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zhuī shuǐ nián huá In Search of Lost Time
  《 zhuī shuǐ nián huá》( wéizhuī shì shuǐ nián huá》) zhè bèi wéi 'èr shí shì zuì zhòng yào de wén xué zuò pǐn zhī de cháng piān zhe chū de duì xīn líng zhuī suǒ de miáo xiě zhuó yuè de shí liú qiǎo 'ér fēngmǐ shì jièbìng diàn dìng liǎo zài dāng dài shì jiè wén xué zhōng de wèi
  
   duō juàn cháng piān zhezhuī shì shuǐ nián huáshì guó zuò jiā sài 'ěr . (1871-1922) de dài biǎo zuòquán shū gòng shí juàncóng 1905 nián kāi shǐ chuàng zuòzhì zuò zhě shì shì qián quán wán chéngxiǎo shuō de tōng wǎng wàn jiā de 1913 nián wèn shìdàn fǎn yìng lěng dàn xiē yòu míng de chū bǎn shè dōubù yuàn chū bǎnzuò zhě biàn fèi yìn xínghòu láitōng wǎng wàn jiā de zhú jiàn huò wén jiè de zàn shǎng shì chū bǎn shè jìng xiāng qiān dìng tóng qiú chū bǎn zhè duō juàn de zuò pǐn de quán jiǔ shì jiè zhàn bào chū bǎn gōng zuò bèi zhì xià láizhàn zhēng jié shù hòuxiǎo shuō de 'èr zài huā zhī zhāo zhǎn de shàonǚ men shēn bàng 1919 nián chū bǎnhuò gōng 'ěr wén xué jiǎng míng shēng zhèn hòuxiǎo shuō de sān gài 'ěr máng jiā suǒ duō guō 'ěrxiāng 1921 1922 nián chū bǎnzuì hòu sān qiú fàn》 (1923),《 táo wáng zhě》 (1925), zài xiàn》 (1927) shì shì shì hòu cái chū bǎn de
  
  
  
   zài wàn jiā biān
   zhuī shuǐ nián huá zhuī shuǐ nián huá
  
     > juàn  gòng léi
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       >> 'èr zhāng
     > 'èr juàn wàn zhī liàn
     > sān juǎndì míng xìng shì
   'èr zài shàonǚ men shēn bàng
     > juàn wàn rén zhōu wéi
     > 'èr juǎndì míng fāng
   sān gài 'ěr máng jiā biān
     > juàn
     > 'èr juàn
       >> zhāng
       >> 'èr zhāng
  
     > juàn
     > 'èr juàn
       >> zhāng
       >> 'èr zhāng
       >> sān zhāng
       >> zhāng
   qiú
   liù táo wáng zhě
   chóngxiàn de shí guāng
  
  《 zhuī shì shuǐ nián huáshì chuán tǒng xiǎo shuō tóng de cháng piān xiǎo shuōquán shū shù zhě wéi zhù jiāng suǒ jiàn suǒ wén suǒ suǒ gǎn róng yòu duì shè huì shēng huórén qíng shì tài de zhēn shí miáo xiěyòu shì fèn zuò zhě zhuī qiú rèn shí de nèi xīn jīng de chú shì wàihái bāo hán yòu liàng de gǎn xiǎng lùnzhěng zuò pǐn méi yòu zhōng xīn rén méi yòu wán zhěng de shìméi yòu lán guàn chuān shǐ zhōng de qíng jié xiàn suǒ shù zhě de shēng huó jīng nèi xīn huó dòng wéi zhóu xīnchuān chā miáo xiě liǎo liàng de rén shì jiànyóu zhī jiāo cuò de shù shuō shì zài zhù yào xiǎo shuō shàng pài shēng zhe duō chéng piān de xiǎo shuō shuō shì jiāo zhì zhe hǎo zhù de jiāo xiǎng
  
   xiǎo shuō zhōng de shù zhěshì jiā jìng 'ér yòu ruò duō bìng de qīng niáncóng xiǎo duì shū huà yòu shū de 'àihàocéng jīng cháng shì guò wén xué chuàng zuòméi yòu chéng gōng jīng cháng chū de shàng céng shè huìpín fán wǎng lái chá huì huìzhāo dài huì shí máo de shè jiāo chǎng bìng zhōng qíng yóu tài shāng de 'ér 'ěr dàn jiǔ jiù shī liàn liǎo wài hái dào guò jiā xiāng gòng bǎi lāi xiǎo zhùdào guò hǎi bīn shèng péi liáo yǎng jié shí liǎo lìng wèi shàonǚ 'ā 'ěr xiàn 'ā 'ěr huàn tóng xìng liànbiàn jué xīn wéi jiū zhèng de biàn tài xīn 'ā 'ěr jìn zài jiā zhōngā 'ěr què shè táo páo shì duō fāng tīng xún zhǎo hòu lái zhī 'ā 'ěr shuāi zài bēi tòng zhōng rèn shí dào de bǐng shì xiě zuò suǒ jīng de bēi huān zhèng shì wén xué chuàng zuò de cái liàozhǐ yòu wén xué chuàng zuò cái néng shī de dōng zhǎo huí lái
  
   zài xiǎo shuō zhōng shù zhěde shēng huó jīng bìng zhàn quán shū de zhù yào piān zuò zhě tōng guò shì tào shì shì shì jiāo chā zhòng dié de fāng miáo xiě liǎo zhòng duō de rén shì jiànzhǎn shì liǎo 19 shì 20 shì zhī jiāo guó shàng liú shè huì de shēng huó jǐngzhè yòu réntán gāo 'ér yòu liáo yōng de gài 'ěr máng rényòu dào duò luòxíng wéi chóu 'è de biàn xìng rén chá liú nán juéyòu zòng qíng shēng de làng dàng gōng wàn děng děng wàixiǎo shuō hái miáo xiě liǎo xiē shàng liú shè huì yòu guān lián de zuò jiā shù jiā men shēng qián luò shī ér zuò pǐn què yǒng shì cháng cúnxiǎo shuō hái miáo xiě liǎo xiē xià céng de láo dòng zhě。《 zhuī shì shuǐ nián huázhè cháng piān zhe tōng guò shàng qiān rén de huó dònglěng jìngzhēn shí zhì zài xiàn liǎo guó shàng liú shè huì de shēng huó rén qíng shì tàiyīn yòu xiē fāng píng lùn jiā 'ěr zhā derén jiān xiāng bìng lùnchēng zhī wéifēng liú ”。
  
  《 zhuī shì shuǐ nián huáshì yòu fēng de cháng piān xiǎo shuō jǐn zài xiàn liǎo guān shì jiètóng shí zhǎn xiàn liǎo shù zhě de zhù guān shì jiè liǎo shù zhě duì guān shì jiè de nèi xīn gǎn shòuzuò zhě gǎn xīng de shì shù shìjiāo dài qíng jié huà rén xíng xiàngér shì shū duì mǒu wèn de gǎn xiǎng fēn shù zhě cān jiā liǎo gài 'ěr máng gōng jué jiā de wǎn yànzhè shǐ cháng lái duì guì de zhǒng zhǒng huàn xiǎng dùn shí miè shí dào guò duì yòu mèi de zhǐ shì míng chēngér shì zhēn shí de shì jièzhěng zuò pǐn duì wài shì jiè de miáo shù tóng shù zhě duì de gǎn shòu kǎofēn hún rán yòu xiāng yǐn xiāng chōng shícóng 'ér xíng chéng liǎo cóng chū zhōng yòu de shù jìng jiè
  
  《 zhuī shì shuǐ nián huázhè cháng piānchú liǎo zhōng guān wàn de liàn 'ài shì cǎi yòng sān rén chēng miáo xiě shǒu wài dōushì tōng guò rén chēng shù chū lái de shù zhěde huí shì guàn chuān quán shū de zhòng yào shù biǎo xiàn fāng shìxiǎo shuō kāi juàn,“ cóng chuáng shàng xǐng láizài mèng huàn bān de zhuàng tài zhōng qiān bǎi xiǎng xīn tóuzhè shíyóu bēi chá kuài diǎn xīn de chù shǐ huí xiǎo shí hòu zài lāi 'ào jiā shēng huó de qíng jǐngzhè jǐn yǐn chū liǎo shù zhě de jiā tíng shēn shì rén jīng hái yǐn chū liǎo gài 'ěr máng wàn liǎng jiā yǐn chū liǎo xíng xíng de rén shì jiànzhěng xiǎo shuō de nèi róng jiù shì tōng guò shù zhě de huí xiàng zòng shēn juézhú tuī jìnzuì hòu wán zhěng chéng xiàn chū lái
  
  《 zhuī shì shuǐ nián huágòng 7 , 15 juàn zhōng bāo kuòzài wàng jiā biān》( 1913)、《 zài shàonǚ men shēn bàng》( 1919)、《 gài 'ěr máng jiā biān》( 1921)、《 suǒ duō 'ěr》( 1922) zuò zhě hòu chū bǎn de qiú》、《 táo wáng zhěchóngxiàn de shí guāng》。 zài wàng jiā biān》, méi yòu dào wén jiè de rèn 'èr zài shàonǚ men shēn bàng》( 1919), huò gōng 'ěr wén xué jiǎngcóng míng shēng zhèn
  
  《 zhuī shì shuǐ nián huáshì 'ěr zhā rén jiān yàngguī hóng de zuò pǐnxiǎo shuō de shù zhěshì cái huá 'ài wén xué shù 'ér yòu ruò duō bìng de jiā zuò pǐn tòu guò zhù rén gōng de zhuī biǎo xiàn liǎo zuò zhě duì jiā tíngtóng nián chū liàn shí gǎn qíng de huái niànduì yōng shì de yàn 'ètóng shí fǎn yìng liǎo 19 shì 20 shì chū suǒ wèihuáng jīn shí dàide guó shàng liú shè huì de zhǒng zhǒng rén qíng shì tài
  
   xiǎo shuō shì tào shìrén shì jiàn zhòng duō fāng miàn shì zūn xún guó jiù chuán tǒng guàn de shèng · 'ěr màn guì gài 'ěr máng jiā de gōng jué gōng jué réngài 'ěr máng qīn wáng wáng fēigōng jué de xiōng děnglìng fāng miàn shì xīn de chǎn jiē bào huó yuè zài shā lóng de bāng xián rén wàng qíng jiāo huā 'ào dài 'ér yòu wén huà jiào yǎng de fán 'ěr lán wài jiāo guān shēng shù jiā děngliǎng duì de shè huìyuán lái bìng róng qià chǎn jiē hěn nán kuà jìn lǎo guì de mén tīngdàn shì suí zhe shí jiān de tuī de lián yīn guān hóng gōu zhú jiàn bèi wàng hòuào dài chéng liǎo gài 'ěr máng gōng jué de qíng fán 'ěr lán tài tài guò bèi guì jiā suǒ jiē xiàn zài chéng liǎo qīn wáng rénzuò zhě zài guì bìsè yōu xián de shì wài táo yuán zhōng kuī shì dào liǎo shuāi bài jǐng xiàngcóng chǎn jiē yōng kuáng wàng zhōng kàn dào liǎo zhǒng xíng shè huì de huà miànsuī rán zuò zhě zài miáo huì zhè zhǒng zhǒng huà miàn shíbìng méi yòu yòng jiān ruì de qiǎn zhī dàn cóng fēng zhuànxiàng xià céng rén mín shí suǒ biǎo xiàn chū de hǎo gǎn zhōngyòu néng wèi dào de bāo biǎn zhī zài shàng céng rén jiā duō nián de lǎo lǎng suǒ suī rán mǎn kǒu xiāng xià huànǎo yòu shǎo xìn jìn dàn qín láochún yòu zhe xiāng xià rén de cōng míng zhìshì zuò zhě zuì 'ài de rén zhī xiǎo shuō chú liǎo miáo xiě shàng liú shè huì de shēng huó wàihái shè dào wén xuéhuì huàyīnyuèjiàn zhù shì jiè zhàn děng zhū duō fāng miàn de nèi róng
  
