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復活 Resurrection
  聶赫留道夫公爵是莫斯科地方法院的陪審員。一次他參加審理一個毒死人的命案。不料,從妓女瑪絲洛娃具有特色的眼神中認出原來她是他青年時代熱戀過的卡秋莎。於是十年前的往象一幕幕展現在聶赫留道夫眼前:當時他還是一個大學生,暑期住在姑媽的莊園裏寫論文。他善良,熱情,充滿理想,熱衷於西方進步思想,並愛上了姑媽傢的養女兼婢女卡秋莎。他們一起玩耍談天,感情純潔無暇。三年後,聶赫留道夫大學畢業,進了近衛軍團,路過姑媽莊園,再次見到了卡秋莎。在復活節的莊嚴氣氛中,他看着身穿雪白連衣裙的卡秋莎的苗條身材,她那泛起紅暈的臉蛋和那雙略帶斜眼的烏黑發亮的眼睛,再次體驗了純潔的愛情之樂。但是,這以後,世俗觀念和情欲占了上風,在臨行前他占有了卡秋莎,並拋棄了她。後來聽說她墮落了,也就徹底把她忘卻。現在,他意識到自己的罪過,良心受到譴責,但又怕被瑪絲洛娃認出當場出醜,內心非常緊張,思緒紛亂。其他法官、陪審員也都心不在焉,空發議論,結果錯判瑪絲洛娃流放西伯利亞服苦役四年。等聶赫留道夫搞清楚他們失職造成的後果,看到瑪絲洛娃被宣判後失聲痛哭、大呼冤枉的慘狀,他决心找庭長、律師設法補救。律師告訴他應該上訴。
    聶赫留道夫懷着復雜激動的心情按約去米西(被認為是他的未婚妻)傢赴宴。本來這裏的豪華氣派和高雅氛圍常常使他感到安逸舒適。但今天他仿佛看透了每個人的本質,覺得樣樣可厭:柯爾查庚將軍粗魯得意;米西急於嫁人;公爵夫人裝腔作勢。他藉故提前辭別。
    回到傢中他開始反省,進行“靈魂淨化”,發現他自己和周圍的人都是“又可恥,又可憎”。母親生前的行為;他和貴族長妻子的暖昧關係;他反對土地私有,卻又繼承母親的田莊以供揮霍;這一切都是在對卡秋莎犯下罪行以後發生的。他决定改變全部生活,第二天就嚮管傢宣佈:收拾好東西,辭退僕役,搬出這座大房子。
    聶赫留道夫到監獄探望瑪絲洛娃,嚮她問起他們的孩子,她開始很驚奇,但又不願觸動創傷,衹簡單對答幾句,把他當作可利用的男人,嚮他要十盧布煙酒錢以麻醉自己,第二次聶赫留道夫又去探監並表示要贖罪,甚至要和她結婚。這時卡秋莎發出了悲憤的指責:“你今世利用我作樂,來世還想利用我來拯救你自己!”後來聶赫留道夫幫助她的男友,改善她的處境,她也戒煙戒酒,努力學好。
    聶赫留道夫分散土地,奔走於彼得堡上層,結果上訴仍被駁回,他衹好嚮皇帝請願,立即回莫斯科準備隨卡秋莎去西伯利亞。途中卡秋莎深受政治犯高尚情操的感染,原諒了聶赫留道夫,為了他的幸福,同意與尊重她體貼她的西蒙鬆結合。聶赫留道夫也從《聖經》中得到“人類應該相親相愛,不可仇視”的啓示。
    這兩個主人公的經歷,表現了他們在精神上和道德上的復活。小說揭露了那些貪贓枉法的官吏,觸及了舊社會制度的本質。
    
  〖小說背景〗
  
    《復活》是托爾斯泰的晚期代表作。這時作傢世界觀已經發生激變,拋棄了上層地主貴族階層的傳統觀點,用宗法農民的眼光重新審查了各種社會現象,通過男女主人公的遭遇淋漓盡致地描繪出一幅幅沙俄社會的真實圖景:草菅人命的法庭和監禁無辜百姓的牢獄;金碧輝煌的教堂和襤褸憔悴的犯人;荒芫破産的農村和豪華奢侈的京都;茫茫的西伯利亞和手銬腳鐐的政治犯。托爾斯泰以最清醒的現實主義態度對當時的全套國傢機器進行了激烈的抨擊。然而在《復活》中,托爾斯泰雖然對現實社會做了激烈的抨擊,揭露了社會制度的本質,但是小說結尾,仍然把改革社會的寄希望於基督教,又把自己的宗教觀強行植入小說當中,並且幾乎否定了資本主義一切國傢機器的一切作用,不得不說是小說思想境界上的一個遺憾。
    小說原計劃創作四部,但衹創作了三部。


  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
  《馬太福音》第十八章第二十一節至第二十二節:“那時彼得進前來,對耶穌說:主啊,我弟兄得罪我,我當饒恕他幾次呢?到七次可以麽?耶穌說:我對你說,不是到七次,乃是到七十個七次。”
   《馬太福音》第七章第三節:“為什麽看見你弟兄眼中有刺,卻不想自己眼中有梁木呢?”
