首页>> 文学论坛>> 现实百态>> liè · tuō 'ěr tài Leo Tolstoy   é luó Russia   é luó guó   (1828niánjiǔyuè9rì1910niánshíyīyuè20rì)
复活 Resurrection
  聂赫留道夫公爵是莫斯科地方法院的陪审员。一次他参加审理一个毒死人的命案。不料,从妓女玛丝洛娃具有特色的眼神中认出原来她是他青年时代热恋过的卡秋莎。于是十年前的往象一幕幕展现在聂赫留道夫眼前:当时他还是一个大学生,暑期住在姑妈的庄园里写论文。他善良,热情,充满理想,热衷于西方进步思想,并爱上了姑妈家的养女兼婢女卡秋莎。他们一起玩耍谈天,感情纯洁无暇。三年后,聂赫留道夫大学毕业,进了近卫军团,路过姑妈庄园,再次见到了卡秋莎。在复活节的庄严气氛中,他看着身穿雪白连衣裙的卡秋莎的苗条身材,她那泛起红晕的脸蛋和那双略带斜眼的乌黑发亮的眼睛,再次体验了纯洁的爱情之乐。但是,这以后,世俗观念和情欲占了上风,在临行前他占有了卡秋莎,并抛弃了她。后来听说她堕落了,也就彻底把她忘却。现在,他意识到自己的罪过,良心受到谴责,但又怕被玛丝洛娃认出当场出丑,内心非常紧张,思绪纷乱。其他法官、陪审员也都心不在焉,空发议论,结果错判玛丝洛娃流放西伯利亚服苦役四年。等聂赫留道夫搞清楚他们失职造成的后果,看到玛丝洛娃被宣判后失声痛哭、大呼冤枉的惨状,他决心找庭长、律师设法补救。律师告诉他应该上诉。
    聂赫留道夫怀着复杂激动的心情按约去米西(被认为是他的未婚妻)家赴宴。本来这里的豪华气派和高雅氛围常常使他感到安逸舒适。但今天他仿佛看透了每个人的本质,觉得样样可厌:柯尔查庚将军粗鲁得意;米西急于嫁人;公爵夫人装腔作势。他借故提前辞别。
    回到家中他开始反省,进行“灵魂净化”,发现他自己和周围的人都是“又可耻,又可憎”。母亲生前的行为;他和贵族长妻子的暖昧关系;他反对土地私有,却又继承母亲的田庄以供挥霍;这一切都是在对卡秋莎犯下罪行以后发生的。他决定改变全部生活,第二天就向管家宣布:收拾好东西,辞退仆役,搬出这座大房子。
    聂赫留道夫到监狱探望玛丝洛娃,向她问起他们的孩子,她开始很惊奇,但又不愿触动创伤,只简单对答几句,把他当作可利用的男人,向他要十卢布烟酒钱以麻醉自己,第二次聂赫留道夫又去探监并表示要赎罪,甚至要和她结婚。这时卡秋莎发出了悲愤的指责:“你今世利用我作乐,来世还想利用我来拯救你自己!”后来聂赫留道夫帮助她的男友,改善她的处境,她也戒烟戒酒,努力学好。
    聂赫留道夫分散土地,奔走于彼得堡上层,结果上诉仍被驳回,他只好向皇帝请愿,立即回莫斯科准备随卡秋莎去西伯利亚。途中卡秋莎深受政治犯高尚情操的感染,原谅了聂赫留道夫,为了他的幸福,同意与尊重她体贴她的西蒙松结合。聂赫留道夫也从《圣经》中得到“人类应该相亲相爱,不可仇视”的启示。
    这两个主人公的经历,表现了他们在精神上和道德上的复活。小说揭露了那些贪赃枉法的官吏,触及了旧社会制度的本质。
    