  《 zhuī shì shuǐ nián huáshì huí shì de zìzhuàn xiǎo shuōdàn méi yòu chuán tǒng huí yàng duì wǎng shì yòu tiáo de zhěng fēn ér shì tōng guò fēi cháng shén jīng zhì guòfèn shòu 'ài de hái duì huǎn màn chéngzhǎng guò chéngde zhuī jiàn jiàn shídào zhōu wéi rén men decún zài”。 zuò zhě zhǐ shì zhuō xīn tóu liú xià bìng shí shí xiàn zài nǎo de yìn xiàngrán hòu jiā zhǎn xiànduì lái shuōshì qíng shēng de xiān hòu méi yòu xiàn shí cóng huí zhōng xíng chéngtōng guò huí rèn shí dào xiàn shí shì jiè rèn shí dào de cún zàiér shí zǎo chén lái chá shí kuài míng jiào lāi de tián gāo diǎn pào zài chá biān biān chī diǎn xīn suǒ gǎn dào de chùzài zuì hòu juànchóngxiàn de shí guāngchóngtí shí,“ jīnde huí tóng shí chū xiàn zài zuò zhě nǎo hǎi tōng guò huí jiě chú liǎoshí jiānde shù huò liǎo guò xiàn zài de chóngdié jiāo chāxíng chéng liǎo shū de huí jié gòu
  
   zuò pǐn de shù jiǎo míng xiǎn bié chuán tǒng xiǎo shuōzuò zhě shuō:“ zài men yòu xiǎo shí jué shèng shū shàng rèn rén mìng yùn dōuméi yòu xiàng nuò yàng bēi cǎn yīn hóng shuǐ fàn làn zài fāng zhōu guò shí tiānhòu lái shí cháng bìng chéng nián lěi yuè dāi zài fāng zhōu guò huózhè shí cái míng báijìn guǎn nuò fāng zhōu jǐn zhemáng máng hēi zhèn zhù dàn shì nuò cóng fāng zhōu kàn shì jiè shì zài tòu chè guò liǎo。” zuò zhě shì zhàn zài shì de wài guān chá shì jièér shì jiāng guān shì jiè róng nèi xīnrán hòu zài biǎo xiàn chū lái tōng guò duì nèi xīn shì jiè de tàn suǒ lái xiàn wài shì jiècóng shí hóng liú zhōng rèn shí wài shì jiè de jià zhízuò pǐn de rén chēng yòu chuán tǒng xiǎo shuōzuò pǐn zhōng debìng shì chuán tǒng xiǎo shuō zhōng de rén chēng zhǐ shì chuān zhēn yǐn xiàn de rén tōng guòde guān chágǎn shòu yǐn chū rén huì chéng xuàn duō de huà miàn suī rán shì xiàn dài pài zuò jiādàn de yán fēng shēn shòu méng tiánsài wéi rén shèng · méng děng guó diǎn zuò jiā de yǐng xiǎngyòu zhe kuàng gāo wǎn zhuǎn de diǎn
  
   guó zhù míng zhuànjì wén xué jiā jiān píng lùn jiā luó ( 1885 héng 1967) zài 1954 nián chū bǎn shè chū bǎn de xīng cóng shūběn dezhuī shì shuǐ nián huá yán zhōng xiě dào:“ jiǔ nián zhì jiǔ nián zhè shí nián zhōngchú liǎozhuī shì shuǐ nián huázhī wàiméi yòu bié de zhí yǒng zhì wàng de xiǎo shuō zhù jǐn yóu de zuò pǐn 'ěr zhā de zuò pǐn yàng piān zhì hào fányīn wéi yòu rén xiě guò shí juàn shèn zhì 'èr shí juàn de xíng xiǎo shuōér qiě yòu shí xiěde wén cǎi dòng rénrán 'ér men bìng gěi men xiàn xīn huò bāo luó wàn xiàng de gǎn juézhè xiē zuò jiā mǎn jué zǎo wéi rén suǒ zhī dekuàng mài’, ér sài 'ěr · xiàn liǎo xīn dekuàng cáng’。” zhè shì qiáng diàozhuī shì shuǐ nián huáde shù yōu diǎn jiù zài xīnrán 'ér shù zhǎn de guān guī bìng zài dān chún de chuàng xīn zài wéi chuàng xīn 'ér chuàng xīngèng zài duì chuán tǒng de yōu xiù shù chuán tǒng cǎi zhù de tài cóng líng kāi shǐ de chuàng xīnchuàng xīn shì shù de líng húnrán 'ér chuàng xīn jué shì qīng 'ér dejué shì máng mùdì huàn xiǎng。《 zhuī shì shuǐ nián huáde chuàng xīn shì zài chuán tǒng de yōu xiù shù chǔ shàng de zhǎn
  
   guó shī rén lāi ( 1871 héng 1945) zhù míng píng lùn jiājiào shòu dài( 1874 héng 1936) dōuzài men de píng lùn zhōng kuā jiǎngzhuī shì shuǐ nián huáde shù fēng chéng liǎo guó wén xué de yōu xiù chuán tǒng dài dào shí liù shì de wěi sǎnwén zuò jiā méng tián( 1533 héng 1592) zài wén fēng de kuàng gāo fāng miàn yòu mài xiāng chéng zhī miàohái yòu bié de píng lùn jiā shèn zhì dào shòu guó zhù míng de huí zuò jiā shèng · méng( 1675 héng 1755) de yǐng xiǎng
  
  《 zhuī shì shuǐ nián huáde zuò zhě zhú jiàn gòu zhè xiǎo shuō zhì zài shàng shì nián běn shì chū nián jiǔ nián xià dìng jué xīn yào chuàng zuò zhè xiǎo shuō jiǔ nián kāi shǐ dòng dào jiǔ 'èr 'èr nián shì qián cōng cōng xiě wán zuì hòu juànchóngxiàn de shí guāng》。 chuàng zuòzhuī shì shuǐ nián huáde shí nián jiānwán quán jìn zài dǒu shì zhōng shì jué quán jīng shí jiān zhōng zài huí xiě zuò shàngháo guān xīn shì shìsuǒ shì jiè zhàn duì guó rén mín shēng huó de qiáng liè yǐng xiǎngzàizhuī shì shuǐ nián huázhōng jīhū háo fǎn yìngzhè xiǎo shuō zhōng fǎn yìng de shì shí jiǔ shì jiǔ shí nián dài de shí jiǔ shì shì lán běn zhù zhú jiàn yóu lǒng duàn běn jìn guó zhù de guò chéngèr shí shì chū nián guó běn zhù jīng dào zuì gāo jiē duàn guó zhù jiē duànzài zhè shí guó shè huì chū xiàn liǎo zhì shēng huó fāng miàn de fán róng。 1900 nián bàn zhèn dòng quán qiú deshì jiè lǎn huì”, jiù biǎo xiàn chū xuǎn shí de fán róng jǐng xiàngfán zhǒng zhǒngdōuméi yòu yǐn zài dǒu shì zhōng mái tóu xiě zuò de zhù yóu jiànjiù suǒ fǎn yìng de shè huì shēng huó 'ér yán,《 zhuī shì shuǐ nián huáshì shí jiǔ shì nián de xiǎo shuōshì fǎn yìng lín jìn de biàn zhuǎn zhé diǎn shí de guó shè huì de xiǎo shuōyīn shuō shì fǎn yìng jiù shí dài de xiǎo shuō。《 shuǐ nián huáshì guó chuán tǒng xiǎo shuō shù de zuì hòu shuò guǒzuì hòu duǒ zuì hòu zuò wěi de chéng bēi


  In Search of Lost Time or Remembrance of Things Past (French: À la recherche du temps perdu) is a semi-autobiographical novel in seven volumes by Marcel Proust. His most prominent work, it is popularly known for its extended length and the notion of involuntary memory, the most famous example being the "episode of the madeleine". The novel is still widely referred to in English as Remembrance of Things Past, but the title In Search of Lost Time, a more accurate rendering of the French, has gained in usage since D.J. Enright's 1992 revision of the earlier translation by C.K. Scott Moncrieff and Terence Kilmartin. The complete story contains nearly 1.5 million words and is generally considered to be one of the longest novels ever written.
  
  The novel as we know it began seriously to take shape in 1909, and work continued for the remainder of Proust's life, broken off only by his final illness and death in the autumn of 1922. The main overarching structure was in place at an early stage, and the novel is effectively complete as a work of art and a literary cosmos, but Proust kept adding new material through his final years while editing one time after another for print; the final three volumes actually contain oversights and fragmentary or unpolished passages which only existed in draft form at the death of the author; the publication of these parts was overseen by his brother Robert.
  
  The work was published in France between 1913 and 1927; Proust paid for the publication of the first volume (by the Grasset publishing house) himself after it had been turned down by leading editors who had been offered the manuscript in longhand. Many of its ideas, motifs, and scenes appear in adumbrated form in Proust's unfinished novel, Jean Santeuil (1896–99), though the perspective and treatment there are different, and in his unfinished hybrid of philosophical essay and story, Contre Sainte-Beuve (1908–09). The novel has had a pervasive influence on twentieth-century literature, whether because writers have sought to emulate it, or attempted to parody and discredit some of its traits. In his work, Proust explores the themes of time, space, and memory, but the novel is above all a condensation of innumerable literary, structural, stylistic, and thematic possibilities.
  
  Initial publication
  
  Although different editions divide the work into a varying number of tomes, A la recherche du temps perdu or In Search of Lost Time is a novel consisting of seven volumes.
  Vol. French titles Published English titles
  1 Du côté de chez Swann 1913 Swann's Way
  The Way by Swann's
  2 À l'ombre des jeunes filles en fleurs 1919 Within a Budding Grove
  In the Shadow of Young Girls in Flower
  3 Le Côté de Guermantes
  (published in two volumes) 1920/21 The Guermantes Way
  4 Sodome et Gomorrhe
  (published in two volumes) 1921/22 Cities of the Plain
  Sodom and Gomorrah
  5 La Prisonnière 1923 The Captive
  The Prisoner
  6 La Fugitive
  Albertine disparue 1925 The Fugitive
  The Sweet Cheat Gone
  Albertine Gone
  7 Le Temps retrouvé 1927 The Past Recaptured
  Time Regained
  Finding Time Again
  
  Volume 1: Du côté de chez Swann (1913) was rejected by a number of publishers, including Fasquelle, Ollendorf, and the Nouvelle Revue Française (NRF). André Gide famously was given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic bloopers, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay for the costs of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7).
  
  Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous "Madeleine cookie" episode, introducing the theme of involuntary memory.
  
  In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life" (Tadié, 611). Gallimard (the publishing arm of NRF) offered to publish the remaining volumes, but Proust chose to stay with Grasset.
  
  Volume 2: À l'ombre des jeunes filles en fleurs (1919), scheduled to be published in 1914, was delayed by the onset of World War I. At the same time, Grasset's firm was closed down when the publisher went into military service. This freed Proust to move to Gallimard, where all the subsequent volumes were published. Meanwhile, the novel kept growing in length and in conception.
  
  À l'ombre des jeunes filles en fleurs was awarded the Prix Goncourt in 1919.
  
  Volume 3: Le Côté de Guermantes originally appeared as Le Côté de Guermantes I (1920) and Le Côté de Guermantes II (1921).
  
  Volume 4: The first forty pages of Sodome et Gomorrhe initially appeared at the end of Le Côté de Guermantes II (Bouillaguet and Rogers, 942), the remainder appearing as Sodome et Gomorrhe I (1921) and Sodome et Gomorrhe II (1922). It was the last volume over which Proust supervised publication before his death in November 1922. The publication of the remaining volumes was carried out by his brother, Robert Proust, and Jacques Rivière.
  
  Volume 5: La Prisonnière (1923), first volume of the section of the novel known as "le Roman d'Albertine" ("the Albertine novel"). The name "Albertine" first appears in Proust's notebooks in 1913. The material in these volumes was developed during the hiatus between the publication of Volumes 1 and 2, and they are a departure from the three-volume series announced by Proust in Du côté de chez Swann.
  
  Volume 6: La Fugitive or Albertine disparue (1925) is the most editorially vexed volume. As noted, the final three volumes of the novel were published posthumously, and without Proust's final corrections and revisions. The first edition, based on Proust's manuscript, was published as Albertine disparue to prevent it from being confused with Rabindranath Tagore's La Fugitive (1921). The first authoritative edition of the novel in French (1954), also based on Proust's manuscript, used the title La Fugitive. The second, even more authoritative French edition (1987–89) uses the title Albertine disparue and is based on an unmarked typescript acquired in 1962 by the Bibliothèque Nationale. To complicate matters, after the death in 1986 of Proust's niece, Suzy Mante-Proust, her son-in-law discovered among her papers a typescript that had been corrected and annotated by Proust. The late changes Proust made include a small, crucial detail and the deletion of approximately 150 pages. This version was published as Albertine disparue in France in 1987.
  
  Volume 7: Much of Le Temps retrouvé (1927) was written at the same time as Du côté de chez Swann, but was revised and expanded during the course of the novel's publication to account for, to a greater or lesser success, the then unforeseen material now contained in the middle volumes (Terdiman, 153n3). This volume includes a noteworthy episode describing Paris during the First World War.
  Themes
  
  A la Recherche made a decisive break with the 19th century realist and plot-driven novel, populated by people of action and people representing different social and cultural groups or moral issues. Although parts of the novel could be read as an exploration of snobbism, deceit, jealousy, and suffering and although it contains a multitude of realistic details, the focus is not on the development of a tight plot or of a coherent evolution, but on a multiplicity of perspectives and on the formation of the experience that will serve as the foundation for the novel itself. The leading characters of the first volume (the narrator as a boy and Swann) are, by the standards of 19th century novels of any kind, remarkably introspective and non-prone to decisive actions, or to trigger such actions from other leading characters; to many readers at the time, reared on Balzac, Hugo, and Tolstoy, they would not function as centers of a well-defined plot. And while there is a rich array of symbolism in the work, it is rarely defined through any explicit "keys" leading to moral, romantic or philosophical ideas. The significance of what is happening is often placed within the memory or in the inner contemplation of what is described. This focus on the relationship between experience, memory and writing, and the radical de-emphasizing of the outward plot, have become staples of the modern novel but were almost unheard of in 1913.
  
  The role of memory is central to the novel, introduced with the famous madeleine episode in the first section of the novel, and in the last volume, Time Regained, a flashback similar to that caused by the madeleine is the beginning of the resolution of the story. Throughout the work many similar instances of involuntary memory, triggered by sensory experiences such as sights, sounds, smells, and so on, conjure important memories for the narrator, and sometimes return attention to an earlier episode of the novel. Although Proust wrote contemporaneously with Sigmund Freud, with there being many points of similarity between their thought on the structures and mechanisms of the human mind, neither author read a word of the other's work (Bragg). Gilles Deleuze, by contrast, believed that the main focus of Proust was not memory and the past but the narrator's learning the use of "signs" to understand—and communicate—ultimate reality, and thereby becoming an artist. While Proust was bitterly aware of the experience of loss and exclusion - loss of loved ones, loss of affection, friendship, and innocent joy, which are dramatized in the novel through recurrent jealousy, betrayal and the death of loved persons - his response to this, formulated after he had discovered Ruskin, was that the work of art can recapture the lost and thus save it from destruction, at least in our minds: thus art triumphs over the destructive power of time. This element of his artistic philosophy is clearly inherited from romantic platonism, but Proust crosses it with a new intensity in describing jealousy, desire and self-doubt. (on that matter see the last quatrain of Baudelaire's poem "Une Charogne": "Then, O my beauty! say to the worms who will Devour you with kisses, That I have kept the form and the divine essence Of my decomposed love!")
  
  The nature of art is another recurring topic in the novel, and is often explored at great length. Proust sets forth a theory of art in which we are all capable of producing art, if by this we mean taking the experiences of life and transforming them in a way that shows understanding and maturity. Writing, painting and music are also discussed at great length. Morel the violinist, for example, is examined to give an example of a certain type of "artistic" character, along with other fictional artists, namely the novelist Bergotte and painter Elstir.
  
  Homosexuality is another major theme, particularly in later volumes, most notably in Sodom and Gomorrah, the first part of which consists of a detailed account of a sexual encounter between two of the novel's male characters. Though the narrator himself is heterosexual, he invariably suspects his lovers of liaisons with other women, in a repetition of the suspicions held by Charles Swann in the first volume, with regards to his mistress and eventual wife, Odette. Several characters are forthrightly homosexual, like the Baron de Charlus, while others, such as the narrator's good friend Robert de Saint-Loup, are only later revealed to be far more closeted.
  
  There is much debate as to how great a bearing Proust's own sexual inclination has on understanding these aspects of the novel. Although many of Proust's close family and friends suspected that he was homosexual, Proust never openly admitted this. It was only after Proust's death that André Gide, in his publication of correspondence between himself and Proust, made public Proust's homosexuality. The true nature of Proust's intimate relations with such individuals as Alfred Agostinelli and Reynaldo Hahn are well documented, though Proust was not "out and proud," except perhaps in close knit social circles. In 1949, the critic Justin O'Brien published an article in the PMLA called "Albertine the Ambiguous: Notes on Proust's Transposition of Sexes" which proposed that some female characters are best understood as actually referring to young men. Strip off the feminine ending of the names of the Narrator's lovers—Albertine, Gilberte, Andrée—and one has their masculine counterpart. This theory has become known as the "transposition of sexes theory" in Proust criticism, which in turn has been challenged in Epistemology of the Closet (1992) by Eve Kosofsky Sedgwick.
  Critical reception
  
  In Search of Lost Time is considered the definitive Modern novel by many scholars, and it had a profound effect on subsequent writers such as the Bloomsbury Group. "Oh if I could write like that!" marveled Virginia Woolf in 1922 (2:525). Proust's influence on Evelyn Waugh is manifest in A Handful of Dust (1934) in which Waugh entitles Chapter 1 "Du Cote de Chez Beaver" and Chapter 6 "Du Cote de Chez Tod." More recently, literary critic Harold Bloom wrote that In Search of Lost Time is now "widely recognized as the major novel of the twentieth century." Vladimir Nabokov, in a 1965 interview, named the greatest prose works of the 20th century as, in order, "Joyce's Ulysses, Kafka's The Metamorphosis, Biely's Petersburg, and the first half of Proust's fairy tale In Search of Lost Time." J. Peder Zane's book The Top Ten: Writers Pick Their Favorite Books, collates 125 "top 10 greatest books of all time" lists by prominent living writers; In Search of Lost Time places eighth. In the 1960s, Swedish literary critic Bengt Holmqvist dubbed the novel "at once the last great classic of French epic prose tradition and the towering precursor of the 'nouveau roman'", indicating the sixties vogue of new, experimental French prose but also, by extension, other post-war attempts to fuse different planes of location, temporality and fragmented consciousness within the same novel.
  
  Since the publication in 1992 of a revised English translation by The Modern Library, based on a new definitive French edition (1987–89), interest in Proust's novel in the English-speaking world has increased. Two substantial new biographies have appeared in English, by Edmund White and William C. Carter, and at least two books about the experience of reading Proust have appeared, by Alain de Botton and Phyllis Rose. The Proust Society of America, founded in 1997, now has three chapters: at The Mercantile Library of New York City, the Mechanic's Institute Library in San Francisco, and the Boston Athenæum Library. The French phenomenologist, Merleau-Ponty, frequently refers to Swann's Way to help elucidate his own ideas.
  Main characters
  Proust - Personnages
  Main characters - Family tree
  
  The Narrator's household
  
   * The narrator: A sensitive young man who wishes to become a writer, whose identity is explicitly kept vague. In volume 5, The Prisoner, he addresses the reader thus: "Now she began to speak; her first words were 'darling' or 'my darling,' followed by my Christian name, which, if we give the narrator the same name as the author of this book, would produce 'darling Marcel' or 'my darling Marcel.'" (Proust, 64)
   * Bathilde Amédée: The narrator's grandmother. Her life and death greatly influence her daughter and grandson.
   * Françoise: The narrator's faithful, stubborn maid.
  
  The Guermantes
  
   * Palamède de Guermantes (Baron de Charlus): An aristocratic, decadent aesthete with many antisocial habits.
   * Oriane de Guermantes (Duchesse de Guermantes): The toast of Paris' high society. She lives in the fashionable Faubourg St. Germain.
   * Robert de Saint-Loup: An army officer and the narrator's best friend. Despite his patrician birth (he is the nephew of M. de Guermantes) and affluent lifestyle, Saint-Loup has no great fortune of his own until he marries Gilberte.
  
  The Swanns
  
   * Charles Swann: A friend of the narrator's family. His political views on the Dreyfus Affair and marriage to Odette ostracize him from much of high society.
   * Odette de Crécy: A beautiful Parisian courtesan. Odette is also referred to as Mme Swann, the woman in pink/white, and in the final volume, Mme de Forcheville.
   * Gilberte Swann: The daughter of Swann and Odette. She takes the name of her adopted father, M. de Forcheville, after Swann's death, and then becomes Mme de Saint-Loup following her marriage to Robert de Saint-Loup, which joins Swann's Way and the Guermantes Way.
  