   《約翰福音》第八章第七節:“……你們中間誰是沒有罪的,誰就可以先拿石頭打她。”
   《路加福音》第六章第四十節:“學生不能高過先生,凡學成了的不過和先生一樣。”


  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
  儘管好幾十萬人聚居在一小塊地方,竭力把土地糟蹋得面目全非,儘管他們肆意把石頭砸進地裏,不讓花草樹木生長,儘管他們除盡剛出土的小草,把煤炭和石油燒得煙霧騰騰,儘管他們濫伐樹木,驅逐鳥獸,在城市裏,春天畢竟還是春天。陽光和煦,青草又到處生長,不僅在林蔭道上,而且在石板縫裏。凡是青草沒有鋤盡的地方,都一片翠緑,生意盎然。樺樹、楊樹和稠李紛紛抽出芬芳的粘稠嫩葉,菩提樹上鼓起一個個脹裂的新芽。寒鴉、麻雀和鴿子感到春天已經來臨,都在歡樂地築巢。就連蒼蠅都被陽光照暖,夜墻腳下嚶嚶嗡嗡地騷動。花草樹木也好,鳥雀昆蟲也好,兒童也好,全都歡歡喜喜,生氣蓬勃。唯獨人,唯獨成年人,卻一直在自欺欺人,折磨自己,也折磨別人。他們認為神聖而重要的,不是這春色迷人的早晨,不是上帝為造福衆生所創造的人間的美,那種使萬物趨嚮和平、協調、互愛的美;他們認為神聖而重要的,是他們自己發明的統治別人的種種手段。
   就因為這個緣故,省監獄辦公室官員認為神聖而重要的,不是飛禽走獸和男女老幼都在享受的春色和歡樂,他們認為神聖而重要的,是昨天接到的那份編號蓋印、寫明案由的公文。公文指定今天,四月二十八日,上午九時以前把三名受過偵訊的在押犯,一男兩女,解送法院受審。其中一名女的是主犯,須單獨押解送審。由於接到這張傳票,今晨八時監獄看守長走進又暗又臭的女監走廊。他後面跟着一個面容憔悴、鬈發花白的女人,身穿袖口鑲金縧的,腰束一根藍邊帶子。這是女看守。
   “您是要瑪絲洛娃吧?”她同值班的看守來到一間直通走廊的牢房門口,問看守長說。
   值班的看守哐啷一聲開了鐵鎖,打開牢門,一股比走廊裏更難聞的惡臭立即從裏面衝了出來。看守吆喝道:
   “瑪絲洛娃,過堂去!”隨即又帶上牢門,等待着。
   監獄院子裏,空氣就比較新鮮爽快些,那是從田野上吹來的。但監獄走廊裏卻彌漫着令人作嘔的污濁空氣,裏面充滿傷寒菌以及糞便、煤焦油和黴爛物品的臭味,不論誰一進來都會感到鬱悶和沮喪。女看守雖已聞慣這種污濁空氣,但從院子裏一進來,也免不了有這樣的感覺。她一進走廊,就覺得渾身無力,昏昏欲睡。
   牢房裏傳出女人的說話聲和光腳板的走路聲。
   “喂,瑪絲洛娃,快點兒,別磨磨蹭蹭的,聽見沒有!”看守長對着牢門喝道。