  〖小说背景〗
  
    《复活》是托尔斯泰的晚期代表作。这时作家世界观已经发生激变,抛弃了上层地主贵族阶层的传统观点,用宗法农民的眼光重新审查了各种社会现象,通过男女主人公的遭遇淋漓尽致地描绘出一幅幅沙俄社会的真实图景:草菅人命的法庭和监禁无辜百姓的牢狱;金碧辉煌的教堂和褴褛憔悴的犯人;荒芫破产的农村和豪华奢侈的京都;茫茫的西伯利亚和手铐脚镣的政治犯。托尔斯泰以最清醒的现实主义态度对当时的全套国家机器进行了激烈的抨击。然而在《复活》中,托尔斯泰虽然对现实社会做了激烈的抨击,揭露了社会制度的本质,但是小说结尾,仍然把改革社会的寄希望于基督教,又把自己的宗教观强行植入小说当中,并且几乎否定了资本主义一切国家机器的一切作用,不得不说是小说思想境界上的一个遗憾。
    小说原计划创作四部,但只创作了三部。


  Resurrection (Russian: Воскресение, Voskreseniye), first published in 1899, was the last novel written by Leo Tolstoy.
  
  The book is the last of his major long fiction works published in his lifetime (it was first serialized in the popular weekly Niva). Tolstoy intended the novel as an exposition of injustice of man-made laws and the hypocrisy of institutionalized church. It was first published serially in the magazine Niva as an effort to raise funds for the resettlement of the Dukhobors.
  
  Plot outline
  
  The story is about a nobleman named Dmitri Ivanovich Nekhlyudov, who seeks redemption for a sin committed years earlier. His brief affair with a maid resulted in her being fired and ending up in prostitution. The book treats his attempts to help her out of her current misery, but also focuses on his personal mental and moral struggle.
  
  Framed for murder, the maid, Maslova, is convicted by mistake, sent to Siberia. Nekhlyudov goes to visit her in prison, meets other prisoners, hears their stories, and slowly comes to realize that all around his charmed and golden aristocratic world, yet invisible to it, is a much larger world of oppression, misery and barbarism. Story after story he hears and even sees of people chained without cause, beaten without cause, immured in dungeons for life without cause—and all punctuated like lightning flashes by startling vignettes—a twelve year old boy sleeping in a lake of human dung from an overflowing latrine because there is no other place on the prison floor, but clinging in a vain search for love to the leg of the man next to him—until the book achieves the bizarre intensity of a horrific fever dream.
  Popular and critical reception
  
  The book was eagerly awaited. "How all of us rejoiced," one critic wrote on learning that Tolstoy had decided to make his first fiction in 25 years, not a short novella but a full-length novel. "May God grant that there will be more and more!" It outsold Anna Karenina and War and Peace. Despite its early success, today Resurrection is not as famous as the works that preceded it.
  
  Some writers have said that Resurrection has characters that are one-dimensional and that as a whole the book lacks Tolstoy's earlier attention to detail. By this point, Tolstoy was writing in a style that favored meaning over aesthetic quality.
  
  The book faced much censorship upon publication. The complete and accurate text was not published until 1936. Many publishers printed their own editions because they assumed that Tolstoy had given up all copyrights as he had done with previous books. Instead, Tolstoy kept the copyright and donated all royalties to Doukhobor,who were Russian pacifists hoping to emigrate to Canada.
  Adaptations
  
  Operatic adaptations of the novel include the Risurrezione by Italian composer Franco Alfano, Vzkriesenie by Slovak composer Ján Cikker, and Resurrection by American composer Tod Machover. Additionally, various film adaptations have been produced. The well known version is a Russian film Resurrection directed by Mikhail Shveitser with Evgeniy Matveyev, Tamara Semina and Pavel Massalsky.
第一部
  《马太福音》第十八章第二十一节至第二十二节:“那时彼得进前来,对耶稣说:主啊,我弟兄得罪我,我当饶恕他几次呢?到七次可以么?耶稣说:我对你说,不是到七次,乃是到七十个七次。”
   《马太福音》第七章第三节:“为什么看见你弟兄眼中有刺,却不想自己眼中有梁木呢?”
   《约翰福音》第八章第七节:“……你们中间谁是没有罪的,谁就可以先拿石头打她。”
   《路加福音》第六章第四十节:“学生不能高过先生,凡学成了的不过和先生一样。”