  Artists
  
   * Elstir: A famous painter whose renditions of sea and sky echo the novel's theme of the mutability of human life.
   * Bergotte: A well-known writer whose works the narrator has admired since childhood.
   * Vinteuil: An obscure musician who gains posthumous recognition for composing a beautiful, evocative sonata.
   * Berma
  
  Others
  
   * Charles Morel: The son of a former servant of the narrator's uncle and a gifted violinist. He profits greatly from the patronage of the Baron de Charlus and later Robert de Saint-Loup.
   * Albertine Simonet: A privileged orphan of average beauty and intelligence. The narrator's romance with her is the subject of much of the novel.
   * Sidonie Verdurin: A poseur who rises to the top of society through inheritance, marriage, and sheer single-mindedness. Often referred to simply as Mme. Verdurin.
  
  Publication in English
  
  The first six volumes were first translated into English by the Scotsman C. K. Scott Moncrieff between 1922 and his death in 1930 under the title Remembrance of Things Past, a phrase taken from Shakespeare's Sonnet 30; this was the first translation of the Recherche into another language. The final volume, Le Temps retrouvé, was initially published in English in the UK as Time Regained (1931), translated by Stephen Hudson (a pseudonym of Sydney Schiff), and in the US as The Past Recaptured (1932) in a translation by Frederick Blossom. Although cordial with Scott Moncrieff, Proust grudgingly remarked in a letter that Remembrance eliminated the correspondence between Temps perdu and Temps retrouvé (Painter, 352). Terence Kilmartin revised the Scott Moncrieff translation in 1981, using the new French edition of 1954. An additional revision by D.J. Enright - that is, a revision of a revision - was published by the Modern Library in 1992. It is based on the latest and most authoritative French text (1987–89), and rendered the title of the novel more literally as In Search of Lost Time. In 1995, Penguin undertook a fresh translation of In Search of Lost Time by editor Christopher Prendergast and seven different translators, one Australian, one American, and the others English. Based on the authoritative French text (of 1987-98), it was published in six volumes in Britain under the Allen Lane imprint in 2002. The first four (those which under American copyright law are in the public domain) have since been published in the US under the Viking imprint and in paperback under the Penguin Classics imprint. The remaining volumes are scheduled to come out in 2018.
  
  Both the Modern Library and Penguin translations provide a detailed plot synopsis at the end of each volume. The last volume of the Modern Library edition, Time Regained, also includes Kilmartin's "A Guide to Proust," an index of the novel's characters, persons, places, and themes. The Modern Library volumes include a handful of endnotes, and alternative versions of some of the novel's famous episodes. The Penguin volumes each provide an extensive set of brief, non-scholarly endnotes that help identify cultural references perhaps unfamiliar to contemporary English readers. Reviews which discuss the merits of both translations can be found online at the Observer, the Telegraph, The New York Review of Books (subscription only), The New York Times, TempsPerdu.com, and Reading Proust.
  
  English-language translations in print
  
   * In Search of Lost Time (General Editor: Christopher Prendergast), translated by Lydia Davis, Mark Treharne, James Grieve, John Sturrock, Carol Clark, Peter Collier, & Ian Patterson. London: Allen Lane, 2002 (6 vols). Based on the most recent definitive French edition (1987–89), except The Fugitive, which is based on the 1954 definitive French edition. The first four volumes have been published in New York by Viking, 2003–2004, but the Copyright Term Extension Act will delay the rest of the project until 2018.
   o (Volume titles: The Way by Swann's (in the U.S., Swann's Way) ISBN 0-14-243796-4; In the Shadow of Young Girls in Flower ISBN 0-14-303907-5; The Guermantes Way ISBN 0-14-303922-9; Sodom and Gomorrah ISBN 0-14-303931-8; The Prisoner; and The Fugitive — Finding Time Again.)
   * In Search of Lost Time, translated by C. K. Scott-Moncrieff, Terence Kilmartin and Andreas Mayor (Vol. 7). Revised by D.J. Enright. London: Chatto and Windus, New York: The Modern Library, 1992. Based on the most recent definitive French edition (1987–89). ISBN 0-8129-6964-2
   o (Volume titles: Swann's Way — Within a Budding Grove — The Guermantes Way — Sodom and Gomorrah — The Captive — The Fugitive — Time Regained.)
   * A Search for Lost Time: Swann's Way, translated by James Grieve. Canberra: Australian National University, 1982 ISBN 0-7081-1317-6
   * Remembrance of Things Past, translated by C. K. Scott Moncrieff, Terence Kilmartin, and Andreas Mayor (Vol. 7). New York: Random House, 1981 (3 vols). ISBN 0-394-71243-9
   o (Published in three volumes: Swann's Way — Within a Budding Grove; The Guermantes Way — Cities of the Plain; The Captive — The Fugitive — Time Regained.)
  
  Adaptations
  
  Print
  
   * The Proust Screenplay, a film adaptation by Harold Pinter published in 1978 (never filmed).
   * Remembrance of Things Past, Part One: Combray; Part Two: Within a Budding Grove, vol.1; Part Three: Within a Budding Grove, vol.2; and Part Four: Un amour de Swann, vol.1 are graphic novel adaptations by Stéphane Heuet.
   * Albertine, a novel based on a rewriting of Albertine by Jacqueline Rose. Vintage UK, 2002.
  
  Screen
  
   * Swann in Love (Un Amour de Swann), a 1984 film by Volker Schlöndorff starring Jeremy Irons and Ornella Muti.
   * Time Regained (Le Temps retrouvé), a 1999 film by Raul Ruiz starring Catherine Deneuve, Emmanuelle Béart, and John Malkovich.
   * La Captive, a 2000 film by Chantal Akerman.
   * Quartetto Basileus (1982) uses segments from Sodom and Gomorrah and Time Regained. Le Intermittenze del cuore (2003) concerns a director working on a movie about Proust's life. Both from Italian director Fabio Capri.
  
  Stage
  
   * A Waste of Time, by Philip Prowse and Robert David MacDonald. A 4 hour long adaptation with a huge cast. Dir. by Philip Prowse at the Glasgow Citizens' Theatre in 1980, revived 1981 plus European tour.
  
   * Remembrance of Things Past, by Harold Pinter and Di Trevis, based on Pinter's The Proust Screenplay. Dir. by Trevis (who had acted in A Waste of Time - see above) at the Royal National Theatre in 2000.
  
   * Eleven Rooms of Proust, adapted and directed by Mary Zimmerman. A series of 11 vignettes from In Search of Lost Time, staged throughout an abandoned factory in Chicago.
  
   * My Life With Albertine, a 2003 Off-Broadway musical with book by Richard Nelson, music by Ricky Ian Gordon, and lyrics by both.
  
  Radio
  
   * In Search of Lost Time dramatised by Michael Butt for the The Classic Serial, broadcast between February 6, 2005 and March 13, 2005. Starring James Wilby, it condensed the entire series into six episodes. Although considerably shortened, it received excellent reviews .
biān zhě de huà
   sài 'ěr · shì shí jiǔ shì èr shí shì chū guó wěi de zuò jiāzài guó nǎi zhì shì jiè wén xué shǐ shàng tóng 'ěr zhā yàng zhàn zhe zhòng yào de wèi bié shì jiǔ nián lái guó hǎo jiā yòu yǐng xiǎng de chū bǎn shèjìng xiāng chóngxīn chū bǎn de míng zuòzhuī shuǐ nián huá》; píng lùn yán jiū chuàng zuò chéng jiù de zhǒng xué shù huó dòng zài guó 'ōu měi duō guó jiā guǎng fàn kāi zhǎn láizhè cháo de chóngxīn chū xiànchōng fēn xiǎn shì chū zhè zhù de jià zhí yǐng xiǎng
  《 zhuī shuǐ nián huá de shù xíng shìbiǎo xiàn chū wén xué chuàng zuò shàng de xīn guān niàn xīn qiǎoxiǎo shuō zhuī de shǒu duànjiè zhù chāo yuè shí kōng gài niàn de qián zài shí shí jiāo chā chóngxiàn shì de suì yuècóng zhōng shū duì rénwǎng shì de xiàn huái niàn nán pái qiǎn de chóu chàng de zhè zhǒng xiě zuò qiǎo jǐn duì dāng shí xiǎo shuō xiě zuò de chuán tǒng shì shì zhǒng ér qiě duì hòu xíng xíng xīn xiǎo shuō liú pài de chū xiàn chǎn shēng liǎo shēn yuǎn de yǐng xiǎng
   duì zhè yàng wèi wěi de zuò jiāduì zhè wèi zuò jiā yòu chuán shì de zhè zhùzhì jīn jìng hái méi yòu zhōng běnzhè zhǒng xiàn xiàng lùn cóng jiǎo lái kànxiǎn rán dōushì zhèng cháng dezhèng shì chū duì zhòng wén xué chéng jiù de chóng jìngbìng qiě wèile jìn zhǎn zhōng wén huà jiāo liújìn kuài tián guó wài guó wén xué fān chū bǎn lǐng zhōng de kòngbái men jué dìng zhì fān chū bǎnzhuī shuǐ nián huázhè zhù
   wài guó wén xué yán jiū zhě dōuzhī dào de zhè zhù hán zhī shēn 'àoyòng zhī wǎng wǎng shǐ rén nán jiětàn wéi guān zhǐyīn fān nán zhī xiǎng 'ér zhīwèile zhōng shíwán měi xiàng guó zhě jiè shào zhè yàng zhòng yào de zuò pǐn hǎo wén zhì liàng guān shì zhì guān zhòng yào dewèicǐzài xuǎn zhě de guò chéng zhōng men zuò liǎo hěn duō de xiàn zài luò shí xià lái de juàn de zhědōushì jīng guò fǎn xié shāng hòu cái xuǎn dìng dezhì juàn de wén rán yòu dài fān jiā zhě men hòu píng shuōdàn men xīn wèi gào zhě zhōng měi wèi zhě fān shū de tài dōushì shí fēn yán jǐnrèn zhēn de shuō jìn liǎo zuì de duì men biǎo shì zhōng xīn de gǎn xièwèile jìn néng bǎo chí quán shū wén fēng de tǒng zài kāi qián men zhì dìng liǎoxiào gōng zuò de diǎn yào qiú”, yìn liǎo juàn de nèi róng yàorén míng míng míng biǎo juàn de zhù shìkāi hòu yòu duō zhì zhě jiāo liú jīng yànxiāng chuán yuè píng diǎn fēn wénzhè xiē cuò shīduì gāo wén zhì liàng xiǎn rán shì yòu de
   guān shū de míng men céng zhì zhě zhuān tǎo lùn guǎng fàn zhēng qiú guò jiàn běn shàng guī wéi liǎng zhǒng zhǒng zhí wéixún qiú shī de shí jiān》; lìng zhǒng wéizhuī shuǐ nián huá》。 jiàn hòu zhǒng míng jiào duō zài bào kān shàng cǎi yòngàn zhàoyuē dìng chéngde yuán men zàn qiě cǎi yòng zhè zhǒng men dài zhe guǎng zhě de píng zhǐ zhèng
   jiǔ nián yuè
  ān liè · luó zuò shī kāng qiáng 
   duì jiǔ nián dào jiǔ nián zhè shǐ shí 'ér yánméi yòu zhuī shuǐ nián huágèng zhí niàn de cháng piān xiǎo shuō jié zuò liǎozhè jǐn jǐn yīn wéi de zuò pǐn xiàng 'ěr zhā de zhù zuò yàng guī hóng bié de rén xiě guò shí huò 'èr shí xiǎo shuōyòu shí hái cái dàn shì zǒng néng gěi rén dào zhǒng shì dào zǒng jié de yìn xiàngzhè xiē zuò zhě mǎn kāi zhòng suǒ zhōu zhī dekuàng mài”; sài 'ěr · què xiàn xīn dekuàng cáng”。《 rén jiān wài shì jiè zuò wéi de lǐng náng kuò jīn róng jièbiān ji guāngōng zhèng rén shēngshāng rénnóng mín 'ěr zhā zhǐ zài miáo huì què shí miáo huì liǎo zhěng zhěng shè huìxiāng fǎn de dào zhī chù shì duì cái liào de xuǎn bìng zài gèng gǎn xīng de shì guān chá xíng dòng běn shēnér shì mǒu zhǒng guān chá rèn xíng dòng de fāng shìcóng 'ér xiàng tóng shí dài de wèi zhé xué jiā yàngshí xiàn liǎo yīcháng xiàng de bái shì”。 rén de jīng shén zhòng yòu bèi 'ān zhì zài tiān de zhōng xīnxiǎo shuō de biāo biàn chéng miáo xiě wéi jīng shén fǎn yìng wāi de shì jiè
   yòng shū de shì jiàn rén lái shuō míng zhè wèi zuò jiā de diǎn huāng miù chéng jiāng léi nuò 'ā shuō chéng shì huà guò ér tónghuā huì de rénléi nuò 'ā zhī suǒ chéng wéi léi nuò 'ābìng fēi yīn wéi huà liǎo zhè xiē 'érér shì yīn wéi rèn 'ér bǎi zài mǒu zhǒng hóng cǎi bān xuàn de guāng xiàn zhī zhōng běn rén zài xiě dào bèi de shí hòu céng jīng zhǐ chūzuò pǐn de cái tiān cái de xíng chéng guāntiān cái néng shǐ rèn cái liào zēng huī shēng bèi chéngzhǎng de jiā tíng huán jìng cóng biǎo miàn shàng kàn shì suǒ rán guǎ wèi dedàn shì bèi què yòng zhè cái xiě chū jié zuòzhè shì yīn wéijiè zhù de nǎo zhè xiǎo néng gāo zhù yuǎn xiángcóng 'ér xiàng fēi yuè shā de fēi xíng yuán yǐn yuē kàn dào zài miàn shàng kàn chū lái demái zài shā xià de chéng kuò yàngkàn dào shì yùn cáng de yīn zài tán lùnzhuī shuǐ nián huázhī qiánxiān yào shuō míng wèishénme rèn rén gèng shàn fēi zhè shí fēn juàn liàn de shì jiè
  
