作為鮮明的襯托,小說為我們描繪了一些普通人民(如火車上燒鍋爐的工人圖德爾一傢和卡特爾船長等)的生活。在這些主要不受金錢支配的普通人民身上閃現着人類良好感情的火花。董貝先生本人也衹是在公司破産之後,他的曾經一度被金錢扭麯了的性格被糾正過來之後,他纔在身上顯露出良好的人類感情。他在喪失了巨大的財富之後卻得到了寶貴的父女之愛,並享受到真正的天倫之樂。
   狄更斯在這部小說中描繪了19世紀英國資本主義社會中各個相互聯繫的側面。我們在小說中可以看到權勢顯赫的資本傢,也可以看到被資本主義競爭擠垮的小商人及普通的勞動人民;可以看到門第敗落的貴族,也可以看到在生死綫上掙紮的乞丐與淪落受辱的妓女。資本主義社會中這些不同階級的人物並不是孤立地存在的,他們相互之間的關係是一幅內容豐富的圖畫。
   《董貝父子》是狄更斯所創作的一部結構嚴密的小說,與他前期作品中存在着結構鬆散的缺點有很大不同。他在創作之前,經過了細心的構思。所有人物的出場與故事情節的發展,都圍繞着董貝先生的命運的發展來安排,各種事件都有機地結合在一起,故事十分生動有趣。狄更斯在小說中采用的藝術手法是多種多樣的。有尖刻的諷刺,也有含笑的幽默;有客觀的描寫,也有故意的誇張;有直接樸素的陳述,也有妙趣橫生的比喻。狄更斯筆下的人物一個個都是活生生的,他們有自己獨特的性格,也有自己獨特的語言,甚至一條狗、一隻鸚鵡、一把火鉗、一塊窗簾有時也都鮮明地顯示出了它們的思想感情。在閱讀《董貝父子》的時候,讀者的心是隨着故事的進展而跳動的。他會對某些人物産生厭惡或憤怒,對另一些人物則會感到喜愛或關懷。他會流出同情的眼淚,但更多的是會因為那些幽默有趣的文字而發出歡快的微笑。
   《董貝父子》和狄更斯的其他許多小說一樣,是作者一邊創作,一邊在雜志上分期發表的。當描寫小保羅去世的那一章發表時,當時的英國小說傢安娜·馬什—考德威爾(AnnaMarsh—Caldwell)曾不加誇張地寫道,它“把整個國傢都投入了悲悼之中”;不僅當時的英國是這樣,而且在法國也受到了程度不同的震動。《董貝父子》全書出版以後,立即贏得了廣大的讀者,成為當時的暢銷書。由此可見這本書當時産生的巨大影響。我國讀者都很喜愛狄更斯所寫的小說《奧列佛爾·退斯特》(又譯《霧都孤兒》)、《老古玩店》和《遠大前程》(《又譯《孤星血淚》)等。我相信,《董貝父子》在我國翻譯出版後,我國讀者也一定會深深地喜愛它。


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