  Opinions about Tolstoy and his work differ, but on one point there surely might be unanimity. A writer of world-wide reputation should be at least allowed to know how to spell his own name. Why should any one insist on spelling it "Tolstoi" (with one, two or three dots over the "i"), when he himself writes it "Tolstoy"? The only reason I have ever heard suggested is, that in England and America such outlandish views are attributed to him, that an outlandish spelling is desirable to match those views.
   This novel, written in the rough by Tolstoy some years ago and founded upon an actual occurrence, was completely rewritten by him during the last year and a half, and all the proceeds have been devoted by him to aiding the Doukhobors, a sect who were persecuted in the Caucasus (especially from 1895 to 1898) for refusing to learn war. About seven thousand three hundred of them are settled in Canada, and about a hundred of the leaders are exiled to the remote parts of Siberia.
   Anything I may receive for my work in translating the book will go to the same cause. "Prevention is better than cure," and I would rather help people to abstain from killing and wounding each other than devote the money to patch up their wounds after the battle.
   LOUISE MAUDE
  尽管好几十万人聚居在一小块地方,竭力把土地糟蹋得面目全非,尽管他们肆意把石头砸进地里,不让花草树木生长,尽管他们除尽刚出土的小草,把煤炭和石油烧得烟雾腾腾,尽管他们滥伐树木,驱逐鸟兽,在城市里,春天毕竟还是春天。阳光和煦,青草又到处生长,不仅在林荫道上,而且在石板缝里。凡是青草没有锄尽的地方,都一片翠绿,生意盎然。桦树、杨树和稠李纷纷抽出芬芳的粘稠嫩叶,菩提树上鼓起一个个胀裂的新芽。寒鸦、麻雀和鸽子感到春天已经来临,都在欢乐地筑巢。就连苍蝇都被阳光照暖,夜墙脚下嘤嘤嗡嗡地骚动。花草树木也好,鸟雀昆虫也好,儿童也好,全都欢欢喜喜,生气蓬勃。唯独人,唯独成年人,却一直在自欺欺人,折磨自己,也折磨别人。他们认为神圣而重要的,不是这春色迷人的早晨,不是上帝为造福众生所创造的人间的美,那种使万物趋向和平、协调、互爱的美;他们认为神圣而重要的,是他们自己发明的统治别人的种种手段。
   就因为这个缘故,省监狱办公室官员认为神圣而重要的,不是飞禽走兽和男女老幼都在享受的春色和欢乐,他们认为神圣而重要的,是昨天接到的那份编号盖印、写明案由的公文。公文指定今天,四月二十八日,上午九时以前把三名受过侦讯的在押犯,一男两女,解送法院受审。其中一名女的是主犯,须单独押解送审。由于接到这张传票,今晨八时监狱看守长走进又暗又臭的女监走廊。他后面跟着一个面容憔悴、鬈发花白的女人,身穿袖口镶金绦的,腰束一根蓝边带子。这是女看守。