   shú de tiān yóu xiē chéngfèn chéngshǒu xiān shì de suǒ xiǎo chéng héng héng tóng nián shí dài měi nián suí jiā rén zài jiǎshì de qīn qīnxiōng chángshū jiù shěn shì zài xiāng xià de lín shì shè jiāo juàn zài kǒng duō sài zhōng xué de tóng xué qīn de péng yǒu rénluò 'ěr · hǎi mànài 'ěr · láo rénsài wéi jué rénhái yòu 'ā máng · · wéi rén lán rén lāi 'ěr jué rén de shā lónghòu lái yòu tōng guò luó bèi 'ěr · mèng jiū de yǐn jiànzhú jiàn jié shí zhěng shàng liú shè huìtōng guò de wéi 'ěr jiù jiù men de wài jiājìn yóu tài rén de juàn tōng guò 'ěr nuò jiē de wǎng qiú chǎng wèi miào líng shàonǚ dìng jiāozhì píng mín bǎi xìng zhǐ jiàn guò rén kāi diàn de dāng chá fáng de bīng shí de huǒ bàn chéng de diàn zhùshuō dào zuò jiā shù jiā zhǐ tōng guò xiàng tuō 'ěr · lǎng shìléi 'ěr duō · ā 'ēn lāi méi 'ěr 'āi duì men de shēng huó lüè yòu suǒ zhīzǒng zhī de jiàn wén suǒ jǐn guó shè huì hěnbáo de pōu miàn guò zhè yòu yòu shénme guān jiāng shì cóng guǎng ér shì cóng shēn shàng kāi jué dekuàng mài”。
   hǎo xiàng zhēng zhù dìng hòu yào cóng shì xiě zuò de zhì shì shén jīng zhì demǐn gǎn dào bìng tài de chéng yòu lìng rén qīn pèi de qīnduì chǒng 'àiyīn dào zuì wēi de xié tóng shòu dào shāng hàizuì dàn de huò zhě zuì jīng de xiào xíng jìng huì zài xīn tóu liú xià tòng de huàn liǎo qūqiào jiào hòu de rényòu xiē chǎng jǐng huì chǎn shēng chí jiǔ de yìn xiàngpèng shàng què huì zhōng shēng nán wàngzài de xiǎng xiàng shòu jìn jiān 'áo 'ér zhǎo dào chū de líng hún bān sāo dòng。( mǒu tiān wǎn shàng qīn jué zài shuì qián wěn guò hòu jìn zhù de kěn qiú yòu ràng liǎohòu láiwéi xún zhǎo zhōng rén céng shēn zài jiē tóu bēn zǒuhái yòu zài shè jiāo chǎng zāo shòu de xiē xiān shì zàiràng · sāng 》, hòu lái zàizhuī shuǐ nián huá yòu hén xún。)“ zuò jiā shòu dào mìng yùn gōng zhèng de dài zhī hòuzǒng yào jìn xún qiú cháng。” men zhè wèi zuò jiā yóu qiē yào chángjiě shì 'ān wèi
   yóu huàn yòu màn xìng xiào chuǎnsuī shuō shì fèi rénquè nián qīng qīng jiù chéng wéi bìng rénměi nián yòu dìng shí jiān mén xiè zhè zhǒng yǐn yòu zhù shēng huó zhuǎn huà wéi shù。“ wéi zhēn shí de yuán shì rén men shī de yuán。” qiān zhǒng fāng shì chóngfù zhè xiǎng 。“ xìng de suì yuè shì shī de suì yuèrén men dài zhe tòng biàn gōng zuò。” bèi zhú chū tóng nián shí dài de diàn yuánshī liǎo xìng shì jiù chóngxīn chuàng zào xìng
   de jīng shén huàn bìng shèn ròu zǎo zài shàonián shí dài xiàn wéi yǐn de 'ài qíng zài rén men yǎn shì fǎn cháng de gǎn xiàng jiā rén tiǎo zhàn。“ jiā tíng 'ā hèn men zhè lèi biǎo bái wán quán wéi bèi de běn xìng men xiǎng xiàng zěn yàng zài nèi xīn jīng cháng shí jiān detòng de dǒu zhēngzhōng guī zhàn bài zěn yàng zhì de wàngzěn yàng jiù bìng chóngfànzuì zhōng què xìn jiù yào guǒ kàn zuò dào de rén jiù cuò cuò liǎo chéng rán bèi dào guī fàndàn shì yīn 'ér tòng chū zhè céng yuán yīn yòu chàn huǐ fēn de yàoér zhè yòu xiě xiǎo shuō
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  ① ān liè · ( 1869 héng 1951), zhù míng xiǎo shuō jiāzài guó wén xué shǐ shàng zhàn yòu zhòng yào wèi
  ② jiàn de liáng》。
   zuì hòuzhè huái yòu qiáng liè de xiě zuò chōng dòng de nián qīng rénzhèng hǎo bèi cóng shì xiě zuò de tiáo jiàn jǐn bǐng yòu shén jīng zhì rén mǐn ruì de xìngcóng 'ér huò bǎo guì de cái liàoér qiě zhǎng yuān de zhī shícóng 'ér zhī dào zěn yàng yòng zhè xiē cái liào qīn shì 'ài guó yīng guó de diǎn zuò jiāràng qǐn kuì zhōng men shí dài hěn shǎo yòu rén gèng shú shèng ménsài wéi rénshèng lóu bài lāi 'ěr de zuò zhèng míng zhè xiē zuò jiā líng xiāng tōng yán jiū guò men de xiǎng fāng shìchuàng zuò shǒu fēng ruò shì men shí dài zuì wěi de xiǎo shuō jiāběn dāng zuì wěi de píng jiāduì yīng guó zuò jiā de liǎo jiě shǐ yòu néng jìn xíng zhī shí shàng de jiāozhè duì qiáng huà rén de xiǎng tóng shēng shàng de jiāo néng zēng qiáng zhǒng de zhì yàng yòu xiào céng zhǐ chū cóng tuō · dàiqiáo zhì · ài lüè gèng yóu cóng jīn dào xiē jiào men shí dài méi yòu rèn zuò jiā gèng yòu xué wèngèng jiā dǒng xíng
   rán 'ér shì qíng de miào zhèng zài bèi chū de tiáo jiàn běn dāng wēi yán deduō shǎo yòu diǎn xué jiū de chuán tǒng zuò jiādàn piān piān jué zǒu zhè tiáo xiàn chéng de zài zhè wèi wèi gāo de qīn gěi de jiào huì yòu zuò yòng liǎo。“ duì yīnggāi zěn yàng pēngtiáo mǒu xiē cài yáoyǎn zòu bèi duō fēn de zòu míng yīn qín dài xìn néng zhǎng zuì shì de fēn cùn kuàng qiě duì zhè sān jiàn shì qíng lái shuōzuì shì de fēn cùn jīhū shì xiāng tóng deshǒu jiǎn jié shí huáráo yòu yùn zhì。” duì fēng de kàn bìng 'èr zhìzuò wéi qiǎo chū zhòng de yǎn zòu jiā yòu shí jìn zhù tuō cháng duàn qǔzǐdiàn huà jiē xiàn xiǎo jiě héng héng shān zhā shù héng héng gài 'ěr máng wáng fēi de gāng)。 zuì yōu xiù de běn de què zài fēng shàng qiú gōng de tóng shí shī ránméi yòu rén gèng jīng què xià kǒu de yīnyuè xìng měi jiē céng de rén yòu de diào
   yòu me duō de dōng yào biǎo shuō chū lái jiǎn zhí huì biē cháng xún zhǎo cái biàn biǎo suǒ yòu zhè qiēquè zhí méi yòu zhǎo dàotóng nián shí dài zài wéi liǎng 'àn màn céng jīng yǐn yuē gǎn dào zài yīzhuàng fáng de xià huò zhě cháng tiáo de liǔ shù xià miàn yǐn cáng zhe mǒu xiēyòu dài jiē chuānèr shí suì huò sān shí suì shí fǎn sōu suǒ de bǎo hái shì méi yòu zhǎo dào yào de dōng liù nián biǎo duǎn piān xiǎo shuō hèshī huān shí 》。 zhè běn shū rǎn shàng shì de tuí fēngshǐ rén xiǎng bái zhì》、 ràng · · nán 'ào · wáng 'ěr méi yòu zhě cāi dào zuò zhě yòu tiān jiāng chéng wéi men zuì wěi de wén xué xīn jiārán hòucóng jiǔ nián dào jiǔ nián qiāoqiāo xiě mǎn duō liàn běn shì chuán xìng cháng piān xiǎo shuōràng · sāng 》。 chéng hòuzuò zhě cóng wèi xiū gǎi
   méi yòu biǎo zhè zuò pǐnshèn zhì xiǎng huǐ diào zuò pǐn yòu duō bèi diàojīn tiān men zài zhè zuò pǐn xiàn liǎozhuī shuǐ nián huázhōng fēn wèiwǒ men 'ài de yōu diǎnruò gān shǐ hún qiān mèng yíng de chǎng miàn hòu jiāng wán shàn de xíng shì xià láizài zhè jīng chū duān tòu chè de fēn shī de miáo xiěduì huá xiào yán xíng dào de gèng shì de miáo huìzhè qiēdōu fēi gāo shǒu shǔrán 'ér dāng chū biǎo zhè cǎo gǎo shì duì de ruò yàng zuò liǎohòu lái jiù huì gāo chāo de qiǎo zhòng xiě tóng cái xiě zhè cǎo gǎo de shí hòu de shuāng qīn yóu zàiér qiě hái néng shì zuì chū de zhěsuǒ néng zài zuò pǐn tǎn shuài chǔlǐ rèn wéi shì zuì zhù yào de dōng duì men zhè xiē lái shuō,《 ràng · sāng shì yǐn rén shèng de shūdàn shì shū zhōng de rén shì jiàn yuán xíng xiāng biàn huà hái chéng wéi wán měi de shù pǐn
  《 ràng · sāng de guān chá zhě shì wèi shī guò mǎn guān chá rèn wéi měi yóu tóng huà de gōng zhùbèi mǒu de shī guān zài zuò chéng bǎo de lóu wèile jiù zhè wèi gōng zhù men qiān shàn mén hái shì láoér fēn rén máng xiǎng shòu shēng de jiǔ jiù fàng xún zhǎodàn shì xiàng zhè yàng de rén nìngkě fàng qiē yào zhǎo dào bèi qiú jìn de gōng zhùzǒng yòu tiān shòu dào shì zhì xīn língquè xìn yòu jiāng dào delìng rén huàn de bào cháng shuō:“ rén men qiāo biàn suǒ yòu de mén suǒ huòwéi shàn tōng xiàng biāo de ménrén men zhǎo liǎo bǎi nián méi yòu zhǎo dàoquè zài jīng zhōng pèng shàng liǎo shì jiù dòng kāi ……”
   èr
   zhè shànwéi demén tōng xiàng shénme dāng rán dòng kāi shí yǐn yuē kàn dào de qiān líng shèng mén dehuí piān xiāng děngde zuò pǐn jiū jìng shì shénme yàng yòu shénme zhòng yào de huà yào shuō wéi zhī shēng qiē luó hào hàn de jiāo xiǎng jiāng chū xiàn shénme zhù