   過了兩分鐘光景,一個個兒不高、胸部豐滿的年輕女人,身穿白衣白裙,外面套着一件灰色囚袍,大踏步走出牢房,敏捷地轉過身子,在看守長旁邊站住。這個女人腳穿麻布襪,外套囚犯穿的棉鞋,頭上紮着一塊白頭巾,顯然有意讓幾綹烏黑的鬈發從頭巾裏露出來。她的臉色異常蒼白,仿佛儲存在地窖裏的土豆的新芽。那是長期坐牢的人的通病。她那雙短而闊的手和從囚袍寬大領口裏露出來的豐滿脖子,也是那樣蒼白。她那雙眼睛,在蒼白無光的臉龐襯托下,顯得格外烏黑發亮,雖然有點浮腫,但十分靈活。其中一隻眼睛稍微有點斜視。她挺直身子站着,豐滿的胸部高高地隆起。她來到走廊裏,微微仰起頭,盯住看守長的眼睛,現出一副唯命是從的樣子。看守長剛要關門,一個沒戴頭巾的白發老太婆,從牢房裏探出她那張嚴厲、蒼白而滿是皺紋的臉來。老太婆對瑪絲洛娃說了幾句話。看守長就對着老太婆的腦袋推上牢門,把她們隔開了。牢房裏響起了女人的哄笑聲。瑪絲洛娃也微微一笑,嚮牢門上裝有鐵柵的小窗洞轉過臉去。老太婆在裏面湊近窗洞,啞着嗓子說:
   “千萬別跟他們多羅唆,咬定了別改日,就行了。”
   “衹要有個結局就行,不會比現在更糟的,”瑪絲洛娃晃了晃腦袋,說。
   “結局當然衹有一個,不會有兩個,”看守長煞有介事地擺出長官的架勢說,顯然自以為說得很俏皮。“跟我來,走!”
   老太婆的眼睛從窗洞裏消失了。瑪絲洛娃來到走廊中間,跟在看守長後面,急步走着。他們走下石樓梯,經過比女監更臭更鬧、每個窗洞裏都有眼睛盯着他們的男監,走進辦公室。辦公室裏已有兩個持槍的押送兵等着。坐在那裏的文書把一份煙味很重的公文交給一個押送兵,說:
   “把她帶去!”
   那押送兵是下城的一個農民,紅臉,有麻子,他把公文掖在軍大衣翻袖裏,目光對着那女犯,笑嘻嘻地嚮顴骨很高的楚瓦什同伴擠擠眼。這兩個士兵押着女犯走下臺階,嚮大門口走去。
   大門上的一扇便門開了,兩個士兵押着女犯穿過這道門走到院子裏,再走出圍墻,來到石子鋪成的大街上。
   馬車夫、小店老闆、廚娘、工人、官吏紛紛站住,好奇地打量着女犯。有人搖搖頭,心裏想:“瞧,不象我們那樣規規矩矩做人,就會弄到這個下場!”孩子們恐懼地望着這個女強盜,唯一可以放心的是她被士兵押着,不然再幹壞事了。一個鄉下人賣掉了煤炭,在茶館裏喝夠了茶,走到她身邊,畫了個十字,送給她一個戈比。女犯臉紅了,低下頭,嘴裏喃喃地說了句什麽。
   女犯察覺嚮她射來的一道道目光,並不轉過頭,卻悄悄地斜睨着那些嚮她註視的人。大傢在註意她,她覺得高興。這裏的空氣比牢房裏清爽些,帶有春天的氣息,這也使她高興。不過,她好久沒有在石子路上行走,這會兒又穿着笨重的囚鞋,她的腳感到疼痛。她瞧瞧自己的雙腳,竭力走得輕一點。他們經過一傢面粉店,店門前有許多鴿子,搖搖擺擺地走來走去,沒有人來打擾它們。女犯的腳差點兒碰到一隻瓦灰鴿。那衹鴿子拍拍翅膀飛起來,從女犯耳邊飛過,給她送來一陣清風。女犯微微一笑,接着想到自己的處境,不禁長嘆了一聲。
首頁>> 文學>> 现实百态>> liè · tuō 'ěr tài Leo Tolstoy   é luó Russia   é luó guó   (1828niánjiǔyuè9rì1910niánshíyīyuè20rì)