   “您是要玛丝洛娃吧?”她同值班的看守来到一间直通走廊的牢房门口,问看守长说。
   值班的看守哐啷一声开了铁锁,打开牢门,一股比走廊里更难闻的恶臭立即从里面冲了出来。看守吆喝道:
   “玛丝洛娃,过堂去!”随即又带上牢门,等待着。
   监狱院子里,空气就比较新鲜爽快些,那是从田野上吹来的。但监狱走廊里却弥漫着令人作呕的污浊空气,里面充满伤寒菌以及粪便、煤焦油和霉烂物品的臭味,不论谁一进来都会感到郁闷和沮丧。女看守虽已闻惯这种污浊空气,但从院子里一进来,也免不了有这样的感觉。她一进走廊,就觉得浑身无力,昏昏欲睡。
   牢房里传出女人的说话声和光脚板的走路声。
   “喂,玛丝洛娃,快点儿,别磨磨蹭蹭的,听见没有!”看守长对着牢门喝道。
   过了两分钟光景,一个个儿不高、胸部丰满的年轻女人,身穿白衣白裙,外面套着一件灰色囚袍,大踏步走出牢房,敏捷地转过身子,在看守长旁边站住。这个女人脚穿麻布袜,外套囚犯穿的棉鞋,头上扎着一块白头巾,显然有意让几绺乌黑的鬈发从头巾里露出来。她的脸色异常苍白,仿佛储存在地窖里的土豆的新芽。那是长期坐牢的人的通病。她那双短而阔的手和从囚袍宽大领口里露出来的丰满脖子,也是那样苍白。她那双眼睛,在苍白无光的脸庞衬托下,显得格外乌黑发亮,虽然有点浮肿,但十分灵活。其中一只眼睛稍微有点斜视。她挺直身子站着,丰满的胸部高高地隆起。她来到走廊里,微微仰起头,盯住看守长的眼睛,现出一副唯命是从的样子。看守长刚要关门,一个没戴头巾的白发老太婆,从牢房里探出她那张严厉、苍白而满是皱纹的脸来。老太婆对玛丝洛娃说了几句话。看守长就对着老太婆的脑袋推上牢门,把她们隔开了。牢房里响起了女人的哄笑声。玛丝洛娃也微微一笑,向牢门上装有铁栅的小窗洞转过脸去。老太婆在里面凑近窗洞,哑着嗓子说:
   “千万别跟他们多罗唆,咬定了别改日,就行了。”
   “只要有个结局就行,不会比现在更糟的,”玛丝洛娃晃了晃脑袋,说。
   “结局当然只有一个,不会有两个,”看守长煞有介事地摆出长官的架势说,显然自以为说得很俏皮。“跟我来,走!”
   老太婆的眼睛从窗洞里消失了。玛丝洛娃来到走廊中间,跟在看守长后面,急步走着。他们走下石楼梯,经过比女监更臭更闹、每个窗洞里都有眼睛盯着他们的男监,走进办公室。办公室里已有两个持枪的押送兵等着。坐在那里的文书把一份烟味很重的公文交给一个押送兵,说:
   “把她带去!”
   那押送兵是下城的一个农民,红脸,有麻子,他把公文掖在军大衣翻袖里,目光对着那女犯,笑嘻嘻地向颧骨很高的楚瓦什同伴挤挤眼。这两个士兵押着女犯走下台阶,向大门口走去。
   大门上的一扇便门开了,两个士兵押着女犯穿过这道门走到院子里,再走出围墙,来到石子铺成的大街上。
   马车夫、小店老板、厨娘、工人、官吏纷纷站住,好奇地打量着女犯。有人摇摇头,心里想:“瞧,不象我们那样规规矩矩做人,就会弄到这个下场!”孩子们恐惧地望着这个女强盗,唯一可以放心的是她被士兵押着,不然再干坏事了。一个乡下人卖掉了煤炭,在茶馆里喝够了茶,走到她身边,画了个十字,送给她一个戈比。女犯脸红了,低下头,嘴里喃喃地说了句什么。
   女犯察觉向她射来的一道道目光,并不转过头,却悄悄地斜睨着那些向她注视的人。大家在注意她,她觉得高兴。这里的空气比牢房里清爽些,带有春天的气息,这也使她高兴。不过,她好久没有在石子路上行走,这会儿又穿着笨重的囚鞋,她的脚感到疼痛。她瞧瞧自己的双脚,竭力走得轻一点。他们经过一家面粉店,店门前有许多鸽子,摇摇摆摆地走来走去,没有人来打扰它们。女犯的脚差点儿碰到一只瓦灰鸽。那只鸽子拍拍翅膀飞起来,从女犯耳边飞过,给她送来一阵清风。女犯微微一笑,接着想到自己的处境,不禁长叹了一声。
首页>> 文学论坛>> 现实百态>> liè · tuō 'ěr tài Leo Tolstoy   é luó Russia   é luó guó   (1828niánjiǔyuè9rì1910niánshíyīyuè20rì)