   zhù shì shí jiān de shū zhè zhù kāi duāngào zhōng。“ jiǎ jiǎ tiān niányǔn wán chéng de zuò pǐn dìng gěi shàng shí jiān de yìn shí jiān zhè gài niàn jīn tiān kàng de liàng qiǎngpò jiē shòu yào zài zuò pǐn miáo xiě rén men zài shí jiān zhōng zhàn yòu de wèi men zài kōng jiān zhōng zhàn yòu de wēi dào de wèi zhì zhòng yào duō biàn zhè yàng zuò huì shǐ men xiǎn lèi guài ……” men zhōu wéi de qiēdōu chǔyú yǒng héng de liú shìxiāo shí guò chéng zhī zhōng bùwèi zhè xiǎng kùn rǎo。“ jiù xiàng kōng jiān yòu xué yàngshí jiān yòu xīn xué。” rén lèi shēng dōuzài shí jiān kàng zhēng men běn xiǎng zhí zhù juàn liàn 'ài rén wèi yǒu rénmǒu xiē xìn niàn wàng cóng míng míng zhī zhōng màn màn shēng yānmò men zuì měi zuì bǎo guì de
   diǎn zhé xué jiǎ dìngyòu zhǒng biàn de xìn yǎng yóu jīng shén de diāo xiàng xíng chéng men de rén ”, zhè zuò diāo xiàng zài wài shì jiè de chōng xià jiān dìng dòng pán shídàn shì zhī dào zài shí jiān de liú chéng zhōng zhú jiàn jiě wéi yuǎnzǒng yòu tiān yuán lái 'ài guòtòng guòcānyù guò yīcháng de rén shénme huì liú xià men jiāng zài xiǎo shuō kàn dào wànào dài 'ěr bèi luò xiè 'ěrshèng zěn yàng zhú zài gǎn qíng nián líng de guāng dēng xià tōng guòchéng xiàn tóng de yán jiù xiàng de bái qún zài dēng guāng xià biàn chéng huáng huò lán yàngchén zài 'ài zhōng de néng xiǎng xiàng nián hòutóng dàn cóng 'ài qíng zhōng jiě tuō chū láiyòu huì shì shénme yàng ér qiě tàn de shìfáng jiē dào suì yuè yàng zhuǎn shùn shì”。 men rán huí dào men céng jīng 'ài de fāng men jué néng zhòng menyīn wéi men shì wèi kōng jiān zhōngér shì chù zài shí jiān yīn wéi zhòng yóu jiù de rén zài shì céng de qíng zhuāng diǎn fāng de 'ér tóng huò shàonián
   rán 'ér men de rèn bìng wán quán xiāo shīyīn wéi men néng zài men de shuì mèng zhōngshèn 'ér zài qīng xǐng zhuàng tài xià chóngxiàn zài de jiāo xiǎng de yuèzhāng chén shù shuì xǐng de zhù zhè bìng fēi shì chū 'ǒu ránér shì yòu wéi zhīměi tiān zǎo chénzài piàn zhī hòu men chóngxīn yōng yòu men shēnzhè shuō míng men cóng wèi wán quán shī sài 'ěr zài shēng mìng de zuì hòu nián néng zài shēn shàng mǒu chù tīng dàoxiǎo líng chēng qīng cuì de tiě zhì líng shēng shí xiǎng xiū zhǐchǎo chǎo rǎng rǎng”, zài tóng nián shí dài měi líng xiǎng zǒng shì xuān gào wàn lái fǎng dìng shì zhè líng chēng cóng wèi tíng zhǐ zài shēn shàng dīng dōng zuò xiǎngyīn shí jiān kàn lái hǎo xiàng wán quán xiāo shì shí rán zhèng men shēn róng wéi yóu chǎn shēng liǎo zuò wéi zuò pǐn de gēn yuán de xiǎng zhuī xún jīng shī shí réng zài suí shí zhǔn bèi zài shēng de shí jiān
   zhè zhuī xún zhǐ néng zài rén men shì wéizhēn shíde shì jiè jìn xíng shí zhè shì jiè shì zhēn shí dezhì shǎo shì rèn shí deyīn wéi men kàn dào de shì jiè yǒng yuǎn shòu dào men shēn de qíng de wāi shì jiè shì ér shì chéng qiān shàng wàn;“ měi tiān qīng chén yòu duō shǎo shuāng yǎn jīng zhēng kāiyòu duō shǎo rén de shí xǐng guò lái”, biàn yòu duō shǎo shì jièyīn yào jǐn de shì shēng huó zài zhè xiē huàn jué zhī zhōng bìng qiě wéi zhè xiē huàn jué 'ér shēng huóér shì zài men de zhōng xún zhǎo shī de yuán wéi zhēn shí de yuán。“ guò biàn shì men měi rén shēn shàng cún zài de mǒu zhǒng yǒng héng de dōng men zài shēng mìng zhōng mǒu xiē yòu shí chóngxīn guò ”, biàn huìyóu rán gǎn dào běn shì jué duì cún zài de”。 suǒ chú liǎo zhù cuī huǐ qiē de shí jiān 'ér wàilìng yòu zhī yìng de chōng zhù bǎo cún zuò yòng de huí guò men zhè zhǐ de shì suí biàn zhǒng huí de zhù yào gòng xiàn zài jiāogěi rén men mǒu zhǒng huí guò de fāng shì
   nán dào yòu hǎo zhǒng huí guò de fāng shì zhì shǎo yòu liǎng zhǒngrén shì jiè zhù zhì tōng guò tuī wén jiàn zuǒ zhèng zhòng jiàn guò zhè zhù de huí jué néng shǐ men gǎn dào guò rán zài xiàn zài zhī zhōng xiǎn ér zhèng shì zhè zhǒng rán xiǎn cái shǐ men shí dào de cháng cún dòng yóu zhù de huí cái néng zhǎo huí shī de shí jiān me yóu zhù de huí zěn yàng dòng tōng guò dāng qián de zhǒng gǎn jué xiàng zhī jiān de 'ǒu men de guò cún huó zài wèi zhī zhōng xiě dào:“ yào wàng shēng mìng zhōng yòu fǎn chū xiàn de dòng …… duì 'ā 'ěr bèi de liàn qíng hái yào zhòng yào de dòng chóngwēn jiù shìzhè shì xiàn shēn shù zhě de shàng hǎo cái liào…… bēi chásàn chǎng shàng de shù zhōng lóu děng děng。” lāi tián bǐng biàn shì chū de
   shù zhě dàn biàn rèn chū zhè zhǒng xíng hǎi bèi de bǐng gān de wèi dàozhěng gòng léi biàn dài zhe dāng nián céng zài gǎn shòu de quán qíng cóng bēi duàn huā chá zhōng xiàn chū láiqīn shēn de jīng shǐ zhè zuò xiǎo chéng zài yǎn bèi jué dòng réndāng qián de gǎn jué chóngxīn yǒng xiàn de chéng duìzhè shí jiān de guān yóu jìng kōng jiān de guān shǐ rén men chǎn shēng shí jiān yòu gǎn de cuò juézài zhè shùn jiānshí jiān bèi zhǎo huí lái liǎotóng shí bèi zhàn shèng liǎoyīn wéi shǔ guò de zhěng zhěng kuài shí jiān biàn chéng shǔ xiàn zài de liǎoyīn shù jiā zài zhè zhǒng shí gǎn dào zhēng liǎo yǒng héngrèn dōng zhǐ yòu zài yǒng héng miàn mào shù miàn mào xià cái néng bèi zhēn zhèng lǐng lüèbǎo cúnzhè jiù shìzhuī shuǐ nián huáde gēn běnshēn chuàng xīn de zhù suǒ zàibié de zuò jiāxià duō 'àngqián · · nài 'ěrcéng jīng kuī jiàn zhè zhù dàn shì men méi yòu zài de zhí jué de zhǐ yǐn xià zǒu dào méi yòu chǎng kāi tōng xiàng shén jìng jiè de ménwéi yòu xiànzài huí de yòu xiàrén men wéi jīng yǒng yuǎn wàng de shì jiè hǎo xiàng zài zhè zuì chū de huí shàng miànhuì cóng bēi chá zhōng zhěng yǒng xiàn chū lái
   gài kuò shuō de xiǎo shuō shì cōng míng jué dǐngmǐn gǎn dào tòng de rén de jīng zhè rén cóng xiǎo jiù chū xún zhǎo jué duì de xìng zài jiā tíng ài qíng zhōngshì jiè shàng dōuméi yòu zhǎo dào jué duì xìng zuì hòu xiàng zōng jiào shén zhù zhě yàng dào shí jiān zhī wài xún zhǎo zhǒng jué duì cún zài zài shù zhōng zhǎo dào zhè jué duì yīn xiǎo shuō xiǎo shuō jiā de shēng píng róng wéi ér xiǎo shuō jié wěi shí shuō shù zhě zhǎo huí liǎo shī de shí jiān kāi shǐ xiě de shū liǎojiù zhè yàngzhè shū xiàng tiáo cháng shé shǒu wěi xiāng xiánrào chéng de yuán juàn
   sān
   yóu zhù de huí huàn xǐng guò zhī hòu shù zhě kàn dào shénme dōng zhōng zuò xiāng xià fáng shì men wài de de lāi 'ào qīn péng xiāng chù shí yòu xìng de rén )、 lǎng suǒ miào yán de xiào xiàng míng pèijuéāi zhe gòng léi de zhù suǒ yǒng xiàn suǒ wài shěng huā yuánxià tiān wǎn shàng wèi lín wàn xiān shēngméi yòu wàn tài tài péi tóngcháng lái kàn wàng shù zhě de gòng léi zhōu wéi shēn zhǎn zhe piàn shú yòu shén de dàiduì tóng nián shí dài de shù zhě lái shuōzhè piàn dài fēn chéng liǎngbiān”: wàn biān wàn jiā de chǎn dāng sōng wéi 'ěr gài 'ěr máng biān gài 'ěr máng jiā de chéng bǎo suǒ zài gài 'ěr máng jiā chū guì míng mén sài 'ěr yòu shí piē jiàn men wàng wán hòu chū jiào tángshì men wéi gāo pān de tiān rénrén jiā gào zhè jiā rén shì wéi · · bāng de hòu men guò zhe shén xiān bān de jiù zhè yàngshēng mìng míng jiē duàn kāi shǐgài 'ěr máng jiā wàn rén de 'ér 'ěr bèi · wàn shù zhě duì suǒ yòu zhè xiē rén suǒ zhī shèn wēiduì lái shuō men zhǐ shì xiē míng
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  ① zhōng shì chuán shuō wéi shì bāng gōng jué de 'ér fěi jué de jué chū zhēngdàn zhī huái yùnzǒng guǎn luò yǐn yòu wéi wèi chéngsuì gào rén tōng jué xià lìng jiāng chǔsǐ rén men méi yòu zhí xíng mìng lìngfàng tiáo shēng hòu lái xiāng jiàn bái
   jiē zhe zhè xiē míng jiāng biàn chéng yòu xuè yòu ròu de rénhòu lái shù zhě jiè gài 'ěr máng jiā de shēng huó juàn zhè jiā rén duì réng yòu yǐn dàn shì yòu yīng xióng de wēi wànggài 'ěr máng gōng jué rén jiào táng cǎi huà shàng de shèng hòu lái chéng wéi sài 'ěr de péng yǒu sài 'ěr jiāng xiàn suī rán cái mǐn jiédàn shì xiǎng qiǎnhái yòu lěng de miàngài 'ěr máng jiā bié de chéng yuánxià nán jué rén de luó bèi 'ěr · · shèng yuán xiān chǔyú bàn míng bàn 'àn de guāng xiàn xià dào měi huàhòu lái jiāng zài qián tái de qiáng guāng dēng xià bào yuán xíng shù zhě zhú jiàn xiànzhè xiē rén céng huàn dēng yìng chū bān chéng liǎo shén shì jièzhè xiē nán rén rén de míng xià yǐn cáng zhe shí 'ér cán shí 'ér píng yōng de xiàn shíxiǎo shuō de cái liào zài xiàn shí shì jiè zhī nèiér shì zài xiàn shí shì jiè xiǎng xiàng shì jiè de chā zhī zhōng
   zài 'ài qíng lǐng yòu jiē duànzài zhè jiē duànrén huò diǎn huò làng màn zuò pǐn zhōng duì zhè gǎn qíng de miáo huìzhuī qiú néng shí xiàn de xīn xīn xiāng tōngdàn shìài qíng běn shēn men duì 'ài qíng de kàn zhī jiān de chā bié pàn ruò tiān rǎng。” shì chuán tǒng xiǎo shuō jiā gèng duō de zhēn shí xìng miáo huì xiāng xiāng yuè huái bié zuì zhōng de lěng dànxià běn shì cóng dāng nèi chōu chū lái dezhè xiàng zhēng shí fēn zhèng què men shuì hòu tiáo tuǐ de wèi zhì méi yòu fàng duìbiàn yòu xīn 'ài de rén piān rán mèng men zài xiè hòu xiāng féng shí yòng men shēn de xiǎng xiàng zuò cái liào zào de liàn rén hòu zuò wèiwǒ men de zhōng shēng bàn de zhēn shí de rén háo guān wàn liǎo cóng mèng zhōng zǒu chū lái de 'ào dài wéi jiēguǒ miàn duì de dài què shì 'ài de rén,“ gēn běn lái。” shù zhě sài 'ěr xiān rèn wéi 'ā 'ěr bèi nài mào yángdàn shì yīn wéi zhuō ”, zhōu shēn lǒngzhào zhe shén de guāng yùnbiàn duì chǎn shēng liàn zhī qíngzuì zhōng 'ài shàng liǎo
   ài qíng de duì xiàng bèi zhàn yòu zhī hòuzhǐ yào huái rán cún zàiài qíng bǎo chí shuāi men xiàn céng jīng zhòng shì de dōng yuán lái chún shǔ wàng zhī hòu guǒ zhàn liǎo men xīn líng de huāng zhè xiàn hái shǐ men quán xìng kuīhuí yòu shí hùn luànjiē zhe gǎn qíng chū xiàn jiànxiē”。 zuì hòujīng guò cháng kuí bié wàng lái lín chú liǎo 'ài qíng de zhǒng zhǒng huàn juézhì zàisuǒ duō 'ěrzhōng zhì miáo xiě de 'ài qíng zhèng cháng de 'ài qíng zūn xún tóng tiáo biàn huà xiànài qíng de shí duì xiàng shì chē féng zhì bèi xīn de cái fénghái shì huò gōng jué rénzhè guān jǐn yàoyīn wéi 'àn zhào de shuō ài qíng de běn zhì zài 'ài de duì xiàng běn fēi shí jǐn cún zài qíng rén de xiǎng xiàng zhī zhōng
   tóng yàng sài 'ěr tóng nián shí dài de liǎng tiáobiān”: wàn biān gài 'ěr máng biānduì céng shì shēng rén de shì jièhòu lái shí kān chá zhè liǎng shì jiè shíquè zài zhōng zhǎo dào rèn dōng néng yǐn qiáng lièchí jiǔ de xīng zhuī zhú shí shàng 'ài qíng yàng lìng rén shī wàng wàn wàng jiā wéi 'ěr lán de xiǎo juàn sài 'ěr xiǎng shēn gài 'ěr máng jiā de shā lóng dàn men yuàn chángrèn shí bìng zhēng liǎo xiǎo juàn shā lóngliǎng zhě biàn qián zhí liǎowéi yòu yǐn de shì jiè shì men shàng wèi jìn de shì jiè qiēdōu 'ér tóng de yǎn jīng kàn dào de yào jiǎn dānpíng dàncóng gòng léi kàn chū liǎng tiáobiānzhī jiān hǎo xiàng zhe dào hóng gōu liào men jìng zài zuò pǐn de dǐng shàng chéng de yuán gǒngzuì zhōng huì zài wàn de 'ér 'ěr bèi jià gěi gài 'ěr máng jiā de shèng liǎng tiáo biān de duì yuán lái shì jiǎ de
   xiàn shí zài xiǎn de tóng shí yān xiāo yún sàn
   shì yòng yuán gǒng zhè de de zuò pǐn gāng biǎo de shí hòu píng jiā men wèi néng jiě de jié gòu zhī dào zài jié gòu shàng jiào táng yàng jiǎn dānwěn zhòngzuò zhě shì shí dào zhè diǎn de:“ dāng duì tán dào jiào táng de shí hòu de miào yóu shǐ wéi gǎn dòng zhí jué dào cóng wèi gēn rén shuō guò de xíng zhū de shì qíng céng jīng xiǎng guò wèiwǒ de shū de měi fēn bié xuǎn yòng xià biāo ménhòu diàn cǎi huà chuāngděng děng jiāng wéi zhèng míngzhè xiē zuò pǐn wéi de yōu diǎn zài men quán bāo kuò měi wēi de chéng fēn shí fēn jiēshíér píng jiā men piān piān bèi quē zǒng gòu ruò cǎi yòng lèi de biāo biàn néng shì xiān huí zhè zhǒng chǔn de píng……”
   què shí zài wán gōng de zuò pǐn yòu me duō jīng xīn 'ān pái de duìchèn jié gòu me duō de zài liǎng xiāng yìng me duō de shí kuài zài kāi gōng shǐ jiù zhì zhěng zhǔn bèi chéng dān hòu de jiān gǒng zhì zhě néng pèi zhè zuò de jiàn zhù dāng zuò zhěng lái shè de jié chū cái zhìjiù xiàng fēn cǎo cǎo zòu chū de zhù hòu lái yuè yǎn yuè hóng wěizuì zhōng jiāng yǒng měng de xiǎo hào shēng dǎo péi chèn yīn xiǎng yàngmǒu zài wàn jiā biānjǐn jǐn liǎo liǎn de rén jiāng biàn chéng shū zhōng de zhùjué zhī 。( zài wài shū jiā jiàn guò miàn de wèi chuān shēn fēi hóng de rénhòu lái biàn chéng 'ào dài · · léi yòu biàn chéng wàn rénzuì hòu chéng wéi shí wéi 'ěr rénhuà jiā shī yuán shì wéi 'ěr lán dexiǎo xīnde chéng yuánhòu lái chéng wéi wěi de 'āi 'ěr 'ěrzài yuàn shù zhě chūn fēng de hòu chóngféng shí gǎi míng xiè 'ěr shì shèng zhōng 'ài de qíng 。)
   jiù xiàng de qiáo gǒng kuà yuè suì yuèzuì zhōng wàn biān gài 'ěr máng biān lián jiē lái yàngfān guò qiān shū hòujiāng yòu bié de gǎn shòu huí lāi xiǎo tián bǐng de zhù xiāng yìng shù zhě zài dào wēi de shàng jiàn dào de xiǎo děng de shí kuài zài gài 'ěr máng wáng fēi de shū guǎn jiàn dào shàng liǎo jiāngtàng tǐng kuò de máo jīn shí 'ěr bèi hǎi bīn dùn shí zài yǎn qián chóngxiàn)。 zhěng jiàn zhù de gǒng dǐng shí shì luó bèi 'ěr 'ěr bèi de 'ér shèng xiǎo jiězhè zhǐ shì jiàn xiǎo shí diāocóng xià yǎng wàng miǎnqiǎng jiàndàn shì zài zhè jiàn shí diāo shàng xíng zhuōde shí jiān què què shí shí níng wéi zhìyuán gǒng cóng 'ér lián jiē lái jiào táng shì jùn gōngdào zhè shí hòuzuò zhě zuò wéi shù jiā zuò wéi rén tóng shí jiùcóng me duō de xiāng duì shì jiè yǒng xiàn chū jué duì shì jiè liǎo
   yīn de xiǎo shuō shì zhǒng kěn dìng zhǒng jiě tuōjiù xiàng fán de zhòng zòu yàng zhōng liǎng zhù héng héng huǐ huài qiē de shí jiān zhěng jiù qiē de duì zhì zhe:“ zuì hòuhuān de zhù shèng zhè zài shì cóng kōng dàng dàng de tiān kōng bèi hòu chū de jīhū dài zhe 'ān de zhào huànzhè shì zhǒng míng zhuàng de kuài hǎo xiàng lái tiān tángzhè zhǒng kuài zòu míng de kuài chā bié zhī yóu bèi huà zhōng wēn zhuāng zhòngyǎn zòu shuāng jǐng shī qín de tiān shǐ kāi lǎng luó xià mǒu chuān páochuī hào jiǎo de tiān shǐ de chā bié zhī dào yǒng yuǎn huì wàng kuài chéng xiàn de zhè xīn de cǎizhè yǐn dǎo men xún qiú zhǒng chāo chén shì de kuài de zhào huàn……”
   luò · xiě guò běn guān de chū de xiǎo shū zài shū qiáng diào de huān gài niàn hěn yòu jiàn :“ yīn wéi zài men chú liǎo zhī dào gǎn qíng yòu jiànxiēgèng zhī dào xìng shì shí 'ér láishí 'ér xiāo shī dezhè zhèn zhèn huān de qīng fēng lái shénme fāng ?” lái shù shù jiāwèiwǒ men xiān kāi chǒu 'è liáo de wéi de jiǎo men yóu zhe zhè dào wéi cái duì shì jiè shī hàoqí xīn”。 xiàng fàn · gāo yòng cǎo diàn jiā huò nài yòng chǒu rén zuò cáihuà chū jié zuò yàng de cái shì lǎo chú niàn méi wèi jiān wài shěng de qǐn shì huò zhě cóng shān zhā shù duì men shuō:“ hǎohǎo kànshì jiè de quán cáng zài zhè xiē jiǎn dān de xíng shì xià miàn liǎo。”
  
   rén shēng zhōng yòu xiē chū shén huà de shí dāng qián 'ǒu rán huò de gǎn jué shǐ guò chóngxiàn shì men kuài gǎn dào shēn cún zài de chí jiǔ xìng guò rén shēng zhōng hǎn zhè zhǒng shí me zěn yàng cái néng zài měi shū shàng bèi qiú jìn de měi shì fàng chū lái zhè yòng zháofēng :“ zài xiàng miáo xiě zhōngrén men qióng jìn luó liè wèi bèi miáo xiě diǎn de zhǒng dàn shì jǐn zài zuò jiā dìng liǎng jiàn tóng de zhǐ chū men de xiāng guān de shùn jiān kāi shǐ shù shì jiè zhōng zhè xiāng guān lèi xué shì jiè zhōng wéi de yīn guǒ guān zuò jiā hái yào yòng měi de fēng xíng shì de yuán huán zhè liǎng jiàn guān zài nèi shèn zhì wéi zhù liǎo shēng mìngdāng chū liǎng zhǒng gǎn jué de gòng tóng diǎnyòng xiàng yǐn liǎng jiàn jié láicóng 'ér xiǎn shì men de běn zhìshǐ men bǎi tuō shí jiān de yǐng xiǎngbìng yòng de xíng shì de miáo shù de suǒ liàn men shuān zài ……”
   tōng guò jiē shì mǒu shēng shì huò mǒu nán miáo xiě de gǎn qíng xiē shú shì de xiāng zhī chùyǐn bāng zhù zuò zhě zhě xiǎng xiàng zhè shēng shì huò zhè gǎn qíngdāng rán shì shǐ yòng xíng xiàng de zuò jiāduì yuán shǐ rénxíng xiàng shì zhǒng rán de biǎo shǒu duàndàn shì tóng shí dài rèn zuò jiā gèng jiā jiě xíng xiàng dezhì shàngzhòng yào xìng zhī dào xíng xiàng zěn yàng jiè zhù lèi shǐ zhě kuī jiàn mǒu de chú xíngcóng 'ér dào zhǒng qiáng liè de zhì kuài gǎn zhī dào zěn yàng shǐ xíng xiàng cháng bǎo xīn xiān
   rán de mùdì shì yòng shú zhī de shì jiě shì wèi zhī de shì me de 'èr xiàng hǎo xiàng shì tòu míng de tòu guò xiàn shí bèi kàn dào de dōng jiù men shú de gǎn jué zhī jiān yòu liǎo lián yòu yóu yín chàng:“ yǒng měng shī……” yīn wéi de tīng zhòng céng jīng shī dǒu guò zhǐ chū xiàn dài de yǐn yīnggāi zài shì hòu miàn huàn wèi juéxiù juéchù jué zhè lèi yǒng yuǎn zhēn shí de běn gǎn juéhuò zhě zhǎn shì zuò wéi rèn shù de shǒu yào chéngfèn de dòng zhí xíng xiàngxià biàn chéng huáng fēng 'ān huà chéng lán huāgài 'ěr máng jiā de rén biàn zuò qín niǎo)。 zuì hòu cóng dāng dài xué zhōng jiè yòng xiàn shí shēng huó de xíng xiàngsuǒ zài de wén zhāng shí chū xiàn xuéxīn xuéxué de xíng xiàng
   men rèn kāi shūbiàn néng cǎi xié dào shù xīn xiān de xíng xiàng huā shù shù zhě de qīn duì lǎng suǒ shuō:“ nuò xiān shēng shuō chéng shì liú de tǒng shuài’, jiù xiàng shì guó fáng cháng zài yuè bīng shì jié shù hòu xiàng jiāng jūn zhuǎn wèi guò de wài guó jūn zhù de zhù ……” sài 'ěr zhè shí hòu zhèng 'ài shàng 'ěr bèi · wàn wàn jiā yòu guān de qiēdōu shì zuò shén shèngdāng tīng qīn shuō dào wàn jiā zhù de tào fáng tōng tōng shí zhǒng mào dòu zhī gǎn shǐ quán shēn xuè fèi téng:“ běn néng gǎn dào de jīng shén yīnggāi xiàng wàn jiā de wēi wàng de xìng fèng xiàn yào de shēng shì guǎn gāng cái tīng dào shénme nèi xīn zuò zhùxiàng xìn zhě bìng nán de chuán yàngyǒng yuǎn xiǎng men zhù de tào fáng píng cháng hěnlián men zhù jìn de……” shù zhě de qīn wàn rén wéi kuò zài shè jiāo jiè de lián 'ér chū bài fǎng zuò yīcháng zhí mín zhàn zhēng:“ xiàn zài lóng bèi jiā jīng jiù fànlín jìn de luò jiǔ yào tóu jiàng……” zài jiē shàng jiàn wàn rénhuí jiā shí shuō:“ kàn dào wàn rén jìn zhàn zhēng zhuàng tài xiǎng zhǔn bèi chū zhēng sài zhū sài rén lán rén huò zhě lóng bèi 'ěr rén huò quán shèng……” zuì hòu wàn rén yāo qǐng wèi hǎo xīn cháng dàn lìng rén tǎo yàn huān chuàn mén de tài tài shàng mén zuò yīn wéi zhī dàozhè zhǐ huó yuè degōng fēng dàn dài shàng zhuāng shì máo de mào dài zhe míng piàn néng zài xià guāng duō shǎo chǎn zhě jiā tíng de huā cǎo……”
   lìng 'ài yòng de shǒu shì jiè zhù shù pǐn shuō míng shí zài de shì zài shēng huó de xiǎng xiàng guǎnde shí dàifán shì yòu jiào yǎng de réndōu néng jiě měi shù zuò pǐn gōng de cān kǎo wéi liǎo ràng zhě lǐng huì 'ào dài de měi dào qiē wèile miáo huì luò de guài tái chū bèi de hǎn 'èr shì》。 lǎng suǒ de tán huà zuò de xià xiān shēng tóu xiàng 'ān de yǎn zuò bèi duō fēn jiá rán 'ér zhǐ de huà jiā yīnyuè jiā men lǐng jìn wèi zhī wài de shì jièméi yòu men men néng jìn zhè shì jiè jīng yóu měi xué dào xuán xuézhè tiáo xuǎn huài
   suǒ yǐn zài zhè zuò pǐn zhàn de wèi xiāng dāng zōng jiào shì de shèng juàn liàn de xiàn shí dōushì jīng shén xìng dedàn shì yīn wéi rén shì líng húnyòu shì ròu yào zhì xìng de xiàng zhēng bāng zhù zài shēn néng biǎo de dōng zhī jiān jiàn lián zuì xiān dǒng rèn yòu yòng de xiǎng de gēn dōuzài cháng shēng huó ér yǐn de zuò yòng zài qiǎngpò jīng shén de qīn chóngxīn jiē chùcóng 'ér shǔ jīng shén de liàng guī hái gěi guǒ chū běn néng dǒng zhè dào dàn shì tōng guò zhì shǐ yòng fāng dào tóng mùdì liǎo
  
   ā lán céng jīng zhǐ chūxiǎo shuō zài běn zhì shàng yīngshì cóng shī dào sǎnwéncóng biǎo xiàng dào zhǒng shí yòng defǎng shì shǒu gōng chǎn pǐn de xiàn shí de guò shì chún cuì de xiǎo shuō jiāméi yòu rén gèng shàn bāng zhù men zài shēn shàng shēng mìng cóng tóng nián dào zhuàng niánrán hòu dào lǎo nián de guò chéngsuǒ de shū dàn wèn shìbiàn chéng wéi rén lèi de shèng jīng zhī jiǎn dān de bié de xìng de shù yǐn quán shì jiè de qíngzhè shì rén jiān zuì měi de shì qíng shì zuì gōng píng de xiàn xiàngjiù xiàng wěi de zhé xué jiā yòng xiǎng gài kuò quán xiǎng yàngwěi de xiǎo shuō jiā tōng guò rén de shēng xiē zuì tōng de shì shǐ suǒ yòu rén de shēng yǒng xiàn zài xià
shǒuyè>> wénxué>> 外国经典>> sài 'ěr · Marcel Proust   guó France   lán sān gòng guó   (1871niánqīyuè10rì1922niánshíyīyuè18rì)